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香港當代木雕藝術 - 林嵐 Contemporary Hong Kong Wood Sculpture - Jaffa Lam (translated by Victor Tai)

Wed, 2 Jan 2008 23:24:38 +0800

木頭在中國人的眼中永遠是中性、和諧和自然的材料。堅硬是一般材料具備的製物必須條件，但是木質特有的氣味、具生命意義的年輪以及有機特性，使它更具條件，成為重視天人合一的中國人的心頭好。由此，中國各地都出現了不少具特色的木雕，例如浙江省的黃陽木雕、東陽木雕、福州木雕、泉州木偶、劍川木雕、天津木雕、鄂南木雕、大治木雕等等，都是聞名於世的絕活。各地不同手法和風格使中國木雕兼收鏤雕、浮雕、拼雕及劈雕的特色，成為中國文化藝術中最具特色的寶藏之一。

自古以來，從房子建構中的主樑到日常生活中的用品，從純建築用料到觀賞的雕塑作品，中國木雕所經歷的，是從功能性到觀賞性以至觀念性的轉變過程。從前的工匠習以為常以雕廟宇中的佛像、建築物上的裝飾物或生活用品為生，雖然現存不少佳作，但是只被視為實用功能；及至工匠們的精雕細鏤，漸為文人雅士或是達官貴人賞鑑，也可惜只限於珍貴木材為料的作品，其亦只入工藝品之列；時至今天，隨著西方藝術觀念的傳入，對雕塑材料觀念的開放，使木雕正式成為雕塑家庭的重要成員之一。中國的雕塑家也隨著時代的巨輪，注入西方概念之餘，不忘中國的木雕特色，在當代藝術中扮演重要的角色，例如是次參展的藝術家張義，即是以其獨特的現代木雕在中國當代雕塑史上作出承先啟後貢獻。

香港，作為中西文化的交集之處，早在六十年代初，已經開始現代藝術運動，「中元畫會」則是歷史的見證。時至今日，短短四十年，香港的當代藝術發展生機處處，各種形式的藝術接二連三呈現異彩。木雕藝術亦經歷了幾番面貌。隨著電子時代的衝擊，無論平面或是立體藝術中人性的感覺和人類的痕跡，皆面臨去/留的嚴峻考驗。許多人開始質疑人性在藝術中的角色，質疑人類重要的工具─手的重要性，本來以技巧和意念相結合的藝術，現在是否只賴以模擬的意念生存？是次展覽中的特色之一，即是重新建構技巧、意念與情感所結合的藝術面貌，藉此引起社會大眾的共鳴，亦與藝壇諸子共勉之，推動以人為本的本地藝術。

作為世界金融中心，香港寸土如金，人人皆知。在此地創作，已是舉步艱難的事情，何況要發展佔地龐大，需要大量工具的媒介─木雕。是次展覽以木雕為例，只是作為展示一群本地藝術家努力獻身藝術的引子，希望引起各界對視覺藝術的關注，同時也鼓勵其他藝術家繼續堅持理想之餘，也實踐理想。  是次展覽藝術家集藝術前、中及青三代，其中有香港當代木雕前輩張義、唐景森、李其國，他們影響了數以百計的藝術家，在藝壇及藝術教育界扮演著重要的角色；有專心致志近十載於木雕創作的周順強、馮力仁及戴尚誠，他們默默耕耘，在木雕藝術領域中，開發道路及實踐理想；亦有近年積極參與各大展覽的年青女藝術家林嵐。是次展覽，三代藝術家，各有面貌，譜成近四十年來的香港當代雕塑史的縮影。

 Wood, in the eyes of the Chinese, always represents the natural element of neutrality and harmony. The instinctive characteristics of wood – the delicate scent, the visible passage of time marked by the age rings and the organic touch against a tough and sturdy mass, declare its special status among all useful raw materials. Wood is treasured by the Chinese, who care very much on the unity of man and nature.

Specialized woodcarving skills and famous wood sculptures are found in many places in China, such as Huangyang (boxwood) woodcarving in Zhejiang Province, Dongyang woodcarving, Fuzhou woodcarving, Chuanzhou puppet, Jianchuan woodcarving, Tianjin woodcarving, Enan woodcarving, Dazhi woodcarving, etc. The different techniques employed by woodcarvers at different places enrich Chinese woodcarving with a variety of styles, including lattice carving, relief carving, amalgamative carving and intuitive carving. Woodcarving has developed into one of the most distinguished and cherished art forms in the Chinese cultural heritage.

Since the ancient times, wood has been widely used as a material for all sorts of purposes in China. From the practical application as the post and beam for architecture and the mundane daily tools to the making of precious woodcraft, woodcarving has come a long way before transforming into a form of art. The change was not only in the use of wood, but it also involved a change in the mindset. In the old days, woodcarvers made their livings by carving religious figures in the temples, molding architectural decorations or manufacturing handy tools. Although large amount of these handiworks have been preserved for their excellent craftsmanship, they are still functional objects of a class that cannot be compared with art objects. In the later development of woodcarving, the quality of the wooden objects and the craftsmanship were gradually appreciated by the scholars and the rich. Collectible objects in precious wood with superior carving skills were sculpted for pure enjoyment.

Nowadays, with the influence from the West, wood sculpture has finally become a member of the sculpture family. Not only has wood been accepted as a valid form of art objects, with the long history of woodcarving in China, it has become an important medium that is capable of inheriting and evolving upon the tradition. Taking advantage of the art movement, Chinese artists have included ingredients from the West into their works, however they have not forgotten their Chinese tradition in wood sculpting. An example is the master artist in wood sculpture, Mr. Cheung Yee, whose works are displayed in this Exhibition. He has contributed enormously in the recent and current development of art and sculpture in China with his distinctive contemporary wood sculptures. His sculptures embrace the tradition and yet widen the perspective to another horizon, anchoring roots and providing the stem for branching out by future generation of artists.
Hong Kong, at the junction where East meets West, responded quickly to the Western art development with its growing momentum of modern art movement in the early 60’s. The birth of the Circle Group was the witness of this movement. Hong Kong has experienced dynamic art development activities following the 60’s. Wood sculpture has also gone through series of transformations. Stepping into the digital age, the human touch and the humanity spirit in art are facing a serious re-examination. Whether it is art in 2-dimension or 3-dimension, a replacement with digital replica is possible. People question the necessity of the human touch in art when anything made by hands can be simulated. The basic concept and practice of art, being the manifestation of ideas through the process of creativity by human hands, are now bombarded by the concept of art as the virtual simulation of ideas. One of the aims of this Exhibition is to re-introduce the basic concept of art as humanity. We hope that this belief will be shared by other artists having the same faith, and this belief can be echoed in the local artists’ community.

As an international finance centre, space in Hong Kong is precious. Finding a small place for an artist’s studio is already a difficult task, having a space large enough for the mechanical tools and storage of raw material for a wood sculptor is almost impossible. This Exhibition shows the sculptures by a group of artists, which are the outcome of the artists’ devotion under the hostile conditions of this densely populated city. These artists are just the representatives of the many who have the same conviction in searching for their ideals through art. Hopefully interest will be aroused among the public and a sense of encouragement will be felt by other artists.

This Exhibition shows the works of three generations of artists. The master wood sculptors, including Cheung Yee, Tong King Sum and Li Ki Kwok, have played an important role and planted seeds in the evolution of contemporary art in Hong Kong. They have contributed greatly and are influential in educating and nurturing the young artists. A group of artists, including Chow Shun Keung, Fung Lik Yan Kevin and Tai Sheung Shing Victor, has the same focus in the exploration of wood sculpting over the past ten years. They are paving their boardwalks with their wooden creation and quietly venturing over the uncharted swamp in the sculpture field. The energetic young female artist, Lam Laam Jaffa, has keenly involved in numerous art exhibitions in recent years. This Exhibition shows the vibrant works of these three generations of artists, who have their own uniqueness while all are connected to wood. It will act as a prism, through which the forty years’ spectrum of the contemporary sculpture scene in Hong Kong can be revealed.

如果沒有公共藝術 If There Is No Public Art

Tue, 1 Jan 2008 23:30:10 +0800

「公共藝術public art」一詞，聽起來也許太具份量，沉重得把眼皮壓住，看不見它的真相。「公共藝術」的概念，源於在公共場所展示傑出藝術家的作品，使人們不必造訪藝術館，就可以近距離接觸藝術，提昇生活品質。雖然於不同的現代城市，公共藝術有不同的演釋以及進展，但是總體來看，所有發生在公共場域裡(public space)的藝術(art)或事件(event)仍然歸納為此範疇。藝術活動使不少社區和人民無論在精神和實質上都受益其中，使社區融洽，及喚起社會集體回憶。但是回望那些在密集都市中出現的龐然大物，其神話的作用卻像氣泡一樣，經不起陽光的考驗，它的作用經常被質疑，是粉飾太平，還是真正還公眾一種精神享受？

The term public art perhaps sounds too heavy for us to see the truth. Public art originates from the idea that by exhibiting famous artists’ artworks in public space and making art easily accessible, people’s quality of life can be improved even without visiting museums. Regardless of the different interpretations and advancement of public art in different modern cities, on the whole, all those art or event which takes place in public space are classified as public art. Art activities bring about spiritual and substantial benefits to communities and the people, enable social integration and recall collective memories. However, those monumental colossi standing in densely populated metropolis, like myths, are transient and impermanent. Whether public art is intended to provide spiritual enjoyment to the public, or simply a means to pretend that everything is going well is subject to frequent skepticism.

如果要討論公共藝術，切入的觀點可以很大很廣，所以筆者在此將以一位普通公民的角度出發，分析公共藝術對生活及周邊環境所產生的根本意義；或換另一個角度去看，公共藝術的原本目標或許也可以透過其他渠道達到，讓讀者重新思考「公共藝術」甚至「藝術」的本質。

As the base for discussion of public art can be very broad, the author will analyse, from an ordinary citizen’s point of view, the fundamental significance of public art arising from life and social context. Or from anther angle, the original goals of public art are also attainable through other channels. Readers can reflect on the nature of public art, and even the intrinsic quality of art.

最近經常遊走在不同的城市中，城市的特色景觀，成了辨認她們的記認。然而偌大的玻璃幕廈，大同小異。「咦，連那件雕塑也好像在那裡見過？這件作品在我的城市裏好像也曾經出現，令我一度懷疑回到了自己的家，這種叫人迷失方向不知身在何方的感覺是全球化的問題嗎？」也許是的。不過任何重視自己民族傳統的國家及城市，是不會被全球化的洪水拉倒，因為於建立全球化的同時亦會提倡多元化，確保市民不會被遲來的單一文化主宰，同時，教育民眾保護傳統與藝術的意識也是備受重視，以下是一個活生生的例子。

Recently I have been traveling in different cities. Distinguishing landscape of cities become their signs for recognition. To my disappointment, huge glass buildings all look more or less the same. “Oh, it seems that I have seen that sculpture somewhere else? This work seems to have appeared in my city, making me doubt if I were at home. Is this loss of orientation a problem of globalization?” Perhaps it is. But those cities and countries which treasure their national traditions are not easily overridden by globalization, because alongside globalization is diversification, ensuring that people will not be reigned by a late single culture. At the same time, public education on the conservation of traditions and art is also emphasized as illustrated by a real example below.

傳統文化的欣賞與尊重
Appreciation and Respect for Traditional Culture

偶然機會得知一位義大利人Carlo Petrini 發起了「國際慢食運動」(International Slow Food Movement)，成功阻止意大利的第一間McDonald在羅馬開幕，也保護了不少意大利古老名鎮，例如Tuscany，嚴禁快餐店在鎮上經營。該運動提及「保留祖先留下的豐富文化」(to protect our invaluable food heritage)，也提倡味覺的愉悅(pleasure of taste)，甚至教育小孩子對味覺的欣賞以及餐桌上的享受(their appreciation of food and the pleasures of the table )。這是從個人開始，進而發展至欣賞群/觀眾，讓廚師們都能找到他們的工作意義，繼續為懂得欣賞美食的人辛勞。
Incidentally I got to know an International Slow Food Movement, launched by an Italian Carlo Petrini, which successfully prevented the first McDonald from landing in Rome. This movement has also protected many old towns in Italy, Tuscany for example, by forbidding the sale of fast food in these towns. The campaign talks about the notion of “to protect our invaluable food heritage” 2, advocates the “pleasure of taste”, and educates children “their appreciation of food and the pleasures of the table”3. Starting from individuals to audience, this movement allows chefs to find the meaning of their work, from which they continue to make effort for those who know how to enjoy delicacies.

除了感觀享受，擁有是另一種欣賞的體現。容許非功能性的東西陳置在家/城市中，除了顯現了收藏者對「他者」(others)的高度容忍，也呈現了人與物(object)之間不可斷割的感情。有些人收藏古董，有些人收藏玩具、郵票等；相信收藏藝術品的人，還是少數。稱得上收藏，一定不是一、兩件的事，而是成系列甚至成千上萬的數量。都會的地方寸金尺土，新舊的交替在眨眼之間，到底甚麼要留下，甚麼要剔走，純粹是個人價值的問題。我們不可能要求人人都是「收藏家」，除了要騰出地方和節省開支，花費在資料搜集的精力也是源源不盡地付出。這些個人價值的取向與一個城市的價值觀類似，要呈現、保存任何公共藝術，皆和公民的情感、價值觀分不開。

Apart from sensual enjoyment, possession is another kind of realization of appreciation. Allowing non-instrumental objects to be displayed at home or in a city, not only does it show collectors’ tolerance to “others”, but also the inseparable sentiments between person and object. Some collect antiques, some collect toys, and some collect stamps. Only a handful of people collect works of art, I believe. Collection is certainly not a matter of one or two pieces, but by the thousands and tens of thousands. In metropolis where space is valuable, the transition from old to new is in a blink of an eye, what is to go and stay is purely a matter of personal value. We cannot expect that every person is a “collector” who continuously spares space, money and time in research. Such personal value orientation is similar to that of a city. To exhibit and preserve any public art is inseparable from civic values and sentiments.

波依斯(Joseph Beuys)曾說：「人人都是藝術家」，其實，人人都是「藝術欣賞者」己是不錯的目標，因為能不能成「家」實在混了太多的變數。公共藝術其中最重視的是公民藝術意識的培養，其實透過吃飯、飲茶、日常生活也可以達到。

Joseph Beuys once said,” Everybody is an artist”. In fact, the target of everybody is an “art appreciator” is good enough, because whether one can be an “artist“ involves too many variables. One of the most important part of public art is the cultivation of civic art awareness, and this is achievable on dinning tables, at teatime, and even in daily life.

街頭藝術館
Street Museum

喜歡旅行的人一定少不了去逛其他城市的小街、小巷、小店。我們一定想伸頭看看小巷裏的風景、舊房子、舊門牌、以至屋前屋後所放置的物件、頭上看似危險但具功能的僭建物；小店內裡特色的販賣物件、自製的推車、工具及招牌等等，通通成為相機裏的印記。這不單是懷舊，而且是尋找城市已經消失的文化─自家製造的道地文化。這種喜歡動手自行解決問題的方法，相對於動腦筋解決藝術創作過程問題(problem solving)的思維，有異曲同工之妙。當代藝術家的公共藝術經常在場域(site specific)解決，其實場域裡本身已有這些最接近藝術的物件，藝術家只是擔當一個資料整理員的工作，把合用的物件重新呈現。

Those who love traveling would definitely have been to wandering in back streets, alleys and corner stores in cities. We certainly want to peep into alleys to have a look at the landscape, old buildings, old door plates, even objects placed in the front and backyards, multi-purpose but dangerous and illegal structures above us; products being sold at corner stores, homemade trolley, tools and signboards, all become imprints on our cameras. This is not simply nostalgic, but a search for the lost cultures of cities – the homemade local culture. Compared with problem solving in the art making processes by the way of thinking, problem solving by working with one’s hands, though different in approach, is similar in purpose. Contemporary artists’ public art is very often site specific. Actually the site itself is self-sufficient in containing objects closest to art. Artists are only playing the roles of information processors to reconstruct relevant objects for display.
此外，有時政府也間接做了些他們不以為意的公共作品：鑄有城市名字和圖案的渠蓋、地面的鋪設、行人隧道和天橋、公廁的設備、紅綠燈的安置、招牌的規整、垃圾桶的分類、甚至是為防止張貼的橡膠套，它們為政府傳遞了自我信息之餘，也營造了獨特的城市面貌。這是政府對公眾需要最坦白的回應，比起那些粉飾美好的口號，更像一位藝術家在表達自己的看法一樣率直。其實我們每天都在不知不覺間近距離地接觸著藝術。

Besides, the government sometimes indirectly and unintentionally does some oblivious public art: manhole covers with the cast of the city’s name and symbol, decorations on the ground, tunnels and flyovers, public lavatories, traffic lights, signboards, rubbish bins, and even plastic covers prohibiting the posting of notice. Not only have these objects conveyed government messages, but they have also constructed the unique appearance of a city. This is a government’s most straightforward response to public needs, compared to those beautiful slogans for covering up, the former is closer to an artist’s direct expression of one’s views. As a matter of fact, every day we are closely in touch with art without being aware of it.

先是教育才是「藝術」
Education ahead of Art

藝術的存在並不在乎一個名稱，而是人的生活態度。在思考和實行這種生活模式時所產生的事件和物件都可以是藝術品。在此，本人並非全盤地否定「公共藝術」的存在價值。當我們投訴我們的城市沒有支持公眾藝術的固定資金，像美國、韓國甚至台灣的「百分之一」的建築基金投入藝術行業，也許我們更應該問的是我們的公眾需要甚麼樣的藝術？其實自古至今，在「公共藝術」誕生以先，民間生活創作的智慧已一直在悄悄地醞釀，令城市、大自然與人心得到美好的平衡，只是今天的城市裡那一頭又一頭不知明的「怪獸」，佔據我們的空間與感觀，才最格格不入最大煞風景，是一種強行入侵的破壞。也許，遭受破壞後的土地可以令其後的草木長得更堅強茂盛，但卻多添了幾道感嘆。

The existence of art is reckless of a title, but one’s attitude towards life. Anything that comes into existence during the thinking and implementation of this way of living can be a piece of art. I have no intention of totally negating the value of public art here. Unlike the allowance of 1% construction cost for the art profession in USA, Korea and even Taiwan, perhaps we should ask what kind of art does the public need before we complain about the lack of stable funds for public art. In fact, long before the advent of “public art”, the wisdom of folk art has developed without being noticed, maintaining the equilibrium of cities, nature and human hearts. Only that the presence of those anonymous “monsters” in cities nowadays have occupied our space and senses, the most incompatible and disappointing form of intrusion and destruction. Perhaps the aftermath of ruins enables stronger and more luxuriant vegetation to grow out of it, but only with an additional breath of sigh.

British Indian artist, Anish Kapoor’s work is one of the landmark in Chicago.
英籍印裔藝術家，Anish Kapoor的作品成為芝加哥的地標之一。

在韓國街頭到處都可以見到這些橡膠防止標貼。
You can found this rubber sheet for preventing bill everywhere in the street of Korean,

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香港當代木雕藝術 - 林 嵐 Contemporary Hong Kong Wood Sculpture - Jaffa Lam (translated by Victor Tai)

如果沒有公共藝術 If There Is No Public Art

香港當代木雕藝術 - 林嵐 Contemporary Hong Kong Wood Sculpture - Jaffa Lam (translated by Victor Tai)