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《代工繡場:紗廠客廳 No.10》
2021-2022
刺繡縫線、數碼影像畫布
60 x 43 厘米
CHAT六廠藏品
Sewing Field: CHAT Living Room No.10
2021-2022
Embroidery and digital print on canvas
60 x 43 cm
Collection of CHAT
htmlText_989107D4_86AB_C5AD_41C9_57B6EA9B3B69.html =
《代工繡場:紗廠客廳 No.10》
2021-2022
刺繡縫線、數碼影像畫布
60 x 43 厘米
CHAT六廠藏品
Sewing Field: CHAT Living Room No.10
2021-2022
Embroidery and digital print on canvas
60 x 43 cm
Collection of CHAT
htmlText_99877E45_86AE_C6AF_41AA_7666AF523FA1.html =
《代工繡場:紗廠客廳 No.1》
2021-2022
刺繡縫線、數碼影像畫布
60 x 45 厘米
CHAT六廠藏品
Sewing Field: CHAT Living Room No.1
2021-2022
Embroidery and digital print on canvas
60 x 45 cm
Collection of CHAT
htmlText_25104B23_13D3_C007_41A1_DB46BA5777A5.html =
《代工繡場:紗廠客廳 No.1》
2021-2022
刺繡縫線、數碼影像畫布
60 x 45 厘米
CHAT六廠藏品
Sewing Field: CHAT Living Room No.1
2021-2022
Embroidery and digital print on canvas
60 x 45 cm
Collection of CHAT
htmlText_2AB255B6_13F1_4001_418D_B614BD90CB97.html =
《代工繡場:紗廠客廳 No.3》
2021-2022
刺繡縫線、數碼影像畫布
70 x 53 厘米
CHAT六廠藏品
Sewing Field: CHAT Living Room No.3
2021-2022
Embroidery and digital print on canvas
70 x 53 cm
Collection of CHAT
htmlText_9DCD7DEA_86A7_4565_41B0_65C8E0EB6774.html =
《代工繡場:紗廠客廳 No.3》
2021-2022
刺繡縫線、數碼影像畫布
70 x 53 厘米
CHAT六廠藏品
Sewing Field: CHAT Living Room No.3
2021-2022
Embroidery and digital print on canvas
70 x 53 cm
Collection of CHAT
htmlText_9D5F9F6D_86A5_C57F_41B2_40481AFD6EA6.html =
《代工繡場:紗廠客廳 No.4》
2021-2022
刺繡縫線、數碼影像畫布
60 x 46 厘米
CHAT六廠藏品
Sewing Field: CHAT Living Room No.4
2021-2022
Embroidery and digital print on canvas
60 x 46 cm
Collection of CHAT
htmlText_2B79A9B6_13F3_4001_4187_68685E4657E0.html =
《代工繡場:紗廠客廳 No.4》
2021-2022
刺繡縫線、數碼影像畫布
60 x 46 厘米
CHAT六廠藏品
Sewing Field: CHAT Living Room No.4
2021-2022
Embroidery and digital print on canvas
60 x 46 cm
Collection of CHAT
htmlText_9F3E048F_86A5_5BBB_4165_7B2C3636F102.html =
《代工繡場:紗廠客廳 No.5
2021-2022
刺繡縫線、數碼影像畫布
75 x 51 厘米
CHAT六廠藏品
Sewing Field: CHAT Living Room No.5
2021-2022
Embroidery and digital print on canvas
75 x 51 cm
Collection of CHAT
htmlText_25E11A65_13F3_4003_419C_6AD48949ED54.html =
《代工繡場:紗廠客廳 No.5
2021-2022
刺繡縫線、數碼影像畫布
75 x 51 厘米
CHAT六廠藏品
Sewing Field: CHAT Living Room No.5
2021-2022
Embroidery and digital print on canvas
75 x 51 cm
Collection of CHAT
htmlText_9B4104CA_86AD_3BA5_41D7_7B7C32F2A6DD.html =
《代工繡場:紗廠客廳 No.6》
2021-2022
刺繡縫線、數碼影像畫布
60 x 46 厘米
CHAT六廠藏品
Sewing Field: CHAT Living Room No.6
2021-2022
Embroidery and digital print on canvas
60 x 46 cm
Collection of CHAT
htmlText_2A29C89E_13D1_C001_4152_74C51CAD8ED0.html =
《代工繡場:紗廠客廳 No.6》
2021-2022
刺繡縫線、數碼影像畫布
60 x 46 厘米
CHAT六廠藏品
Sewing Field: CHAT Living Room No.6
2021-2022
Embroidery and digital print on canvas
60 x 46 cm
Collection of CHAT
htmlText_B065FEAB_869B_C7FB_41BE_00731C2DC9D6.html =
1970年代香港居家景觀
1970s apartment interior of Hong Kong
htmlText_3E864ABB_2173_9323_4199_6FC1DD369150.html =
1970年代香港居家景觀
1970s apartment interior of Hong Kong
htmlText_262E33A5_148F_4B02_41A4_DEEB935CB7C8.html =
1950 年代末 — 簡樸平凡
第二次世界大戰後,大批內地移民湧入香港,當中不乏工業家。人口與資金的增長,為香港於1950 年代末轉型為工業城市奠下了基礎。
本地工業剛起飛時,成衣市場仍未普及,衣服多由婦女為家人製作。沒有特定制服的工廠女工,衣着與一般基層女性無異,以自家縫製、剪裁寬鬆又方便工作的中式衫褲為主。另外,她們亦會穿上圍裙,在袋子放入勾針、梭子和手帕等工具。上方是由CHAT六廠車衣團隊仿製的棉布衫褲及圍裙,樸素的設計反映戰後至60年代初的衣着依然傾向單調保守。
Late 1950s - Modest Outfits
After the Second World War, a wave of migrants from the mainland arrived in Hong Kong, among them many industrialists. With this increase in population and capital, Hong Kong was quickly set to become an industrial city in the 1950s.
At that time, ready-to-wear garments were not widely available, and clothes were usually sewn at home by women for their family. Most factories did not have a uniform, so female workers typically wore a simple saam fu – a Chinese-style ensemble of a matching top and bottom. Saam fu often had a boxy cut and were relatively loose, allowing ease of movement. An apron with pockets would often be worn for carrying tools such as hooks, shuttles and handkerchiefs. The above cotton saam fu is a replica produced by the CHAT Sewing Team. Its simplicity reflects the modesty of the post-war era until the early 1960s.
htmlText_A83BE8A5_869E_CBEF_41C2_7795AAF491E7.html =
1950 年代末 — 簡樸平凡
第二次世界大戰後,大批內地移民湧入香港,當中不乏工業家。人口與資金的增長,為香港於1950 年代末轉型為工業城市奠下了基礎。
本地工業剛起飛時,成衣市場仍未普及,衣服多由婦女為家人製作。沒有特定制服的工廠女工,衣着與一般基層女性無異,以自家縫製、剪裁寬鬆又方便工作的中式衫褲為主。另外,她們亦會穿上圍裙,在袋子放入勾針、梭子和手帕等工具。上方是由CHAT六廠車衣團隊仿製的棉布衫褲及圍裙,樸素的設計反映戰後至60年代初的衣着依然傾向單調保守。
Late 1950s - Modest Outfits
After the Second World War, a wave of migrants from the mainland arrived in Hong Kong, among them many industrialists. With this increase in population and capital, Hong Kong was quickly set to become an industrial city in the 1950s.
At that time, ready-to-wear garments were not widely available, and clothes were usually sewn at home by women for their family. Most factories did not have a uniform, so female workers typically wore a simple saam fu – a Chinese-style ensemble of a matching top and bottom. Saam fu often had a boxy cut and were relatively loose, allowing ease of movement. An apron with pockets would often be worn for carrying tools such as hooks, shuttles and handkerchiefs. The above cotton saam fu is a replica produced by the CHAT Sewing Team. Its simplicity reflects the modesty of the post-war era until the early 1960s.
htmlText_A803AD14_86A5_4AAD_41DC_6534061949C0.html =
1960 年代 — 人人愛美
1960 年代輕工業發展迅速,大部分基層女性年紀尚輕便投身工廠工作,分擔家庭開支。在按件計算薪酬的制度下,辛勤工作的女工開始經濟自主,也會基於不同工廠提供的福利自由選擇工作,女性在家庭和社會的地位有所提升。
隨着消費能力提高,女工對衣着也更為講究,會挑選不同樣式的衫褲上班。如果工作環境骯髒,她們甚至會在下班後換上另一套衣服社交。上方的印花衫褲由昂貴的絲綢做成,相信是為特別場合訂造。據女工所言,早期衫褲只有鈕扣,拉鏈設計是後期的特色,以增添時髦感。
1960s - Beauty for All
The booming light industries of the 1960s provided opportunities for young women to enter the workforce to support their families. As factory workers were paid on a piece-rate basis, women who worked the most productively became financially independent and gained the freedom to choose their employment based on the provided benefits, elevating the status of women in family and society.
As their spending power increased, women became more particular about the way they dressed, beginning with the saam fu they wore to work. If clothes were made dirty at work, they would change into another outfit before leaving the factory. The above saam fu made of expensive silk was probably worn on special occasions. Saam fu were usually fastened with snap buttons; zippers were later introduced for style.
htmlText_27717A7A_148D_4506_4195_A3D56B94F463.html =
1960 年代 — 人人愛美
1960 年代輕工業發展迅速,大部分基層女性年紀尚輕便投身工廠工作,分擔家庭開支。在按件計算薪酬的制度下,辛勤工作的女工開始經濟自主,也會基於不同工廠提供的福利自由選擇工作,女性在家庭和社會的地位有所提升。
隨着消費能力提高,女工對衣着也更為講究,會挑選不同樣式的衫褲上班。如果工作環境骯髒,她們甚至會在下班後換上另一套衣服社交。上方的印花衫褲由昂貴的絲綢做成,相信是為特別場合訂造。據女工所言,早期衫褲只有鈕扣,拉鏈設計是後期的特色,以增添時髦感。
1960s - Beauty for All
The booming light industries of the 1960s provided opportunities for young women to enter the workforce to support their families. As factory workers were paid on a piece-rate basis, women who worked the most productively became financially independent and gained the freedom to choose their employment based on the provided benefits, elevating the status of women in family and society.
As their spending power increased, women became more particular about the way they dressed, beginning with the saam fu they wore to work. If clothes were made dirty at work, they would change into another outfit before leaving the factory. The above saam fu made of expensive silk was probably worn on special occasions. Saam fu were usually fastened with snap buttons; zippers were later introduced for style.
htmlText_21ACE987_148D_470E_41AE_60A166691F65.html =
1970 年代初 — 西服潮流
戰後的新生代長期接觸歐美流行文化,並將西式服裝與年輕活力掛勾,在1970 年代掀起了一陣西服潮流,「永安」、「先施」等百貨公司便有多款西式成衣可供選擇,中式衫褲自此式微。在追求效率的城市中,購買成衣比訂製衣服省時,加上政府的大型推廣,西式成衣自然成為大眾首選。
女工也不例外,迷你裙、夏威夷裇衫和牛仔褲均是不少女工上班和工餘時的選擇,喇叭褲更是風行一時。值得一提的是,雖然當時的女工追求西式打扮,但卻並未忽視傳統的倫理道德,這亦反映在當時流行的工廠生涯電影中。
Early 1970s - Western Trends
The post-war boomers grew up with Western popular culture and associated Western fashion with youth and vitality. The 1970s saw the rise of Western fashion and the decline of saam fu, as department stores like Wing On and Sincere stocked up on a variety of Western ready-to-wear garments. In a city increasingly focused on efficiency, and along with the government's large-scale promotion, ready-to-wear items had largely replaced tailor-made clothing.
Female workers began to wear miniskirts, Hawaiian shirts, denim jeans and flared pants – both at work and in their personal lives. While adopting a Western appearance, they did not forget the traditional feminine virtues of their own culture, as demonstrated by films depicting factory life at the time.
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1970 年代初 — 西服潮流
戰後的新生代長期接觸歐美流行文化,並將西式服裝與年輕活力掛勾,在1970 年代掀起了一陣西服潮流,「永安」、「先施」等百貨公司便有多款西式成衣可供選擇,中式衫褲自此式微。在追求效率的城市中,購買成衣比訂製衣服省時,加上政府的大型推廣,西式成衣自然成為大眾首選。
女工也不例外,迷你裙、夏威夷裇衫和牛仔褲均是不少女工上班和工餘時的選擇,喇叭褲更是風行一時。值得一提的是,雖然當時的女工追求西式打扮,但卻並未忽視傳統的倫理道德,這亦反映在當時流行的工廠生涯電影中。
Early 1970s - Western Trends
The post-war boomers grew up with Western popular culture and associated Western fashion with youth and vitality. The 1970s saw the rise of Western fashion and the decline of saam fu, as department stores like Wing On and Sincere stocked up on a variety of Western ready-to-wear garments. In a city increasingly focused on efficiency, and along with the government's large-scale promotion, ready-to-wear items had largely replaced tailor-made clothing.
Female workers began to wear miniskirts, Hawaiian shirts, denim jeans and flared pants – both at work and in their personal lives. While adopting a Western appearance, they did not forget the traditional feminine virtues of their own culture, as demonstrated by films depicting factory life at the time.
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Executive Director’s Greeting
On 15 March 2024 CHAT turns five years old, marking half a decade of bringing heritage, art and people together. Located within The Mills, a business and cultural complex repurposed from the former cotton-spinning mills of Nan Fung Textiles, CHAT is committed to revitalising the legacy of Hong Kong’s textile industry. At the same time, CHAT has been showcasing leading Asian talents in contemporary art, design and craft while, with the motto ‘Weaving Creative Experience for All’, striving to enhance the well-being of individuals and communities of all generations. It has been a great joy to see CHAT being recognised and embraced as a community museum in Hong Kong.
Looking ahead to the next ve years, we adopt the new motto ‘Factory of Tomorrow’ and explore the possibilities of textile, art and design by drawing inspiration from the past and tapping into innovative methodologies, materials and technologies. Embodying this vision, our eponymous spring exhibition presents CHAT’s contemporary art collection as well as newly commissioned works to re ect on the in uence of Hong Kong’s textile industry and project a vision for the future. The special display in The D. H. Chen Foundation Gallery, titled Misfitted: Unspoken Stories of Tailoring, introduces textiles tailor-made for various purposes, ranging from homemade clothing to dance costumes. The interactive experience Illumin-Loom invites you to operate the machine and design your own illuminated textile patterns. In addition, the CHAT Lounge has reopened with new big curtains designed based on artworks by students and DEMOS, an interactive art piece whose patterns are derived from local vintage garments in our collection. These are accompanied by the display Artefacts of Labour, which offers insights into the artworks exhibited in CHAT’s gallery by contextualising them within Hong Kong’s textile industry. In the elevator hall leading to the rooftop, you will also see a graphic wall featuring CHAT’s ve-year journey.
Our wide variety of programmes are the fruit of invaluable contributions from many. We express our heartfelt gratitude to all the artists, designers, textile practitioners, educators, organisations and individuals who have resonated with and supported CHAT over the past ve years. We thank the Japan Foundation, Tajima Embroidery Machines Limited and We R Family Foundation for their support and cooperation this season. Our founding donor, The D. H. Chen Foundation, and our main donor, Nan Fung Group, have consistently believed in CHAT’s mission and provided generous support. These programmes would also not be possible without our dedicated staff. Last but not least, we are grateful to each and every visitor who has come to CHAT – you are the driving force behind our activities.
We hope you enjoy your visit and humbly ask for your continued support, which will enable CHAT to further develop with the enterprising spirit and resilience that are the legacy of Hong Kong’s textile industry!
Takahashi Mizuki
Executive Director and Chief Curator CHAT (Centre for Heritage, Arts and Textile)
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Introduction
We often want to relive the past through cultural relics and sites, because we seek the roots of our identity and a basis for our present state of being: ‘Why am I here and now, in this way?’ People yearn for a past fixed in time, particularly when they live in societies undergoing rapid change. They unearth stories buried in history and
embed them in their identity. The past is also glorified as a site of escape from the current pain and anxiety. The urge to see the past come alive from decaying ruins, temples and vintage artefacts can blind us to people’s suffering at the time or living conditions far inferior to what we enjoy today. Does heritage really serve to nostalgically look back on a sanitised past and lament the present?
Since its establishment, CHAT’s vision has always gone beyond preserving buildings and objects; the community museum strives to breathe life into the heritage – a factory that has transformed from a production centre of yarn and cloth to a place for creativity and imagination. In this sense, CHAT asks not only its visitors but also the artists and designers it engages: how can we collectively learn
and think about what the future holds, and how do we get there? Heritage is more than factual traces of past events; it is a resource for countless inquiries that can help us live better lives in the future.
The exhibition Factory of Tomorrow is in the genealogy of CHAT’s curatorial journey over the last five years. Through heritage, it endeavours to critically examine the past and evoke imagination for the future. Reflecting on Hong Kong’s past, the exhibition presents glimpses of a future envisioned by artists while encouraging visitors to take part in building a better path forward. In the same vein, CHAT pays tribute to the intangible heritage of courage and vitality bequeathed by those who worked day and night here at Nan Fung Textiles, looking to tomorrow.
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Introduction
We often want to relive the past through cultural relics and sites, because we seek the roots of our identity and a basis for our present state of being: ‘Why am I here and now, in this way?’ People yearn for a past fixed in time, particularly when they live in societies undergoing rapid change. They unearth stories buried in history and
embed them in their identity. The past is also glorified as a site of escape from the current pain and anxiety. The urge to see the past come alive from decaying ruins, temples and vintage artefacts can blind us to people’s suffering at the time or living conditions far inferior to what we enjoy today. Does heritage really serve to nostalgically look back on a sanitised past and lament the present?
Since its establishment, CHAT’s vision has always gone beyond preserving buildings and objects; the community museum strives to breathe life into the heritage – a factory that has transformed from a production centre of yarn and cloth to a place for creativity and imagination. In this sense, CHAT asks not only its visitors but also the artists and designers it engages: how can we collectively learn
and think about what the future holds, and how do we get there? Heritage is more than factual traces of past events; it is a resource for countless inquiries that can help us live better lives in the future.
The exhibition Factory of Tomorrow is in the genealogy of CHAT’s curatorial journey over the last five years. Through heritage, it endeavours to critically examine the past and evoke imagination for the future. Reflecting on Hong Kong’s past, the exhibition presents glimpses of a future envisioned by artists while encouraging visitors to take part in building a better path forward. In the same vein, CHAT pays tribute to the intangible heritage of courage and vitality bequeathed by those who worked day and night here at Nan Fung Textiles, looking to tomorrow.
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SECTION 1
Hong Kong Textile Heritage – Vital Source of Inspiration
CHAT has engaged with over 130 artists, designers and artisans since its grand opening in March 2019. The works in this section are part of CHAT’s contemporary art collection, which has been developed through collaboration with these creative minds. CHAT has been building upon Hong Kong’s textile industrial heritage artistically. Echoing the cosmopolitan character of Hong Kong, the collection showcases Hong Kong’s textile heritage as a vital source of inspiration for both local and international artists.
Distinctively located in a textile industrial heritage site in Tsuen Wan, CHAT offers a wealth of resources and ideas to its collaborators. Artists have drawn on CHAT’s archive and community network to create art, shedding light on previously untold stories about female migrants, Hong Kong’s economic development, transnational culture and more. Each work on display interprets and engages with the history of Hong Kong’s textile industry from the artist’s unique perspective. In this regard, CHAT’s contemporary art collection is deeply rooted in the city.
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SECTION 1
Hong Kong Textile Heritage – Vital Source of Inspiration
CHAT has engaged with over 130 artists, designers and artisans since its grand opening in March 2019. The works in this section are part of CHAT’s contemporary art collection, which has been developed through collaboration with these creative minds. CHAT has been building upon Hong Kong’s textile industrial heritage artistically. Echoing the cosmopolitan character of Hong Kong, the collection showcases Hong Kong’s textile heritage as a vital source of inspiration for both local and international artists.
Distinctively located in a textile industrial heritage site in Tsuen Wan, CHAT offers a wealth of resources and ideas to its collaborators. Artists have drawn on CHAT’s archive and community network to create art, shedding light on previously untold stories about female migrants, Hong Kong’s economic development, transnational culture and more. Each work on display interprets and engages with the history of Hong Kong’s textile industry from the artist’s unique perspective. In this regard, CHAT’s contemporary art collection is deeply rooted in the city.
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《偷生》
2020-2021
電線、電箱
尺寸可變
藝術家提供
Mundane life
2020-2021
Electrical wires, electrical box
Dimensions variable
Courtesy of the artist
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《偷生》
2020-2021
電線、電箱
尺寸可變
藝術家提供
Mundane life
2020-2021
Electrical wires, electrical box
Dimensions variable
Courtesy of the artist
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《偷生》
2020-2021
電線、電箱
尺寸可變
藝術家提供
Mundane life
2020-2021
Electrical wires, electrical box
Dimensions variable
Courtesy of the artist
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《偷生》
2020-2021
電線、電箱
尺寸可變
藝術家提供
Mundane life
2020-2021
Electrical wires, electrical box
Dimensions variable
Courtesy of the artist
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《偷生》
2020-2021
電線、電箱
尺寸可變
藝術家提供
Mundane life
2020-2021
Electrical wires, electrical box
Dimensions variable
Courtesy of the artist
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《偷生》
2020-2021
電線、電箱
尺寸可變
藝術家提供
Mundane life
2020-2021
Electrical wires, electrical box
Dimensions variable
Courtesy of the artist
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《偷生》
2020-2021
電線、電箱
尺寸可變
藝術家提供
Mundane life
2020-2021
Electrical wires, electrical box
Dimensions variable
Courtesy of the artist
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《偷生》
2020-2021
電線、電箱
尺寸可變
藝術家提供
Mundane life
2020-2021
Electrical wires, electrical box
Dimensions variable
Courtesy of the artist
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《收成》
2023
透明塑料包裝、黃銅
尺寸可變
藝術家提供
Harvest
2023
Clear plastic packing, brass
Dimensions variable
Courtesy of the artist
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《收成》
2023
透明塑料包裝、黃銅
尺寸可變
藝術家提供
Harvest
2023
Clear plastic packing, brass
Dimensions variable
Courtesy of the artist
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《無籽》
2022
葡萄莖、黃銅
尺寸可變
藝術家提供
Seedless
2022
Grape stems, brass
Dimensions variable
Courtesy of the artist
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《無籽》
2022
葡萄莖、黃銅
尺寸可變
藝術家提供
Seedless
2022
Grape stems, brass
Dimensions variable
Courtesy of the artist
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《無籽》
2022
葡萄莖、黃銅
尺寸可變
藝術家提供
Seedless
2022
Grape stems, brass
Dimensions variable
Courtesy of the artist
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《無籽》
2022
葡萄莖、黃銅
尺寸可變
藝術家提供
Seedless
2022
Grape stems, brass
Dimensions variable
Courtesy of the artist
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《無重的美饌》
2023
結晶生物材料「牡蠣殼碎片」、海水樣本、
納米材料天然幻彩塗層
約 8 x 4.5 x 3.5 毫米(每塊)
藝術家提供
Weightless Delight
2023
Crystalised biomaterial ‘oyster shell fragments’,
seawater samples, nano material natural dye
About 8 x 4.5 x 3.5 mm each
Courtesy of the artist
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《無重的美饌》
2023
結晶生物材料「牡蠣殼碎片」、海水樣本、
納米材料天然幻彩塗層
約 8 x 4.5 x 3.5 毫米(每塊)
藝術家提供
Weightless Delight
2023
Crystalised biomaterial ‘oyster shell fragments’,
seawater samples, nano material natural dye
About 8 x 4.5 x 3.5 mm each
Courtesy of the artist
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《無重的美饌》
2023
結晶生物材料「牡蠣殼碎片」、海水樣本、
納米材料天然幻彩塗層
約 8 x 4.5 x 3.5 毫米(每塊)
藝術家提供
Weightless Delight
2023
Crystalised biomaterial ‘oyster shell fragments’,
seawater samples, nano material natural dye
About 8 x 4.5 x 3.5 mm each
Courtesy of the artist
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《綑技》
2021
電線、黃銅
尺寸可變
藝術家提供
Branching in Bundles
2021
Electrical wires, brass
Dimensions variable
Courtesy of the artist
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《綑技》
2021
電線、黃銅
尺寸可變
藝術家提供
Branching in Bundles
2021
Electrical wires, brass
Dimensions variable
Courtesy of the artist
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《聚合物》
2024
透明畫布、合成可降解材料、微藻、生物基水凝膠、稀土礦物樣本、珍珠母、固碳
200 x 300 厘米
CHAT六廠委託作品
Composite
2024
Layered material composites on transparent canvas, micro algae, bio-based hydrogel, rare earth minerals, mother-of-pearl, sequestrated carbon
200 x 300 cm
Commissioned by CHAT
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《聚合物》
2024
透明畫布、合成可降解材料、微藻、生物基水凝膠、稀土礦物樣本、珍珠母、固碳
200 x 300 厘米
CHAT六廠委託作品
Composite
2024
Layered material composites on transparent canvas, micro algae, bio-based hydrogel, rare earth minerals, mother-of-pearl, sequestrated carbon
200 x 300 cm
Commissioned by CHAT
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于一蘭
與編織夥伴 Lili Naming,
Siat Yanau, Shahrizan Bin Juin,
Johin Endelengau
《對你愛愛愛不完》
2021
竹織物、來自樹木的天然黑色染料、
啞光塗層
225 x 360 厘米
CHAT六廠藏品
這件織墊是 CHAT六廠 2021 年夏季展覽的委託作品,上面是擷取自十首廣東流行曲的歌詞。受到殖民歷史和過往大量中國移民湧入的影響,馬來西亞人對流行文化的體驗超越了種族和地理的界限。在 1960 至 1990 年代期間,廣東流行歌曲在東南亞掀起風潮,在馬來西亞受到華人以外的社群歡迎。儘管文化根源不同,這些歌曲依然留存於人們的集體記憶中。
YEE I-LANN
with weaving by Lili Naming,
Siat Yanau, Shahrizan Bin Juin,
Johin Endelengau
SO WE LOVE LOVE LOVE TONIGHT
2021
Split bamboo pus weave with kayu
obol black natural dye, matt sealant
225 x 360 cm
Collection of CHAT
Lyrics extracted from ten popular Cantopop songs are woven into this mat, which was commissioned for CHAT’s summer exhibition in 2021. Due to its colonial past and significant population of Chinese immigrants, Malaysia is familiar with a popular culture that transcends ethnic and geographical boundaries. Between 1960s and 1990s, Cantopop gained popularity in Southeast Asia and was widely listened to by audiences beyond the local Malaysian Chinese communities. These songs have remained in the collective memory of the people despite their different cultural roots.
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于一蘭
與編織夥伴 Lili Naming,
Siat Yanau, Shahrizan Bin Juin,
Johin Endelengau
《對你愛愛愛不完》
2021
竹織物、來自樹木的天然黑色染料、
啞光塗層
225 x 360 厘米
CHAT六廠藏品
這件織墊是 CHAT六廠 2021 年夏季展覽的委託作品,上面是擷取自十首廣東流行曲的歌詞。受到殖民歷史和過往大量中國移民湧入的影響,馬來西亞人對流行文化的體驗超越了種族和地理的界限。在 1960 至 1990 年代期間,廣東流行歌曲在東南亞掀起風潮,在馬來西亞受到華人以外的社群歡迎。儘管文化根源不同,這些歌曲依然留存於人們的集體記憶中。
YEE I-LANN
with weaving by Lili Naming,
Siat Yanau, Shahrizan Bin Juin,
Johin Endelengau
SO WE LOVE LOVE LOVE TONIGHT
2021
Split bamboo pus weave with kayu
obol black natural dye, matt sealant
225 x 360 cm
Collection of CHAT
Lyrics extracted from ten popular Cantopop songs are woven into this mat, which was commissioned for CHAT’s summer exhibition in 2021. Due to its colonial past and significant population of Chinese immigrants, Malaysia is familiar with a popular culture that transcends ethnic and geographical boundaries. Between 1960s and 1990s, Cantopop gained popularity in Southeast Asia and was widely listened to by audiences beyond the local Malaysian Chinese communities. These songs have remained in the collective memory of the people despite their different cultural roots.
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何銳安
《Lining》
2021
影像裝置
26’00”
CHAT六廠藏品
何銳安在 2021 年駐留於CHAT六廠,開始研究香港及中國廣東地區紡織業的遷徙史,並創作了影像裝置作品《Lining》,這亦是他正籌備的長片的緣起之作,該長片將探討大中華地區與香港百年紡織的工業史。《Lining》交織歷史材料、與前工廠工人和經理等的訪談,以及在香港和廣東的觀察影像,闡述香港踏入後工業時代的轉變,探索在全球資本主義的外衣下,香港和廣州之間的橫向連繫。
由於新冠疫情的影響,何銳安與身在中國大陸的研究員陳璽安遠程合作進行調查和研究,並在廣東時代美術館的協助下完成在廣東地區的拍攝。
HO RUI AN
Lining
2021
Video installation
26’00”
Collection of CHAT
During his residency at CHAT in 2021, Ho began to investigate the evolution of textile production in Hong Kong and Guangdong and created Lining, the first part of his planned extensive film on the textile industry of Greater China and Hong Kong over the past 100 years. Historical materials and interviews with former factory workers and managers are woven together with images of Hong Kong and Guangdong to chronicle Hong Kong's transformation into a post-industrial city. This project reveals a pattern of horizontal integration connecting the two cities, which has long been obscured under the cloak of global capitalism.
Due to the coronavirus pandemic, Ho worked remotely with Zian Chen, a researcher based in mainland China, and completed filming in the Guangdong region with assistance from the Guangdong Times Museum.
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何銳安
《Lining》
2021
影像裝置
26’00”
CHAT六廠藏品
何銳安在 2021 年駐留於CHAT六廠,開始研究香港及中國廣東地區紡織業的遷徙史,並創作了影像裝置作品《Lining》,這亦是他正籌備的長片的緣起之作,該長片將探討大中華地區與香港百年紡織的工業史。《Lining》交織歷史材料、與前工廠工人和經理等的訪談,以及在香港和廣東的觀察影像,闡述香港踏入後工業時代的轉變,探索在全球資本主義的外衣下,香港和廣州之間的橫向連繫。
由於新冠疫情的影響,何銳安與身在中國大陸的研究員陳璽安遠程合作進行調查和研究,並在廣東時代美術館的協助下完成在廣東地區的拍攝。
HO RUI AN
Lining
2021
Video installation
26’00”
Collection of CHAT
During his residency at CHAT in 2021, Ho began to investigate the evolution of textile production in Hong Kong and Guangdong and created Lining, the first part of his planned extensive film on the textile industry of Greater China and Hong Kong over the past 100 years. Historical materials and interviews with former factory workers and managers are woven together with images of Hong Kong and Guangdong to chronicle Hong Kong's transformation into a post-industrial city. This project reveals a pattern of horizontal integration connecting the two cities, which has long been obscured under the cloak of global capitalism.
Due to the coronavirus pandemic, Ho worked remotely with Zian Chen, a researcher based in mainland China, and completed filming in the Guangdong region with assistance from the Guangdong Times Museum.
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侯怡亭
《代工繡場:紗廠客廳》系列
CHAT六廠藏品
侯怡亭自 2015 年開始進行《代工繡場》項目,以各地勞動歷史的檔案為載體、刺繡為媒介,邀請大眾一同「書寫歷史」。2021 年冬季,她受CHAT六廠委託創作《代工繡場:紗廠客廳》,首次於香港展出該項目的作品。侯怡亭從CHAT六廠藏品中挑選了 12 張南豐紡織工廠的黑白照片,並將南豐紗廠的中庭空間——紗廠坊改造成一個「客廳」,邀請香港觀眾在這個既公共又私人的空間裏協作,在舊照片上刺繡,藉此重新想像歷史。而這些作為文化遺產的舊照片,也在集體創作中煥發新生。
HOU I-TING
Sewing Field: CHAT Living Room series
Collection of CHAT
Hou has been working on the Sewing Field project since 2015, in which the public participates in the ‘writing of history’ by embroidering on materials drawn from various regional archives of labour history. In its 2021 Winter Programme, CHAT commissioned Hou to create the Sewing Field – CHAT Living Room series, marking the project’s debut in Hong Kong. Hou handpicked 12 black-and-white photographs of Nan Fung Textiles from CHAT’s collection and transformed The Hall of The Mills into a ‘living room’. In this space where the public and the private intersect, members of the public embroidered on the selected photos as a means to reinterpret history. Through this collective act, these objects of cultural heritage were given new life and meaning.
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侯怡亭
《代工繡場:紗廠客廳》系列
CHAT六廠藏品
侯怡亭自 2015 年開始進行《代工繡場》項目,以各地勞動歷史的檔案為載體、刺繡為媒介,邀請大眾一同「書寫歷史」。2021 年冬季,她受CHAT六廠委託創作《代工繡場:紗廠客廳》,首次於香港展出該項目的作品。侯怡亭從CHAT六廠藏品中挑選了 12 張南豐紡織工廠的黑白照片,並將南豐紗廠的中庭空間——紗廠坊改造成一個「客廳」,邀請香港觀眾在這個既公共又私人的空間裏協作,在舊照片上刺繡,藉此重新想像歷史。而這些作為文化遺產的舊照片,也在集體創作中煥發新生。
HOU I-TING
Sewing Field: CHAT Living Room series
Collection of CHAT
Hou has been working on the Sewing Field project since 2015, in which the public participates in the ‘writing of history’ by embroidering on materials drawn from various regional archives of labour history. In its 2021 Winter Programme, CHAT commissioned Hou to create the Sewing Field – CHAT Living Room series, marking the project’s debut in Hong Kong. Hou handpicked 12 black-and-white photographs of Nan Fung Textiles from CHAT’s collection and transformed The Hall of The Mills into a ‘living room’. In this space where the public and the private intersect, members of the public embroidered on the selected photos as a means to reinterpret history. Through this collective act, these objects of cultural heritage were given new life and meaning.
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勞動的痕跡
對香港而言,1960 年代是一個充滿變化的時期:香港正經歷第一次經濟轉型,新生一代亦開始擁抱西方文化。與此同時,輕工業蓬勃發展,女性紛紛投身工廠工作,並在香港經濟起飛的過程中扮演功不可沒的角色。
「勞動的痕跡」由CHAT 六廠藏品中的女工衣着出發,連結口述歷史,回溯1950年代末至70年代初工廠女工的日常裝扮。女工時尙潮流的演變,反映出怎樣的思想和經濟及社會發展歷程?又可以為當代藝術作品的詮釋帶來甚麼思考?
CHAT六廠的藏品集結當代藝術品及香港紡織業遺產的物件,展現藝術館跨學科的特質。此專題展示重新演繹這些藏品,並為季度展提供歷史背景,試圖拓闊觀眾對展出作品的理解。
ARTEFACTS OF LABOUR
The 1960s was a decade of change for Hong Kong – the city experienced its first economic shift, and a generation of youths began to embrace Western culture. As light industries flourished, women flocked into the workforce and became a cornerstone of Hong Kong's economy.
Artefacts of Labour combines garments from the CHAT Collection and oral history to recall the daily outfits of female workers from the late 1950s to the early 1970s. What does their clothing tell us about their lifestyle and values? What about the broader economic and societal changes? How can these everyday matters bring about new perspectives for contemporary art?
The transdisciplinary CHAT Collection consists of contemporary artworks and textile heritage objects. This thematic display provides multiple interpretations of the collection and historical context for understanding the artworks on view in our seasonal exhibition.
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勞動的痕跡
對香港而言,1960 年代是一個充滿變化的時期:香港正經歷第一次經濟轉型,新生一代亦開始擁抱西方文化。與此同時,輕工業蓬勃發展,女性紛紛投身工廠工作,並在香港經濟起飛的過程中扮演功不可沒的角色。
「勞動的痕跡」由CHAT 六廠藏品中的女工衣着出發,連結口述歷史,回溯1950年代末至70年代初工廠女工的日常裝扮。女工時尙潮流的演變,反映出怎樣的思想和經濟及社會發展歷程?又可以為當代藝術作品的詮釋帶來甚麼思考?
CHAT六廠的藏品集結當代藝術品及香港紡織業遺產的物件,展現藝術館跨學科的特質。此專題展示重新演繹這些藏品,並為季度展提供歷史背景,試圖拓闊觀眾對展出作品的理解。
ARTEFACTS OF LABOUR
The 1960s was a decade of change for Hong Kong – the city experienced its first economic shift, and a generation of youths began to embrace Western culture. As light industries flourished, women flocked into the workforce and became a cornerstone of Hong Kong's economy.
Artefacts of Labour combines garments from the CHAT Collection and oral history to recall the daily outfits of female workers from the late 1950s to the early 1970s. What does their clothing tell us about their lifestyle and values? What about the broader economic and societal changes? How can these everyday matters bring about new perspectives for contemporary art?
The transdisciplinary CHAT Collection consists of contemporary artworks and textile heritage objects. This thematic display provides multiple interpretations of the collection and historical context for understanding the artworks on view in our seasonal exhibition.
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埃德‧達瑪萬
《拼布守則》
2019
現成地氈、手工簇絨地氈
685 x 455 厘米
CHAT六廠藏品
這件作品將 12 塊地氈拼合在一起,當中包括達瑪萬原創的地氈,以及在香港製造或使用過的現成地氈,描繪出香港的經濟軌跡和家居環境,也捕捉了香港人在 1970 年代至 2017 年的心理狀況。在創作過程中,藝術家採用了手工簇絨的技術來反映香港的地毯織造史:在 1950 年代末,由於手製地氈相對耗時,加上工藝人手不足,本地地氈製造業便引入機械織槍,提升效率。香港地氈開拓出新市場的同時,經濟形勢的變遷亦造就了新的社會階層、品味和消費模式。
ADE DARMAWAN
Patchwork Regulation
2019
Found carpets, hand-tufted rugs
685 x 455 cm
Collection of CHAT
The work is a collage of 12 carpets, including original rugs by Darmawan and found ones that were made or used in Hong Kong. Each carpet illustrates Hong Kong’s economic trajectory, living environment or the people’s psyche from the 1970s to 2017. The artist adopts the hand-tufting technique to honour the history of carpet making in Hong Kong: in the late 1950s, the mechanical tufting gun was introduced to replace traditional hand-knotting, which requires much more skill and time. A new market for floor coverings appeared in the city, along with shifting economic circumstances marked by the emergence of new classes, tastes and consumption patterns.
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埃德‧達瑪萬
《拼布守則》
2019
現成地氈、手工簇絨地氈
685 x 455 厘米
CHAT六廠藏品
這件作品將 12 塊地氈拼合在一起,當中包括達瑪萬原創的地氈,以及在香港製造或使用過的現成地氈,描繪出香港的經濟軌跡和家居環境,也捕捉了香港人在 1970 年代至 2017 年的心理狀況。在創作過程中,藝術家採用了手工簇絨的技術來反映香港的地毯織造史:在 1950 年代末,由於手製地氈相對耗時,加上工藝人手不足,本地地氈製造業便引入機械織槍,提升效率。香港地氈開拓出新市場的同時,經濟形勢的變遷亦造就了新的社會階層、品味和消費模式。
ADE DARMAWAN
Patchwork Regulation
2019
Found carpets, hand-tufted rugs
685 x 455 cm
Collection of CHAT
The work is a collage of 12 carpets, including original rugs by Darmawan and found ones that were made or used in Hong Kong. Each carpet illustrates Hong Kong’s economic trajectory, living environment or the people’s psyche from the 1970s to 2017. The artist adopts the hand-tufting technique to honour the history of carpet making in Hong Kong: in the late 1950s, the mechanical tufting gun was introduced to replace traditional hand-knotting, which requires much more skill and time. A new market for floor coverings appeared in the city, along with shifting economic circumstances marked by the emergence of new classes, tastes and consumption patterns.
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執行董事歡迎辭
CHAT六廠於2024 年3 月15 日迎來開館五週年,標誌着作為一個文化遺產、藝術和公眾據點的一個重要里程碑。坐落於由前南豐紡織棉紡廠改造而成的商業文化地標—— 南豐紗廠,CHAT六廠致力為香港紡織文化遺產注入新生命。同時,CHAT六廠亦積極展現亞洲各地的當代藝術、設計與工藝才華,以「為大眾編織創意體驗」為己任,努力促進各年齡層人士和社群的福祉。看見CHAT`六廠能以香港社區藝術館的身份,受到大眾的歡迎和認可,是一件令人無比欣慰的事。
展望未來五年,我們將融入「明日工廠」的新理念,由歷史中汲取靈感,並運用創新的方法、物料與科技,探索更多紡織、藝術與設計的可能性。同名的春季展覽將貫徹這個願景,展出CHAT六廠的當代藝術藏品和全新委託作品,在反思香港紡織業的重要性時,開拓觀眾對未來的想像。另一方面,陳廷驊基金會展廳的特別展示「別出心裁:不為人知的裁縫故事」呈現各種度身訂製的服飾,包括自家手造衣服、當代舞蹈服裝等等。互動遊戲體驗《織光機》則邀請觀眾操作機械,設計自己專屬的彩色紡織圖案。與此同時,CHAT 客廳也煥然一新,換上以學生畫作為設計靈感的刺繡簾,以及互動藝術作品《DEMOS》,其花紋源自CHAT六廠藏品中的舊日香港服飾。題為「勞動的痕跡」的主題展示亦透過回溯香港紡織業的歷史,加深觀眾對季度展藝術作品的理解。在通往天台的電梯大廳中,你亦將看見一面簡述CHAT六廠過去五年歷程的展示牆。
CHAT六廠多元化的項目是各方努力合作的珍貴成果,我們由衷感謝所有在過去五年中參與過CHAT` 六廠項目的藝術家、設計師、紡織與教育工作者、機構及人士,還有日本國際交流基金會、田島刺繡機械有限公司及幼吾幼慈善基金在本季度的鼎力支持和合作。我們亦感謝創始捐助機構陳廷驊基金會和主要捐助機構南豐集團始終堅信我們的理念,並提供了慷慨的支持。當然,這些項目還有賴我們一群敬業的員工,才能得以實現。最後,我們感謝每一位到訪CHAT六廠的觀眾—— 你是我們的動力來源。
希望你喜歡這次的觀展體驗,繼續給予我們支持,使CHAT六廠帶着香港紡織業積極進取的精神和韌力,繼續昂首前行!
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
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女工眼中的長衫
長衫(亦稱旗袍)在1950及60 年代備受香港女性愛戴,直至相對便宜的本地製西式成衣流行,加上六七左派運動後大批富戶移民海外,本地裁縫因生意低迷轉行,才導致長衫潮流的消退。
但對於不少女工而言,長衫價錢一向比較昂貴,而且較為拘束,並不方便工作,所以只會於婚禮等隆重場合穿着,展現成熟大方的形象。據女工分享,在她們眼中會穿着長衫的人大致可分為幾類:一身簡樸素淨的知識分子,如老師、學生等;選用上乘布料的富裕人家;以及穿着美艷的交際花。
Cheongsam in the Eyes of Female Workers
Cheongsam (also known as qipao) were popular among Hong Kong women in the 1950s and 60s until the widespread availability of affordable ready-to-wear garments. As many well-to-do families left the city following the civil commotion in 1967, tailors saw a decline in orders and ultimately the fading away of cheongsam.
At the time, many female workers saw cheongsam as expensive, unsuitable for work, formal and reserved for special occasions, such as wedding parties. Some female workers associated the dress with educated families of society, like teachers and students; affluent members who made use of expensive fabrics; and socialites who had a penchant for more revealing clothes.
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女工眼中的長衫
長衫(亦稱旗袍)在1950及60 年代備受香港女性愛戴,直至相對便宜的本地製西式成衣流行,加上六七左派運動後大批富戶移民海外,本地裁縫因生意低迷轉行,才導致長衫潮流的消退。
但對於不少女工而言,長衫價錢一向比較昂貴,而且較為拘束,並不方便工作,所以只會於婚禮等隆重場合穿着,展現成熟大方的形象。據女工分享,在她們眼中會穿着長衫的人大致可分為幾類:一身簡樸素淨的知識分子,如老師、學生等;選用上乘布料的富裕人家;以及穿着美艷的交際花。
Cheongsam in the Eyes of Female Workers
Cheongsam (also known as qipao) were popular among Hong Kong women in the 1950s and 60s until the widespread availability of affordable ready-to-wear garments. As many well-to-do families left the city following the civil commotion in 1967, tailors saw a decline in orders and ultimately the fading away of cheongsam.
At the time, many female workers saw cheongsam as expensive, unsuitable for work, formal and reserved for special occasions, such as wedding parties. Some female workers associated the dress with educated families of society, like teachers and students; affluent members who made use of expensive fabrics; and socialites who had a penchant for more revealing clothes.
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小林勇輝
《Factory of Universe》
2024
多媒體裝置
尺寸可變
CHAT 六廠委託作品
與心光學校小學三、四年級學生合作
作品由日本國際交流基金會支持
此多媒體裝置由小林勇輝的行為藝術作品《也許我是一顆草莓》(2012)演化而成,並曾以不同形式展示。小林對傳統的種族、性別和性取向分類感到疏離和不自在,於是展開探索,尋找語言和視覺形式以外的交流方法,並創造一個安全的空間,讓人們可以從固定的社會角色中釋放自我。
這件作品的靈感源自藝術家為視障學生舉辦工作坊的經歷。他以不同觸感的布料和軟雕塑與學生交流後,深信能觸摸的紡織品正好達到他的期望——讓所有人都能夠體驗他的藝術。作品的主顯示螢幕展示了小林自編的肢體語言,邀請觀眾通過投射自己的感受來作出解讀。
KOBAYASHI YUKI
Factory of Universe
2024
Multimedia installation
Dimension variable
Commissioned by CHAT
Created in collaboration with Primary 3 and 4 students from Ebenezer School
Supported by the Japan Foundation
This installation stems from Kobayashi’s performance Maybe I am a Strawberry (2012) and has been restaged in different forms. Based on his feelings of alienation and discomfort towards conventional classifications of race, gender and sexuality, Kobayashi explores alternatives to verbal and visual communication, creating a safe space where people can be free from predetermined social roles.
The installation was developed from Kobayashi’s experience of conducting workshops with visually impaired students. Having communicated with students using fabrics of different textures and soft sculptures, he is convinced that the tactility of textiles make them an ideal medium for universally accessible art. On the main monitor, he demonstrates his self-composed body language, inviting viewers to interpret it by projecting their own feelings.
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小林勇輝
《Factory of Universe》
2024
多媒體裝置
尺寸可變
CHAT 六廠委託作品
與心光學校小學三、四年級學生合作
作品由日本國際交流基金會支持
此多媒體裝置由小林勇輝的行為藝術作品《也許我是一顆草莓》(2012)演化而成,並曾以不同形式展示。小林對傳統的種族、性別和性取向分類感到疏離和不自在,於是展開探索,尋找語言和視覺形式以外的交流方法,並創造一個安全的空間,讓人們可以從固定的社會角色中釋放自我。
這件作品的靈感源自藝術家為視障學生舉辦工作坊的經歷。他以不同觸感的布料和軟雕塑與學生交流後,深信能觸摸的紡織品正好達到他的期望——讓所有人都能夠體驗他的藝術。作品的主顯示螢幕展示了小林自編的肢體語言,邀請觀眾通過投射自己的感受來作出解讀。
KOBAYASHI YUKI
Factory of Universe
2024
Multimedia installation
Dimension variable
Commissioned by CHAT
Created in collaboration with Primary 3 and 4 students from Ebenezer School
Supported by the Japan Foundation
This installation stems from Kobayashi’s performance Maybe I am a Strawberry (2012) and has been restaged in different forms. Based on his feelings of alienation and discomfort towards conventional classifications of race, gender and sexuality, Kobayashi explores alternatives to verbal and visual communication, creating a safe space where people can be free from predetermined social roles.
The installation was developed from Kobayashi’s experience of conducting workshops with visually impaired students. Having communicated with students using fabrics of different textures and soft sculptures, he is convinced that the tactility of textiles make them an ideal medium for universally accessible art. On the main monitor, he demonstrates his self-composed body language, inviting viewers to interpret it by projecting their own feelings.
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小林勇輝
《也許我是一顆草莓》
2012
錄像
5’04”
藝術家提供
KOBAYASHI YUKI
Maybe I am a Strawberry
2012
Video
5'04"
Courtesy of the artist
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小林勇輝
《也許我是一顆草莓》
2012
錄像
5’04”
藝術家提供
KOBAYASHI YUKI
Maybe I am a Strawberry
2012
Video
5'04"
Courtesy of the artist
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展覽簡介
我們常常希望通過文物和文化遺址重溫過去,是因為我們想追尋自己身份的根源和當前存在的基礎:「我為甚麼會以這種方式,存在於此時此地?」在急劇變化的社會環境中,人們尤其渴望一段定格的過去,他們挖掘埋藏在歷史裏的故事,並將其融入自己的身份建構之中。人們亦把往昔歌頌為一個供他們逃避現實痛苦與不安的場域。透過殘破的遺址、廟宇和舊物重現過去的欲望或會遮蔽我們的雙眼,使我們看不見當時人們的苦難或遠比現在惡劣的生活環境。難道文化遺產的存在意義,就在於緬懷被淨化了的過去和惋惜現在嗎?
自成立以來,CHAT六廠的目標就不止步於保存建築物和物件,而是以社區藝術館的身份積極為文化遺產注入新生命,將一座以往生產紗線和布料的工廠,轉化為充滿創意和想像力的場所。因此,CHAT六廠向觀眾及合作的藝術家和設計師提問:我們可以如何共同學習和思考未來的走向,
又如何實現想像中的未來?文化遺產不單是追溯過去的途徑,亦是可以無限探索的資源,幫助我們迎來更美好的生活。
「明日工廠」展覽是CHAT六廠過去五年策展脈絡的延續,透過文化遺產對過去進行批判性審視,喚起對未來的想像。此展覽對香港的過去作出反思之餘,也展示了藝術家所設想的未來,並鼓勵觀眾參與建構未來的過程。與此同時,CHAT六廠致敬昔日在南豐紡織廠日夜努力、展望將來的員工,他們的活力和勇氣是我們珍而重之的無形遺產。
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展覽簡介
我們常常希望通過文物和文化遺址重溫過去,是因為我們想追尋自己身份的根源和當前存在的基礎:「我為甚麼會以這種方式,存在於此時此地?」在急劇變化的社會環境中,人們尤其渴望一段定格的過去,他們挖掘埋藏在歷史裏的故事,並將其融入自己的身份建構之中。人們亦把往昔歌頌為一個供他們逃避現實痛苦與不安的場域。透過殘破的遺址、廟宇和舊物重現過去的欲望或會遮蔽我們的雙眼,使我們看不見當時人們的苦難或遠比現在惡劣的生活環境。難道文化遺產的存在意義,就在於緬懷被淨化了的過去和惋惜現在嗎?
自成立以來,CHAT六廠的目標就不止步於保存建築物和物件,而是以社區藝術館的身份積極為文化遺產注入新生命,將一座以往生產紗線和布料的工廠,轉化為充滿創意和想像力的場所。因此,CHAT六廠向觀眾及合作的藝術家和設計師提問:我們可以如何共同學習和思考未來的走向,
又如何實現想像中的未來?文化遺產不單是追溯過去的途徑,亦是可以無限探索的資源,幫助我們迎來更美好的生活。
「明日工廠」展覽是CHAT六廠過去五年策展脈絡的延續,透過文化遺產對過去進行批判性審視,喚起對未來的想像。此展覽對香港的過去作出反思之餘,也展示了藝術家所設想的未來,並鼓勵觀眾參與建構未來的過程。與此同時,CHAT六廠致敬昔日在南豐紡織廠日夜努力、展望將來的員工,他們的活力和勇氣是我們珍而重之的無形遺產。
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岩崎貴宏
《星座(香港)》
2018
亞加力板、噴漆
110 x 130 厘米 (每件)
CHAT六廠藏品
乍眼看去,這組黑色亞加力板像是漫天星斗的夜空,但若靠近細看,便會發現描繪的是由高處俯瞰的香港夜景,高樓大廈的璀璨燈火與公司招牌散發的光芒相互交織。而在某些區域,密集的公司招牌形成了一片星海,暗指這些公司的財富和權力之大,足以照亮不同區域。
IWASAKI TAKAHIRO
Constellation (Hong Kong)
2018
Paint on acrylic panels
110 x 130 cm each
Collection of CHAT
At first glance, the black acrylic panels appear as a night sky filled with countless stars; but upon closer examination, you will see that they are, in fact, bird’s-eye views of Hong Kong at night – an illusion composed of innumerable lights from the windows of high-rise buildings and company logos. The logos that appear to form galaxies allude to the power and wealth of the companies, which is concentrated enough to illuminate different areas of the cityscape.
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岩崎貴宏
《星座(香港)》
2018
亞加力板、噴漆
110 x 130 厘米 (每件)
CHAT六廠藏品
乍眼看去,這組黑色亞加力板像是漫天星斗的夜空,但若靠近細看,便會發現描繪的是由高處俯瞰的香港夜景,高樓大廈的璀璨燈火與公司招牌散發的光芒相互交織。而在某些區域,密集的公司招牌形成了一片星海,暗指這些公司的財富和權力之大,足以照亮不同區域。
IWASAKI TAKAHIRO
Constellation (Hong Kong)
2018
Paint on acrylic panels
110 x 130 cm each
Collection of CHAT
At first glance, the black acrylic panels appear as a night sky filled with countless stars; but upon closer examination, you will see that they are, in fact, bird’s-eye views of Hong Kong at night – an illusion composed of innumerable lights from the windows of high-rise buildings and company logos. The logos that appear to form galaxies allude to the power and wealth of the companies, which is concentrated enough to illuminate different areas of the cityscape.
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岩崎貴宏
《混亂以外(變遷)》
2018
棉花、漁網
270 x 630 x 300 厘米
CHAT六廠藏品
此裝置由鋪設在地面的原棉和懸於半空的 13 件棉製雕塑組成,它在勾勒出香港地景的同時,也喚起昔日紡織業引領香港經濟發展的回憶。垂直懸掛的雕塑代表着香港的高樓大廈,並從表面抽出白色棉線,微雕成霓虹招牌、廣告燈箱及起重機。這些紡織雕塑的表面柔軟而不平整,令人聯想起於施工期間覆蓋大廈的布料。岩崎的作品展現建築工程中易被忽視的織物應用,從而影射不斷變化的香港城市景觀。
IWASAKI TAKAHIRO
Out of Disorder (In Flux)
2018
Cotton, fishing net
270 x 630 x 300 cm
Collection of CHAT
Consisting of raw cotton on the ground and 13 suspended cotton fabric sculptures, the installation portrays Hong Kong’s urban landscape while evoking the textile industry as a major driving force behind the city’s economic development. The vertical sculptures represent the high-rise buildings in Hong Kong and are attached with miniature neon signs, light boxes and tower cranes made from white cotton threads. The uneven and soft surfaces of these sculptures also resemble the safety nets that cover buildings during construction. The installation points to the ever-changing landscape of Hong Kong by featuring the typically overlooked use of fabric in building construction.
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岩崎貴宏
《混亂以外(變遷)》
2018
棉花、漁網
270 x 630 x 300 厘米
CHAT六廠藏品
此裝置由鋪設在地面的原棉和懸於半空的 13 件棉製雕塑組成,它在勾勒出香港地景的同時,也喚起昔日紡織業引領香港經濟發展的回憶。垂直懸掛的雕塑代表着香港的高樓大廈,並從表面抽出白色棉線,微雕成霓虹招牌、廣告燈箱及起重機。這些紡織雕塑的表面柔軟而不平整,令人聯想起於施工期間覆蓋大廈的布料。岩崎的作品展現建築工程中易被忽視的織物應用,從而影射不斷變化的香港城市景觀。
IWASAKI TAKAHIRO
Out of Disorder (In Flux)
2018
Cotton, fishing net
270 x 630 x 300 cm
Collection of CHAT
Consisting of raw cotton on the ground and 13 suspended cotton fabric sculptures, the installation portrays Hong Kong’s urban landscape while evoking the textile industry as a major driving force behind the city’s economic development. The vertical sculptures represent the high-rise buildings in Hong Kong and are attached with miniature neon signs, light boxes and tower cranes made from white cotton threads. The uneven and soft surfaces of these sculptures also resemble the safety nets that cover buildings during construction. The installation points to the ever-changing landscape of Hong Kong by featuring the typically overlooked use of fabric in building construction.
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張嫣玹
張嫣玹把電線和醫用口罩的塑膠包裝等人造廢料製成可穿戴、形似植物的配飾。在準備的過程中,她收集到大量廢棄的物品,令她不禁深思回收及再造在解決過度生產和消費上的實質貢獻。此處展出的作品便展示了藝術家近期的反思歷程,她質疑創意回收及再造能否真正改變人們的生活習慣和心態,減少浪費的行為。張氏細小而精緻的作品除了表現手工藝的潛力,也突顯傳統的自然手作材料正被廢棄物料取替。
KIMBERLY CHONG
Chong transforms recycled materials, such as electrical cables and plastic packaging of surgical masks, into accessories that mimic plants. When collecting materials, Chong was constantly offered newly created waste; these wearable works therefore reflect her recent contemplations on whether creative recycling and upcycling can really change people's habits and mindset to reduce wasteful behaviour. While evoking the potential of handicrafts, her small and exquisite works highlight the current tendency of natural, traditional craft materials being replaced by waste materials.
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張嫣玹
張嫣玹把電線和醫用口罩的塑膠包裝等人造廢料製成可穿戴、形似植物的配飾。在準備的過程中,她收集到大量廢棄的物品,令她不禁深思回收及再造在解決過度生產和消費上的實質貢獻。此處展出的作品便展示了藝術家近期的反思歷程,她質疑創意回收及再造能否真正改變人們的生活習慣和心態,減少浪費的行為。張氏細小而精緻的作品除了表現手工藝的潛力,也突顯傳統的自然手作材料正被廢棄物料取替。
KIMBERLY CHONG
Chong transforms recycled materials, such as electrical cables and plastic packaging of surgical masks, into accessories that mimic plants. When collecting materials, Chong was constantly offered newly created waste; these wearable works therefore reflect her recent contemplations on whether creative recycling and upcycling can really change people's habits and mindset to reduce wasteful behaviour. While evoking the potential of handicrafts, her small and exquisite works highlight the current tendency of natural, traditional craft materials being replaced by waste materials.
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從衫褲到西服
這裏的照片捕捉了從中式衫褲過渡到西式成衣的過程。由女工宿舍的照片可見,到了1960年代末、70年代初,穿着中式衫褲的多是上了年紀的女工,年輕女工則緊貼時尚潮流,換上一襲西式裝束。
From Saam Fu to Western-Style Clothing
The images here illustrate the transition from saam fu to Western-style clothing as daily wear. In the image of female workers in their dormitory, one can see that by the late 1960s and early 70s, the majority of those dressed in saam fu were older female workers, while the younger women closely followed fashion trends by wearing Western attire.
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從衫褲到西服
這裏的照片捕捉了從中式衫褲過渡到西式成衣的過程。由女工宿舍的照片可見,到了1960年代末、70年代初,穿着中式衫褲的多是上了年紀的女工,年輕女工則緊貼時尚潮流,換上一襲西式裝束。
From Saam Fu to Western-Style Clothing
The images here illustrate the transition from saam fu to Western-style clothing as daily wear. In the image of female workers in their dormitory, one can see that by the late 1960s and early 70s, the majority of those dressed in saam fu were older female workers, while the younger women closely followed fashion trends by wearing Western attire.
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木原裕紀
《木原裕紀在日本京都當舞伎的記錄》
2018、2023
紙本印刷
42 x 56 厘米,一組五件
藝術家及Milford Galleries
( 新西蘭但尼丁)提供
YUKI KIHARA
Documentation of Yuki Kihara as Maiko in Kyoto, Japan
2018, 2023
Print on paper
42 x 56 cm, set of five
Courtesy of Yuki Kihara and Milford Galleries,
Dunedin, New Zealand
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木原裕紀
《木原裕紀在日本京都當舞伎的記錄》
2018、2023
紙本印刷
42 x 56 厘米,一組五件
藝術家及Milford Galleries
( 新西蘭但尼丁)提供
YUKI KIHARA
Documentation of Yuki Kihara as Maiko in Kyoto, Japan
2018, 2023
Print on paper
42 x 56 cm, set of five
Courtesy of Yuki Kihara and Milford Galleries,
Dunedin, New Zealand
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木原裕紀
《木原雅子的和服》
2021
絲質和服
175 x 130 厘米
藝術家及Milford Galleries
( 新西蘭但尼丁)提供
YUKI KIHARA
Masako Kihara’s Kimono
2021
Silk kimono
175 x 130 cm
Courtesy of Yuki Kihara and Milford Galleries,
Dunedin, New Zealand
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木原裕紀
《木原雅子的和服》
2021
絲質和服
175 x 130 厘米
藝術家及Milford Galleries
( 新西蘭但尼丁)提供
YUKI KIHARA
Masako Kihara’s Kimono
2021
Silk kimono
175 x 130 cm
Courtesy of Yuki Kihara and Milford Galleries,
Dunedin, New Zealand
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木原裕紀
《木原雅子與木原伸夫》
2021
紙本印刷
31 x 35 厘米(連相框)
藝術家及Milford Galleries
( 新西蘭但尼丁)提供
YUKI KIHARA
Masako & Nobuo Kihara
2021
Print on paper
31 x 35 cm (including frame)
Courtesy of Yuki Kihara and Milford Galleries,
Dunedin, New Zealand
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木原裕紀
《木原雅子與木原伸夫》
2021
紙本印刷
31 x 35 厘米(連相框)
藝術家及Milford Galleries
( 新西蘭但尼丁)提供
YUKI KIHARA
Masako & Nobuo Kihara
2021
Print on paper
31 x 35 cm (including frame)
Courtesy of Yuki Kihara and Milford Galleries,
Dunedin, New Zealand
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木原裕紀
《薩摩亞之歌—— Fanua(土地篇)》
2021
薩摩亞構樹皮、織物、珠片、貝殼、塑膠、和服
175 x 141 x 25 厘米,一組五件
藝術家及Milford Galleries(新西蘭但尼丁)提供
這是木原的和服系列《薩摩亞之歌》的第二階段作品。薩摩亞中「fanua」一詞超越了土地的含義,它代表着人們通過宗族、祖傳知識,以及經當地生態系統與神靈連結所形成的靈性連繫。和服上的圖像映射着新自由資本主義和旅遊業發展對自然環境造成的負面影響,當中的建築和宗教遺址則標誌着薩摩亞的殖民歷史。廣告牌上的圖案同時展示着薩摩亞和日本的國旗,除了隱喻政府開發援助項目的矛盾結果,也指向藝術家由日本父親和薩摩亞母親所生而產生的複雜身份。和服本身也承載着薩摩亞的文化遺產,所用布料均以構樹皮製成,而這門原住民製布工藝亦瀕臨失傳。
YUKI KIHARA
サ–モアのうた (Samoa no Uta) A Song About Samoa – Fanua (Land)
2021
Samoan siapo, textiles, beads, shells, plastic, kimonos
175 x 141 x 25 cm, set of five
Courtesy of Yuki Kihara and Milford Galleries,
Dunedin, New Zealand
The exhibited work is the second phase of Kihara’s kimono series サ–モアのうた (Samoa no Uta) A Song About Samoa. The Samoan word fanua carries a meaning that extends beyond the land: it also represents people’s spiritual connection through kinship, ancestral knowledge and their ties with spirits through the local ecosystem. The artwork portrays the negative impact of neoliberal capitalism and tourism on the landscape and natural environment. The architecture and religious monument illustrate the colonial history of Samoa, while the billboard displaying both the Samoan and Japanese flags alludes to the paradoxical outcome of Japan’s official development assistance to Samoa, as well as Kihara’s complex identity as the child of a Japanese father and Samoan mother. The kimonos are also made of siapo, a cloth made from the inner bark of the paper mulberry tree, paying tribute to the heritage of Samoa’s native craftsmanship, which is currently under the threat of disappearance.
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木原裕紀
《薩摩亞之歌—— Fanua(土地篇)》
2021
薩摩亞構樹皮、織物、珠片、貝殼、塑膠、和服
175 x 141 x 25 厘米,一組五件
藝術家及Milford Galleries(新西蘭但尼丁)提供
這是木原的和服系列《薩摩亞之歌》的第二階段作品。薩摩亞中「fanua」一詞超越了土地的含義,它代表着人們通過宗族、祖傳知識,以及經當地生態系統與神靈連結所形成的靈性連繫。和服上的圖像映射着新自由資本主義和旅遊業發展對自然環境造成的負面影響,當中的建築和宗教遺址則標誌着薩摩亞的殖民歷史。廣告牌上的圖案同時展示着薩摩亞和日本的國旗,除了隱喻政府開發援助項目的矛盾結果,也指向藝術家由日本父親和薩摩亞母親所生而產生的複雜身份。和服本身也承載着薩摩亞的文化遺產,所用布料均以構樹皮製成,而這門原住民製布工藝亦瀕臨失傳。
YUKI KIHARA
サ–モアのうた (Samoa no Uta) A Song About Samoa – Fanua (Land)
2021
Samoan siapo, textiles, beads, shells, plastic, kimonos
175 x 141 x 25 cm, set of five
Courtesy of Yuki Kihara and Milford Galleries,
Dunedin, New Zealand
The exhibited work is the second phase of Kihara’s kimono series サ–モアのうた (Samoa no Uta) A Song About Samoa. The Samoan word fanua carries a meaning that extends beyond the land: it also represents people’s spiritual connection through kinship, ancestral knowledge and their ties with spirits through the local ecosystem. The artwork portrays the negative impact of neoliberal capitalism and tourism on the landscape and natural environment. The architecture and religious monument illustrate the colonial history of Samoa, while the billboard displaying both the Samoan and Japanese flags alludes to the paradoxical outcome of Japan’s official development assistance to Samoa, as well as Kihara’s complex identity as the child of a Japanese father and Samoan mother. The kimonos are also made of siapo, a cloth made from the inner bark of the paper mulberry tree, paying tribute to the heritage of Samoa’s native craftsmanship, which is currently under the threat of disappearance.
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朴智希
《橢圓形軌道(半個月亮在夏末落下)》
2022
樹脂
159 x 100 x 100 厘米
CHAT六廠藏品
朴智希正進行一場與微生物「合作」的長期項目:她持續從廢棄或殘舊的建築空間蒐集黴菌,加以培育並提取色素,以此進行藝術創作。朴智希在 2021 年夏天造訪南豐紗廠時,在被改建的紗廠空間裏蒐集了各種黴菌,並以舊建築幾處表面的形狀製作矽膠倒模。她把黴菌帶回首爾培育,將從黴菌提取出來的色素混入樹脂中,再倒進矽膠模具創作出不同形狀的結晶體。對作為雕塑藝術家的朴智希而言,黴菌的生長和腐蝕過程猶如無數微小的時間囊,保存着一段段時間流動的線索。而從黴菌提取出的顏色,是一種介於物質和非物質之間的存在,是可以用來構建某種形態和空間的媒介,讓消失與保存、過去與現在交織在一起。
PARK JEEHEE
Drawing Elliptical Orbit (when the half-moon sets in late summer)
2022
Resin
159 x 100 x 100 cm
Collection of CHAT
Park has embarked on a long-term ‘collaboration’ with micro-organisms: she cultivates mould collected from old or abandoned architectural sites and extracts pigments to create art. In summer 2021, Park visited The Mills, where she collected mould and made several silicone imprints of old architectural surfaces. After bringing the sample back to Seoul for cultivation, she extracted pigments from the mould, mixed them with resin, and created clear, solid blocks in various shapes using silicone moulds. To Park, a sculptor, the growth and corrosion process of mould resembles countless tiny time capsules that preserve traces of time’s passage. The colours extracted from mould exist between the material and the immaterial – they can serve as a medium to construct forms and spaces that weave together the lost and the preserved, the past and the present.
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朴智希
《橢圓形軌道(半個月亮在夏末落下)》
2022
樹脂
159 x 100 x 100 厘米
CHAT六廠藏品
朴智希正進行一場與微生物「合作」的長期項目:她持續從廢棄或殘舊的建築空間蒐集黴菌,加以培育並提取色素,以此進行藝術創作。朴智希在 2021 年夏天造訪南豐紗廠時,在被改建的紗廠空間裏蒐集了各種黴菌,並以舊建築幾處表面的形狀製作矽膠倒模。她把黴菌帶回首爾培育,將從黴菌提取出來的色素混入樹脂中,再倒進矽膠模具創作出不同形狀的結晶體。對作為雕塑藝術家的朴智希而言,黴菌的生長和腐蝕過程猶如無數微小的時間囊,保存着一段段時間流動的線索。而從黴菌提取出的顏色,是一種介於物質和非物質之間的存在,是可以用來構建某種形態和空間的媒介,讓消失與保存、過去與現在交織在一起。
PARK JEEHEE
Drawing Elliptical Orbit (when the half-moon sets in late summer)
2022
Resin
159 x 100 x 100 cm
Collection of CHAT
Park has embarked on a long-term ‘collaboration’ with micro-organisms: she cultivates mould collected from old or abandoned architectural sites and extracts pigments to create art. In summer 2021, Park visited The Mills, where she collected mould and made several silicone imprints of old architectural surfaces. After bringing the sample back to Seoul for cultivation, she extracted pigments from the mould, mixed them with resin, and created clear, solid blocks in various shapes using silicone moulds. To Park, a sculptor, the growth and corrosion process of mould resembles countless tiny time capsules that preserve traces of time’s passage. The colours extracted from mould exist between the material and the immaterial – they can serve as a medium to construct forms and spaces that weave together the lost and the preserved, the past and the present.
htmlText_5306E5EE_13D1_4001_419B_9BDD6E5AEE3A.html =
楊思嘉
在楊思嘉眼中,「纖維」並非由手工或機器編織,而是像有機生物一樣自主交織在一起。此處展出的碎片和掛毯便表現出「纖維」短暫和脆弱的結構及性質,以及自然世界中混沌無序的狀態。
楊氏意識到服裝生產中紡織廢料的問題,於是開始在生物實驗室中發明可生物降解的物料。她運用三維建模和三維液體列印等數碼製造技術,將這些材料轉化為虛擬作品,並透過數碼形式展示和分享。楊氏發現兩個領域之間的對比和相似之處,並在創作過程中把數碼技術的精確性和大自然的變幻莫測融合起來。最近,她開始將這些新物料晶體化,使原本無序、不規則的形態變得有形、持久,但仍可被生物分解。
SCARLETT YANG
For Yang, ‘fibre’ is not meant to be woven by human hands or machines, but rather to automatically intertwine like bio-organisms. She presents here fragments and a tapestry where ‘fibre’, in its structure and nature, embodies ephemerality and vulnerability, as well as the chaos and entropy of the natural world.
Aware of the growing problem of textile waste, Yang began to invent biodegradable materials. She employs digital fabrication technologies, such as 3D modelling and 3D liquid printing, to transform biomaterials into virtual creations that are presented and circulated digitally. In the process, Yang explores the similarities and differences between the two realms, fusing digital precision with the unpredictability of nature. Recently, Yang has been crystalising her materials to make the entropic forms tangible and lasting, yet still decomposable.
htmlText_A5412F78_86A5_4565_4188_26EB76362B1C.html =
楊思嘉
在楊思嘉眼中,「纖維」並非由手工或機器編織,而是像有機生物一樣自主交織在一起。此處展出的碎片和掛毯便表現出「纖維」短暫和脆弱的結構及性質,以及自然世界中混沌無序的狀態。
楊氏意識到服裝生產中紡織廢料的問題,於是開始在生物實驗室中發明可生物降解的物料。她運用三維建模和三維液體列印等數碼製造技術,將這些材料轉化為虛擬作品,並透過數碼形式展示和分享。楊氏發現兩個領域之間的對比和相似之處,並在創作過程中把數碼技術的精確性和大自然的變幻莫測融合起來。最近,她開始將這些新物料晶體化,使原本無序、不規則的形態變得有形、持久,但仍可被生物分解。
SCARLETT YANG
For Yang, ‘fibre’ is not meant to be woven by human hands or machines, but rather to automatically intertwine like bio-organisms. She presents here fragments and a tapestry where ‘fibre’, in its structure and nature, embodies ephemerality and vulnerability, as well as the chaos and entropy of the natural world.
Aware of the growing problem of textile waste, Yang began to invent biodegradable materials. She employs digital fabrication technologies, such as 3D modelling and 3D liquid printing, to transform biomaterials into virtual creations that are presented and circulated digitally. In the process, Yang explores the similarities and differences between the two realms, fusing digital precision with the unpredictability of nature. Recently, Yang has been crystalising her materials to make the entropic forms tangible and lasting, yet still decomposable.
htmlText_9FA988FE_869F_4B5D_41D6_038ADB33769B.html =
第一部分
香港紡織文化遺產——重要的靈感泉源
自 2019 年 3 月開幕以來,CHAT 六廠已與逾 130 位藝術家、設計師及工藝師合作。本部分展出的作品屬於 CHAT六廠的當代藝術藏品,皆是與這些創意人才合作而成,見證了CHAT六廠以藝術發揚香港的紡織工業遺產。香港作為一個國際城市,一直吸引世界各地的人到訪,CHAT六廠的當代藝術藏品正與此特質相呼應,突顯出香港的紡織文化遺產是本地和國際藝術家的重要靈感來源。
CHAT六廠位於荃灣,座落在現代紡織工業遺產之中,這一獨特的位置,為我們的合作夥伴提供了豐富的資源和靈感。參展藝術家從我們的檔案資料和社區網絡中,挖掘出各式各樣未被敘述的故事和資料,當中包括女性移民的回憶、香港經濟發展的軌跡及跨國文化的交融,從而進行藝術創作。每件作品都展現了藝術家各自對香港紡織業歷史的詮釋與互動,因此,CHAT六廠的當代藝術藏品可說是深植於這座城市之中。
htmlText_2AD948DE_13B3_C001_41AF_BE04980A3FB5.html =
第一部分
香港紡織文化遺產——重要的靈感泉源
自 2019 年 3 月開幕以來,CHAT 六廠已與逾 130 位藝術家、設計師及工藝師合作。本部分展出的作品屬於 CHAT六廠的當代藝術藏品,皆是與這些創意人才合作而成,見證了CHAT六廠以藝術發揚香港的紡織工業遺產。香港作為一個國際城市,一直吸引世界各地的人到訪,CHAT六廠的當代藝術藏品正與此特質相呼應,突顯出香港的紡織文化遺產是本地和國際藝術家的重要靈感來源。
CHAT六廠位於荃灣,座落在現代紡織工業遺產之中,這一獨特的位置,為我們的合作夥伴提供了豐富的資源和靈感。參展藝術家從我們的檔案資料和社區網絡中,挖掘出各式各樣未被敘述的故事和資料,當中包括女性移民的回憶、香港經濟發展的軌跡及跨國文化的交融,從而進行藝術創作。每件作品都展現了藝術家各自對香港紡織業歷史的詮釋與互動,因此,CHAT六廠的當代藝術藏品可說是深植於這座城市之中。
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第二部分
紡出未來
紡織品是最古老的人類產物之一,至今仍是我們生活中不可或缺且無處不在的物品。通過紡織品,我們不只能看見歷史,還可探視種種當代議題。這部分展出的藝術家並非為了製作的樂趣而選用紡織材料作為媒介,而是出於對概念表達的考量,希望藉此更貼切地表達對氣候變化、人類廢棄物、先進纖維材料應用等不同議題的關注。
在表現紡織藝術潛力的同時,這些作品亦鼓勵我們一起想像未來各種可能性,提醒我們儘管或會為全球局勢複雜和資訊氾濫而感到沮喪,但我們依然有能力編織夢想,紡出未來。
SECTION 2
Spinning the Threads of Tomorrow
Textiles are among the oldest human artefacts and continue to beessential and ubiquitous in our daily life today. We can learn about not only history but also contemporary issues through textiles. The artists featured in this section did not choose the media and techniques for pleasure, but rather for their capacity to conceptually communicate various themes, ranging from climate change and human waste to the application of advanced fibre materials.
While highlighting the artistic potential of textiles, the exhibited works encourage us to envision future possibilities. They remind us that, in an age of global complexity and information overflow which often makes us feel helpless to initiate change, we are still the spinners who make the threads of tomorrow.
htmlText_A540E688_86A7_47A5_41B3_27A626D52F88.html =
第二部分
紡出未來
紡織品是最古老的人類產物之一,至今仍是我們生活中不可或缺且無處不在的物品。通過紡織品,我們不只能看見歷史,還可探視種種當代議題。這部分展出的藝術家並非為了製作的樂趣而選用紡織材料作為媒介,而是出於對概念表達的考量,希望藉此更貼切地表達對氣候變化、人類廢棄物、先進纖維材料應用等不同議題的關注。
在表現紡織藝術潛力的同時,這些作品亦鼓勵我們一起想像未來各種可能性,提醒我們儘管或會為全球局勢複雜和資訊氾濫而感到沮喪,但我們依然有能力編織夢想,紡出未來。
SECTION 2
Spinning the Threads of Tomorrow
Textiles are among the oldest human artefacts and continue to beessential and ubiquitous in our daily life today. We can learn about not only history but also contemporary issues through textiles. The artists featured in this section did not choose the media and techniques for pleasure, but rather for their capacity to conceptually communicate various themes, ranging from climate change and human waste to the application of advanced fibre materials.
While highlighting the artistic potential of textiles, the exhibited works encourage us to envision future possibilities. They remind us that, in an age of global complexity and information overflow which often makes us feel helpless to initiate change, we are still the spinners who make the threads of tomorrow.
htmlText_248E7447_14FB_CD0E_4187_2661AE8EB369.html =
荒川Nash醫
與 Kenny X. Li、林園珠、中山和泉、徐淑瑤、謝淑婷、謝淑妮、姚書安
《Plush Subjectivity》
2024
表演
CHAT 六廠及東京都寫真美術館
共同委託作品
《Plush Subjectivity(香港)》
2024
表演影像
荒川Nash醫與在洛杉磯及香港的藝術家和文化工作者合作,共同創作了一個探討亞洲人主觀性形成的全新表演。他參考了美國藝術家麥克.凱利(Mike Kelley)以多個毛絨玩具製作的雕塑作品《Deodorized Central Mass with Satellites》(1991/1999),利用日本設計師設計的二手毛絨娃娃製作軟雕塑,藉此探討亞洲人包括憤怒和沮喪等的負面情緒,是如何在學校教育、工作環境和家庭關係中,潛移默化地遭受抑壓。
EI ARAKAWA-NASH
With Kenny X. Li, Won Ju Lim, Nakayama Izumi, Anna Sew Hoy, Sara Tse, Shirley Tse, Amy Yao
Plush Subjectivity
2024
Performance footage
Plush Subjectivity (Hong Kong)
With co-authored scenarios by artists and cultural workers in Los Angeles and Hong Kong, Arakawa-Nash presents a new performance that explores the formation of Asian subjectivity. Referencing and appropriating American artist Mike Kelley’s sculpture of plush toys, Deodorized Central Mass with Satellites (1991/1999), Arakawa-Nash uses the soft sculpture made from second-hand Japanese-designed plush toys to examine how negative emotions such as anger and frustration in Asians are subconsciously oppressed through school education, work environment and family relationship.
htmlText_AD18EB1E_86E7_4EDD_41D5_48DC74FF2645.html =
荒川Nash醫
與 Kenny X. Li、林園珠、中山和泉、徐淑瑤、謝淑婷、謝淑妮、姚書安
《Plush Subjectivity》
2024
表演
CHAT 六廠及東京都寫真美術館
共同委託作品
《Plush Subjectivity(香港)》
2024
表演影像
荒川Nash醫與在洛杉磯及香港的藝術家和文化工作者合作,共同創作了一個探討亞洲人主觀性形成的全新表演。他參考了美國藝術家麥克.凱利(Mike Kelley)以多個毛絨玩具製作的雕塑作品《Deodorized Central Mass with Satellites》(1991/1999),利用日本設計師設計的二手毛絨娃娃製作軟雕塑,藉此探討亞洲人包括憤怒和沮喪等的負面情緒,是如何在學校教育、工作環境和家庭關係中,潛移默化地遭受抑壓。
EI ARAKAWA-NASH
With Kenny X. Li, Won Ju Lim, Nakayama Izumi, Anna Sew Hoy, Sara Tse, Shirley Tse, Amy Yao
Plush Subjectivity
2024
Performance footage
Plush Subjectivity (Hong Kong)
With co-authored scenarios by artists and cultural workers in Los Angeles and Hong Kong, Arakawa-Nash presents a new performance that explores the formation of Asian subjectivity. Referencing and appropriating American artist Mike Kelley’s sculpture of plush toys, Deodorized Central Mass with Satellites (1991/1999), Arakawa-Nash uses the soft sculpture made from second-hand Japanese-designed plush toys to examine how negative emotions such as anger and frustration in Asians are subconsciously oppressed through school education, work environment and family relationship.
htmlText_38533E3B_14F7_3D06_418A_1C35435B1A64.html =
費路‧達瑪
《I🖤 nd$c_pe$s r🖤d🖤t🖤 w🖤ste$Zzs featuring Aleezon, Jonathan Tan, Lee Khee San and Lé Luhur from Autaspace》
2023-2024
有機玻璃(Tiger)、檔案墨水(MOLOTOW)、二甲苯筆(Dykem Dalo)、聚氯乙烯和聚丙烯酸酯黏合劑—從香港和新加坡回收的藝術家乙烯基(ORACAL 651)、帶有陽極氧化鋁合金的變色龍碳纖維聚氯乙烯和聚丙烯酸酯黏合劑(VViviD XPO)、 樹脂與碳纖維織物(三菱化學集團)、織物與聚乙烯和橡膠黏合劑(Duck Tape)、非金屬微棱鏡反光膠帶與樹脂(Steve & Lief)、聚丙烯薄膜(Hunter)以及牆壁和玻璃上的舊繩索
尺寸可變
CHAT 六廠委託作品
碳纖維由三菱化學集團提供
達瑪的沉浸式裝置展現一個融合紡織美學和物料、跨越現實和虛擬空間的混合景觀。在這個作品版本中,達瑪運用了具有極佳強度重量比和剛度重量比的碳纖維物料。碳纖維自 1970 年代進入全球市場,主要用於汽車、建築和航空航天工業。達瑪把它們安插於數碼檔案庫裏的舊紡織圖案截圖之中,並轉化成乙烯基牆面覆蓋物,再將其與碳纖維浮雕和繪圖結合,創造出多層次且不斷變化的紡織品狀態。透過交織不同的色彩、圖案和紋理,達瑪把紡織品詮釋為一種超越物質性的存在,促使我們反思由人類產物組成的「技術化石」。
FYEROOL DARMA
I🖤 nd$c_pe$s r🖤d🖤t🖤 w🖤ste$Zzs featuring Aleezon, Jonathan Tan, Lee Khee San and Lé Luhur from Autaspace
2023-2024
Plexiglass (Tiger), archival ink (MOLOTOW), Xylene marker (Dykem Dalo), polyvinyl chloride and polyacrylate adhesive – salvaged and artist vinyl (ORACAL 651) from Hong Kong and Singapore, chameleon carbon fibre polyvinyl chloride and polyacrylate adhesive (VViviD XPO) with anodised aluminium alloy, resin with carbon fibre fabric (Mitsubishi Chemical Group), fabric with polyethylene and rubber adhesive (Duck Tape), non-metallised micro-prismatic reflective tape with resin (Steve & Lief), polypropylene film (Hunter) and salvaged ropes on wall and glass
Dimensions variable
Commissioned by CHAT
Carbon fibre supported by the Mitsubishi Chemical Group
Darma’s immersive installation is a hybrid landscape that blends textile aesthetics and materials while fusing the real and virtual spaces. In this iteration of the project, Darma employs carbon fibre, a material known for its excellent strength-to-weight and stiffness-to-weight ratios. Carbon fibre entered the global market in the 1970s and has been used in the automobile, construction and aerospace industries. Here, they are interspersed with screenshots of old textile patterns in digital archives on wall vinyls and combined with carbon fibre reliefs and drawings. The multi-layered, constantly shifting work weaves together various colours, patterns and textures, extending textile’s presence beyond its materiality and substance while prompting us to reflect on the technofossils we produce.
htmlText_AF460732_86E5_46E5_41D2_8D0328883B4C.html =
費路‧達瑪
《I🖤 nd$c_pe$s r🖤d🖤t🖤 w🖤ste$Zzs featuring Aleezon, Jonathan Tan, Lee Khee San and Lé Luhur from Autaspace》
2023-2024
有機玻璃(Tiger)、檔案墨水(MOLOTOW)、二甲苯筆(Dykem Dalo)、聚氯乙烯和聚丙烯酸酯黏合劑—從香港和新加坡回收的藝術家乙烯基(ORACAL 651)、帶有陽極氧化鋁合金的變色龍碳纖維聚氯乙烯和聚丙烯酸酯黏合劑(VViviD XPO)、 樹脂與碳纖維織物(三菱化學集團)、織物與聚乙烯和橡膠黏合劑(Duck Tape)、非金屬微棱鏡反光膠帶與樹脂(Steve & Lief)、聚丙烯薄膜(Hunter)以及牆壁和玻璃上的舊繩索
尺寸可變
CHAT 六廠委託作品
碳纖維由三菱化學集團提供
達瑪的沉浸式裝置展現一個融合紡織美學和物料、跨越現實和虛擬空間的混合景觀。在這個作品版本中,達瑪運用了具有極佳強度重量比和剛度重量比的碳纖維物料。碳纖維自 1970 年代進入全球市場,主要用於汽車、建築和航空航天工業。達瑪把它們安插於數碼檔案庫裏的舊紡織圖案截圖之中,並轉化成乙烯基牆面覆蓋物,再將其與碳纖維浮雕和繪圖結合,創造出多層次且不斷變化的紡織品狀態。透過交織不同的色彩、圖案和紋理,達瑪把紡織品詮釋為一種超越物質性的存在,促使我們反思由人類產物組成的「技術化石」。
FYEROOL DARMA
I🖤 nd$c_pe$s r🖤d🖤t🖤 w🖤ste$Zzs featuring Aleezon, Jonathan Tan, Lee Khee San and Lé Luhur from Autaspace
2023-2024
Plexiglass (Tiger), archival ink (MOLOTOW), Xylene marker (Dykem Dalo), polyvinyl chloride and polyacrylate adhesive – salvaged and artist vinyl (ORACAL 651) from Hong Kong and Singapore, chameleon carbon fibre polyvinyl chloride and polyacrylate adhesive (VViviD XPO) with anodised aluminium alloy, resin with carbon fibre fabric (Mitsubishi Chemical Group), fabric with polyethylene and rubber adhesive (Duck Tape), non-metallised micro-prismatic reflective tape with resin (Steve & Lief), polypropylene film (Hunter) and salvaged ropes on wall and glass
Dimensions variable
Commissioned by CHAT
Carbon fibre supported by the Mitsubishi Chemical Group
Darma’s immersive installation is a hybrid landscape that blends textile aesthetics and materials while fusing the real and virtual spaces. In this iteration of the project, Darma employs carbon fibre, a material known for its excellent strength-to-weight and stiffness-to-weight ratios. Carbon fibre entered the global market in the 1970s and has been used in the automobile, construction and aerospace industries. Here, they are interspersed with screenshots of old textile patterns in digital archives on wall vinyls and combined with carbon fibre reliefs and drawings. The multi-layered, constantly shifting work weaves together various colours, patterns and textures, extending textile’s presence beyond its materiality and substance while prompting us to reflect on the technofossils we produce.
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邵純
《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
CHAT 六廠委託作品
這件藝術裝置建構一個類似儀式場域的空間,探索着月亮的詩意,也暗示着對未來的幻想。裝置的靈感源自藝術家對苗族銀飾的研究:在苗族的傳統信仰中,白銀被視為月亮的化身,透過轉化月亮的神秘力量來傳達希望和祈願。邵純以銀色作為視覺符號,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,創造出這個半金屬半纖維、懸浮着的聲音雕塑,看起來也像一個被放大了的立體刺繡。整件作品呈現為一個扭曲並嵌入在空中的無限符號(∞),給予觀眾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。
SHAO CHUN
Forgotten Moon
2024
Biofabrics, metal fibres, metal wires,
metal accessories, clay, motors
Dimensions variable
Commissioned by CHAT
The installation constructs a space reminiscent of a ritual site, musing on the poetics of the moon and fantasies of the future. Based on Shao's research into the Miao people’s veneration for sliver, the metal serves as a vessel of the moon that channels 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 this semi-metallic, semi-fibrous suspended sound sculpture that resembles an enlarged embroidery. The artwork is presented as a twisted infinity symbol () blending into the air, rendering a sensuous yet puzzling viewing experience. It expresses a paradoxical metaphor about the future – a perpetual feeling that arises from the entanglement of yearning and reality.
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邵純
《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
CHAT 六廠委託作品
這件藝術裝置建構一個類似儀式場域的空間,探索着月亮的詩意,也暗示着對未來的幻想。裝置的靈感源自藝術家對苗族銀飾的研究:在苗族的傳統信仰中,白銀被視為月亮的化身,透過轉化月亮的神秘力量來傳達希望和祈願。邵純以銀色作為視覺符號,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,創造出這個半金屬半纖維、懸浮着的聲音雕塑,看起來也像一個被放大了的立體刺繡。整件作品呈現為一個扭曲並嵌入在空中的無限符號(∞),給予觀眾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。
SHAO CHUN
Forgotten Moon
2024
Biofabrics, metal fibres, metal wires,
metal accessories, clay, motors
Dimensions variable
Commissioned by CHAT
The installation constructs a space reminiscent of a ritual site, musing on the poetics of the moon and fantasies of the future. Based on Shao's research into the Miao people’s veneration for sliver, the metal serves as a vessel of the moon that channels 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 this semi-metallic, semi-fibrous suspended sound sculpture that resembles an enlarged embroidery. The artwork is presented as a twisted infinity symbol () blending into the air, rendering a sensuous yet puzzling viewing experience. It expresses a paradoxical metaphor about the future – a perpetual feeling that arises from the entanglement of yearning and reality.
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郭孟浩(蛙王郭)
《青蛙嘉年華2024》
2024
畫布繪畫
371 x 157 厘米
CHAT 六廠委託作品
郭孟浩(蛙王郭)以其標誌性的風格,糅合書法、水墨及油彩,在布料上展開形形色色的創作,帶領大家走入一個異想天開的藝術嘉年華。
蛙王郭以「蛙」貫穿主題,獨創「蛙托邦」的藝術概念與生活哲學,提倡「藝術即蛙」、「藝術即生活,生活即藝術」及「任次元」(即任何維度)創作,並一直以不拘一格、特立獨行的方式實踐着任何形、量、媒介及維度皆可創作的藝術主張。
FROG KING KWOK
Frog Carnival 2024
2024
Painting on fabric
371 x 157 cm
Commissioned by CHAT
In his iconic style combining calligraphy, ink art and oil painting, Frog King Kwok creates a series of vibrant works on fabric, welcoming visitors to a lively and imaginative celebration.
Marked by the recurring frog motif, Kwok’s creations are infused with his artistic concepts and life philosophies of ‘Frogtopia’ – including ‘Art is Frog’, ‘Art is Life, Life is Art’ and ‘Yum Dimension’ (meaning ‘any dimension’) – encouraging the creation of art in any form, volume, medium and dimension.
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郭孟浩(蛙王郭)
《青蛙嘉年華2024》
2024
畫布繪畫
371 x 157 厘米
CHAT 六廠委託作品
郭孟浩(蛙王郭)以其標誌性的風格,糅合書法、水墨及油彩,在布料上展開形形色色的創作,帶領大家走入一個異想天開的藝術嘉年華。
蛙王郭以「蛙」貫穿主題,獨創「蛙托邦」的藝術概念與生活哲學,提倡「藝術即蛙」、「藝術即生活,生活即藝術」及「任次元」(即任何維度)創作,並一直以不拘一格、特立獨行的方式實踐着任何形、量、媒介及維度皆可創作的藝術主張。
FROG KING KWOK
Frog Carnival 2024
2024
Painting on fabric
371 x 157 cm
Commissioned by CHAT
In his iconic style combining calligraphy, ink art and oil painting, Frog King Kwok creates a series of vibrant works on fabric, welcoming visitors to a lively and imaginative celebration.
Marked by the recurring frog motif, Kwok’s creations are infused with his artistic concepts and life philosophies of ‘Frogtopia’ – including ‘Art is Frog’, ‘Art is Life, Life is Art’ and ‘Yum Dimension’ (meaning ‘any dimension’) – encouraging the creation of art in any form, volume, medium and dimension.
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鄭然斗
《穿高跟鞋的少女》
2018
高清錄像、布本刺繡及油彩
50’46”(錄像);100 x 80 厘米(刺繡) ,
一組四幅
CHAT六廠藏品
這件錄像裝置取材自閔婆婆的回憶,她是藝術家在 2017 年駐留香港期間遇見的一名前紡織工人。展廳中右邊的大型屏幕訴說着閔婆婆的過去,左邊的屏幕則講述了當代香港四位年輕女孩的故事,她們的年紀與身形都恰好與閔婆婆剛移居香港時相若。作品的名字起源於閔婆婆嬌小的身形:她在紡織廠工作時,必須穿着高跟鞋才能操作高大的機器。影片所有的拍攝位置都與閔婆婆的經歷息息相關,包括北角碼頭、九龍灣、舊紡織廠及九龍市中心的小巷。
JUNG YEONDOO
A Girl in Tall Shoes
2018
HD video, embroidery and oil on canvas
50’46” (video); 100 x 80 cm (each embroidery),
set of four
Collection of CHAT
This video installation is based on the memories of Ms Mun, a former textile worker whom Jung met during his residency in Hong Kong in 2017. The double-channel video projection narrates Ms Mun’s story on the right and the dreams and life challenges of four young girls in contemporary Hong Kong on the left. The girls are around the same age and height as Ms Mun was when she migrated to Hong Kong. This work is titled A Girl in Tall Shoes because Ms Mun needed to wear tall shoes to reach the spinning machines due to her short stature. The filming locations are directly related to Ms Mun’s memories, such as North Point Ferry Pier, Kowloon Bay, former textile mills and a small alleyway in downtown Kowloon.
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鄭然斗
《穿高跟鞋的少女》
2018
高清錄像、布本刺繡及油彩
50’46”(錄像);100 x 80 厘米(刺繡) ,
一組四幅
CHAT六廠藏品
這件錄像裝置取材自閔婆婆的回憶,她是藝術家在 2017 年駐留香港期間遇見的一名前紡織工人。展廳中右邊的大型屏幕訴說着閔婆婆的過去,左邊的屏幕則講述了當代香港四位年輕女孩的故事,她們的年紀與身形都恰好與閔婆婆剛移居香港時相若。作品的名字起源於閔婆婆嬌小的身形:她在紡織廠工作時,必須穿着高跟鞋才能操作高大的機器。影片所有的拍攝位置都與閔婆婆的經歷息息相關,包括北角碼頭、九龍灣、舊紡織廠及九龍市中心的小巷。
JUNG YEONDOO
A Girl in Tall Shoes
2018
HD video, embroidery and oil on canvas
50’46” (video); 100 x 80 cm (each embroidery),
set of four
Collection of CHAT
This video installation is based on the memories of Ms Mun, a former textile worker whom Jung met during his residency in Hong Kong in 2017. The double-channel video projection narrates Ms Mun’s story on the right and the dreams and life challenges of four young girls in contemporary Hong Kong on the left. The girls are around the same age and height as Ms Mun was when she migrated to Hong Kong. This work is titled A Girl in Tall Shoes because Ms Mun needed to wear tall shoes to reach the spinning machines due to her short stature. The filming locations are directly related to Ms Mun’s memories, such as North Point Ferry Pier, Kowloon Bay, former textile mills and a small alleyway in downtown Kowloon.
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陳麗雲
《Fabric of CHAT》
2018-2019
紙本編織
30 x 882 厘米
CHAT六廠藏品
這件 8 米多長的編織長卷是為CHAT六廠 2019 年開幕展創作的委託作品。陳麗雲於 2018 年南豐紗廠復修期間到訪,收集了紗廠遺留下來的文件、書籍等紙本材料,並將它們用碎紙機碎成細條,再親手一針一針地編織成長卷。創作過程中,她亦邀請本地觀眾加入,一邊編織,一邊交流。作品的名稱除了指向從CHAT 六廠前身所得的編織物料,也語帶雙關,凸顯通過傾談(chatting)交流故事對其創作的重要性。在這件作品中,對舊工廠的記憶與當下的生活點滴緊密相連起來,展開跨越時空的對話。
MOVANA CHEN
Fabric of CHAT
2018-2019
Knitted paper
30 x 882 cm
Collection of CHAT
This 8-metre-long knit scroll was created for CHAT’s 2019 inaugural exhibition. When visiting The Mills during its renovation in 2018, Chen collected documents, books and other paper materials left behind by Nan Fung Textiles. She then shredded them into paper strips and knitted them into a long scroll. Throughout the process, Chen invited local citizens to a series of knitting workshops and encouraged them to contribute to the artwork while engaging in conversations. The artwork’s title points to not only the source of material but also the importance of ‘chatting’ – to listen to other people’s stories – as an element of the project. In this work, stories of the historical site and the local people are closely intertwined, sparking a dialogue between the past and the present.
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陳麗雲
《Fabric of CHAT》
2018-2019
紙本編織
30 x 882 厘米
CHAT六廠藏品
這件 8 米多長的編織長卷是為CHAT六廠 2019 年開幕展創作的委託作品。陳麗雲於 2018 年南豐紗廠復修期間到訪,收集了紗廠遺留下來的文件、書籍等紙本材料,並將它們用碎紙機碎成細條,再親手一針一針地編織成長卷。創作過程中,她亦邀請本地觀眾加入,一邊編織,一邊交流。作品的名稱除了指向從CHAT 六廠前身所得的編織物料,也語帶雙關,凸顯通過傾談(chatting)交流故事對其創作的重要性。在這件作品中,對舊工廠的記憶與當下的生活點滴緊密相連起來,展開跨越時空的對話。
MOVANA CHEN
Fabric of CHAT
2018-2019
Knitted paper
30 x 882 cm
Collection of CHAT
This 8-metre-long knit scroll was created for CHAT’s 2019 inaugural exhibition. When visiting The Mills during its renovation in 2018, Chen collected documents, books and other paper materials left behind by Nan Fung Textiles. She then shredded them into paper strips and knitted them into a long scroll. Throughout the process, Chen invited local citizens to a series of knitting workshops and encouraged them to contribute to the artwork while engaging in conversations. The artwork’s title points to not only the source of material but also the importance of ‘chatting’ – to listen to other people’s stories – as an element of the project. In this work, stories of the historical site and the local people are closely intertwined, sparking a dialogue between the past and the present.
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地氈邊框設計「全壘打」
取自太平地氈產品目錄(1970年代)
Carpet border design ’Dinger'
From Tai Ping Carpets' catalogue (1970s)
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地氈邊框設計「全壘打」
取自太平地氈產品目錄(1970年代)
Carpet border design ’Dinger'
From Tai Ping Carpets' catalogue (1970s)
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地氈邊框設計「墨西哥」
取自太平地氈產品目錄(1970年代)
Carpet border design ‘Mexico’
From Tai Ping Carpets' catalogue (1970s)
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地氈邊框設計「墨西哥」
取自太平地氈產品目錄(1970年代)
Carpet border design ‘Mexico’
From Tai Ping Carpets' catalogue (1970s)
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地氈邊框設計「湄公河」
取自太平地氈產品目錄(1970年代)

Carpet border design ‘Mekong'
From Tai Ping Carpets' catalogue (1970s)
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地氈邊框設計「湄公河」
取自太平地氈產品目錄(1970年代)

Carpet border design ‘Mekong'
From Tai Ping Carpets' catalogue (1970s)
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帶有花卉圖案的二手方形地氈
Second-hand carpet with floral motifs
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帶有花卉圖案的二手方形地氈
Second-hand carpet with floral motifs
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帶有荷花圖案的二手圓形地氈
Second-hand carpet with lotus motif
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帶有荷花圖案的二手圓形地氈
Second-hand carpet with lotus motif
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按房屋類型劃分的家庭住戶數(1977-2007)
顯示臨時房屋的淘汰、資助房屋的出現、公共房屋的減少及私人房屋的穩健。
Distribution of domestic households by type of housing (1977-2007)
Displaying the elimination of temporary housing, emergence of subsidised housing, drop in public housing and sustainment of private housing.
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按房屋類型劃分的家庭住戶數(1977-2007)
顯示臨時房屋的淘汰、資助房屋的出現、公共房屋的減少及私人房屋的穩健。
Distribution of domestic households by type of housing (1977-2007)
Displaying the elimination of temporary housing, emergence of subsidised housing, drop in public housing and sustainment of private housing.
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朱頌琪
《繾綣城觸》
2024
混合媒介
450 x 300 厘米
CHAT六廠委託作品
朱頌琪運用建築知識,對香港未來的城市面貌作出推測。通過觀察荃灣、觀塘、黃竹坑、荔枝角和火炭等前工業區域轉型為創意地區的過程,藝術家邀請我們為香港設想另一種城市模型,使創意成為城市發展的支柱。她以社會昆蟲網絡、真菌網絡、神經元網絡等自然界中去中心化的系統為基礎,參照它們高效快速的互動性和應變力,將這些前工業區連接起來。然後,她將這種都市模型製成掛氈,讓思想和行為模式的流動,與線、紙和立體結構在掛氈上相互交織,發放信號來刺激我們的大腦神經元,引發對未來可能性的想像。
MAGGIE CHU
Entwined Nexus – urban synapse
2024
Mixed media
450 x 300 cm
Commissioned by CHAT
Chu draws on her background in architecture and presents a speculative model of future Hong Kong. By observing the transformation of former industrial areas including Tsuen Wan, Kwun Tong, Wong Chuk Hang, Lai Chi Kok and Fo Tan into creative districts, Chu prompts us to envision an alternative urban model for Hong Kong, one where creativity is essential for the city’s development. To interconnect these districts, Chu employs a decentralised system inspired by nature: social insect colonies, fungal networks, neuronal networks – they are all highly interactive and adaptable to unexpected changes. Chu presents this urban model as a tapestry, where flows of ideas and patterns of behaviour intertwine with threads, paper and three-dimensional forms, emitting signals that stimulate our brain synapses to imagine a possible future.
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朱頌琪
《繾綣城觸》
2024
混合媒介
450 x 300 厘米
CHAT六廠委託作品
朱頌琪運用建築知識,對香港未來的城市面貌作出推測。通過觀察荃灣、觀塘、黃竹坑、荔枝角和火炭等前工業區域轉型為創意地區的過程,藝術家邀請我們為香港設想另一種城市模型,使創意成為城市發展的支柱。她以社會昆蟲網絡、真菌網絡、神經元網絡等自然界中去中心化的系統為基礎,參照它們高效快速的互動性和應變力,將這些前工業區連接起來。然後,她將這種都市模型製成掛氈,讓思想和行為模式的流動,與線、紙和立體結構在掛氈上相互交織,發放信號來刺激我們的大腦神經元,引發對未來可能性的想像。
MAGGIE CHU
Entwined Nexus – urban synapse
2024
Mixed media
450 x 300 cm
Commissioned by CHAT
Chu draws on her background in architecture and presents a speculative model of future Hong Kong. By observing the transformation of former industrial areas including Tsuen Wan, Kwun Tong, Wong Chuk Hang, Lai Chi Kok and Fo Tan into creative districts, Chu prompts us to envision an alternative urban model for Hong Kong, one where creativity is essential for the city’s development. To interconnect these districts, Chu employs a decentralised system inspired by nature: social insect colonies, fungal networks, neuronal networks – they are all highly interactive and adaptable to unexpected changes. Chu presents this urban model as a tapestry, where flows of ideas and patterns of behaviour intertwine with threads, paper and three-dimensional forms, emitting signals that stimulate our brain synapses to imagine a possible future.
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洋紫荊葉子
Bauhinia leaf
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洋紫荊葉子
Bauhinia leaf
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美孚新邨平面圖與洋紫荊葉子
Floor plan of Mei Foo Sun Chuen with Bauhinia leaf
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美孚新邨平面圖與洋紫荊葉子
Floor plan of Mei Foo Sun Chuen with Bauhinia leaf
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颱風荷貝(1979年8月2日)
Typhoon Hope (2 August 1979)
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颱風荷貝(1979年8月2日)
Typhoon Hope (2 August 1979)
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香港快樂指數(2013-2018)
Happiness index of Hong Kong (2013-2018)
htmlText_B00D862F_869B_46FB_41D9_152FFD86FFBE.html =
香港快樂指數(2013-2018)
Happiness index of Hong Kong (2013-2018)
htmlText_50606CE0_14BD_7D02_41A0_BBBFA9742E50.html =
香港本地生產總值(1960-2017)
Gross domestic product of Hong Kong (1960-2017)
htmlText_B2BD2368_86BD_7D65_418F_21F37D584870.html =
香港本地生產總值(1960-2017)
Gross domestic product of Hong Kong (1960-2017)
htmlText_007412A0_217F_B3DD_41A8_7B2ED79A42E0.html =
香港的馬賽克瓷磚
Mosaic tiles of Hong Kong
htmlText_B060E11C_869F_5ADD_41D4_B9B28A13D14F.html =
香港的馬賽克瓷磚
Mosaic tiles of Hong Kong
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點擊地氈以查看說明。
Click on the carpets to view their details.
htmlText_B6EB173C_A8BF_78C2_41D7_EB461102DFD2.html =
點擊地氈以查看說明。
Click on the carpets to view their details.
## Tour ### Description ### Title tour.name = Factory of Tomorrow