偽 ‧ 集藝 — 藝術人的收集物 | Pseudo Collection — What Do Artists Collect

日期
27/05/2016 (全日) - 22/07/2016 (全日)
地址
1a space
香港九龍土瓜灣馬頭角道63號牛棚藝術村14號

(For English please scroll to the bottom)
偽 ‧ 集藝 — 藝術人的收集物

收集是藝術 — 從收集到收藏
人人都有收集物件的習慣,因為戀物、紀念,或種種原因。當收集非為儲備作日後生活所需,而是志在長久保存,分門別類,用以賞玩或紀念 - 認真的系統地而長久的收集,謂之收藏 。 現代社會中,除了有購藏收矜貴藝術品的收藏家,平民大眾都能負擔不同程度的收藏,普及如快餐店換購的紀念品系列,到各式限量版玩具、球鞋等,這些物件非價值連城卻別具意義,見証某些個人和某一社群的生活品味和文化。

當今天收藏文化和藝術博覽會普及,我們可以對「收藏」有更多的想像和實踐方式嗎?本展覽希望通過展示藝術人的收集 / 收藏,顯示「收藏」的更多可能和想像。

藝‧集藝 — 藝術人眼中的收藏
現在藝術博覽會普及,藝術收藏品展覽隨之盛行。藏品展一般通過重新梳理那些私有的藝術品,以反映不同藝術家、地方和時代下的文化面貌。此類展覽把藝術品背後蘊藏收藏家的收集意義和關於社會集體的文化意義重疊展現。藝術人同樣喜歡收集,原因林林總總。有藝術家把收集起來的物品轉化成創作材料,為原來沒有功能而只有故事的物品注入新意義;亦有藝術工作者直覺地、沒有前設條件地收集各種藝術相關之物。藝術人看待「收藏」的視野及態度,顯然是有待發掘的靈感倉庫。那麼藝術家的收藏品可以如何被展示?

偽‧集藝 — 收集的展現
本展覽發起人張康生,在參與私人藝術收藏機構 Burger Collection與 1a 空間合作策劃的「滴溚 滴」(2013) 跨媒介實驗計劃時,有感策展人Daniel Kurjaković及1a 空間策劃團隊,對藝術收藏品的挑選、展示方式、與藝術家的互動等,皆一一探討。三年過去,希望透過本展覽進一步探討「收藏」的不同面向。故此邀約幾位跨界別的藝術家 / 藝術人,透過發起人與藝術人一系列個別的對談、交涉及互動,發掘收集背後的動機、故事等,最後展出他們獨特的收藏/收集品或其衍生作品。展覽將展現各藝術人對收集的意義和方式,從中側面展示藝術人的藝術思路。以「偽」為名,故意理解作「人為」,強調收集這種行為的過程之為藝術,而非著重藝術成品。發起人張康生是跨界別藝術工作者,透過與藝術人的深度對話,與觀眾一同探索收集 / 收藏之事所包含的不同想像。

參與藝術人
(排名不分先後)

黎健強 藝術史研究者、藝術教育工作者、策展人
梁展峰 策展人、藝術行政人
劉清平 藝術家、攝影師、設計師
林東鵬 藝術家
謝明莊 藝術家、攝影師、藝術教育工作者
陳一云 燈光藝術、舞台燈光設計
楊德銘 藝術家、紀實攝影師
陳復 空間藝術家
張康生 跨界別藝術工作者

展覧執行
梁展峰

概念發起人
張康生

開幕:2016 年5月27日 晚上6時正
展期:2016 年5月28日-2016 年7月22日
時間:逢星期二至日 上午11時至晚上7時正 (逢星期一休館)
地點:香港九龍土瓜灣馬頭角道63號牛棚藝術村14號「1a空間」

查詢:2529-0087/ [email protected]
網址:www.oneaspace.org.hk
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關於「收藏」文化
在收藏文化的發展中,古代帝皇和富人設置獨立空間 — 奇珍閣,續漸衍生出私人和公共博物館和圖書館文化。收藏家對外開放和展示藏品,除了展示其社會地位之外,更通過藏品的篩選來展現其個人的世界觀。當中從冒險家購來的奇珍異寶更是他們認識世界的知識泉源之一。這說明了收藏一事既是私人喜好亦可關乎大眾,其意義在於人類文化、歴史和知識的保存、反映和演繹。

現代社會消費方便,同時物質過剩,私有產權受專重,收集變得容易。任何人都可以有自已的收藏,這些藏品包含了個人故事和集體記憶,因而成為不同故事和歴史的証物。當前以生活風尚、文化研究等角度展出生活產品的展覽,正是通過展出時的不同脈絡,打開這些証物背後不同層次的社會歴史和意義。

藝術家收集/收藏物件,不一定為保存過去,更為研究,或作為創作材料和靈感來源。收藏物通過藝術性的加工(如:特別的展示方式、外形加工),被賦予更多或其他意義,猶如何把過去、現在和未來連繫起來。例子包括:梁美萍自1998年收集真髮來扭編成近萬隻小童尺寸的頭髮鞋,完成作品《記憶未來》(2004);宋冬展示他媽媽萬多件日常積存下來的日常用品,構以展覽《物盡其用》(2005)。
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Pseudo Collection — What Do Artists Collect

Collection is Art – From Collecting to Collection
Everyone has a habit of collecting, be it a fetish, a memory or other reasons. Collecting is not merely about storing things up for daily life use, but an act when individuals gather, conserve and categorize objects for a piece of memory or appreciation. Not limited to collectors who buy valuable art works, the common people is able to afford collections to various extents, from fast food restaurants’ memorabilia to limited editions toys and sports shoes. These collectibles are not priceless in monetary value but important in another sense. They crystallize the lifestyle and culture of some individuals and specific communities.

With popularization of art fairs and collecting culture in this day and age, shall we have more imaginations and boundary-pushing practices towards “collection”? Possibilities and imaginations to “collection” are demonstrated in this exhibition via the showcase of artists’ collections.

Art, Collecting Art: Collections in the Eye of Artists
Followed by the prosperity of art fairs, art collection exhibitions are also in vogue. Curators re-organize private art collectibles to reveal the cultural features under various artists, places and eras. In these exhibitions, the individual and collective meaning of the art collectibles, the personal meaning to collectors and the cultural meaning to the society overlaps and are being exposed to the public.

Artists like to collect, with different reasons. Some artists collect objects and turn them into creating materials, bringing new meanings to non-functional objects; while some artists collect art-related objects intuitionally, without any prerequisite. Obviously, the vision and attitude of collection are like an inspiration warehouse to be discovered. Then, how should we show artists’ collections?

Pseudo, Collecting Art – The Display of Collection
Enoch Cheung, the initiator of this exhibition, was involved in a multi-media project “I Think It Rains” (2013) by a private collection Burger Collection and 1a space. He was impressed by the discussion of by the curator Daniel Kurjakovic and 1a space curating team, on the topic of the selection and exhibition of art collectibles, the interaction among the artists, etc. Over the course of three years, Enoch hopes to further discuss different aspects of “collection”. He initiates this exhibition and invited multi-disciplinary artists to talk to and interact with in a series of activities, to explore the motivation and stories behind collecting, and to show their special collectibles or artworks inspired by the collectibles. The thoughts and logic of artists, presented by reasons and means of collecting are demonstrated in this exhibition. The name “Pseudo”, was interpreted as “man-made” on purpose (by disassembling the Chinese character), it emphasizes art lines in the process of collecting instead of the collectibles. Enoch is also a multi-disciplinary artist; he will engage in in-depth dialogues with artists, to explore the imaginations towards collecting together with viewers.

Participating Art Professionals (In no particular order)

Edwin K. Lai Art Historian, Art Educator, Curator
Jeff Leung Curator, Art Administrator
Lau Ching Ping Artist, Photographer, Designer
Lam Tung Pang Artist
Tse Ming Chong Artist, Photographer, Art Educator
Amy Chan Light Artist, Theatre Lighting Designer
Paul Yeung Artist, Documentary Photographer
Frank Chan Spatial Artist
Enoch Cheung Multi-disciplinary Artist

Curatorial Executive
Jeff Leung

Concept Initiator
Enoch Cheung

Opening
Date: 27 May 2016 (Friday)
Time: 6pm

Exhibition
Date: 28 May – 22 July 2016 (closed on Mondays)
Time: 11am – 7pm
Address: Unit 14, Cattle Depot Artist Village, 63 Ma Tau Kok Road, To Kwa Wan, Kowloon, Hong Kong

Enquiry: 2529-0087/ [email protected]
Facebook: 1a space
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About the Collecting Culture
Museums and libraries are modern descendants of the “Cabinet of Curiosities”, a separate space set up by ancient emperors and the rich to store rare and priceless treasures. Apart from showing their social status, collectors select and display their collectibles to reveal their worldviews. Treasures from adventurers introduce the world to the collectors. Collecting is both private and public, it is a hobby and it conserves, reflects and interprets our culture, history and knowledge.

Nowadays, collecting becomes easy with convenient consuming, excess materials and weighted property rights. Everyone owns his collection. Each collectible embodies an individual’s stories and collective memory, thus turns into evidence of the episode and history. When we display commonplace items in lifestyle and cultural studies’ perspectives, under different contexts of displaying, these evidences unfold the history and its meaning.

Artists collect objects not only for conserving the past, but also for examining and creating. Collectibles are entitled to additional meanings after art processing, like displaying in a special way and adding decorations, as if they are linking the past, present and future. For instance, Leung Mee Ping knitted nearly ten thousand children-sized shoes by real hair accumulated since 1998 in the artwork “Memorize the Future” (2004); Song Dong displayed over ten thousands domestic items of daily life that had been used and amassed by his mother in the exhibition “Waste Not” (2005).

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