平權烈女 撼藝術界高牆

文:梁嘉麗

平權之路,從來不平坦。#Metoo 是星火燎原,女性身體由私密之地,變成攻訐之所,沒有任何人能倖免,因為性別之爭,本來就是一種權力拉扯。香港女性藝術工作者同樣面對困境,很多人選擇以「性別盲」方式看待藝術圈運作,在性別嚴重失衡的香港藝術界,這些依然努力創作的女性,也許必須身懷十八般武藝和擁有真切澄明的心,才能繼續生存下去。

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Frank Vigneron. Hong Kong Soft Power (2018)

My work was featured in Frank Vigneron’s book Hong Kong Soft Power: Art Practices in the Special Administrative Region, 2005-2014 published by The Chinese University Press, 2018:

 

〈女身自主時代〉 ‘Female body empowerment’

文:梁嘉麗

行為藝術:以身體衝破禁忌

紋身和繩綁,是女性宣示身體主權的媒介,亦是來自外界、透過第三者加諸於自己身體的。然而,要掌握甚至運用身體作為反抗社會對女身單一、狹隘的想像,行為藝術就是最直白的表現。跨媒界藝術家魂游身材纖細,紥起馬尾就如小女孩,但在藝術界別中,她絕對不是唯唯諾諾的女孩,經常以自己的身體,表現出驚人的力量,令人反思女性身體在藝術乃至社會的角色和定位。在行為藝術家 Marina Abramovic 的電影放映前,魂游在講台上分享着自己的經驗,照片中的她,一絲不掛,在一張桌子上,移動着身體,以手臂和大腿的力量,從桌上攀到桌下然後回到桌上,身體綻放着光芒,呈現出女身的綫條和輪廓之美。作品《在桌上:向霜田誠二致敬》,是向霜田誠二的《在桌上》致敬,但重複的,卻只是那張桌子的設置,不論是概念抑或展現出來的美感,都跟「原著」大相逕庭。

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〈回應丁級藝術家的U級書寫〉’A Grade U writing in response to a Grade D artist’

 

文:丁穎茵 博士(香港浸會大學視覺藝術院助理教授)

我是徹頭徹尾的考試懷疑論者。即使吃了老虎膽,誰敢給喬托(Giotto)、維拉斯奎茲(Velazquez),又或董源、石濤打分數?區區數字如何能夠計算藝術家經年累月對作品形式表現的知性與感性的思索?量化的評核又該如何衡度藝術家的想像力、修養及個性內涵所創造的藝術境界?難道馬蒂斯(Matisse)以色彩對比帶動畫面節奏的抽象構圖就不如布拉克(Braque)以幾何形式重構物象體積嚴謹?常玉以簡御繁的空靈又該如何與朱德群遒勁又跳脫的抽象語言作數值的比較?

by: Dr. Ting Wing Yan Vivian (Assistant Professor, Academy of Visual Arts, Hong Kong Baptist University)

I am absolutely skeptical about examinations. Who would have the nerve to grade the works by Giotto, Velazquez, Dong Yuan or Shi Tao?  How can mere figures reveal the intellectual pursuits of an artist and sensual explorations in art-making throughout the years?  How can quantitative assessments measure the quality of works of art created with one’s imagination and the depth of one’s inner self?  Can one state that the voluptuous and coloured rhythm of Matisse in his compositions is less vigorous, compared to the geometric construction of form by Braque?  How can the refreshing fluidity in the simple yet polished works of art of San Yu be compared with the energetic and rule-breaking abstract language by Chu Teh-Chun?

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〈丁級 vs. 頂級〉’D for Distinction’

 

文:C&G

在香港的教育制度底下,「視覺藝術科」並非必修科,所以要很有興趣及潛質的人才會修讀「視覺藝術科」,才有較大優勢進入大學藝術系,才較易進入藝術圈,從而成為藝術家。因此,作為大學藝術系本科畢業身份的藝術家,當然會比並非挾藝術系本科畢業身份的藝術家多。從另一角度看,並非大學藝術系畢業都能夠在香港成為獨當一面的藝術家,在乎其對藝術是否抱有非比尋常的熱情。

by: C&G

’Visual Arts’ is not a compulsory subject in the education system of Hong Kong.  Generally speaking, only those who are talented or deeply interested in this subject would study this elective subject of Visual Arts.  Only they would then have an advantage to enter the Art department of universities.  Only they would then be able to easily reach the channel to go in the art world and become artists.  The number of artists who hold a Fine Arts degree, therefore, far exceeds the number of artists who do not have such academic background.  In other words, for one who does not hold an Arts degree, but want to become an outstanding artist, s/he must be extraordinarily passionate about art.

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