ART AFTER HOURS: THE VIOLENCE OF GENDER (FROM A HONG KONG PERSPECTIVE) PANEL

藝術不夜館：性別的暴力（從香港角度探討）座談會

7 MAR 2019

Time | 7pm-8:30pm

Location | 3/F, JC Contemporary TAI KWUN 大館賽馬會藝方三樓

This panel explores Tai Kwun Contemporary's current exhibition Performing Society: The Violence of Gender from a Hong Kong perspective. How do binary structures of gender and stereotypical norms resonate in Hong Kong? How do we negotiate symbolic, cultural and physical boundaries in Hong Kong, with shifting and competing gender binaries? This panel explores these issues with a professor, a filmmaker and artists who will comment on and critique the exhibition as it relates to the Hong Kong metropolis.

Speakers: Prof. Eva Kit-wah Man, Jaffa Lam, Rita Hui, Celia Ko

Moderator: Michelle Wong

With a brief introduction by Tai Kwun Contemporary's Education and Public Programs Curator, Melissa Lee

The panel will be conducted primarily in Cantonese with simultaneous translation to English available.

Prof. Eva Kit-wah Man

Prof. Eva Man is currently the Director of Film Academy and Chair Professor in Humanities of Hong Kong Baptist University. She publishes widely in comparative aesthetics, comparative philosophy, woman studies, feminist philosophy, cultural studies, art and cultural criticism. She was a Fulbright scholar conducted research at the University of California, Berkeley in 2004. She was named AMUW Endowed Woman Chair Professor of the 100th Anniversary of Marquette University in Milwaukee, Wisconsin, USA in 2009. She contributes public services to the Hong Kong Arts Development Council, Hong Kong Museums Advisory Committee and Hong Kong Public Libraries and other committees for LCSD and Home Affairs Bureau of HKSAR, and Hong Kong Jockey Club’s Arts and Cultural Heritage projects.

Jaffa Lam

Lam Laam, Jaffa received her BFA, MFA and Postgraduate Diploma in Education at the Chinese University of Hong Kong.

She is a sculptor specialising in large-scale site-specific works of mixed-media sculptures and installations, which are made with recycled materials such as crate wood, old furniture and umbrella fabric. In the last 15 years, she has been involved in many public art and community projects in Hong Kong and overseas. Her works often explore issues related to local culture, history, society and current affairs. Her entire oeuvre is imbued with the atmosphere of a dreamlike scenery, seemingly like an alternative asylum/heaven for the contemporary audience.

Apart from solo exhibitions, Lam has been invited to take part in many local and international shows, as well as artist residency programmes in Japan, Kenya, Taiwan, Bangladesh, China, United States, France and Canada, etc. In 2006, she was awarded the Asian Cultural Council's Desiree and Hans Michael Jebsen Fellowship. In 2017, she received an award from the Secretary for Home Affairs' Commendation Scheme.

In 2009, she started a community project in Hong Kong entitled “Micro Economy”. At the invitation of Hong Kong Arts Centre, Jaffa staged the exhibition: Jaffa Lam Laam Collaborative: Weaver in order to highlight this project. It has represented Hong Kong to show in Japan's Setouchi Triennale 2013, Taiwan’s Hong Kong Week 2015, German’s “China 8” 2015, Utopias/Heterotopia Wuzhen International Contemporary Art Exhibition 2016, Lyon Lumieres 2018, and she has been invited as a collaborator to show in Manifesta 12” The European Nomadic Biennial.

Rita Hui

Rita Hui graduated from the Hong Kong Academy for Performing Art with a Diploma course in Film & TV in 1994. In 1996, she finished the study of Advance Diploma in Film & TV (Major in Editing) and Bachelor of Fine Arts in the Department of Film & TV in the Academy. As a young talented director, her work Ah Ming gained wide attention and won the Distinguished Award of the Hong Kong Independent Short Film & Video Award in 1996. In 1998 her work She makes me wanna to die and Invisible City (Wall) all won the Silver Award in drama category and other category in the Hong Kong Independent Short Film & Video Award. Also, her work Alice in the Wonderland was shown in Hong Kong Arts Center at the programme Independent Yours. In 2001, she tried for the first time to work in theatre, with Tango of Water Sleeves and Beautiful Project and her video work Chionanthus Retusus. Her first video installation XX was shown in Macau Old Ladies House of “Wo…man” Feminine Art. 2004, she finished her new work IdoLetHerMyHeadHave. In 2005 and 2006, she produced Red Ridding Hood and RED. The later one is her RMIT’s master program final project. In 2007, she established and launched Rabbit Travelogue. In 2008, she finished her first featured film with ADC funding, Dead Slowly and it was shown in “PIFF 2009’s New Current” section and HKAIFF. In 2013, her second feature film Keening Woman was officially selected in “A Window of Asia” in the Busan International Film Festival. The third feature film Pseudo Secular was selected as the opening film of the South Taiwan Film Festival and selected in “Wave” at the Torino Film Festival 2016.

Celia Ko

Celia Ko, is a well-known artist and art educator who exhibited in both Hong Kong and overseas. She received formal fine art training in Southern California with extensive knowledge in drawing, painting, print-making and art history. While she considers herself primarily an oil painter of the figurative and portraits, she adopts installation, mix-media, 3D objects and photography for her conceptual creations which constitute her reoccurring theme of autobiographic quest of identity. Her work demonstrates her diverse yet intense interests and considerations in painting the perceived and the reconstruction of memory.

Ko worked with the most influential multi-cultural/community mural organization SPARC in Los Angeles after her graduation and co-created her mural with A. Moctezuma in Long Beach (USA). She brought her Southern California mural knowledge to Hong Kong at the time working with Hong Kong Museum of Art, Hong Kong Housing Authority, Hong Kong Youth Art Festival, Hong Kong Education Bureau, etc., training both teachers and students.

Ko is a recipient of the Freeman Foundation Fellowship (USA). Her work is collected by Hong Kong Museum of Art and private collectors both locally and in overseas. She is a visiting lecturer at various art institutes including Hong Kong Baptist University, HKU SPACE, Hong Kong Polytechnic University, Royal Melbourne Institute of Technology (HK), SCAD, etc.

Michelle Wong

Michelle Wong is an AAA researcher based in Hong Kong, where her research focuses on histories of exchange and circulation through exhibitions and periodicals. She leads the Ha Bik Chuen archive project, which catalogues and researches the collection of the late Hong Kong-based artist, Ha Bik Chuen, whose documentation of over 1,500 exhibitions in Hong Kong and elsewhere from the 1960s-2009 provides precious rare archival material for the development of art history in Hong Kong and the region. Other AAA projects include the undergraduate course developed in collaboration with Fine Arts Department, The University of Hong Kong, and “London, Asia”, with the Paul Mellon Centre for Studies in British Art. She was Assistant Curator of the 11th Edition of Gwangju Biennale (2016), and she is part of the collective project “Sightlines” with six other arts practitioners. Her writing has been published in Ambitious Alignments: New Histories of Southeast Asian Art, 1945–1990 (2018) and Oncurating. She is a 2019 Pernod Ricard fellow at Villa Vassilieff & Bétonsalon, Paris.

座談會從香港角度，探討大館當代美術館現正舉行的展覽《表演社會：性別的暴力》。二元化的性別與刻板標準在香港有何迴響？我們如何在香港調解象徵的、文化的與實質的邊界？教授學者、電影導演、藝術家將會一同探索上述議題，由香港視角出發評論是次展覽。

講者：文潔華教授、林嵐、許雅舒、高天恩

主持：黄湲婷

由大館當代美術館，教育及公共活動策展人李林嘉敏作簡介

座談會將以粵語為主，設英語同聲傳譯。

文潔華教授

文潔華教授現為香港浸會大學電影學院總監、人文學講座教授。她的研究及著作範圍包括：比較美學、比較哲學、女性主義哲學、文化研究、性別研究、文化藝術等。著作包括《美學與性別衝突：女性主義審美革命的中國境遇》、《自主的族群：十位香港新一代女性視覺藝術家》、《性別與創造：女性主義美學及其他》、《藝術自然與人:中國美學的傳統與現代》。編著包括《雜嘜時代：文化身份、性別、日常生活實踐與香港電影1970》、《朱光潛與當代中國美學》、《粵語的政治：香港語言文化的異質與多元》等。她於2004年獲得美國福布萊特研究獎學金到柏克萊加州大學當訪問學人，於2009至2010年獲委為美國威斯康辛州馬其特大學百周年紀念婦女聯會講座教授。文教授曾為香港藝術發展局委員，現於康文署及民政事務局及賽馬會大館藝術工作小組擔任顧問及其他公職。

林嵐

林嵐畢業於香港中文大學藝術系、研究院及教育學院。主力創作大型混合媒介雕塑作品及裝置，採用的主要為回收再用的物料，包括木箱板、舊傢具、回收雨傘布料等。十五年來，她積極參與本土及海外不同的公共和社區藝術計劃，作品多以文化歴史、社會與時事為背景，創造出似夢如真的時空交錯現場裝置，似是現代人尋找精神寄托的避難所。

除了個人展覽以外，林嵐多次獲邀參加本地及國際展覽，以及世界各地的藝術家駐留計劃，包括日本、肯亞、台灣、孟加拉、中國、美國、法國和加拿大等。亞洲文化協會亦於2006年給予捷成漢伉儷獎助金以表獎賞。2017年獲頒香港民政事務局長嘉許奬。

二零零九年始，林嵐在香港開展社區項目「微觀經濟」，獲香港藝術中心邀請為此計劃舉辦個展《林嵐合作社﹣織織復織織》（2013），並代表香港受邀展於2013年日本「瀨戶內海三年展」「亞洲平台」、 2015年在台灣的「香港週」、2015年德國的「China 8」和2016年烏托邦・異托邦烏鎮「國際當代藝術邀請展」，2018「里昂燈光節」，並以合作伙伴型式在 2018「歐洲藝術宣言展」展出婦女旗旌。

許雅舒

許雅舒, 錄像藝術家、導演, 現任教於香港城市大學創意媒體學院。過去十多年以來積極探討敘事的可能性, 不斷挑戰影像和敘事之外更多呈現表述的方式。處女作《阿明》以其嶄新的敘事方式受到矚目, 並參展於不同的錄像電影節, 作品於98年成為日本「Image Forum電影節」的優秀作品; 此後的作品如《隧道》、《看不見的城 (牆)》、《愛麗絲在美好世界》、《說謊記》均在香港以及世界各地展出, 受到本地和國際的注目。近年作品《我遊》、《女子狼》、《紅》均構成自成一格的錄像語言, 呈現出作者本人對影像本身的思考。2007年, 成立 Rabbit Travelogue。2009年以香港藝術發展局的資助, 完成了個人首部電影作品《慢性中毒》, 並參展2009年「釜山電影節—New Current單元」, 該電影被喻為香港有史以來首部長篇實驗電影。2013年，第二部長片《哭喪女》入選「釜山電影節」。《風景》為第三部長片，成為2016年台灣南方電影的開幕電影，以及入選意大利都靈電影節。

高天恩

畢業於美國加州州立長堤大學，主修繪畫。在洛杉磯與最具影響力的多元文化社區壁畫組織 SPARC工作, 回港後參與個展及聯展。高氏認為自己主要是一個具象和肖像畫家，她也製作混合媒體藝術品，包括裝置, 物件和攝影，以表達她與生俱來對記憶、家族及文化的深刻感受的主題。她的作品展示了她對繪畫和感知、記憶的重建，各方面不同而強烈的興趣和考慮。她也是第一個將美國南加州社區公共壁畫概念及技術引進香港的藝術家，與香港藝術館、香港房屋委員會、香港青年藝術節、香港教育局等合作, 培訓教師和學生。

高氏客籍任教包括香港浸會大學、香港理工大學設計系、香港大學專業進修學院、RMIT(HK)、香港藝術學院等等。

高氏獲美國Freeman Foundation Fellowship，她的作品由香港藝術館和本地及海外的私人收藏家收藏。

黄湲婷

黄湲婷現於香港任職亞洲藝術文獻庫研究員。她主要研究透過展覽與期刊產生的歷史交換及循環。她帶領的夏碧泉文獻庫計劃，輯錄及研究香港藝術家夏碧泉的一系列品藏，記錄了超過1500個由1960年代至2009年於香港展出的展覽，為香港及地區性的藝術發展歷史提供了寶貴及罕有的檔案資料。其他亞洲藝術文獻庫計劃包括與香港大學藝術學系合辦的的大學生發展計劃，和與Paul Mellon Centre for Studies in British Art合辦的「London, Asia」等。黄湲婷為第11屆光州雙年展（2016）助理策展人，並與6位藝術參與者聯合主理收藏計劃Sightlines 。她的文章被刊登於Ambitious Alignments: New Histories of Southeast Asian Art, 1945–1990 (2018) 和Oncurating。她於2019年位於巴黎Villa Vassilieff & Bétonsalon的 Pernod Ricard擔任研究員。

ART A藝術不夜館：性別的暴力（從香港角度探討）座談會

FTER HOURS: THE VIOLENCE OF GENDER (FROM A HONG KONG PERSPECTIVE) PANEL