21.03.2020 - 26.07.2020
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CONTENTS
Curator’s Essay 策展人語 Exhibition Documentary Video 展覽記錄片 CHAT with Artist 與藝術家聊天 Bi Rongrong 畢蓉蓉 Ham Kyungah 咸京我 Kato Izumi 加藤泉 Byron Kim 金允寧
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06 22 26 50 66 82
94 106 124 152 172 178
2020 Spring Catalogue
David Medalla 大衛 · 梅達拉 Kawita Vatanajyankur 卡葳塔 · 瓦塔娜嫣恩 Samson Young 楊嘉輝 CHAT Reads Selection CHAT 索引選書 List of Artworks 作品總覽 Acknowledgement 鳴謝
Unconstrained Textiles: Stitching Methods, Crossing Ideas
目錄
Contents
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METAPHORICAL PATCHWORK FOR THOUGHT EXPERIMENT TAKAHASHI MIZUKI CURATOR OF THE EXHIBITION The variety of textile methods and techniques are as rich as that of paintings. Traditionally, weavers achieve different textures and surfaces on textiles by weaving various structures; dyers imbibe fabrics with myriad colours. Stitching is used not only for patching
worn out, broken fabrics but also for ornamental purposes, with embroidery techniques ranging from cross stitch, back stitch, satin stitch to French knot, all of which can be used for creating motifs and three-dimensional surfaces onto fabrics. Similarly, various painting
意象連綿 的思維實驗 高橋瑞木 展覽策展人 紡織的方法和技術之多可媲美繪畫。傳統上，編織 者透過織造結構達至紡織品不同的紋理和表面； 染 布者將五彩斑爛滲染織物；針線活不僅用於修補， 還用於裝飾，還可以配合多變的刺繡，如十字繡、 回針繡、緞面繡、結粒繡等，都能為織物製造構圖 和立體感。這方面與繪畫林林總總的技法如出一轍， 如厚塗、滴彩、染色和潑濺，在平面的畫布上展現
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創新的風格，造就引人入勝的畫面。 紡織品的製造方法和技術豐富和擴展了這種材質的 複雜美感，而紡織品的美感觸發我們對物料性的思 考，然而諷刺地，這亦限制我們發掘紡織品在其他 藝術類型的創新應用。在近代藝術發展中，藝術家 也有在挑戰和排斥這些規範，例如路易絲•布爾
Textile methods and techniques have enriched and amplified the complex beauty of this material and the beauty of textiles leads us to focus on its materiality, yet ironically this has also often prevented us from discovering innovative adaptation of textiles in other artistic genres. Artists, however, have challenged and defied this constraint in recent art development. In sculpture, for example, textiles have been used to create organic forms by artists such as Louise Bourgeoise, Magdalena Abakanowicz and Kusama Yayoi. Taking advantage of the flexible and malleable nature of the textile material, the artists made sculptures by cutting, sewing and weaving textiles, thus subverting
the traditional idea of sculpture with hard materials such as metal and stone. Anni Albers, the trained artist, designer and theorist from the Bauhaus school, discovered the analogy among the modernist aesthetic, weaving structures and pre-Columbian Andean textiles, and instituted wall hangings as a medium for modern art. As their works illustrate, artists have used textiles to push artistic limits, experimenting with the unconstrained use of textiles. Textile art has been discussed in relation to craft, design and gender, adding to the ongoing scholarship on interdisciplinary studies and within it, critical discourses in fine art. Acknowledging the longstanding tradition of textile art and its contribution to broaden the horizon in artistic discourse, Unconstrained Textiles: Stitching Methods, Crossing Ideas is an exhibition which proposes an alternative
Kawita Vatanajyankur, Shuttle, 2018 卡葳塔・瓦塔娜嫣恩，《穿梭》，2018
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Curator’s Essay
Fig 1 圖1
紡織藝術是一種特定的藝術形式，常與工藝、設計、 性別相互指涉，並在跨學科研究和批判性的藝術論 述中佔據一席之地。為了尊重紡織藝術的悠久傳統， 及其對拓展藝術論述與視野的貢獻，「意象連綿： 方法的彌合與觀念的縱橫」（下稱「意象連綿」）正 是一塊連綿不斷的大拼布，為觀者提供閱讀紡織與 藝術的另一視野。是次展覽邀請了 7 位傑出的當代 藝術家，透過各自迥然不同的藝術實踐，將紡織通 過材料、主題及技術的不同維度進行詮釋，呈現更
2020 Spring Catalogue
喬亞（Louise Bourgeoise）、瑪格達蓮娜 · 阿巴卡 諾維奇（Magdalena Abakanowicz）和草間彌生 （Kusama Yayoi） 已將紡織品用於塑造有機形態 的雕塑。他們利用紡織品柔韌和可延展的特性，通 過切割、縫紉和編織來製作雕塑，推翻雕刻慣性使 用金屬和石頭等硬質材料的傳統觀念。出身於包豪 斯學院的藝術家、設計師兼理論家安妮 · 阿爾伯斯 （ Anni Albers）發現了現代主義美學、織造結構 和前哥倫布時期安第斯紡織品之間的相似之處，並 建立壁掛作為現代藝術的媒介。如他們的作品所示， 藝術家使用紡織品來突破藝術界限，嘗試不受限制 地應用紡織品。
Unconstrained Textiles: Stitching Methods, Crossing Ideas
techniques such as impasto, dripping, staining and splashing have enabled many innovative styles to create illusions on two-dimensional canvas.
Works by Bi Rongrong Exhibition view: Unconstrained Textiles: Stitching Methods, Crossing Ideas, CHAT (Centre for Heritage, Arts and Textile), Hong K 畢蓉蓉作品 展場圖片：「意象連綿：方法的彌合與觀念的縱橫」，CHAT 六廠（六廠紡織文化藝術館），香港，2020
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Unconstrained Textiles: Stitching Methods, Crossing Ideas
2020 Spring Catalogue
Artist profiles, installations
Kong, 2020
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CHAT with HAM
咸
KYUNGAH
京我
NOTE Like other participating artists, Ham had to cancel her trip to Hong Kong in March. Her strong conceptual artwork integrating the fine embroidery by North Korean artisans amazed CHAT’s audiences. Unfortunately, we were unable to conduct an artist’s talk with her. In the following correspondence, Ham shares with us her decisions in using embroidery as an artistic medium and her ideas behind the aesthetic styles and forms employed in her SMS Series.
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備註 如同其他參與藝術家，咸京我在 3 月時也只得取 消訪港行程。她所擅長的概念性作品，融合北韓 工匠的細緻刺繡，為 CHAT 六廠訪客帶來驚喜。 遺憾這次未能與她進行對談。在以下文章，咸京 我與我們分享她以刺繡作為一種藝術媒介的原因， 還有她在《簡訊系列》中採用的美學風格和形式 背後的想法。
我們生活在一個真實與非真實之間顛倒的世界。 有時候，世界似乎取決於意識形態的幻像或幻覺， 以及虛假或未經證實的資訊。我的作品主要是透 過原本已經存在的強大力量，將無法改變的事物 帶到公眾眼前。除了可以看到的圖像和文字之外， 其實還有其他未被注意到但真實地存在的人。當 他們精緻的刺繡作品一旦被發掘，就會映出一種 藝術光芒。 這項目的創作靈感源自個人經驗，有一天，我在 家附近意外地收到一些北韓文宣。面對這些冷戰 時代留下的歷史痕跡，我開始想像以藝術為媒介， 與北韓不知名的人進行交流。將圖像和文字偷運 到北韓的過程有猶如間諜電影中的情節，我的設 計只能由中介透過第三國交付給北韓工匠，他們 的刺繡作品大約在 7 至 12 個月完成後才送抵我 的手上。在每個步驟，雖然保密都是至關重要的， 但由於部分無法控制的因素，某些作品還是丟失
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CHAT with Artist
The impetus behind this project came from a personal experience. One day, I came across some propaganda flyers from North Korea in my neighborhood. In
關於展覽作品
2020 Spring Catalogue
ABOUT THE WORKS IN THE EXHIBITION We live in a world where an inversion between what is real and what is not causes much confusion. At times, the world seems to hinge on apparitions or illusions of ideology and fabricated or unconfirmed information. My work seeks to impose visibility on otherwise indiscernible things that shift and intervene with the world by the sheer force of their existence. Beyond images and texts visible to the eye, there exist unnoticed yet real people. When their elaborate hand stitches come into existence, the result is an artistic aura.
Unconstrained Textiles: Stitching Methods, Crossing Ideas
CHAT visitor appreciates the work of Ham Kyungah Exhibition view: Unconstrained Textiles: Stitching Methods, Crossing Ideas, CHAT (Centre for Heritage, Arts and Textile), Hong Kong, 2020 參觀者在欣賞咸京我作品 展場圖片：「意象連綿：方法的彌合與觀念的縱橫」，CHAT 六廠（六廠紡織文化藝術館），香港，2020
CHAT with SAMSON 楊
YOUNG
嘉輝
NOTE Due to the COVID-19 pandemic, Unconstrained Textiles: Stitching Methods, Crossing Ideas had to suspend its public opening from 23 March 2020 to 7 May 2020. All planned on-site events, including artists’ talks and workshops, shifted from the physical to the virtual world. The following pages contain the edited transcriptions of artists’ talks which were uploaded onto CHAT’s YouTube channel. Based on edited interview between Samson Young, Wendy Wo (CHAT), Paola Sinisterra (CHAT), Gabrielle Wong (CHAT) and Eliza Li (Cantonese opera performer) on 16 March, 2020.
備註 因 2019 冠狀病毒病大流行，展覽「意象連綿：方 法的彌合與觀念的縱橫」於 2020 年 3 月 23 日至 5 月 7 日需暫停開放。所有已計劃的現場活動，包 括藝術家對談和工作坊，因此由現實世界轉至虛 擬世界， 部份已上載至 CHAT 六廠 YouTube 頻道。 以下篇幅是相關與藝術家對談環節的編輯文字。 編輯自楊嘉輝、胡敏儀（CHAT 六廠）、Paola Sinisterra（CHAT 六廠）、黃昭穎（CHAT 六廠） 和李沛妍（粵劇表演者）於 2020 年 3 月 16 日的 訪問。 SY: Samson Young 楊嘉輝 WW: Wendy Wo 胡敏儀 PS: Paola Sinisterra GW: Gabrielle Wong 黃昭穎 EL: Eliza Li 李沛妍
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SY
Samson Young, The Immortals, 2020 (Detail) 楊嘉輝，《仙》，2020（局部）
SY
WW 剛剛聽你簡單形容了整個空間，即你今次 的新裝置作品。據我所知，整個作品由昨 年已經開始發展。如你剛才所述，一進去 右 邊 的 那 套 戲 服， 以 至 錄 像 的 一 些 片段， 都是由上年的某個演出作品而來。不如先 說說創作過程的開端？ 其實整個系列是一個完整作品。去年那個 創 作， 是 因 為 11 月 我 在 紐 約 Performa 藝術節有一個演出（圖 4）。這個演出已醞 釀兩年，到了上年某個階段，我想做一些 戲服，剛好那時正跟 Mizuki （高橋瑞木， CHAT 六廠執行董事及首席策展人）聊一 些合作，於是提議這個作品可否跟 CHAT 合作，一同做布料部份，然後把這個演出轉
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CHAT with Artist
SY WW Samson, just now you briefly described the space of your new installation work. I know it actually began from last year, as you mentioned, from the costumes on the right to the footages from the
觀眾一進來這個展覽空間，在右邊會看到 我們為這演出做的三套戲服（圖 1）；中間 有個頭盔，也是戲服的一部分（圖 2）；左 邊會看到一個像機舖的電視框般的裝置， 另外還有個錄像投影（圖 3），框上有一些 拼布，是我們用戲服的布料做出來的。房 裡大概可以見到的就是這些，就像一個劇 院。因為這裡有點吵，我們先出去再聊 。
2020 Spring Catalogue
At the entrance corridor of my exhibition space, the viewers can see the three costumes custommade for this performance on their right. (Fig 1) Facing the middle is a safety helmet which is also part of the costumes. (Fig 2) And on the left, you would see an installation seemingly like TV frame in a gaming arcade, and there is a video projection. (Fig 3) On the frame, there are patchworks made by fabrics the same as costumes. This is how the room is like, like a theatre. The volume is high here, let’s move out to continue.
Unconstrained Textiles: Stitching Methods, Crossing Ideas
Fig 1 圖1