#: locale=zh ## Media ### Image imlevel_D0AB8B2A_9655_E127_41DF_01F542787E9D.url = media/popup_04F8948B_934E_72E2_41DF_FA8DB6E6B1E3_zh_0_0.webp imlevel_D0AB0B2A_9655_E127_417E_039017985C5F.url = media/popup_04F8948B_934E_72E2_41DF_FA8DB6E6B1E3_zh_0_1.webp imlevel_D0AA8B2A_9655_E127_41CA_B102177ABE98.url = media/popup_04F8948B_934E_72E2_41DF_FA8DB6E6B1E3_zh_0_2.webp imlevel_D0AA0B2A_9655_E127_41D1_8E12CBE396BC.url = media/popup_04F8948B_934E_72E2_41DF_FA8DB6E6B1E3_zh_0_3.webp imlevel_D0AD4B2A_9655_E127_41A3_8A55820008EE.url = media/popup_04F8948B_934E_72E2_41DF_FA8DB6E6B1E3_zh_0_4.webp imlevel_D0AC4B2A_9655_E127_41D6_3AE57F52D0A2.url = media/popup_04F8948B_934E_72E2_41DF_FA8DB6E6B1E3_zh_0_5.webp imlevel_D1A9111A_9652_7EE7_41E1_6FB16B8BACCC.url = media/popup_113B635D_9352_5666_41D5_5EDB9BBC4790_zh_0_0.webp imlevel_D1A8911A_9652_7EE7_41D6_7A5BC28A0A55.url = media/popup_113B635D_9352_5666_41D5_5EDB9BBC4790_zh_0_1.webp imlevel_D1A8111A_9652_7EE7_41D9_2276C759F0F7.url = media/popup_113B635D_9352_5666_41D5_5EDB9BBC4790_zh_0_2.webp imlevel_D1ABD11A_9652_7EE7_41C0_B999280556FF.url = media/popup_113B635D_9352_5666_41D5_5EDB9BBC4790_zh_0_3.webp imlevel_D1AB111A_9652_7EE7_41AD_400D4EF69870.url = media/popup_113B635D_9352_5666_41D5_5EDB9BBC4790_zh_0_4.webp imlevel_D1AAD11A_9652_7EE7_41C6_F613DF249C40.url = media/popup_113B635D_9352_5666_41D5_5EDB9BBC4790_zh_0_5.webp imlevel_DA71763E_9657_A31F_41E2_7A5F8B945E2E.url = media/popup_A97206D1_93D3_025D_41D7_6CB46E39AF68_zh_0_0.webp imlevel_DA71363E_9657_A31F_41D6_31A67E0A7E7C.url = media/popup_A97206D1_93D3_025D_41D7_6CB46E39AF68_zh_0_1.webp imlevel_DA4B763E_9657_A31F_41DC_6635CF1513B2.url = media/popup_A97206D1_93D3_025D_41D7_6CB46E39AF68_zh_0_2.webp imlevel_DA48F63E_9657_A31F_4183_E1634B7E8426.url = media/popup_A97206D1_93D3_025D_41D7_6CB46E39AF68_zh_0_3.webp imlevel_DA48763E_9657_A31F_41E0_81ABB7933BCB.url = media/popup_A97206D1_93D3_025D_41D7_6CB46E39AF68_zh_0_4.webp imlevel_DDCED72F_9657_E13D_41BF_10CCD14AF678.url = media/popup_AC6C4D87_93DD_06C5_41C8_1C24B6AEA888_zh_0_0.webp imlevel_DDCE172F_9657_E13D_41C5_F21D7263F4F8.url = media/popup_AC6C4D87_93DD_06C5_41C8_1C24B6AEA888_zh_0_1.webp imlevel_DDCCD72F_9657_E13D_41C4_640A0ED38695.url = media/popup_AC6C4D87_93DD_06C5_41C8_1C24B6AEA888_zh_0_2.webp imlevel_DDCDD72F_9657_E13D_41A6_6D0CBB5AB29D.url = media/popup_AC6C4D87_93DD_06C5_41C8_1C24B6AEA888_zh_0_3.webp imlevel_DDCD172F_9657_E13D_41CA_8AD1FB5FEF4A.url = media/popup_AC6C4D87_93DD_06C5_41C8_1C24B6AEA888_zh_0_4.webp imlevel_DC3AA027_9656_5F2D_41C7_843459846807.url = media/popup_AE95E13F_93DD_3FC5_41DE_4F2A3F100EA5_zh_0_0.webp imlevel_DC3BE027_9656_5F2D_41BE_8F5C954AF10A.url = media/popup_AE95E13F_93DD_3FC5_41DE_4F2A3F100EA5_zh_0_1.webp imlevel_DC0D2028_9656_5F23_41A8_E616E889D3AB.url = media/popup_AE95E13F_93DD_3FC5_41DE_4F2A3F100EA5_zh_0_2.webp imlevel_DC0D6028_9656_5F23_41D9_54FDDAF8DDE9.url = media/popup_AE95E13F_93DD_3FC5_41DE_4F2A3F100EA5_zh_0_3.webp imlevel_DC122028_9656_5F23_41CD_596C7365F4BF.url = media/popup_AE95E13F_93DD_3FC5_41DE_4F2A3F100EA5_zh_0_4.webp imlevel_DC13A028_9656_5F23_41E0_191685D2A5E9.url = media/popup_AE95E13F_93DD_3FC5_41DE_4F2A3F100EA5_zh_0_5.webp imlevel_CBB66311_9133_D7FE_41E0_AC8E96FBF3B0.url = media/popup_C0481348_90D2_F66E_41CC_08F9A80531B8_zh_0_0.webp imlevel_CBB62311_9133_D7FE_41D8_6BD6BF542326.url = media/popup_C0481348_90D2_F66E_41CC_08F9A80531B8_zh_0_1.webp imlevel_CBB7A311_9133_D7FE_41A6_FC9C6BFB50AB.url = media/popup_C0481348_90D2_F66E_41CC_08F9A80531B8_zh_0_2.webp imlevel_CBB8E311_9133_D7FE_41C2_4ADB33B5C5FE.url = media/popup_C0481348_90D2_F66E_41CC_08F9A80531B8_zh_0_3.webp imlevel_CBB82311_9133_D7FE_41CA_59BCA77E88E6.url = media/popup_C0481348_90D2_F66E_41CC_08F9A80531B8_zh_0_4.webp imlevel_CBB9A311_9133_D7FE_41DC_F6605127B619.url = media/popup_C0481348_90D2_F66E_41CC_08F9A80531B8_zh_0_5.webp imlevel_C4AB9272_9132_7622_41CC_10829EC2C2BB.url = media/popup_C1856AE2_90CE_D622_41D0_9B033613C352_zh_0_0.webp imlevel_C4ABD272_9132_7622_41D7_B82C3D73A481.url = media/popup_C1856AE2_90CE_D622_41D0_9B033613C352_zh_0_1.webp imlevel_C4AB1272_9132_7622_41B1_018E2CF12E4F.url = media/popup_C1856AE2_90CE_D622_41D0_9B033613C352_zh_0_2.webp imlevel_C4AB5272_9132_7622_41D0_CB629A42923F.url = media/popup_C1856AE2_90CE_D622_41D0_9B033613C352_zh_0_3.webp imlevel_C4AA5272_9132_7622_41C0_1C11135ED881.url = media/popup_C1856AE2_90CE_D622_41D0_9B033613C352_zh_0_4.webp imlevel_C4ADD272_9132_7622_4176_B821EC0787A6.url = media/popup_C1856AE2_90CE_D622_41D0_9B033613C352_zh_0_5.webp imlevel_DF242A03_9656_A2E5_41D3_C1005F635DC3.url = media/popup_D0CD6E56_93D5_0247_41C8_74C272268720_zh_0_0.webp imlevel_DF24AA03_9656_A2E5_41E0_0104B1561397.url = media/popup_D0CD6E56_93D5_0247_41C8_74C272268720_zh_0_1.webp imlevel_DF25AA03_9656_A2E5_41DE_CA28666C2173.url = media/popup_D0CD6E56_93D5_0247_41C8_74C272268720_zh_0_2.webp imlevel_DF2AAA03_9656_A2E5_41CC_C757323638BE.url = media/popup_D0CD6E56_93D5_0247_41C8_74C272268720_zh_0_3.webp imlevel_DF2BAA04_9656_A2E3_41B7_97DAFCF1DE10.url = media/popup_D0CD6E56_93D5_0247_41C8_74C272268720_zh_0_4.webp imlevel_DF28EA04_9656_A2E3_41D5_65E6594548B2.url = media/popup_D0CD6E56_93D5_0247_41C8_74C272268720_zh_0_5.webp imlevel_AB3A0F01_EE33_758F_41CD_349BD8925685.url = media/popup_D2D822C3_EE31_2C93_41EC_1AE66E686F12_zh_0_0.webp imlevel_AB3A8F01_EE33_758F_41E2_21EE3899A154.url = media/popup_D2D822C3_EE31_2C93_41EC_1AE66E686F12_zh_0_1.webp imlevel_AB354F01_EE33_758F_41E9_1EFE77E210E8.url = media/popup_D2D822C3_EE31_2C93_41EC_1AE66E686F12_zh_0_2.webp imlevel_AB358F01_EE33_758F_41C5_F619916C4106.url = media/popup_D2D822C3_EE31_2C93_41EC_1AE66E686F12_zh_0_3.webp imlevel_AB344F01_EE33_758F_41BF_7296BC716E7C.url = media/popup_D2D822C3_EE31_2C93_41EC_1AE66E686F12_zh_0_4.webp imlevel_AB34CF02_EE33_758D_41EC_DE754CDA67D7.url = media/popup_D2D822C3_EE31_2C93_41EC_1AE66E686F12_zh_0_5.webp imlevel_DE0F3185_9656_A1ED_41E2_AA0F368D593D.url = media/popup_D3CFFF5A_93D5_024F_41DD_BBE205CEAADB_zh_0_0.webp imlevel_DE0C3185_9656_A1ED_41D6_2F23014EEAA0.url = media/popup_D3CFFF5A_93D5_024F_41DD_BBE205CEAADB_zh_0_1.webp imlevel_DE0CF185_9656_A1ED_41D5_D34065668A7A.url = media/popup_D3CFFF5A_93D5_024F_41DD_BBE205CEAADB_zh_0_2.webp imlevel_DE663186_9656_A1EF_41D4_6EAB2835EE11.url = media/popup_D3CFFF5A_93D5_024F_41DD_BBE205CEAADB_zh_0_3.webp imlevel_DE667186_9656_A1EF_41CC_A6F4AB135A7C.url = media/popup_D3CFFF5A_93D5_024F_41DD_BBE205CEAADB_zh_0_4.webp imlevel_DE66F186_9656_A1EF_41DE_3C4CE3E0E627.url = media/popup_D3CFFF5A_93D5_024F_41DD_BBE205CEAADB_zh_0_5.webp imlevel_AA91DCF6_EE33_1475_41E5_E133A5B66BAD.url = media/popup_D5421F60_EE31_158D_41C9_5511D56D93B5_zh_0_0.webp imlevel_AA901CF6_EE33_1475_41E3_3AD76F949947.url = media/popup_D5421F60_EE31_158D_41C9_5511D56D93B5_zh_0_1.webp imlevel_AA909CF6_EE33_1475_41E5_096371344DD4.url = media/popup_D5421F60_EE31_158D_41C9_5511D56D93B5_zh_0_2.webp imlevel_AA931CF6_EE33_1475_419B_A0A1D7BFB53A.url = media/popup_D5421F60_EE31_158D_41C9_5511D56D93B5_zh_0_3.webp imlevel_AA939CF6_EE33_1475_41CA_D2A78A40852E.url = media/popup_D5421F60_EE31_158D_41C9_5511D56D93B5_zh_0_4.webp imlevel_AA93DCF6_EE33_1475_41C1_2427FCBCF203.url = media/popup_D5421F60_EE31_158D_41C9_5511D56D93B5_zh_0_5.webp imlevel_CB9A6211_9133_D1FE_41C2_8F59DC9EC48F.url = media/popup_D86424E3_90DE_D222_41CA_C6DB5ED25F6B_zh_0_0.webp imlevel_CB9A2211_9133_D1FE_41C2_C087F043388A.url = media/popup_D86424E3_90DE_D222_41CA_C6DB5ED25F6B_zh_0_1.webp imlevel_CB9BA211_9133_D1FE_41D2_E4743F072598.url = media/popup_D86424E3_90DE_D222_41CA_C6DB5ED25F6B_zh_0_2.webp imlevel_CB6CA1F6_9133_D222_41D4_9BB53B86F710.url = media/popup_DCCDF8FA_90D2_B222_41BA_D535715F8607_zh_0_0.webp imlevel_CB6DE1F7_9133_D222_4184_0DD265EEFAA8.url = media/popup_DCCDF8FA_90D2_B222_41BA_D535715F8607_zh_0_1.webp imlevel_CB6DA1F7_9133_D222_41E0_CF14E3C1D3B2.url = media/popup_DCCDF8FA_90D2_B222_41BA_D535715F8607_zh_0_2.webp imlevel_CB6EE1F7_9133_D222_41DE_9FF5108D08F1.url = media/popup_DCCDF8FA_90D2_B222_41BA_D535715F8607_zh_0_3.webp imlevel_CB6EA1F7_9133_D222_41CD_033C6BA2EF86.url = media/popup_DCCDF8FA_90D2_B222_41BA_D535715F8607_zh_0_4.webp imlevel_CB6E21F7_9133_D222_41A2_669159BBF69B.url = media/popup_DCCDF8FA_90D2_B222_41BA_D535715F8607_zh_0_5.webp ### Popup Image ### Title panorama_AF6AD6A1_1BE8_083D_41B0_4BEF39352721.label = DUoR5LAuVnk-001 panorama_B6C090B0_1BE8_081B_4188_56E5E47635AC.label = DUoR5LAuVnk-0010 panorama_B6F85F12_1BE8_381F_41AC_55C4D5826280.label = DUoR5LAuVnk-002 panorama_B6CDA505_1BE8_0805_41A4_6A0A68F500A9.label = DUoR5LAuVnk-003 panorama_B6CBEAC7_1BE8_1805_41BC_1E0CBED8F596.label = DUoR5LAuVnk-004 panorama_B6CAF0EE_1BE8_0807_41BB_2CF3033630FD.label = DUoR5LAuVnk-005 panorama_B6C7B6E2_1BE8_083F_41B6_A132C720B302.label = DUoR5LAuVnk-006 panorama_B6C5BCE6_1BE8_7807_41AD_A36947AD8216.label = DUoR5LAuVnk-007 panorama_B6C3830F_1BE8_0805_41A3_8C09338B7851.label = DUoR5LAuVnk-008 panorama_B6C20A89_1BE8_180D_41A7_60225B0BEF3F.label = DUoR5LAuVnk-009 panorama_B62573D8_1BD8_080B_4188_72D4A348758A.label = DUoR5LAuVnk-0100 panorama_B6FC56A4_1BE8_083B_41BC_2AB8FF43366A.label = DUoR5LAuVnk-011 panorama_B6FB9C65_1BE8_3805_416B_99D92C9AA6E2.label = DUoR5LAuVnk-012 panorama_B6FB6204_1BE8_0BFB_41B1_317A70B64A1E.label = DUoR5LAuVnk-013 panorama_B6F727B6_1BE8_0807_41A4_878B51DA1DB7.label = DUoR5LAuVnk-014 panorama_B6F86DBA_1BE8_180F_41AD_E93D9B0ABD48.label = DUoR5LAuVnk-015 panorama_B6F5F3D1_1BE8_081D_419C_4CBC87C1F9B4.label = DUoR5LAuVnk-016 panorama_B6F5B982_1BE7_F8FF_41A8_7461327310E9.label = DUoR5LAuVnk-017 panorama_B6F23FCA_1BE7_F80F_41AC_382447826A50.label = DUoR5LAuVnk-018 panorama_B6CEC5E1_1BD8_083D_4198_766F76CEB5CF.label = DUoR5LAuVnk-019 panorama_B6D14BE6_1BD8_1807_41AC_B9F8C1558C58.label = DUoR5LAuVnk-020 panorama_B6D3D22F_1BD8_0805_41B9_8595E5C45006.label = DUoR5LAuVnk-021 panorama_B6D55824_1BD8_383B_41BA_291135640CDA.label = DUoR5LAuVnk-022 panorama_B6D4DE18_1BD8_380B_41A0_7B776730A830.label = DUoR5LAuVnk-023 panorama_B6D8640F_1BD8_0805_41B8_EA83963A853D.label = DUoR5LAuVnk-024 panorama_B6D96A13_1BD8_181D_4161_E0FC04AC4EE1.label = DUoR5LAuVnk-025 panorama_B6DBB007_1BD8_0805_41AC_475EF4AAAC98.label = DUoR5LAuVnk-026 panorama_B6DCB5FA_1BD8_080F_41AB_04887ED59C44.label = DUoR5LAuVnk-027 panorama_B6DF7C34_1BD8_781B_41AB_456DFA947355.label = DUoR5LAuVnk-028 panorama_B6DF8216_1BD8_0807_4181_D84B7E46434D.label = DUoR5LAuVnk-029 panorama_B6A3C81B_1BD8_180D_41AC_6C96401A5270.label = DUoR5LAuVnk-030 panorama_B6A38E21_1BD8_183D_4194_9A5DFD04241C.label = DUoR5LAuVnk-031 panorama_B6A8D447_1BD8_0805_41BA_FE15A6A20947.label = DUoR5LAuVnk-032 panorama_B6A79A3E_1BD8_3807_41B2_F18AD7AB435D.label = DUoR5LAuVnk-033 panorama_B6AC2020_1BD8_083B_41BB_1B1BE81E8C48.label = DUoR5LAuVnk-034 panorama_B6AAA613_1BD8_081D_41B1_A0C84E0714AD.label = DUoR5LAuVnk-035 panorama_B6ADAC8F_1BD8_1805_4198_8DA2A92788E9.label = DUoR5LAuVnk-036 panorama_B6AFF285_1BD8_0805_41B4_EF04FCC32985.label = DUoR5LAuVnk-037 panorama_B6B03876_1BD8_F807_41A7_6B05449E2061.label = DUoR5LAuVnk-038 panorama_B6B3FE08_1BD8_F80B_4199_01C69FD2EA79.label = DUoR5LAuVnk-039 panorama_B6B583FD_1BD8_0805_41AF_C35195CA2C90.label = DUoR5LAuVnk-040 panorama_B6B68A57_1BD8_1805_41B5_0F18E412A6E6.label = DUoR5LAuVnk-041 panorama_B6B9D07C_1BD8_080B_41AB_54C2B4297ED8.label = DUoR5LAuVnk-042 panorama_B6B95682_1BD8_08FF_4183_0A0FC187736C.label = DUoR5LAuVnk-043 panorama_B6BD5C77_1BD8_3805_4199_7829616C21A4.label = DUoR5LAuVnk-044 panorama_B6BD62C1_1BD8_087D_41AC_D31E20DE5D92.label = DUoR5LAuVnk-045 panorama_B6806919_1BD8_180D_41BB_1FEF6D6E24A4.label = DUoR5LAuVnk-046 panorama_B681EF40_1BD8_187B_41A5_F545294B51B2.label = DUoR5LAuVnk-047 panorama_B683757A_1BD8_080F_4195_B0E452B4C1CF.label = DUoR5LAuVnk-048 panorama_B6857B4C_1BD8_780B_4188_D2A9E954A0AA.label = DUoR5LAuVnk-049 panorama_B687C186_1BD8_0807_41AF_2CB6195A8D45.label = DUoR5LAuVnk-050 panorama_B6880767_1BD8_0805_419F_ADF7B396A0DB.label = DUoR5LAuVnk-051 panorama_B68B8D3A_1BD8_180F_41BB_5BCF3CABA176.label = DUoR5LAuVnk-052 panorama_B68C9350_1BD8_081B_419C_396EAE96AC72.label = DUoR5LAuVnk-053 panorama_B68F9956_1BD8_3807_41B1_0C2445CFEB72.label = DUoR5LAuVnk-054 panorama_B68E5F5B_1BD8_380D_41A9_C154E88110F3.label = DUoR5LAuVnk-055 panorama_B691A560_1BD8_083B_41B0_CD5D44C05295.label = DUoR5LAuVnk-056 panorama_B6936B43_1BD8_187D_4187_36F277AA81CB.label = DUoR5LAuVnk-057 panorama_B695B105_1BD8_0805_41A7_380CE74728E4.label = DUoR5LAuVnk-058 panorama_B698F6D8_1BD8_080B_41AC_A83C6F8FF6DB.label = DUoR5LAuVnk-059 panorama_B699FCCC_1BD9_F80B_41BA_29D0633D5202.label = DUoR5LAuVnk-060 panorama_B69842D2_1BD8_081F_41B4_609A77205657.label = DUoR5LAuVnk-061 panorama_B69D48D6_1BD8_1807_416B_966BB2F91C56.label = DUoR5LAuVnk-062 panorama_B69F4E65_1BD8_1805_41B7_32810F0533AC.label = DUoR5LAuVnk-063 panorama_B6615405_1BD8_0805_4198_CF93C7452049.label = DUoR5LAuVnk-064 panorama_B66319D9_1BD8_380D_4198_F91E989B43F5.label = DUoR5LAuVnk-065 panorama_B6625FBC_1BD8_380B_4199_F7091014A95B.label = DUoR5LAuVnk-066 panorama_B664659E_1BD8_0807_41B3_86571A2CAFD5.label = DUoR5LAuVnk-067 panorama_B666AB50_1BD8_181B_41BA_087BAF78F58A.label = DUoR5LAuVnk-068 panorama_B6697154_1BD8_081B_419F_F8BCAA0C92BC.label = DUoR5LAuVnk-069 panorama_B66DB759_1BD8_080D_41B9_F47513FCF845.label = DUoR5LAuVnk-070 panorama_B66CBD93_1BD8_781D_4168_3BB9CBC7EFBA.label = DUoR5LAuVnk-071 panorama_B67043ED_1BD8_0805_4167_8A0975C57E80.label = DUoR5LAuVnk-072 panorama_B67009CE_1BD8_1807_41AA_2A184E075D90.label = DUoR5LAuVnk-073 panorama_B6720FD5_1BD8_1805_4178_19B35791D1E0.label = DUoR5LAuVnk-074 panorama_B67515D9_1BD8_080D_4191_E73996DE13BB.label = DUoR5LAuVnk-075 panorama_B6775C01_1BD8_3FFD_419A_676B72B36D87.label = DUoR5LAuVnk-076 panorama_B6766207_1BD8_0805_41BB_0F13203FF043.label = DUoR5LAuVnk-077 panorama_B67B6872_1BD8_181F_41A3_9C2BCF6049B8.label = DUoR5LAuVnk-078 panorama_B67DEE99_1BD8_180D_41BC_A92A36F20C13.label = DUoR5LAuVnk-079 panorama_B67E74AF_1BD8_0805_4182_893E867714EC.label = DUoR5LAuVnk-080 panorama_B67E3AB5_1BD8_F805_41A6_C8FF4E2233D1.label = DUoR5LAuVnk-081 panorama_B64040B9_1BD8_080D_41AD_B2B50260DF71.label = DUoR5LAuVnk-082 panorama_B643469C_1BD8_080B_4183_437B33135B38.label = DUoR5LAuVnk-083 panorama_B6444CB3_1BD8_181D_41AE_6C252DA322D6.label = DUoR5LAuVnk-084 panorama_B646930D_1BD8_0805_4192_5C2C71814F16.label = DUoR5LAuVnk-085 panorama_B64B9901_1BD8_39FD_4198_E9C4F2CDE388.label = DUoR5LAuVnk-086 panorama_B6485EE4_1BD8_383B_416A_1DAE41788277.label = DUoR5LAuVnk-087 panorama_B64CA52E_1BD8_0807_41BA_DB7769E72B74.label = DUoR5LAuVnk-088 panorama_B64FAB11_1BD8_181D_4179_04A74F90CB76.label = DUoR5LAuVnk-089 panorama_B650F116_1BD8_0807_41A6_64C301B9BAFB.label = DUoR5LAuVnk-090 panorama_B65176FB_1BD8_080D_41BA_FE584BFE69D4.label = DUoR5LAuVnk-091 panorama_B657BD20_1BD8_783B_41B5_D089C1B3E020.label = DUoR5LAuVnk-092 panorama_B6548327_1BD8_0805_41B7_13E7AE615E29.label = DUoR5LAuVnk-093 panorama_B658496F_1BD8_1805_41AB_649F064FF7FE.label = DUoR5LAuVnk-094 panorama_B658CF75_1BD8_1805_41A1_8831F714E0B6.label = DUoR5LAuVnk-095 panorama_B65A55E0_1BD8_083B_41BC_CFE430A7862F.label = DUoR5LAuVnk-096 panorama_B65A1BD4_1BD8_381B_41B0_DCA5BBF4FD5E.label = DUoR5LAuVnk-097 panorama_B65E21DA_1BD8_080F_41A4_1DC6947562C0.label = DUoR5LAuVnk-098 panorama_B620E7CD_1BD8_0805_418F_FACAB1CD0FB7.label = DUoR5LAuVnk-099 panorama_B622ADE3_1BD8_183D_41B6_74F8834BFCA9.label = DUoR5LAuVnk-100 panorama_B62779BD_1BDB_F805_419D_9DA7D77E71F0.label = DUoR5LAuVnk-101 panorama_B62BC63F_1BD8_0805_41B7_BD2B516CACC2.label = DUoR5LAuVnk-103 panorama_B628BFF4_1BDB_F81B_41B9_5543090C0E21.label = DUoR5LAuVnk-1111 ## Popup ### Body htmlText_187D201B_9372_D1E2_41E0_BFB1D2E9F149.html =
《Aluaiy的備忘錄》
2024
棉線、毛線、蠶絲線、 玻璃珠、色珠、貝殼、 銅釦、銅線
124 x 94 x 19 厘米
Memo from Aluaiy
2024
Cotton threads, wool yarns, silk threads, glass beads, coloured beads, shells, brass buttons, copper wire
124 x 94 x 19 cm
htmlText_0EF9B910_935D_B3FE_4198_F8DA2CCCCFBE.html =
《Bandwith Calling》
2024
瓊脂、甘油、水、不鏽鋼、蠟燭、乙烯基貼紙
尺寸可變
Bandwith Calling
2024
Agar, glycerine, water, stainless steel, candle wax, vinyl stickers
Dimensions variable
htmlText_D54FF405_EE31_2B97_41CD_666769B60D7E.html =
《Bandwith Calling》
2024
瓊脂、甘油、水、不鏽鋼、蠟燭、乙烯基貼紙
尺寸可變
Bandwith Calling
2024
Agar, glycerine, water, stainless steel, candle wax, vinyl stickers
Dimensions variable
htmlText_0C0FF172_9353_B223_41DF_179D30CE2E24.html =
《Budi之歌》
2023
單聲道影像
12’37”
藝術家及Silverlens（馬尼拉）提供
Budi’s Song
2023
Single-channel video
12’37”
Courtesy of the artist and Silverlens, Manila
《Oh My Dalling》
2022
單聲道高清影像
13’26”
藝術家及Silverlens（馬尼拉）提供
Oh My Dalling
2022
Single-channel HD video
13’26”
Courtesy of the artist and Silverlens, Manila
htmlText_0753797B_9373_B222_41D0_20E7972312B3.html =
《Doormatic Glide Refractor》
2023
竹織物、kayu obol（塊莖）黑色天然染料、啞光密封劑
220 x 153 厘米
由S. Narty Raitom、Zaitun Raitom、Julia Ginasius及Julitah Kulinting編織藝術家及Silverlens（馬尼拉）提供
Doormatic Glide Refractor
2023
Split bamboo pus weave with kayu obol (tuber) black natural dye, matte sealant
220 x 153 cm
With weaving by S. Narty Raitom, Zaitun Raitom, Julia Ginasius and Julitah Kulinting Courtesy of the artist and Silverlens, Manila
htmlText_A965879F_3A10_F864_41C7_B2881D9ED0C2.html =
《Jalan-Jalan Cari Jalan》
2024
薩馬 - 巴瑤族露兜樹編織物、在奧瑪多島收集到的塑膠垃圾
600 x 250 厘米
藝術家及Silverlens（馬尼拉）提供
Jalan-Jalan Cari Jalan
2024
Bajau Sama Dilaut pandanus weave, plastic rubbish collected on Omadal Island
600 x 250 cm
Courtesy of the artist and Silverlens, Manila
htmlText_0BDB63EC_9352_5626_41D4_E0F9DC89DB7E.html =
《Jalan-Jalan Cari Jalan》
2024
薩馬 - 巴瑤族露兜樹編織物、在奧瑪多島收集到的塑膠垃圾
600 x 250 厘米
藝術家及Silverlens（馬尼拉）提供
Jalan-Jalan Cari Jalan
2024
Bajau Sama Dilaut pandanus weave, plastic rubbish collected on Omadal Island
600 x 250 cm
Courtesy of the artist and Silverlens, Manila
htmlText_A9603668_3A10_18AC_41B2_E0BA934EAD94.html =
《Jalan-Jalan Cari Jalan》
2024
薩馬 - 巴瑤族露兜樹編織物、在奧瑪多島收集到的塑膠垃圾
600 x 250 厘米
藝術家及Silverlens（馬尼拉）提供
Jalan-Jalan Cari Jalan
2024
Bajau Sama Dilaut pandanus weave, plastic rubbish collected on Omadal Island
600 x 250 cm
Courtesy of the artist and Silverlens, Manila
htmlText_0B2F4E58_9356_6E6E_41C5_732876D41F3F.html =
《PANGKIS》
2021
單聲道影像
9’30”
藝術家及Silverlens（馬尼拉）提供
PANGKIS
2021
Single-channel video
9’30”
Courtesy of the artist and Silverlens, Manila
htmlText_1DE1175C_9372_FE66_41D2_CF13E8D26283.html =
《Seabird Habitatscape#2-Banaba, Nauru, Viti Levu》
2024
亞麻布、鉛塊、紗織、藍曬、投影
尺寸可變
Seabird Habitatscape#2-Banaba, Nauru, Viti Levu
2024
Linen, lead weight, leno weave, cyanotype, projection
Dimensions variable
htmlText_D58AA37B_946A_079D_41DB_6D1AC604E323.html =
《一個國家，一個身體 II》
2024
數碼印花布料、刺繡、物件
200 x 300 厘米
與Henricus共同創作
A Country, A Body II
2024
Embroidery, objects and digital print on fabric
200 x 300 cm
Created in collaboration with Henricus
htmlText_C86A71C3_90D5_B262_41C8_B70F28B5898A.html =
《一個國家，一個身體 II》
2024
數碼印花布料、刺繡、物件
200 x 300 厘米
與Henricus共同創作
A Country, A Body II
2024
Embroidery, objects and digital print on fabric
200 x 300 cm
Created in collaboration with Henricus
htmlText_C11BED90_90CE_52FE_41CD_C7044804D95C.html =
《一個國家，一個身體 I》
2024
數碼印花布料、刺繡、物件
200 x 300 厘米
與Henricus共同創作
A Country, A Body I
2024
Embroidery, objects and digital print on fabric
200 x 300 cm
Created in collaboration with Henricus
htmlText_14D621BC_9356_5226_41D2_6ADB9F6B8EF3.html =
《妄月》
2024
生物纖維、金屬纖維、金屬線、金屬配件、黏土、馬達
尺寸可變
Forgotten Moon
2024
Biofabrics, metal fibres, metal wires, metal accessories, clay, motors
Dimensions variable
htmlText_158B6621_9352_D1DE_41D3_3012FD686288.html =
《妄月》
2024
生物纖維、金屬纖維、金屬線、金屬配件、黏土、馬達
尺寸可變
Forgotten Moon
2024
Biofabrics, metal fibres, metal wires, metal accessories, clay, motors
Dimensions variable
htmlText_A64C0F4A_93D7_024F_41E1_8AF23AF5E090.html =
《安全感——壞人》
2018-
羊毛、棉、纖維、亞加力
尺寸可變
藝術家及魔金石空間提供
Sense of Security – Bad Guys
2018-
Wool, cotton, fibre, acrylic
Dimensions variable
Courtesy of the artist and Magician Space
htmlText_D57D6CA5_EE37_3497_41EC_C239D18B3B47.html =
《安全感——壞人》
2018-
羊毛、棉、纖維、亞加力
尺寸可變
藝術家及魔金石空間提供
Sense of Security – Bad Guys
2018-
Wool, cotton, fibre, acrylic
Dimensions variable
Courtesy of the artist and Magician Space
htmlText_A46DAA32_93D5_0DDF_41DA_8AD821DEA707.html =
《小芳紀錄片》
2021
影像
26’12”
藝術家及魔金石空間提供
Documentary of Xiao Fang
2021
Video
26’12”
Courtesy of the artist and Magician Space
htmlText_D535B9B3_EE33_1CF3_41E2_4700657E7795.html =
《山水扭曲時的根部記憶》
2024
印花布料、紡織繪畫、種子拼湊、刺繡；三件套纖維填充的布料物件
250 x 365 厘米
Roots Remember as the Landscape Twisted
2024
Textile painting, patchwork with seeds and embroidery on printed fabric; set of three fibre-filled fabric objects
250 x 365 cm
htmlText_014D8126_9376_D222_41A1_9DA5C4884C88.html =
《山水扭曲時的根部記憶》
2024
印花布料、紡織繪畫、種子拼湊、刺繡；三件套纖維填充的布料物件
250 x 365 厘米
Roots Remember as the Landscape Twisted
2024
Textile painting, patchwork with seeds and embroidery on printed fabric; set of three fibre-filled fabric objects
250 x 365 cm
htmlText_0062F89A_9373_B2E2_41D4_B1590DA0A0F9.html =
《山水扭曲時的根部記憶》
2024
影像
14’08”
拍攝團隊提供
編舞：Aslı Öztürk和Melih Kıraç
演出：Aslı Öztürk、Melih Kıraç、Barıș Diker 和Gözde İlkin
音效與音樂：Taner Yücel
影像：Canberk Ulusan
特別鳴謝 Salt（埸地支援）及伊斯坦堡artSümer
Roots Remember as the Landscape Twisted
2024
Video
14’08”
Courtesy of the video performance team
Choreography: Aslı Öztürk and Melih Kıraç
Performance: Aslı Öztürk, Melih Kıraç, Barıș Diker and Gözde İlkin
Sound and Music: Taner Yücel
Video: Canberk Ulusan
Special thanks to Salt (venue support) and artSümer Istan
htmlText_A9057F45_93D5_0245_41B7_8A1F94234D90.html =
《暗晡夜No.3》
2024
集體繪畫
紙本彩色中性筆及礦物顏料
210 × 110 厘米
Am Bu Ya No.3
2024
Collective painting
Coloured pens and mineral pigments on paper
210 × 110 cm
htmlText_D0B696C9_93EF_024D_41DB_FAECE4771DCF.html =
《月廠來客 ，甜蜜亭》
2024
佈景裝置
拼布、植物染料、合成染料
310 × 600 厘米
Visitants to Lunar Factory, Kiosk of Sweetness
2024
Backdrop installation
Fabric collage, natural and synthetic dyes
200 × 200 cm
htmlText_D609E253_93ED_025D_41E1_13B9029729BA.html =
《月廠來客 ，膠林一》
2024
佈景裝置
拼布、植物染料、合成染料
310 × 600 厘米
Visitants to Lunar Factory, Rubber Tree Forest 1
2024
Backdrop installation
Fabric collage,
natural and synthetic dyes
200 × 200 cm
htmlText_D23E3362_93ED_027F_41D4_4A9AC075BA05.html =
《月廠來客 ，膠林二》
2024
佈景裝置
拼布、植物染料、合成染料
310 × 600 厘米
Visitants to Lunar Factory, Rubber Tree Forest 2
2024
Backdrop installation
Fabric collage, natural and synthetic dyes
310 × 600 cm
htmlText_DAA60894_93F5_0EDB_41D6_4DDFA97D47B8.html =
《月廠來客 ，辦公室》
2024
佈景裝置
拼布、植物染料、合成染料
310 × 600 厘米
Visitants to Lunar Factory, Office
2024
Backdrop installation
Fabric collage, natural and synthetic dyes
310 × 600 cm
htmlText_DBDEF72D_93F3_03C5_41E1_D33281556A7E.html =
《月廠來客 ，露天影院》
2024
佈景裝置
拼布、植物染料、合成染料
310 × 470 厘米
Visitants to Lunar Factory, Outdoor Cinema
2024
Backdrop installation
Fabric collage, natural and synthetic dyes
310 × 470 cm
htmlText_AABE6A35_3A10_08A4_41C6_A8789FBB5E96.html =
《月廠來客，場部》
2024
佈景裝置
拼布、植物染料、合成染料
310 × 600 厘米
Visitants to Lunar Factory, Farm Office
2024
Backdrop installation
Fabric collage, natural and synthetic dyes
310 × 600 cm
htmlText_AAF459B6_3A10_0BA4_41C3_F8E85F7530FA.html =
《月廠來客，場部》
2024
佈景裝置
拼布、植物染料、合成染料
310 × 600 厘米
Visitants to Lunar Factory, Farm Office
2024
Backdrop installation
Fabric collage, natural and synthetic dyes
310 × 600 cm
htmlText_DBBDCF92_93FF_02DF_41CD_75E94DCE3655.html =
《月廠來客，場部》
2024
佈景裝置
拼布、植物染料、合成染料
310 × 600 厘米
Visitants to Lunar Factory, Farm Office
2024
Backdrop installation
Fabric collage, natural and synthetic dyes
310 × 600 cm
htmlText_D56BEAE0_EE31_3C8D_41D0_95FEF45124A7.html =
《月廠來客，幻境》
2024
佈景裝置
拼布、植物染料、合成染料
310 × 600 厘米
Visitants to Lunar Factory, Wonderland
2024
Backdrop installation
Fabric collage, natural and synthetic dyes
310 × 600 cm
htmlText_DB0A5FB6_93F5_02C7_41DD_4150220F7D6A.html =
《月廠來客，幻境》
2024
佈景裝置
拼布、植物染料、合成染料
310 × 600 厘米
Visitants to Lunar Factory, Wonderland
2024
Backdrop installation
Fabric collage, natural and synthetic dyes
310 × 600 cm
htmlText_AC1F1A94_93D3_02DB_41D1_FF130339DD61.html =
《月廠來客，情節一》
2024
集體繪畫
紙本彩色中性筆及礦物顏料
66 × 78 厘米
Visitants to Lunar Factory, Scene 1
2024
Collective painting
Coloured pens and mineral pigments on paper
66 × 78 cm
htmlText_AE68198B_93DF_0ECD_41C0_0554019A2CD2.html =
《月廠來客，情節三》
2024
集體繪畫
紙本彩色中性筆及礦物顏料
66 × 78 厘米
Visitants to Lunar Factory, Scene 3
2024
Collective painting
Coloured pens and mineral pigments on paper
66 × 78 cm
htmlText_AD177F64_93D3_027B_41D1_2F3EAD4644E0.html =
《月廠來客，情節二》
2024
集體繪畫
紙本彩色中性筆及礦物顏料
66 × 78 厘米
Visitants to Lunar Factory, Scene 2
2024
Collective painting
Coloured pens and mineral pigments on paper
66 × 78 cm
htmlText_ACDEC5BF_93DD_06C5_4182_4BC28E31A3D9.html =
《月廠來客，情節四》
2024
集體繪畫
紙本彩色中性筆及礦物顏料
66 × 78 厘米
Visitants to Lunar Factory, Scene 4
2024
Collective painting
Coloured pens and mineral pigments on paper
66 × 78 cm
htmlText_AB13EF34_3A10_08A4_417B_C73D450207FA.html =
《月廠來客，月廠》
2024
佈景裝置
拼布、植物染料、合成染料
310 × 600 厘米
Visitants to Lunar Factory, Lunar Factory
2024
Backdrop installation
Fabric collage, natural and synthetic dyes
310 × 600 cm
htmlText_DB02EB92_93F3_02DC_41DD_C1E67F556834.html =
《月廠來客，月廠》
2024
佈景裝置
拼布、植物染料、合成染料
310 × 600 厘米
Visitants to Lunar Factory, Lunar Factory
2024
Backdrop installation
Fabric collage, natural and synthetic dyes
310 × 600 cm
htmlText_AAF2B909_3A10_086C_4192_5F10F6A82945.html =
《月廠來客，月廠》
2024
佈景裝置
拼布、植物染料、合成染料
310 × 600 厘米
Visitants to Lunar Factory, Lunar Factory
2024
Backdrop installation
Fabric collage, natural and synthetic dyes
310 × 600 cm
htmlText_ACBCE5E8_3A10_3BAC_41C8_FB0868371C3C.html =
《月廠來客，浴室》
2024
佈景裝置
拼布、植物染料、合成染料
310 × 400 厘米
Visitants to Lunar Factory, Bathroom
2024
Backdrop installation
Fabric collage, natural and synthetic dyes
310 × 400 cm
htmlText_AE18E89E_3A10_0864_41CB_7AC7BF253086.html =
《月廠來客，浴室》
2024
佈景裝置
拼布、植物染料、合成染料
310 × 400 厘米
Visitants to Lunar Factory, Bathroom
2024
Backdrop installation
Fabric collage, natural and synthetic dyes
310 × 400 cm
htmlText_DDF08368_93FD_024B_41D0_8D106776CDF2.html =
《月廠來客，浴室》
2024
佈景裝置
拼布、植物染料、合成染料
310 × 400 厘米
Visitants to Lunar Factory, Bathroom
2024
Backdrop installation
Fabric collage, natural and synthetic dyes
310 × 400 cm
htmlText_AB22077B_3A10_F8AC_41B4_9F3E5100D665.html =
《月廠來客，海上燈塔》
2024
佈景裝置
拼布、植物染料、合成染料
310 × 600 厘米
Visitants to Lunar Factory, Lighthouse on the Sea
2024
Backdrop installation
Fabric collage, natural and synthetic dyes
310 × 600 cm
htmlText_DAB71DF1_93FF_065D_41C2_A4C4D9B7901D.html =
《月廠來客，海上燈塔》
2024
佈景裝置
拼布、植物染料、合成染料
310 × 600 厘米
Visitants to Lunar Factory, Lighthouse on the Sea
2024
Backdrop installation
Fabric collage, natural and synthetic dyes
310 × 600 cm
htmlText_AAAD0221_3A10_785C_41C2_D617E44F603A.html =
《月廠來客，海上燈塔》
2024
佈景裝置
拼布、植物染料、合成染料
310 × 600 厘米
Visitants to Lunar Factory, Lighthouse on the Sea
2024
Backdrop installation
Fabric collage, natural and synthetic dyes
310 × 600 cm
htmlText_DAE94D09_93FD_07CD_41BD_6BC9E438B7C9.html =
《月廠來客，海上燈塔》
2024
佈景裝置
拼布、植物染料、合成染料
310 × 600 厘米
Visitants to Lunar Factory, Lighthouse on the Sea
2024
Backdrop installation
Fabric collage, natural and synthetic dyes
310 × 600 cm
htmlText_DB2CDC17_93FD_05C5_41D7_A72604FA45D4.html =
《月廠來客，禮堂》
2024
佈景裝置
拼布、植物染料、合成染料
310 × 600 厘米
Visitants to Lunar Factory, Hall
2024
Backdrop installation
Fabric collage, natural and synthetic dyes
310 × 600 cm
htmlText_AC8C47C3_3A10_07DC_41AC_7FF4C818A933.html =
《月廠來客，禮堂》
2024
佈景裝置
拼布、植物染料、合成染料
310 × 600 厘米
Visitants to Lunar Factory, Hall
2024
Backdrop installation
Fabric collage, natural and synthetic dyes
310 × 600 cm
htmlText_ACC604B2_3A10_79BC_41C6_678E894DC26C.html =
《月廠來客，禮堂》
2024
佈景裝置
拼布、植物染料、合成染料
310 × 600 厘米
Visitants to Lunar Factory, Hall
2024
Backdrop installation
Fabric collage, natural and synthetic dyes
310 × 600 cm
htmlText_DFDCEA2A_93F3_0DCF_41CC_AA50FCB54112.html =
《月廠來客，香港夜景》
2024
佈景裝置
拼布、植物染料、合成染料
310 × 400 厘米
Visitants to Lunar Factory, Hong Kong’s Night View
2024
Backdrop installation
Fabric collage, natural and synthetic dyes
310 × 400 cm
htmlText_AB3C182D_3A10_08A4_41CB_5779ABB962E1.html =
《月廠來客，香港夜景》
2024
佈景裝置
拼布、植物染料、合成染料
310 × 400 厘米
Visitants to Lunar Factory, Hong Kong’s Night View
2024
Backdrop installation
Fabric collage, natural and synthetic dyes
310 × 400 cm
htmlText_1E2CE4D2_9372_5262_41B5_E25A251A4DD3.html =
《生命軸系列：黑色》
2022-2024
回收布料、棉線、毛線、 金屬、玻璃珠、色珠
150 x 120 厘米（心臟）;
120 x 120 厘米（頂冠）
The Axis of Life: Black
2022-2024
Recycled fabrics, cotton threads, wool yarns, metals, Paiwan glass beads, coloured beads
150 x 120 cm (Heart);
120 x 120 cm (Crown)
htmlText_1B435653_934E_7E62_41CA_048FDFDF36BA.html =
《發芽系列一》
2024
亞麻毛線、棉繩、彈性繩、布料、玻璃珠、不鏽鋼、鋁線、銅線
420 x 100 厘米
Sprouting Series 1
2024
Linen yarn, cotton threads, elastic cord, fabric, glass beads, stainless steel, aluminium wire, copper wire
420 x 100 cm
htmlText_1ED7C48D_9375_D2E6_41C6_9989742CF659.html =
《黑色的堆砌》
2023
回收布料、棉線、毛線、金屬、玻璃珠
92 x 70 x 13 厘米
Black Stacking
2023
Recycled fabrics, cotton threads, wool yarns, metals, Paiwan glass beads
92 x 70 x 13 cm
htmlText_D06B7C07_9466_0175_4165_CD05A60C203A.html =
1978年落成的南豐新邨售樓說明書圖片（複製品）
Sales brochure image of Nan Fung Sun Chuen, built in 1978 (Reproduction)
南豐紡織各廠房及宿舍外貌，1974（複製品）
Façade of the mills and dormitory of Nan Fung Textiles, 1974 (Reproduction)
htmlText_A4B1CDDE_93DA_0297_41E1_F2DAE94B3CF6.html =
ARTEFACTS of BELONGING
Asking an industrialist, a floor manager, a worker and a union representative to recount the history of Hong Kong’s textile industry would yield vastly different stories and perspectives. Yet, a sentiment commonly shared across ages, genders, classes, birthplaces and other factors is that pride of having participated in a prosperous industry, which once employed up to 40% of the city’s workforce.
Such integration of industry into society resulted in social networks of unique agendas: a factory owner’s care for his workers, union members’ advocacy for benets, junior workers’ social days out in the hills. Beyond economic gain and material abundance, what social relationships from Hong Kong’s industrial past leave the former generation with fondness or even nostalgia? How differently do we relate to others today?
This thematic display of artefacts from the CHAT Collection and other institutions and individuals presents select case studies of communities formed by the textile industry, initiating a dialogue with the seasonal exhibition on how shared socio-economic phenomena foster the development and coexistence of diverse groups.
htmlText_1FDB01D8_9377_D26E_41DB_15068C021A7E.html =
Aluaiy Kaumakan (Wu Yu-Ling)
Aluaiy Kaumakan (Wu Yu-Ling) was born in the Paridrayan tribe of Paiwan, a Taiwanese indigenous people in Sandimen Township, Pingtung County. As the daughter of the tribe’s leader, Kaumakan inherits the responsibility to protect the heritage of her people, who were forced to relocate to the Rinari community due to Typhoon Morakot in 2009. She shifted her focus from indigenous craft designs to installation art, focusing on recovering the roots of her tribal culture while passing on the female ancestors’ lived experiences, traditions and wisdom.
‘The Way Back Home’ is the concept permeating Kaumakan’s works exhibited here. It embodies the journey of personal growth and self-discovery, emphasising that every step we take brings us closer to our true selves and ultimate goals. Kaumakan’s artworks weave into a web where the stories of women from different generations are intertwined – from ancient times to the present day, from ancestral grounds to new homes.
htmlText_167B8283_9352_56E2_41D4_78891BAFD9D0.html =
Cian Dayrit
Cian Dayrit investigates institutionally represented and reproduced notions of space, power and identity through textile, installations, archival interventions and community-based workshops. His work responds to marginalised communities while encouraging critical reflection on colonial and privileged perspectives across geopolitical and supranational bearings.
The two tapestries here are intimate photomontages showing the construction processes of a pier, dams, waterworks and other infrastructure and industrial facilities. The archival images are taken from the Bulletin of Public Works of the Philippines Commonwealth Government in the early 1900s. Dayrit juxtaposes them with local found fabrics, ornaments, embroidered drawings as well as annotations about people’s present-day experiences in relation to the subjects of the photographs. By connecting historical materials with the experiences of today’s Filipino people, the tapestries allegorically piece together instances of nation building from the early 20th century to now and draw attention to the continuity and shifts in economic policies, social services, geopolitics and land use.
htmlText_AAC6DFE6_90D2_6E22_41C4_A813E363876A.html =
Executive Director’s Greeting
Welcome to CHAT, a unique heritage museum in Hong Kong! Housed in the former factory of Nan Fung Textiles, CHAT celebrates the admirable spirit and far-sighted entrepreneurship found in Hong Kong’s past textile industry. Contemporary artists, like entrepreneurs, have a keen antenna for today’s urgencies while creating new values in society. This winter, you will see the newest ideas and forms of textile arts from Asian artists in ANTEPRIMA x CHAT Contemporary Textile Art Prize 2024, which highlights the pioneers opening a new dimension of textile arts. The prize winner was selected by an international jury of five, but we eagerly invite you to vote for your favourite artwork for the Audience Prize during your visit.
The 2024 edition of Seed to Textile, CHAT’s flagship community programme, comes to its finale. Featuring the Guangzhou-based artist collective BOLOHO, the exhibition presents textile pieces and a video work created through community participation. The textile artworks are dyed naturally using plants lovingly grown over the past six months. In CHAT Lounge, Artefacts of Belonging bridges BOLOHO’s exhibition with CHAT’s collection of archival materials, taking a close look at the communities bonded by Hong Kong’s textile industry. Do not miss the last chance to see Misfitted: Unspoken Stories of Tailoring in The D. H. Chen Foundation Gallery. The special display explores various forms of tailoring and narrates stories of migration, friendship, resilience and progression in Hong Kong.
CHAT has also launched the Accessibility Tour in partnership with Centre for Sign Linguistics and Deaf Studies of the Chinese University of Hong Kong and SLCO Community Resources. A pair of deaf and hearing docents will introduce you to our permanent displays bilingually in signed and spoken languages. You will learn some basic Hong Kong Sign Language vocabulary while happily discovering about industrial cotton spinning processes!
We thank all the artists and community members who made the exhibitions possible. Our heartfelt appreciation goes to ANTEPRIMA and Mrs Izumi Ogino for collaborating with us to launch this significant contemporary textile art prize. The Robert H. N. Ho Family Foundation offered crucial support in the development of our Seed to Textile programme and Accessibility Tour. None of these could have happened without the generosity of our founding donor, The D. H. Chen Foundation, and our main donor, Nan Fung Group. Last but not least, we are immensely grateful for the encouraging support from donors and patrons. With you, CHAT can continue to nurture new ideas and talents!
TAKAHASHI Mizuki
Executive Director and Chief Curator
CHAT (Centre for Heritage, Arts and Textile)
htmlText_036DFCCF_937E_B262_41D2_AF71EDF2E0CF.html =
GÖZDE İLKIN
Gözde ilkin’s embroidery and paintings on found domestic textiles depict today’s cultural information, socio-political relationships and gender issues, focusing on the body as an experimental or affective landscape. She has recently started to use drawing, stitching and sound to design fabrics as stages, tracing nature to discover ways of belonging as well as the healing and transforming effects of the coexistence of plants, animals and humans.
In Roots Remember as the Landscape Twisted, İlkin draws inspiration from cave paintings and intersecting symbols of different cultures, rendering forms and images of interconnected stories woven in and with the world. The work is a performative landscape, a fabric stage where hands and objects emerge from pockets. On this stage, the delicacy, slowness and continuity of lives in the natural formation of a landscape contrast with today’s interventionist relationship between man and nature, rapid consumption and occupation, and one-sided perspective. The symbols of different geographies and beliefs are a genealogy of language and gestures that give birth to, awaken and activate each other through sound and movement. Shaped by cultural stories, ceremonies, dances and rituals, the landscape holds the memory of humans finding their place in nature on Earth, where living and non-living beings are born of each other.
htmlText_259D103A_9352_F222_41D9_C1B525B9CDFD.html =
HU YINPING
‘Hu Xiaofang’ is an artistic brand established by Hu Yinping in 2015. Under the brand names Xiaofang and Hu Xiaofang, she applies the corporate logic of production and trade and places bulk orders of woollen textiles with women in a small village of her hometown in Sichuan province. The practice started with Hu using the pseudonym ‘Xiaofang’ to purchase the beanie hats made by her mother and later expanded to involve the collective participation of other older women in the town. Over time, Hu’s business has made an impact on the economy and lifestyle of the entire town.
Sense of Security – Bad Guys belongs to the third stage of the Hu Xiaofang project. In 2015, Hu’s studio was demolished illegally and violently by the landlord. The landlord’s invasive and vandalising actions led her to question the safety of her surroundings and the social environment. Through Xiaofang, she posed a question to the mothers in the town: ‘If someone ever threatened you and your family’s safety, what weapons would you use to protect yourself and loved ones?’ Hu then invited the mothers to transform their answers into woollen pieces. The resulting works fall into two categories: those inspired by daily lives and those from imagination.
htmlText_1CD13D5C_937E_B266_41D3_CB52D3B78805.html =
OH HAJI
Oh Haji draws on her background as a third-generation Zainichi Korean (a Korean resident in Japan) now based in Australia to give expression to untold memories and explore the concept of ‘post-memory’.
Seabird Habitatscape references the metaphor of migrant people as migratory birds. The Pacific Ocean is a habitat for migratory birds travelling from East Asia to Australia. By layering the landscapes seen by these seabirds and the trajectories of people who have crossed these waters, Oh invites the audience to imagine the past and present stories of those living in the region. The images woven into the textiles are taken from institutional archives in Australia and document the occupation of the Pacific islands by various countries for the exploitation of resources and territory. The projected Pacific Ocean Chart, published in England in 1798, details the imperial discovery and colonisation of the region. The other side of the textile shows a photograph of a mangrove landscape in Australia, linking different times and places while pointing to the impact of climate change on the natural environment. Oh employs the hogushigasuri (warp printing ikat) technique, in which textiles are unravelled and rewoven during the process. The repetition of this procedure also resembles the uncovering and reconnecting of history and stories.
htmlText_098A19FB_9352_7222_41DC_EA209A3E5CF2.html =
RICE BREWING SISTERS CLUB
Rice Brewing Sisters Club (RBSC) is an artist collective focusing on the processes of ‘social fermentation’ as an artistic form. Through visual arts, performance, creative writing, oral history, ecological thinking and ‘auntie’s wisdom’, RBSC seeks to build sustainable relationships and synergy to co-create shared visions of the future.
Comprising a mural, a mapping installation in the form of a sculptural environment and an open call section with over 50 bracelets, Bandwith Calling presents the ‘social fabric’ as a medium of social fermentation and a collaborative effort of the human, the non-human and their communities. With shared relations, traces and memories, various agents bring in the threads that weave together a fabric, creating planes and surfaces that form a social environment. In the context of the current prize, RBSC imagines the threads as material ‘bands’ which can be worn by the engaged participants as potential collaborators or future members, who can then disseminate the artwork’s messages as they move through the space. Those who participate in the open call will be contacted by RBSC and, upon having a conversation, can take the bracelets and wear them. Over the exhibition period, RBSC will engage with the members through online conversations and activities, thereby expanding the collective’s social fermentation experiments.
htmlText_DB8DED3C_93F5_07CB_41DB_177719470C17.html =
Seed to Textile 2024
BOLOHO: Visitants to Lunar Factory
Visitants to Lunar Factory summarises Guangzhou-based artist collective BOLOHO’s activity over their six-month residency at CHAT in 2024. As their first institutional solo exhibition in Hong Kong, it culminates their co-creative efforts in CHAT’s community programme Seed to Textile.
BOLOHO draws inspiration from their recent research on huaqiao nongchang (overseas Chinese farms) and the diverse plants that thrived there. Whether cultivated for personal use or as strategic crops under national policy, these plants embody the complex tapestry of historical transformations and narratives across societies. They bear imprints of the daily lives of local inhabitants, witnessing the ebbs and flows of human fate. In Guangzhou and Hong Kong over spring, BOLOHO collaborated with ‘Seeders’ – a group of students from a local college and two primary schools – to nurture six plants commonly found in overseas Chinese farms. They made natural dyes with the harvests and invited the public to participate in dyeing and collaging fabrics in summer. The resulting patchworks and the textile backdrops produced by BOLOHO were used to film a mini-drama. Here, the video work and spatial installations bring together all the collective efforts.
By co-creating with various communities, BOLOHO encourages reflection on the intricate relationships of plant dispersal and human migration, the cultural development of society and the emotional currents between individuals. Engaging the public in planting and art making echoes the spirit of Seed to Textile – to explore the intrinsic connection between textiles and the environment while navigating the possibilities of coexistence between natural and cultural landscapes.
WANG Weiwei, Eugenia LAW
Curators
htmlText_154CF7E1_9352_BE5E_41A1_95F60BDCDBF2.html =
Shao Chun
Shao Chun explores the intimate relationship between the human body and digital interfaces (‘digital intimacy’) as well as our emotional longings for the latter. Her recent research and experimental works combine traditional handicrafts with computer programming, exploring the new aesthetics of interaction while reflecting on our digitalised life.
Forgotten Moon constructs a space reminiscent of a ritual site, musing on the poetics of the moon and fantasies of the future. The Miao people, an ethnic minority in China, venerate silver as a vessel of the moon. They believe silver can channel wishes and prayers by invoking the celestial body’s mystical power. Drawing a parallel between this ancient belief and the modern use of silver in functional textiles and data transmission, Shao employs the silver colour as a visual symbol to create semi-metallic, semi-fibrous sculptures that resemble enlarged embroidery. Suspended from the ceiling, the differently textured sculptures perform mechanical movements and sounds that resemble the melodious ringing of the silver accessories of Miao women as they walk and dance. The installation renders a sensuous yet puzzling viewing experience and expresses a paradoxical metaphor about the future – a perpetual feeling that arises from the entanglement of yearning and reality.
htmlText_07DB729E_9376_B6E2_41A8_180F8F072269.html =
YEE I-LANN, ROZIAH BINTI JALALID, JULITAH KULINTING
A native of Sabah, Yee I-Lann delves into the complex legacies of colonial histories, global connections and socio-political dynamics of Southeast Asia. She finds inspiration in the tikar, a woven mat prevalent throughout the Southeast Asian archipelago which she regards as a storytelling, linguistic, aesthetic and philosophical vessel. For her, the tikar embodies a democratic and egalitarian space where people can come together, commune and share power.
Collaborating with inland Dusun and Murut bamboo weavers and coastal Bajau pandanus weavers, Yee recognises that they are collectively weaving from Indigenous knowledges while co-creating new sustainable, localised methodologies rooted in restorative and regenerative principles to describe the worlds around them. One such collaboration is Jalan-Jalan Cari Jalan (‘walking around looking for the way’), a maze-like tikar crafted from plastic waste collected from the Sulu and Celebes Seas off the northeastern coast of Borneo. These waters, part of the Coral Triangle, are known for their rich marine biodiversity but are also vulnerable to plastic pollution. In the warp and weft of this mat lie the responses of local communities to this pressing challenge, navigating and negotiating their way through a maze of intersecting influences.
htmlText_0E9C2D41_9375_D25E_41D4_6DC23B904106.html =
于一蘭、羅齊亞·賓蒂·賈拉利德、茱麗塔·庫林廷
于一蘭是土生土長的沙巴人，她深入探討東南亞複雜的殖民歷史、國際關係和社會政治動態。她從在東南亞群島上非常普遍的織墊（tikar）中找到靈感，並視這種織墊為分享故事、語言、美學和哲學的載體。對她而言，織墊體現了一個民主和平等的空間， 讓人們可以相聚、交流和分享權力。
于一蘭與內陸杜順和姆律的竹編工匠，以及沿海巴瑤族的露兜樹葉編織工匠合作時， 意識到他們不但在集體編織着原住民知識， 也在共同創造可持續、植根於修復和再生原則的本土方法，以描述他們周遭的世界。其中一個合作項目為《Jalan-Jalan Cari Jalan》（「四處行走找尋路向」），這是一個迷宮般的織墊，由婆羅洲東北方的蘇祿海和西里伯斯海收集的塑膠廢料製成。這些海域是「珊瑚大三角」的一部分，以豐富的海洋生物多樣性聞名，但也受到塑膠污染的侵害。這張織墊的經緯中，蘊含着當地社群對此迫切挑戰的回應，這些社群也在由各種影響構成的迷宮中穿行和協商。
htmlText_D0C47D51_947A_03ED_41DE_C449C36268C2.html =
企業家與工人
1940年代末的移民潮中，南豐紡織的創辦人陳廷驊博士與其他工人、技工及工業家由内地遷到香港。到了1950年代，紡紗業的職位已被視為體面的工作，亦變得炙手可熱，這點可從此處展示的求職信略見一斑。
有見房屋不足，不少工廠以宿舍和其他公共設施招徠工人。工人住在工廠，不但提高生產力，也成為社會的縮影，為陳廷驊博士等工業家帶來有關社會經濟環境變化的見解。1980年代，市場日漸不利，陳廷驊博士卻未如一些同行般放棄製造業。他早於1970年代開始多元發展，進軍地產行業，在增長利潤的同時，延續他對紡織生產的熱情和維持工廠員工的生計，直至2000年代。
Industrialists and Workers
Dr Chen Din-Hwa, the late founder of Nan Fung Textiles, arrived in Hong Kong from the mainland in the late 1940s amid a migration wave of Chinese workers, technicians and industrialists. By the 1950s, work in the spinning industry was competitive, desired and dignifying, as evidenced by these job applications.
Due to insufficient housing, dormitories and other communal amenities became an important benefit sought after by workers. For industrialists such as Dr Chen, workers living at the factory not only enhanced productivity but also served as a cross-section of society, providing valuable insight into shiftng socio-economic circumstances.
Market conditions became increasingly unfavourable in the 1980s. However, unlike his peers who abandoned manufacturing, Dr Chen had the foresight to diversify into property development in the 1970s, which generated enough profit to sustain his passion in textile production – and thereby the livelihood of his factory workers – into the 2000s.
htmlText_D776B46C_90CD_B226_41C8_D3E03C6F7213.html =
前言
ANTEPRIMA非常榮幸能夠共同舉辦ANTEPRIMA x CHAT六廠當代紡織藝術獎。雖然時尚和紡織藝術牽涉同樣的媒介，但兩者在不同的領域運作，提供不同的創意維度。對我來說，紡織藝術超越了日常的事物，挑戰着想像的邊界。作為時尚和紡織領域的活躍份子，我也希望能充當大眾與當代藝術之間的橋樑，讓當代藝術散發光芒，啟發靈感。
我着重的不僅是藝術作品背後的強烈概念，更是最初感受到的那份敬畏、驚喜或美態。創新必須超越平凡，尤其是在紡織方面。卓越的技術不僅超越期望，甚至能即時觸動情感。因此，富原創性的創作不只是與眾不同，更是以嶄新的方式運用物料和表達想法。
在審視藝術家時，我相信自己的直覺。這30多年來，我不斷鑽研藝術和到訪世界各地，托闊視野。客觀性固然重要，但我相信這數十年來的經驗能引導我觀賞和評價作品。即使藝術家沒有闡述背後理念，我也會仔細聆聽藝術品隱藏的無聲信息。
除了獎勵創意，我希望此藝術獎可以啟發藝術家們勇敢、不受羈絆地進行創作，也激勵志在投身紡織藝術的人才。這些藝術家不受商業時尚束縛，能創作出與世界大眾對話的作品。我希望激發他們的潛力，尊重他們的原創性，並支持他們走向非凡。
荻野泉
FOREWORD
ANTEPRIMA is honoured to co-present the ANTEPRIMA x CHAT Contemporary Textile Art Prize. While seemingly connected through a shared medium, fashion and textile art operate in distinct spheres, offering different dimensions of creativity. Textile art, to me, represents something beyond the everyday – it pushes the boundaries of imagination. As someone deeply involved in fashion and textiles, I always aim to serve as a good ‘frame’ or ‘wall’ for contemporary art, allowing it to shine and inspire.
What I search for in an artist’s work goes beyond just a strong concept. The initial reaction – the sense of awe, surprise or beauty – is key. Innovation, particularly in textiles, must transcend the ordinary. I look for techniques that not only challenge expectations but also evoke emotions at first glance. Originality is not just about being different; it is about transforming materials and ideas in ways never seen before.
When evaluating artists, I trust my instincts. Over 30 years of experience in the art world and my global travels have shaped my perspective. Although objectivity is important, I allow my personal tastes to guide me, trusting the sense that has been honed over decades. Even when artists choose not to explain their concepts, I listen carefully to the silent messages their art communicates.
More than just rewarding creativity, I hope to inspire artists to be bold and limitless, offering dreams to future generations of textile artists. These artists, untethered by the constraints of commercial fashion, have the power to create works that speak to the world. My hope is to nurture their potential, revere their originality and support their journey towards the extraordinary.
Izumi OGINO
htmlText_DEC36A54_90D2_D666_41D7_87D4B2AEAB64.html =
前言
亞洲匯聚了豐富多樣的紡織傳統，但其紡織藝術一直被歸類為應用藝術，紡織藝術家亦常被視為與裁縫、梭織或針織工匠無異。然而，亞洲藝術家近年漸趨採用紡織品進行創作，在致敬傳統紡織工藝的同時，也反映歷史敘事和環境污染、廢棄物等全球迫切議題，開創了紡織藝術的新領域。
ANTEPRIMA x CHAT六廠當代紡織藝術獎的設立旨在鼓勵和推廣與亞洲有連繫的藝術家，其作品為我們對紡織材料、技術和歷史的理解提供了嶄新的觀點。我們邀請了八位來自不同國家、對亞洲當代藝術有深刻理解的策展人，各自提名四位藝術家角逐首屆藝術獎。最後八個入圍單位由備受尊崇的五人國際評審團根據五項準則篩選，這些準則包括潛力、原創性、技巧、理念及方法。最後 得獎者由評審團現場評選，並於11月29日公佈。CHAT六廠的參觀者也可在展覽期間投選最喜歡的藝術作品，當選作品將獲頒「觀眾最喜愛大獎」。
此當代紡織藝術獎由CHAT六廠與ANTEPRIMA攜手呈獻。ANTEPRIMA以融合創新材料與工藝享譽國際，其標誌性的WIREBAG 更是代表之作。展覽除了展示八個入圍單位的作品，也藉此頌揚紡織品的豐富表現力和內在意義。我們冀望這個在亞洲獨一無二的獎項能激勵藝術人才，並開拓紡織藝術的未來可能性。
高橋瑞木
FOREWORD
Asia is home to rich textile traditions. Its textile art is generally seen as an applied art, and textile artists are often equated with weavers, tailors or knitters. However, Asian artists increasingly turn to textiles in recent years to not only pay homage to traditional craftsmanship but to address historical narratives and current global urgencies, such as environmental pollution and waste, pioneering a new dimension of textile art.
The ANTEPRIMA x CHAT Contemporary Textile Art Prize is established to encourage and promote artists with Asian Connections whose works offer new insights into textile materials, techniques and history. In the inaugural edition, we invited eight curators from different countries who have a deep understanding of the Asian contemporary art scene to nominate four artists each. Eight finalists were then selected by an international jury of five esteemed members based on five criteria: potential, originality, skill, idea and methodology. The jury judged the finalists’ works here at CHAT and announced the winner on 29 November. During the exhibition period, visitors are also invited to vote for their favourite artwork in the Audience Prize.
The Contemporary Textile Art Prize is proudly presented in partnership with ANTEPRIMA, which is internationally renowned for combining innovative materials and craftsmanship, epitomised by its iconic WIREBAG. As we showcase the works of the eight finalists, we celebrate the expressive power and intrinsic significance of textiles. We hope this one-of-a-kind prize in Asia will stimulate artistic talents and open up future possibilities of textiles.
TAKAHASHI Mizuki
htmlText_045B6047_937F_D262_41BB_1EA1F292B8A5.html =
吳夏枝
吳夏枝是第三代「在日韓國人」，現居澳洲。 她以自己的背景為出發點，透過藝術作品表達人們默默無聞的記憶，並從中探索「後記憶」的概念。
《Seabird Habitatscape》以候鳥隱喻遷徙者。太平洋一帶是候鳥從東亞飛到澳洲的棲息地，吳氏交織這些海鳥所見的風景與人們橫渡這些水域的遷徙軌跡，邀請觀眾想像在此地區生活的人們的過去和現在。紡織品上的圖像取自澳洲的機構檔案，記錄了不同國家為了開發資源和擴展領土而佔領太平洋島嶼的情況。投影在牆上的《太平洋海圖》於1798年在英國出版，詳細記錄了西方列強對該地區的探索和殖民化。紡織品的另一面則展示了澳洲紅樹林的照片，將不同時空聯繫起來，指出氣候變化對自然環境的影響。吳氏採用了「hogushigasuri」技法，把印有圖案的紡織品拆開並重新編織，如此重複的工序也宛如歷史和故事的發掘和重新連接。
htmlText_D88BA9EA_90D2_5222_41DD_5AC9441B115D.html =
哪個藝術單位的作品最能引起你的共鳴？
除了ANTEPRIMA x CHAT六廠當代紡織藝術獎2024之外，最受CHAT六廠訪客讚賞的藝術作品也將獲頒「觀眾最喜愛大獎」。請將我們提供的投票卡放進投票箱，投選最喜愛的作品。
CHAT六廠將於2025年3月3日在Facebook、Instagram及網站公佈結果。
Which artist’s work resonates with you the most?
On top of ANTEPRIMA x CHAT Contemporary Textile Art Prize 2024, an Audience Prize will be awarded to the artwork most appreciated by CHAT’s visitors. Please vote for your favourite work by putting the given voting card into the voting box.
The result will be announced on CHAT’s Facebook page, Instagram page and website on 3 March 2025.
htmlText_AB422E83_90D3_AEE2_41C2_41269E6A2893.html =
執行董事歡迎辭
歡迎來到CHAT六廠這個香港獨一無二的紡織文化藝術館！CHAT六廠位於前南豐紡織的廠房內，以不同形式頌揚昔日香港紡織業令人敬佩的精神和高瞻遠矚的企業家本色。當代藝術家和企業家一樣，對當今社會的迫切議題具有敏銳的觸覺，也為社會創造新的價值。今個冬季，「ANTEPRIMA x CHAT六廠當代紡織藝術獎2024」呈現來自亞洲藝術家最新的紡織藝術意念和形式，表揚開拓紡織藝術新領域的先驅者。大獎得主已由五人國際評審團選出，而我們亦誠邀你在參觀期間投選「觀眾最喜愛大獎」的得獎作品。
CHAT六廠旗艦社群計劃「種學織文」的2024年項目即將迎來尾聲。來自廣州的藝術家團體「菠蘿核」展示他們與社區成員共同創作的紡織和錄像作品，展覽中的 紡織藝術品以過去六個月來精心種植的植物進行天然染色。在CHAT客廳，「歸屬的痕跡」將菠蘿核的展覽與 CHAT六廠收藏的檔案資料聯繫起來，細看透過香港紡織業形成的不同社群。千萬不要錯過欣賞「別出心裁：不 為人知的裁縫故事」的最後機會，這個在陳廷驊基金會展廳的特別展示探討不同形式的服裝剪裁，從中敘述在香港有關移民、友誼、對抗逆境和進步的故事。
CHAT六廠亦與香港中文大學手語及聾人研究中心和語橋社資合作推出「共融導賞之旅」，導賞團由一對聾人和健聽導賞員合作帶領，透過手語和口語雙語設計介紹我們的常設展覽。在輕鬆了解棉紡工序的同時，你將學習到一些基本的香港手語詞彙，一舉兩得！
我們向所有促成展覽的藝術家和社區成員表達謝意， 也衷心感謝ANTEPRIMA和荻野泉女士與我們合作設立這個重要的當代紡織藝術獎項。何鴻毅家族香港基金在「種學織文」計劃及「共融導賞之旅」的發展過程中提供了不可或缺的貢獻。倘若沒有我們的創始捐助機構陳廷驊基金會和主要捐助機構南豐集團的慷慨支持， 這一切都不可能成事。最後，我們感激捐助者和贊助人的鼓勵與支持。全賴你們，CHAT六廠才能繼續培育創意和人才！
高橋瑞木
CHAT六廠（六廠紡織文化藝術館）
執行董事及首席策展人
htmlText_325EFDDC_9352_B266_41E2_18F38D1607E6.html =
大米釀造姐妹俱樂部
藝術家團體「大米釀造姐妹俱樂部」專注於將「社會發酵」（social fermentation）的過程作為一種藝術形式，並透過視覺藝術、 表演、創意寫作、口述歷史、生態思考和 「阿姨的智慧」，建立可持續的關係和協同效應，共同創造未來的願景。
《Bandwith Calling》由一幅壁畫、一組以雕塑構成的裝置，以及包含了逾50條手帶的公開募集部分組成，展現了社會結構既是社會發酵的媒介，亦是人、非人及其社群的共同協作成果。源於共同的關係、痕跡和記憶，不同參與者帶來各種絲線，將之交織成布，創造出形成社會環境的平面和表面。 是次藝術獎中，大米釀造姐妹俱樂部把這些絲線想像為實體的手帶，參與的觀眾可穿戴它們，成為潛在的合作者或成員，在移動的過程中散播作品的訊息。藝術家會聯絡參與公開徵集的觀眾，經過對話之後，參與者便可戴上手環。在展覽期間，大米釀造姐妹俱樂部將透過線上對話和活動與會員互動，將其社會發酵的實驗擴展開去。
htmlText_D2932298_9466_069B_41CB_F79B177AADF2.html =
工人之間
移民、青少年、應屆畢業生、女白領......工廠既是組織勞動的地方,也是不同社群匯聚和互相支持的地方。「連小姐」（芬）和「九龍王」（榮）於不同的紡紗廠工作，他們於1950年代中寫下的書信，透露了在當時的工業框架下，也可能萌生愛情。
朱女士於1980年代在南豐紡織工作，工廠是她渡過成長時期的地方，以及她家人工作的場所。她也曾與其他工人在週末外出郊遊，建立了維繫至今的深厚友誼。隨着工人間的社交聯繫增加，他們更頻密地交換工作上的意見，更為正式的工會也隨之出現。
Among Workers
Immigrants, teenagers, fresh graduates, office ladies – the factory was both a place of organised labour and where diverse demographics converged to support each other. A surviving series of letters from the mid-1950s between ‘Ms Lin’ (Fan) and ‘Kowloon Wong’ (Wing), who worked in two different spinning factories, proves that even romance was possible within the industrial framework at the time.
For Windy Chu, who worked in Nan Fung Textiles in the 1980s, the factory was where she spent her formative years and where her family also worked. Over weekend outings in the hills, she made friendships with fellow workers that would last to this day. As informal communities gathered more regularly and exchanged concerns in the workplace, the more formal and institutional trade unions also emerged.
htmlText_11313DF5_9353_B226_41C5_D8F75658012A.html =
工人周報》節選，1970-1971（複製品）
Clippings from Workers Weekly, 1970-1971 (Reproductions)
© 香港基督教工業委員會 The Hong Kong Christian Industrial Committee
htmlText_DD313D9F_946E_0295_41E0_64F664A4BB7B.html =
工會與工人
上世紀各行業的工會盛行，工人可自由選擇參與，及至80年代初，參加的人數達40萬，佔全港僱員人數五分之一。單是紡織業已有紡織染工會、絲織工會、漂染工會、港九車衣工會等不同分支。由當時的刊物可見，工會負責處理勞資糾紛及為工人爭取權益福利。除此之外，工會也時常舉辦旅行、歌唱、攝影等大大小小的文娛活動，以及各種技能和興趣班。
這些工會大致分為左、右派兩個陣營，前者主要落址土瓜灣，後者則主要分佈在深水埗及荃灣。工會的會址提供了屬於工人的聚腳地，除了為工人帶來自豪感，也是他們下班後的消閒去處。
Unions and Workers
Trade unions were prevalent across industries in the last century, and workers could freely choose to participate. By the early 1980s, membership numbers had reached 400,000, one-fifth of Hong Kong’s workforce. Within the textile industry alone, there were individual unions representing diverse sectors, such as spinning, silk weaving, dyeing and sewing. As seen in the publications of the time, unions resolved workplace disputes and advocated for workers’ rights and welfare. Besides, they also frequently organised recreational activities, such as outings, singing and photography events, and practical and interest courses.
These unions were generally divided into leftist and rightist camps, with the former primarily
based in To Kwa Wan and the latter in Sham Shui Po and Tsuen Wan. A union’s physical location served as a gathering space that belonged to the workers, instilling a sense of pride while providing a venue for relaxation after work.
htmlText_0BA1FC83_9372_B2E2_41E0_DB6F5657878C.html =
格茲德·伊爾金
格茲德·伊爾金在現成及二手的家居紡織品上刺繡和繪畫，描繪當今的文化資訊、社會政治關係及性別議題，並把身體視為一種實驗或情感的景觀。最近，她開始運用繪畫、縫紉和聲音，將布料設計成舞台，追溯大自然以發現歸屬的方式，以及植物、動物與人類共存所帶來的療癒和轉化效果。
在《山水扭曲時的根部記憶》中，伊爾金從各地的洞穴繪畫和交錯的文化符號中汲取靈感，渲染出與世界交織並相互聯繫的故事之形式和圖像。這件作品為表演性的景觀，手和物件從這個布料舞台的口袋中呈現。在此，多元生命的精妙、緩慢和延續，與現今人類與自然之間的干預關係、高速消費和佔領，以及片面觀點形成對比。不同地域和信仰的符號構成一個語言與手勢的系譜，透過聲音和動作相互誕生、喚醒與啟動。這個由文化故事、典禮、舞蹈和儀式所塑造的景觀，盛載了人類在地球上的記憶，憶述人置身在生物和非生物互相誕生的自然世界中的故事。
htmlText_D3ACA6C7_93DE_0EF5_41C4_8693D0265500.html =
歸屬的痕跡
若要工業家、廠房經理、工人和工會代表分別回憶香港的紡織業，得到的故事和觀點可能會截然不同。然而，儘管年齡、性別、階層、籍貫等背景因素各異，大多數人都為曾經投身這一度僱用了香港四成勞動人口的繁盛行業而感到自豪。
當時工業滲透社會生活的不同層面，形成了目的各異的社會網絡，如工廠老闆對工人的關懷、工會成員對福利的倡導、初級工人到郊外聚會和共度輕鬆時光等。除了經濟利益及豐裕的物質外，香港的工業過去帶來了怎樣的社交關係，令上一代有着如此深厚以至懷舊的情感？
如今我們與他人建立聯繫的方式又有何不同？本次展示涵括CHAT六廠藏品及借展品，透過案例呈現紡織業中不同群體的面貌及形成，並與季度展覽展開對話，探討社會經濟現象如何促進不同社群在社會中的發展與共存。
htmlText_D9FBAFEB_93F7_024D_41D6_6CDE3D1A8C9D.html =
種學織文2024
菠蘿核：月廠來客
「月廠來客」總結了廣州藝術家團體「菠蘿核」在2024年於CHAT六廠參與為期半年的藝術家駐場計劃。作為菠蘿核在香港的首次機構個展，展覽呈現 他們在「種學織文」社群計劃的集體創作成果。
菠蘿核近年進行關於「華僑農場」的考察研究，遂以華僑農場中生長的各種植物作為創作靈感。不論是作為經濟作物還是私人種植的用途，植物都貫穿在不同社會的歷史變遷和敘事更迭中，盛載着當地人的日常生活，也反映命運跌宕起伏的記憶與痕跡。因此，藝術家挑選了六種在華僑農場中常見的植物，與一所本地大專院校及兩所小學的學生組成的「種子隊」合作，在春季於廣州及香港進行種植與維護，利用收成製作自然染料，在夏季展覽中邀請公眾進行以染色及拼貼為主的集體創作。在開放工作室中合作完成的拼布成品，加上菠蘿核成員集體創作的系列佈景，構成一部處境劇的拍攝場景，最終在冬季展覽「月廠來客」中以影像作品及空間裝置的方式呈現。
藝術家團體與不同社群共同創作，帶領觀眾反思植物的散播與人類的遷移、社會的文化進程與人們的情感流動之間千絲萬縷的關係。這種邀請公眾介入種植及藝術創作的實踐，深刻地體現了「種學織文」的精神——透過追溯織物製作的物料來源，探索紡織與環境之間密不可分的關係，從而思考自然生態與人文景觀交織重疊的各個可能。
王慰慰、羅璧如
策展人
htmlText_D1B63CC1_947E_02ED_4196_7B87A038D53D.html =
紡織業如何形塑從業者之間的關係？
在你面前的文獻資料勾勒出過去在本地紡織業中形成和活躍的社群網絡，它們曾共同推進香港的發展。我們期望這些材料和文字可以引發各種詮釋、對未被言說的故事的關注，以及對現今人際關係的反思。
在離開之前，別忘了參與牆上的互動活動。
How has the textile industry shaped the relations of its Labourers?
The archival materials before you map out a theoretical network of communities that once flourished in the textile industry and fuelled the development of Hong Kong. We hope these materials and supporting texts inspire interpretation, attention to unspoken narratives and reflection on our relationships with others today.
Before you leave, please participate in the interactive activity along the wall.
htmlText_5227156D_9353_F226_41DA_F8953CF6E2F1.html =
胡尹萍
「胡小芳」是胡尹萍於2015年創立的藝術品牌。在「小芳」和「胡小芳」的品牌名義下， 她利用企業的生產和交易邏輯，向家鄉四川省一個小鎮村落的婦女大量訂購毛線織品。 這種做法由胡氏用化名「小芳」購買她母親製作的毛線帽開始，後來擴大到邀請鎮上其他年長婦女集體參與。隨着時間的推移， 胡氏的事業對整個小鎮的經濟和生活方式都產生了影響。
《安全感——壞人》屬於胡小芳計劃的第三階段。2015年，胡氏的工作室被房東非法暴力拆除，這樣的入侵和破壞行為令胡氏開始質疑自己周遭和社會環境的安全。透過 「小芳」，她向鎮上的各位母親提出一個問題：「如果有人威脅到你和家人的安全，你會用甚麼武器來保護自己和親人？」胡氏隨後邀請這些母親將她們的答案轉化成毛線作品，這些作品分為兩大類：一類靈感來自日常生活，另一類則來自想像。
htmlText_1A59D145_9355_F266_41DD_A87F117F3C5E.html =
西安．戴里特
西安．戴里特透過紡織品、裝置藝術、檔案介入和社區工作坊，探討機構媒體再現和再製的空間、權力及身份概念。他的作品回應邊緣化社群，同時鼓勵以跨越地緣政治和超國家層面的視野，批判及反思殖民與特權觀點。
這兩幅掛毯透過攝影蒙太奇（photomontage） 手法，展示了碼頭、水壩、水務設施以及其他基礎和工業建設的施工過程。這些檔案圖片取自20世紀初菲律賓聯邦政府的《公共工程公告》。戴里特將這些影像與當地現成布料、飾物和刺繡圖畫並置，加上註解，講述當今人們與這些建設相關的經歷。這些掛毯將歷史資料與當下菲律賓人民的生活經驗聯繫起來，寓意將20世紀初至今的國家建設事例拼湊在一起，引發人們思考經濟政策、社會服務、地緣政治和土地使用的延續與轉變。
htmlText_00CCD59A_934D_F2E2_41B0_EFD3B95E4395.html =
邵純
邵純致力探索人類身體和電子互動介面之間的親密關係（digital intimacy）以及與之衍生出的情感渴望。她近期的研究專注於結合傳統手工技藝和電腦程式編寫，意在展開關於互動美學的實驗性探究，藉此反思當下數碼化的生活。
《妄月》建構一個使人聯想祭祀場域的空間， 思索月亮的詩意，也暗示着對未來的幻想。 苗族為中國少數民族之一，崇尚白銀作為月之載體。他們相信白銀可以透過喚醒月亮的神秘力量來傳遞願望和祈願。邵純將古老信 仰和銀在功能性紡織物及現代數據傳輸中的應用結合，創造出半金屬半纖維的雕塑。這些不同質地的雕塑看起來像放大了的立體刺繡，懸於空中，展示着機械式的動作，隨之傳出的聲音就像苗族婦女行走與跳舞時銀飾發出的悠揚鈴聲。此裝置呈現出一種感性又令人悵然的觀看體驗，亦表達了關於未來的矛盾隱喻——在渴望與現實的糾葛中產生出的不安與徬徨。
htmlText_01C6BC8B_9376_B2E2_41D7_278F2E223F45.html =
阿儒瓦苡．篙瑪竿（武玉玲）
阿儒瓦苡．篙瑪竿（武玉玲）屬於台灣原住民排灣族，出生於屏東縣三地門鄉大社村的達瓦蘭部落。篙瑪竿的族人在 2009 年因莫拉克颱風而被迫遷移至禮納里，身為排灣族領袖的女兒，她肩負起保護族人與傳承文化遺產的責任。 篙瑪竿將創作重心從原住民工藝設計轉移到裝置藝術，專注於重溯部落文化的根源，同時傳承女性祖先的生活經驗、傳統和智慧。
「家的路徑」是貫穿篙瑪竿這次展出作品 的概念，它體現了個人成長和自我發現的旅程，強調我們所走的每一步都讓我們更接近真實的自我和最終的目標。 篙瑪竿的作品將不同世代女性的故事交織在一起——從古到今，由祖先的故土邁向新的家園。
htmlText_DE884D28_93F5_07CB_41AD_2FF566783985.html =
The large patchworks here are the collective creations of BOLOHO, Seeders and visitors of CHAT’s summer 2024 exhibition, during which CHAT’s Gallery 2 was transformed into an open studio for the public to make various motifs using naturally dyed fabrics prepared by Seeders. BOLOHO and CHAT’s sewing team then meticulously assembled the motifs, translating the natural and cultural landscapes of overseas Chinese farms into textile backdrops for the filming of Visitants to Lunar Factory. This winter, the backdrops are repurposed as curtains that take visitors into an interactive theatre of history and memory.
htmlText_D041DA4E_946E_01F7_41D4_19911EB40DE8.html =
《工人周報》節選，1970-1971（複製品）
Clippings from Workers Weekly, 1970-1971 (Reproductions)
© 香港基督教工業委員會 The Hong Kong Christian Industrial Committee
htmlText_AFB5C653_93DE_01ED_41C7_86D38CFC0B90.html =
以前的訊息要隔數天才會被閱讀和回覆，人們是如何表達自己的呢？郵寄信件又是否比較浪漫？選擇以下主題，寫一封信，完成後將你的信件放入盒內與他人分享，再為下一位訪客放上新的紙張。
How did people express themselves, knowing that their messages would only be read and responded to every few days? Is snail mail always more romantic? Write a letter using one of the prompts below. Once you are complete, put your letter in the box for others to read and clip on a new piece of paper for the next person to write.
Q1: 回憶近期你對一個親愛的人發的短訊,嘗試將它以書信形式重寫。
Rewrite a recent text message you have sent to a loved one as a letter.
Q2: 你對以前和現今的工作及溝通模式有甚麼感受？
How do you feel about our previous and current modes of working and communication?
請尊重他人的信件,你的信件可能會出現在CHAT六廠的社交媒體 @mill6chat。
Please handle others’ letters with respect. Your letters may appear on CHAT’s Instagram page, @mill6chat.
htmlText_DC56B8F9_93F5_0E4D_41DC_553FB5E129B4.html =
展覽中的一系列大型拼布囊括了菠蘿核成員集體創作的佈景，以及藝術家、種子隊成員及CHAT六廠2024年夏季展覽的觀眾共同製作的拼布作品。展廳二在夏季展覽期間被改裝成「菠蘿核開放工作室」，種子隊成員準備了大量的自然染布料，邀請觀眾參與剪貼和縫製圖案。然後，菠蘿核及CHAT六廠的縫紉隊把圖案整理拼合成佈景，用於拍攝處境劇《月廠來客》。在冬季展覽中，這些在劇中所見的佈景重新搭建成柔軟的簾幕，讓觀眾如置身於互動式劇場中，與歷史和人們的記憶相遇。
htmlText_D24A7726_946A_0FB7_41E2_6EE495AB14BA.html =
工友在南豐紡織工廠辦公室內的合照，約1980年代（複製品）
Workers inside an office of Nan Fung Textiles, about 1980s (Reproduction)
由朱莉芳女士提供 Courtesy of Ms Windy Chu
htmlText_D5458C83_946E_016D_41C3_9317CFD4BA85.html =
工友外出郊遊的合照，約1950年代及1980年代（複製品）
Workers during outings, about 1950s and 1980s (Reproductions)
由溫伴卿女士及朱莉芳女士提供 Courtesy of Ms Wun Pan Hing and Ms Windy Chu
介紹新界郊遊熱點的書籍，1965
Book recommending popular outings in the New Territories, 1965
htmlText_A86D4CC8_93DD_064B_41DA_F284A1103BC8.html =
影像作品《月廠來客》是一部自編自導自演的三集迷你處境劇，交織着與華僑農場的歷史、自然景觀和現實有關的線索、記憶及故事。劇中既能看到八九十年代至千禧年香港影視文化中的喜劇風格，也有舞台劇式的佈景和演繹。藝術家嘗試多樣化地重新理解歷史敘述，將個體的離散記憶引入其中。
此外，藝術家以走訪華僑農場時遇到的植物故事和劇中植物視角的劇情為藍本，創作了一系列集體繪畫，想像植物與人類命運在同一片土地上既呼應又迥異的生命歷程。
The video work Visitants to Lunar Factory is a three-episode mini-drama conceived, directed and performed by BOLOHO, interweaving memories and stories related to the history, natural landscapes and reality of overseas Chinese farms. It combines the comedic charms of Hong Kong’s film and television culture from the 1980s to the 2000s with theatrical sets and performance, reinterpreting historical narratives from different angles by piecing together individual memories of migration.
BOLOHO also created a series of collective paintings based on the botanical stories collected during their visits to overseas Chinese farms and the storyline of the mini-drama from the plants’ perspective. These artworks imagine the intertwined yet distinct life journeys of plants and humans on the same piece of land.
htmlText_DD0A6D2E_946A_03B7_41D0_C540D871E7A3.html =
正於觀塘一間紗廠內進食午餐的工人，1963（複製品）
Workers during lunchtime in a spinning mill in Kwun Tong, 1963 (Reproduction)
由政府新聞處提供 Courtesy of the Information Services Department
工人使用的各種舊式「飯盒」
Various ‘food containers’ used by workers
部分由久米美由紀借出 Partly courtesy of Kume Miyuki
htmlText_D64306AA_9652_6327_41E2_C78D3F7190F3.html =
港九紡織染業職工總會徽章，約1970年代
Hong Kong and Kowloon Spinning, Weaving and Dyeing Trade Workers General Union Badge, about 1970s
工會會員證，約1940及1970年代
Union handbooks, about 1940s and 1970s
htmlText_DDB4593D_947E_0395_41D8_2462865A939A.html =
申請南豐紡織職位的求職信，約1950年代初
Cover letter for a position in Nan Fung Textiles, about early 1950s
htmlText_DA280007_947A_0175_41E1_E929E114D098.html =
陳廷驊博士名片，約1940年代末
Business card of Dr Chen Din-Hwa, about late 1940s
工友在紗廠内外的工作照及合照，約1950年代（複製品）
Workers inside and outside a spinning mill, about 1950s (Reproductions)
由溫伴卿女士提供 Courtesy of Ms Wun Pan Hing
耳機：前紗廠女工溫伴卿女士的口述歷史訪談，2024
Headphones: Oral history interview with former textile worker Ms Wun Pan Hing, 2024
## Tour ### Description ### Title tour.name = 南豐