香港圖像藝術節2011 《新一代 ! 國際大學生交流展覽》圖錄

1

2 藝術與社群 Art and the Community

訪香港藝術推廣辦事處譚美兒館長及

蘇慧娟助理館長 Interview with Miss Eve Tam, Curator, and Ms Jessie So, Assistant Curator, of the Art Promotion Office

8 平面作品 Impressions on Paper

50 跨境合作 A Cross-border Collaboration

訪關山月美術館顏為昕副館長

Interview with Mr Yan Weixin, Deputy Curator of Guan Shanyue Art Museum

56 版畫裝置

Printstallations

68 版畫，就在日常生活裡 Printmaking: day to day

訪香港版畫工作室馮浩然先生

Interview with Mr Fung Ho-yin of the Hong Kong Open Printshop

74 時態動畫 Sequential Images

78 院校名單 Participating Institutes

79 鳴謝 Acknowledgements

目錄 Contents

32

藝術與社群Art and the Community香港藝術推廣辦事處Art Promotion Office

內文 text / 黃靜WONG Ching

翻譯 translation / 陳麗娟 CHAN Lai-kuen

校對 edit / 姜慧 Vikki WESTON

攝影 photos / 趙冠瑜 CHIU Kwun-yu, Enzo

香港版畫工作室和香港康文署藝術推廣辦

事處因為抱著普及版畫和藝術普及的目標，

經常往來合作，包括今次「新一代！國際大

學生交流展」。

The Hong Kong Open Printshop and the Art Promotion Office of the Leisure and Cultural Services Department have worked together for many years to promote printmaking and other forms of art. “Xin Yi Dai: An International University Students Exchange Exhibition” is their latest collaboration.

Looking out over the Central skyscrapers, the Art Promotion Office (APO) is located in the Hong Kong Visual Arts Centre (VAC), which is also under APO management. Squeezed between Midlevels and Hong Kong Park, the neighbourhood is an unusual one for an arts centre. But this no-frills, friendly venue is a haven for artists lacking studio space and the equipment for making art – and also one that offers very reasonable rates for exhibition and work spaces. In the VAC, the APO has set up studios for ceramics, sculpture and printmaking. The APO’s objectives - promoting community art and develop pulic art, and nurturing young artists – all combine to bring art into the community. They also give marginalised art forms a new lease of life. There are “underprivileged” art media just as there are socially underprivileged people.

“It was said, some years ago already, that printmaking would vanish," said Eve Tam, Curator at the APO. "Some educational

institutes even got rid of their printing presses.Printmaking requires more time, technical skill, patience and perseverance than many people can afford to devote. Most people in Hong Kong are too impatient to spend so much time on art. They think printmaking will eventually be replaced, but this is a characterful art form that transforms those who realise its charm into avid followers. We do not want to see a monopolised art scene. I hope our existing and constantly updated facilities can give the general public access to the art of printmaking. Our space and equipment serve to sustain various printmaking techniques – and this has become a rare choice, at a time when people can work more easily in other media.” Every flow has its ebb, so when digital art prevails, people will return to more tactile forms of art such as drawing, predicted Tam.

Meticulous mastery of materials and tools is a must for some of the highly complex

藝術推廣辦事處駐紮在香港視覺藝術中心，

眺見中環區的商廈，並夾在半山區和香港公園

中間，地點來說不算親和。不過高級地段裡的

這所辦公室，倒是小巧樸實，足讓缺乏物理空

間、設備的本地藝術家以平租在工作室創作，

舉行活動。中心特設陶瓷、雕塑及版畫此三項

的專業藝術研習場所。藝術推廣辦事處積極

發展公共藝術及社群藝術，希望令藝術走入

群眾，同時希望令少數的人仍可接近「邊緣」

的藝術，因為當我們常說弱勢社群的時候，其

實藝術界裡同樣有弱勢的範疇與媒介。

「幾年前，已聽人說版畫藝術會『灰飛煙滅』，

有些學院連機器也已移走。版畫太費時，程序

複雜，需要很多耐力、韌力。香港如此趕忙的

生活節奏，不少朋友實在沒有耐性花這麼多

時間去創作。人們認為其他媒體會陸續取代

版畫。版畫是有個性的媒介，喜歡的人會非常

喜歡。我們不希望藝術一體化。我們希望利用

現有的和不斷引進的設施、器具，讓人可以使

用、接觸到版畫。當大家有能力做其他形式的

創作時，我們的空間或者資源可以支持大多

數人未必那麼想去接觸的藝術形式。」藝術推

廣辦事處館長譚美兒認為，物極必反，當透過

電腦操作而成的作品成為主流時，人們會慢

慢回歸到具有「手感」的創作，如素描等。

版畫是複雜的媒介，工序繁複、對物料要有嚴

謹的掌握和操控。譚美兒說︰「香港版畫工作

室利用簡易方法讓參與者先有滿足感，做到

一些作品，讓他們見到成果後，再引發他們進

入創作的狀態。大多數人對藝術感到有距離，

processes of printmaking. Tam continued, “The Hong Kong Open Printshop brings the joy of art-making to the public by means of simple techniques. They are then led into the more sophisticated world of printmaking once they have succeeded in completing their first piece of work. For most people, art has nothing to do with the everyday realities of life, and this is what keeps them away. The prints produced by elderly participants at workshops held by the Hong Kong Open Printshop are so amazing that you wouldn’t believe it if you didn’t see them with your own eyes. Recognising this made us realise that we had failed to see the aesthetics of the older generation. Their works are so mature in terms of colour contrast and composition that we probably wouldn’t be able to tell them apart from works done by masters if we put them side by side.”

不覺得它是生活的一部分︰這種距離正阻礙

他們接觸藝術。香港版畫工作室教老人家做

版畫，做出來的作品你不會相信。原來我們一

向不大留意長者的審美觀，沒有怎麼去發掘。

無論從顏色對比、構圖等看來，我們見到的長

者作品實在很成熟。即使我們把長者的作品

放在大師作品旁邊，可能也無法把它們分辨

出來。」

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viewers and aficionados. It is the mission of our office to nurture and cater for all of these different groups. At the opening of the exhibition at the Guan Shanyue Art Museum, the conversation among teachers and students from art academies across China still centred on whether printmaking graduates can find work in a related profession. Art cannot ensure its own survival if only a career-mentality persists. A broader audience base is essential for any art form to survive and prosper."

Printmaking graduates in Mainland China face keen competition for a career as a professional printmaking artist among a population of over a billion. Their Hong Kong counterparts have the advantage of greater flexibility in exploration across media, as their works are often more light-hearted and inspired by the nuances of everyday life. Making the best of the light-heartedness of Hong Kong art, the APO dedicates itself to facilitating dialogue between professional artists and the wider community. “Our aim is to lend support to young artists into the second or third years of their career so that they can continue their artistic endeavours. Our low rent enables them to continue practising art, and our specialist courses enable them to share their experiences and continue to explore various media.

辦事處的工作是培育不同的群體，包括愛好

者和觀眾。展覽在關山月美術館開幕當日，來

自各地美院的講師和學生聚首對談。他們仍

很集中討論版畫學生的專門出路是否版畫創

作。但若這樣想下去，其實也不能將藝術發展

下去。若某種藝術形式有更多不同的受眾，它

才會生生不息。」

內地版畫學生接受專科訓練，打從開始便走

專業化的路。將來要在十多億人口裡的版畫

藝術界突圍，包袱很大。而香港作品的趣味性

強些，發掘媒介的可能性也更多。他們可能借

生活很微小的點借題發揮。藝術推廣辦事處

似乎看上香港藝術家的輕盈，發掘、開創社群

和專業藝術的對話：「我們想的是，對於剛剛

畢業出來兩三年、仍然想走下去的人，如何支

持他們，令他們有機會成長。以低廉租金以支

持他們創作；藝術專修課程；以經驗分享、來

討論媒界創作的問題。我們在籌備建一個新

的藝術空間，希望真能以社區藝術中心的形

The Hong Kong Open Printshop also held workshops for communities with special needs on behalf of the APO, who noticed around 10 years ago, that the Open Printshop had begun working on community art projects that targeted specific communities across various districts. “There weren’t so many ‘artist villages’ around that time, not many artists could afford their own studios, there was also no riotously controversial West Kowloon Cultural District, and no art spaces eagerly set up by shopping malls and property developers. Today, the APO needs to reposition itself and further explore the interaction between art and the community. Marginal social groups such as new immigrants and low-income groups often suffer from low self-esteem. Art comes in helpful in rekindling imagination and curiosity in life, helping people rebuild their confidence and encouraging expression.”

Two of the APO's objectives, to foster community art and nurture young artists, may seem totally unrelated as professional and amateur artists seldom cross paths. The experience gained from this university exhibition tells us, however, that a more holistic concept of the art community is essential. Jessie So, Assistant Curator of the APO also shared her views with us: “An art community consists of artists as well as

香港版畫工作室為藝術推廣辦事處開辦特殊

社群工作坊。以藝術推廣辦事處的理解，

他們應由十年前對社區藝術的地緣推展

概念，轉向不同區域的特定社群：「那時還未

有太多藝術村、不是那麼多藝術家負擔屬於

自己的工作室，還未有鬧哄哄的西九，也沒有

那麼多地產商、商場積極把藝術放到人居空

間。時至今日，藝術推廣辦事處大概要重新定

位，進一步開發「社群」與藝術的互動。那些

新移民、基層市民，可能身處社會的邊緣，自

信心很低落，藝術可以引發他們對生活、生命

的想像和好奇，也可透過創作讓他們建立自

信，表達自己。」

藝術推廣辦事處的兩個主要方向——社群藝

術和培育年輕藝術家——看似專業／業餘互

不相交，然而從這次大學版畫展覽看來，藝術

需以更整全的群體概念去理解。藝術推廣辦

事處助理館長蘇慧娟說︰「藝術的群體不止包

括藝術家，還有藝術愛好者、觀眾。藝術推廣

式，吸引年輕藝術家多交流，不限止於傳統形

式如工作坊或短期課程。我們希望繼續推進

現時『藝遊鄰里』那樣的協作計劃，使創作、

回應、支持不斷，成為可持續發展的有機循

環。」譚美兒期待他們的工作能開劃出更具創

意和寬廣的「社群藝術」理解︰「我們每每說

社群，就好像是指南亞裔、低收入人士、老人，

好像永遠是社會邊緣的一群。而我們是希望

未來藝術家自己找合作的社群共同創作，『社

群』的概念是涵概更廣的。比如說，今時今日，

iPhone 用家已形成一獨特社群，他們也可以

是我們發掘的一類群體」。社群藝術推廣工作

不等於社會福利工作，而是真正去看社會不同

群體對藝術的理解——你會發現大家會有

很不同的切入點。希望我們能一起製造、擴大

更開放的『社群藝術』想像，從而豐富大家對

藝術的理解和欣賞空間。」

We are currently in the process of creating a new community art space targeting young artists, with projects beyond our traditional workshops and short courses. Our mission is to build up a sustainable and organic cycle of creation, response, and support, in the same spirit as our Artists in the Neighbourhood Scheme. ”The APO will draw up a new, broader and more creative definition of “community art”, envisioned Eve Tam. “People talk about ‘community’ as if it’s a synonym for ethnic minorities, low-income groups or the elderly, etc. It is our hope that, in future, artists can locate and create their own collaborating community. The idea of 'community' should be much broader – iPhone users, for instance, they also form a unique community yet to be explored. Community art is not a form of social welfare. It is an exploration of different interpretations of art among different social groups. Take a closer look and you will find a wide range of different approaches. I hope we will all open our minds to a new concept of 'community art' – one which will, in the end, enrich our own interpretation and appreciation of art," she concluded.

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平面作品

Impressions on P

aper

98

冓之一Secret Chambers I

王薈明WANG Hui-ming 中國內地，上海大學美術學院

Fine Art College of Shanghai University, MAINLAND CHINA

凹版畫Intaglio

29 x 13 cm

2011

這是一個視覺片段，玄暗的門與階梯，

也許是回往過去的時空門。

My work captures a visual fragment of a composition. Mysterious doors and stairways are perhaps gateways to the past.

形態一Form I

朱珂橙ZHU Ke-cheng中國內地，西安美術學院

Xi'an Academy of Fine Arts, MAINLAND CHINA

凸版畫Relief Print

78 x 109 cm

2010

生活和現實都在給我們無形的壓力，讓我們吸取更多營養應對現實⋯⋯

The realities of life put an intangible pressure on us, which in turn helps us face further realities.

綻放Blooming

宋冬梅SONG Dong-mei 中國內地，佳木斯大學美術學院

Jiamusi University, MAINLAND CHINA

絲印版畫 Screen Printing

55 x 45 cm

2011

鮮明的色彩表現出生命的燦爛和希望。

The vibrant colours of my work reflect the coming together of hope and life.

遙遠的天空一The Remote Sky I

臧亮ZANG Liang中國內地，四川美術學院

Sichuan Fine Arts Institute, MAINLAND CHINA


88.7 x 42.5 cm

2011

比目魚．比翼鳥．比肩獸Inseparable: Fish, Bird, Beast

董亞媛DONG Ya-yuan中國內地，中央美術學院

China Central Academy of Fine Arts, MAINLAND CHINA

其他Other

17 x 15 cm, x 3

2010

以拓印捕捉石刻的肌理，石上的肌理記錄了歲月的痕跡。

較粗獷地表現石刻的強烈凹凸感和歷史感。

Using a traditional rubbing technique, I wanted to recreate the appearance of symbolic imagery, with the rough edges and high contrast conveying a sense of history.

1110

意念 - 面具 ( 四 ) Concept - Mask IV

王晶WANG Jing 中國內地，四川美術學院


絲印版畫Screen Printing

66 x 50.5 cm

2011

表象Appearance

何詩意HE Shi-yi

中國內地，中央美術學院


凹版畫Intaglio

63 x 47 cm

2011

這個肉體不是我I am not this Body

全信映QUAN Xin-yang中國內地，中央美術學院


凹版畫:照相蝕刻法Intaglio: Photo Etching

50 x 100 cm

2011

解．接Release - Accept

夏塋XIA Yan中國內地，中央美術學院



140 x 100 cm

2011

痛．恐怖的甜蜜Pain - Sweet Horror

楊一雋YANG Yi-juan

中國內地，中國美術學院

China Academy of Art, MAINLAND CHINA


77 x 94 cm

2011

這是成長時的心，畏畏葸葸，又無所畏懼。

This work shows a heart growing up –

timid but also fearless.

1312

機器！阿門！Machines! Amen!

曹歐 CAO Ou中國內地，中國美術學院


凸版畫 :木版水印

Relief Print: Wood Block Water-based Print

106 x 66 cm

2011

我們究竟需要什麼樣的信仰來給自己更科學的

支撐？在這裡，破碎的機器人放在教堂裡面就是

我對信仰這個無形的事物的疑惑。

What kind of faith do we need as a scientifi c basis for belief? The wreckage of dismembered robots inside the church refl ects my doubts about intangible values such as faith.

不對稱的鏡像Asymmetrical Mirroring

呂珊珊LU Shan-shan中國內地，中國美術學院


石版畫Lithography

60 x 100 cm

2011

鏡像是我的創作主題，包含了我對個體與社會的理

解，在《不對稱的鏡像》有個體的不對稱，也有社

會群體的不對稱。

My work uses images in the mirror to refl ect my own understanding of the self and society. Asymmetry exists within individuals, as well as within society as a whole.

無題Untitled

張悌ZHANG Ti中國內地，中國美術學院


獨幅版畫Monoprint

100 x 80 cm

2011

圖案不斷擴大和縮小，層層疊加的靈感來自樹木的年輪，漏版誇大了偶然，

前期圖案簡單，規整，後期開始放鬆，色彩也開始變的統一。

The layers of expanding and reducing patterns in my work are inspired by

tree rings. Using stencilling to enhance the effect of random variations, the

relatively simple and regular patterns become progressively looser –

the colours merging into each other.

痴人說夢No.3 Lunatic Ravings No.3

肖映河XIAO Ying-he中國內地，廣州美術學院

Guangzhou Academy of Fine Arts, MAINLAND CHINA

混合媒介Mixed Media

80 x 70 cm

2010

1514

挽歌No.5 Elegy No.5

吳壹華WU Yi-hua中國內地，廣州美術學院



120 x 80 cm

2010

社會急劇變化與龐大的資訊叫人無所適從，

《輓歌》讓我們從新認知精神家園的重要。

Arapidly changing society and an overload of

information make it impossible for people to come to grips with the nature of the things and people around them. This series depicts the human state of anxiety and fear triggered by this riddle-like linguistic context – the psychological manifestations of those who panic, those who guard pureness of heart, and those who choose to flee.

月光下的呼吸之六Breathing in the Moonlight No.6

陳小鳳CHEN Xiao-feng中國內地，廣州美術學院


凸版畫：木版水印Relief Print: Wood Block Water-based Print

81 x 54 cm

2011

以傳統的浮水印木刻技法，

表現那些從自己心中浮現出來的色彩和形態。

Mywork makes use of the traditional technique of watermark

wood carving to give colour and shape to the images that emerge from my heart.

消逝的回聲 2011 The Fading Echo

左景武ZUO Jing-wu中國內地，廣州美術學院


混合媒介Mixed Media 64 x 91 cm

2011

我以綜合版畫這媒介，創造一種意象性的符號，闡述自己對過去與未來的感悟。

Ina society undergoing momentous social revolution, some changes to the historical and cultural environment

compel us to reflect on the relationship between the lives of individuals and society as a whole. Integrating the sculptural language and various media of printmaking, I have attempted to depict my feelings about the ties between a fast fading history, the traces it leaves behind, and the connection between the past and the future.

有意味的風景．水 VI

The Associated Landscape - Water VI

李長興LI Chang-xing中國內地，廣州美術學院



70 x 49 cm

2011

在現實喧囂的生活當中，充斥著各種稀奇古怪的事，

遠遠超出我們想像。

Thehustle and bustle of city life gives rise to a

subconscious desire for a different kind of human landscape. As our lives are filled with strange and bizarre occurrences, many of which are almost unimaginable, I wanted to create an image that was surreal and dreamlike.

年年有餘May Each Year Bring Surplus

朱東ZHU Dong中國內地，清華大學美術學院

Academy of Art & Design, Tsinghua University, MAINLAND CHINA


70 x 70 cm

2010

1716

戲劇化的生存模式A Theatrical Existence

薛紹雄XUE Shao-xiong 中國內地，清華大學美術學院


凹版畫Intaglio

56 x 41 cm

2011

為物質所勞累，為物質而遺失自我的人們。

This piece is a reflection on the state of modern living – my thoughts on a twisted way of existence, on human beings imprisoned by materialistic desires and losing their own sense of self.

路西弗效應Lucifer Effects

李孝鎮LI Xiao-zhen中國內地，清華大學美術學院


凹版畫Intaglio

80 x 60 cm

2011

身為留學生，身處異地感到的陌生和孤獨的經驗。

As a student in a foreign country, I was overcome by a sense of strangeness and isolation. The piece depicts the state I was in at that time and how I went about trying to find a solution. It also reflects my interest in the concept of maintaining a composed attitude.

今古論壇The Forum of Now and Then

殷朋朋YIN Peng-peng 中國內地，西安美術學院


石版畫 Lithography

165 x 100 cm

2011

拴馬樁莫名其妙的被商業化後，大規模的生產出來，

讓人追捧，讓人認領。

Mass produced commercial products pile up. While some are highly sought after, others wait to be claimed. 無盡的思念之二Endless Thoughts - 2

楊燕玉YANG Yan-yu 中國內地，天津美術學院

Tianjin Academy of Fine Arts, MAINLAND CHINA

凸版畫 :木口木刻Relief Printing: Engraving

45 x 45 cm

2011

這一系列既是自我內心的影子和寫照 , 又包含著某種現實的

隱喻 , 因此在創作中我不斷剖析自我 , 不斷學試更貼切內心

的表達手法 , 我在這樣的表達中不斷釋放自我 , 自得其樂 .

This series depicts my shadow, or inner self, and is a metaphor for a certain kind of reality. During the creative process I analysed my innermost feelings and experimented with more effective ways of expressing myself, releasing emotions and having some fun as well.

圍城Siege

韓正凱HAN Zheng-kai中國內地，天津美術學院



37 x 54 cm

2011

我做了《圍城》這件作品，

它鍥和了我所處的現實與心境。

This work weaves together

my current reality and state of mind.

1918

七宗罪—懶惰

The Seven Deadly Sins – Sloth

朱遠程ZHU Yuan-cheng 中國內地，天津美術學院


凹版畫Intaglio

50 x 70 cm

2011

這一系列銅版畫作品以“七宗罪”為主題，通過

天主教中的七宗罪來表現我對當代社會中人們內心

陰暗一面的思考。

This series of copper etchings is a reflection on the dark side of the human heart in modern-day society – my interpretation of the Seven Deadly Sins in Roman Catholic folklore and church tradition.

複雜生命—天使 or 惡魔？！No.2

Complex Life - Angel or Devil?! No.2

房麗媛FANG Li-yuan 中國內地，四川美術學院系


凹版畫Intaglio

50 x 35 cm

2011

這些形態怪異的水果蔬菜來表達當前的食品安全衛生，

我們應善待植物，善待自己。

Icreated six paintings of distorted, grotesque-

looking fruit and vegetables to make a statement about the current state of food safety. These fruit and vegetables should be good for our health. It’s a wake-up call for us to treat our food well and to treat ourselves well, too.

兩個人的世界Their World

劉鈴濤LIU Ling-tao中國內地，四川美術學院系



83 x 55 cm

2011

生活在一個受監視的世界中要處處小心，畫中表現情侶在公共場所中

親密又怕被監視的尷尬。

We live under surveillance, tiptoeing around, being mindful of our surroundings before doing anything. This is especially true for relationships, where intimacy can make you the laughingstock among friends. My work depicts friends – boys and girls – juxtaposing their desire for public displays of affection with their fear of the embarrassing scrutiny of their peers.

機械控A Technical Freak

李啟龍LI Qi-long中國內地，四川美術學院系



81 x 110 cm

2011

對機械的癡迷造使我注重事物理性分析，但這性格為我在美

術學院的創作課帶來了一些麻煩。

Myobsession with machines instilled in me a desire to

analyse things rationally – but this got me into trouble when I enrolled at the Fine Arts Institute, particularly in creative classes.

1027 來世你是誰 1027 Afterlife

姜文佳JIANG Wen-jia 中國內地，魯迅美術學院

Luxun Academy of Fine Arts, MAINLAND CHINA


76 x 56 cm

2010

《1027- 來世你是誰》源於對東方哲學的思考，

和對唯物主義世界觀的反思。

This series of work is inspired by Eastern philosophies and reflections on the materialistic world view.

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等大 LR 之二Waiting for LR - II

陳順龍CHEN Shun-long 中國內地，湖北美術學院

Hubei Institute of Fine Arts, MAINLAND CHINA


88 x 81 cm

2011

行雲流水-走走停停-動在靜中-靜在動中-變在不變中-

心如止水 - 波瀾不驚。

Floating clouds and flowing water, starting and

stopping; motion in stillness and stillness in motion; malleable and unyielding, unyielding and malleable; heart like still water, having no fear of violent storms.

大港頭一Dagangtou I

黃冰純HUANG Bing-chun中國內地，湖北美術學院


平版畫Planography

70 x 100 cm

2011

夢回大港頭，夢也不見，便自造之，自予燈之，

所造菜場，真如當時所見？而此時我亦不知。

Idream of returning to Dagangtou. When dreams fail, I make them

up – lighting up the scene and recreating the wet market. Does it look like the real market? I can’t really tell now.

暮巢IIINest at Dusk III

桂江GUI Jiang中國內地，湖北美術學院


凹版畫Intaglio

60 x 60 cm

2009

把日常事物和思想記憶中的細節，加上色彩，加以刻畫，

表達自己的主觀感情，寫出自己內心的激動。

Thispiece represents a synthesis – integrating the texture,

volume and sense of space of Western and Chinese line drawing, adding a hint of colour, depicting ordinary objects and memories, giving expression to subjective feelings and an inner flood of emotions.

兔子你好Hello Rabbit

劉洋LIU Yang中國內地，魯迅美術學院



57 x 45 cm

2011

也許，人人心中都有一個空曠無垠的世界，那兒沒有恐懼，

沒有驚慌，有的僅僅是種擺脫不去的無助。

Perhaps in the heart of everyone lurks a dark, murky dream. In a vast, vast world, there is no fear and no paranoia, only an unending sense of helplessness. The composition – an ‘X’ formed by two hands and arms and an ‘O’ suggested by the shape of the head – lends itself to a range of analogical and symbolic interpretations.

內省2010.9.27 Introspection 2010.9.27

龍智LONG Zhi 中國內地，魯迅美術學院


凹版畫Intaglio

100 x 51 cm

2010

我被亂線所圍繞與穿透糾纏，讓我深陷其中，不能自拔。

Entangled in and crisscrossed by a mesh of threads is the

me who is torn by inner struggles and conflicting views. The piece is an expression of the things in my head I find difficult to talk about, things that constrain me and from which there seems to be no escape.

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語Language

王昌澤WANG Chang-ze中國內地，廣西藝術學院Guangxi Arts Institute, MAINLAND CHINA

凸版畫 :木版水印Relief Print: Wood Block Water-based Print

37 x 50 cm

2011

生活中的情趣，單純而典雅的黑白色調，散發寧靜而深刻的力量。

My work depicts the joys of life in simple black and white – quiet and profound.

完The End

李瑩LI Ying中國內地，南京藝術學院

Nanjing University of the Arts, MAINLAND CHINA

凹版畫Intaglio

75 x 50 cm

2011

畫作完成後才回憶感受，畢竟是有些遙遠了，

畫作的意念都凝結在作品中。

Looking at a completed piece, it is hard to recapture the feelings that inspired it. When I look at this image it is like looking at an old memory; we move on but it remains the same. The drafts finally crystallise after a long printmaking process.

石榴的蜘蛛Pomegranate Spider

張小瑩ZHANG Xiao-ying中國內地，南京藝術學院

NanjingUniversity of the Arts,

MAINLAND CHINA

凸版畫：木版水印Relief Print: Wood Block Water-based Print

80 x 80 cm

2011

盯著眼前的漢字，直到筆劃渙散成了圖形和符號，又或抽出部首偏旁，

在腦子裡重新組合－這是我小時候樂此不疲的遊戲。

As a child, my father made me read poetry to improve my literacy skills. Later I developed and refined a game of deconstructing words – gazing intensely at Chinese characters until the strokes dissolved into idiosyncratic figures and signs, or abstracting radicals and characters and reassembling them randomly in my head for fun.

風景構成Constructing a Landscape

趙瑞ZHAO Rui中國內地，南京藝術學院

Nanjing University of the Arts, MAINLAND CHINA


76 x 100 cm

2011

世間的物象給我的第一印象是模糊

不清的，這種朦朧感便成了畫作的

主題。

This piece is a product of my experimentation with the language of printmaking. My first impression of things in the world is usually quite blurry, and it is the sense of misty disorientation that I wanted to express through this format.

龍鳳呈祥四Dragon and Phoenix IV

利國杰LI Guo-jie 中國內地，廣西藝術學院

Guangxi Arts Institute, MAINLAND CHINA


244 x 488 cm

2011

龍鳳相戲，從古到今是中國文化符號的縮影，當下是文化速食時代，

但作品從民族文化的思考出發，刻畫出特有的中國文化呼號。

Since ancient times, the depiction of the Dragon and Phoenix has symbolised Chinese Culture. Today it symbolises the fast food generation. This piece uses the techniques of Chinese folk art to express a cultural point of view.

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凝視—活色生香和肉體靈修Looking

張婷婷ZHANG Ting-ting中國內地，深圳大學

Shenzhen University, MAINLAND CHINA

凸版畫、絲印版畫Relief Print, Screen Printing

82 x 276 cm

2010

飛No.2 Flying No.2

梁業健LIANG Ye-jian中國內地，廣西藝術學院

Guangxi Arts Institute, MAINLAND CHINA


90 x 60 cm

2011

“飛”只是一個不切實際遙不可及，不可能實現的夢。夢想與

壓力，浪漫與彷徨同時寄託在我的畫面裡，於是畫面裡的人想

飛但飛不起來，對未來充滿希翼但又迷茫無知。

Flying seems to be an impossible dream. My work depictsdreams and pressure, romance and hesitation.The person in the print wants to fly, but he cannot. Full of hope, he is also lost and ignorant.

靜觀之二Contemplation 2

劉京LIU Jing中國內地，深圳大學

Shenzhen University, MAINLAND CHINA


98.5 x 72 cm

2010

“靜觀”是“對自我內心的關照”安靜內心可讓我們更清晰地

認知周遭世界。

This piece is inspired by the complexity of this world and depicts a ‘concern for the inner self’ – a quietening of themind for a better understanding and appreciation of theexternal world.

許多事物或許乍看是如何微不足道，只要花點時間審視，

便會發現其中可觀可敬之處。

The objective of my work is to present a personal perspective on art, life and the state of the world. When seen from a fresh perspective, things that we normally think of as trivial or insignificant may suddenly become more worthy of our consideration.

雙生Twins

Patricia MACHADO FLORES 巴西，南大河聯邦大學藝術學院 Universidade Federal do Rio Grande do Sul, BRAZIL

凹版畫：蝕刻法、細點蝕刻法 Intaglio: Etching, Aquatint

40 x 79 cm

2010

與親密的人之間模糊的界線。

Being close to others: imprecision of boundaries.

杜洛蒂Dorota

Rafael PAGATINI 巴西，南大河聯邦大學藝術學院 Universidade Federal do Rio Grande do Sul, BRAZIL

凸版畫 :木刻Relief print: Wood block

58 x 115 cm

2010

鬧鬼Este lugar e assombrado (This Place is Haunted)

Nara Amelia MELO DA SILVA 巴西，南大河聯邦大學藝術學院 Universidade Federal do Rio Grande do Sul, BRAZIL

凹版畫：蝕刻法、細點蝕刻法Intaglio: Etching, Aquatint

37 x 44 cm

2009

古老的寓言和傳說，常常有人與動物的故事，作品就這些寓言和傳說，

探討人、獸、半獸人的關係。

Through engraving I create images that explore the relationship between

men, animals and hybrid beings, in a configuration that combines image

and text and makes reference to traditional bestiaries and fables.

品靈感源自瞬息萬變的地方及事情。

My work is inspired by places and circumstances that are constantly changing.

2726

熾熱魅力Incandescent Charm

Sarah HAWLEY 加拿大，喬治亞學院設計和視覺藝術學系 Georgian College School of Design and Visual Arts, CANADA

其他Other

38 x 34 cm

2011

裝飾藝術、飾紋紙、加拿大藝術家 Jeannie Thib 的裝飾設計，油墨與金屬

紙產生的效果都是我的創作靈感。

My work is inspired by ornamentation, different types of decorative papers, other artists like Canadian Jeannie Thib and her work with decorative designs, and how the ink and metallic paper surfaces react to each other.

解構和諧Deconstruction Harmonies

Emilie GUILBAULT 加拿大，魁北克大學三河校區 Université du Québec à Trois-Rivières, CANADA


93 x 112 cm

2011

固執Teimosia

Maria Salete MELO MARTINS PINTO 巴西，南大河聯邦大學藝術學院 Universidade Federal do Rio Grande do Sul, BRAZIL

凹版畫：直刻法、細點蝕刻法

Intaglio: Drypoint, Aquatint

62.5 x 90 cm

2009

靈感來自貧民區與廢品回收。

My work is inspired by shanty towns and recycling.

足跡INos Pas I 足跡IIINos Pas III 足跡IVNos Pas IV

Valerie MORRISSETTE 加拿大，魁北克大學三河校區

Université du Québec à Trois-Rivières,

CANADA

凹版畫Intaglio

83 x 132 cm

2011

電視定格Pause Télévisée

Marie-Pier DEMERS 加拿大，魁北克大學三河校區 Université du Québec à Trois-Rivières, CANADA

混合媒介Mixed Media 28 x 34 cm

2011

科技為人生帶來的轉變。

Life through technology.

2928

母親Mother

Marie-Soleil CHEVALIER加拿大，魁北克大學三河校區

Université du Québec à Trois-Rivières, CANADA


70 x 47 cm

2010

人獸之間 Humanimal

Ester TARABAL CABEZAS西班牙，巴塞隆拿大學

Universitat de Barcelona, SPAIN

凹版畫Intaglio

56 x 76 cm

2011

這個作品的意念來自主人與寵物的關係，旨在探索人如何把動物

人化以及非動物化。

The general concept of the work is the close relationship between owners and pets. It discusses the humanisation and ‘unanimalisation’ of animals conducted by humans.

演化Evolution

李殷澤LEE Jack英國，倫敦藝術大學，倫敦傳播學院

University of the Arts London,

London College of Communication, UNITED KINGDOM


42 x 29.7 cm2010

作品以字形為題，其符號學涵意覆蓋不同的主題以至世界大事。觀者對

這組版畫的主題以及畫作之間會有不同的詮釋。

This series uses symbolic letter shapes to recreate the titles of the works. The symbols relate to various themes and issues. Each viewer will interpret the series – and the way in which each work links to another – in a different way.

屏風樓The Wall Effect

陳智侯CHAN Chi-hau香港，香港藝術學院墨爾本皇家理工大學

Hong Kong Art School, RMIT University

HONG KONG


58 x 164 cm

2010

浮游Floating

張施烈CHEUNG Sze-lit香港，香港藝術學院墨爾本皇家理工大學

Hong Kong Art School, RMIT University,

HONG KONG

凹版畫 :美柔汀Intaglio: Mezzotint

76 x 56 cm

2011

我喜愛一種寂靜的環境，讓這寂靜醞釀出一種

意味，一種無名的狀態。

I love to lose myself in the contemplative anonymity of silent places.

反映香港缺乏發展計劃及建築上失控之處境。

窗外只看到樓群組成的大牆。

Property development is out of control. The lack of development planning in Hong Kong means that the view from our windows is often nothing but a wall of buildings.

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倒影Self – Reflection

劉惠娟LAU Wai-kuen 香港，香港藝術學院墨爾本皇家理工大學 Hong Kong Art School, RMIT University, HONG KONG


56 x 76 cm

2010

自拍天天可見。我們究竟會在哪裡自拍？怎樣自拍？

我在不同環境下用手機捕捉我的倒影。

Self-portraits can be seen every day. Where do we take photos of ourselves? And why? Here I have captured images of myself reflected in various surfaces.

光．影Shadow

劉家成LAU Ka-shing 香港，香港藝術學院墨爾本皇家理工大學 Hong Kong Art School, RMIT University, HONG KONG


42 x 90 cm

2010

寒光下的枝與葉，作品中扁平但色彩鮮艷的影子代表

我個人對現狀的觀察。

Clusters of branches and leaves under cold light. This piece uses flat yet colourful organic images of shadows to create a personal impression of my observations of reality.

民工Migrant Workers

曾家宜TSANG Ka-yee 香港，香港藝術學院墨爾本皇家理工大學 Hong Kong Art School, RMIT University

HONG KONG


43 x 28 cm

2011

迷你馬拉松Mini Marathon

黃嘉妍WONG Ka-yin 香港，香港藝術學院墨爾本皇家理工大學 Hong Kong Art School, RMIT University

HONG KONG


422 x 22.8 cm

2011

我把中國工人集會的照片以絲印版畫把浮塵印在布上，印痕會除著時光改變或消褪，

象徵今日中國勞工被邊沿化的處境。

I have recreated photographs of Chinese migrant workers by screen printing dust onto denim. The printed images will fade over time – a reflection of the marginalisation of these people.

在消失的森林裡In the Disappearing Forest

彭佩芳PAN Peggy 香港，香港藝術學院墨爾本皇家理工大學 Hong Kong Art School, RMIT University

HONG KONG


114 x 143 cm

2009

過度伐木是全球暖化的一大成因，過去三十年溫室效應惡化，也直接破壞生物多樣性。

這是人人有責的事情。

Deforestation is one of the causes of global warming. In the past 30 years, the greenhouse effect has worsened. There is also a direct link to loss of biodiversity. These serious matters concern all of us.

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地下鐵 MTR

胡綺君WU Yee-kwan香港，香港理工大學設計學院

School of Design,

Hong Kong Polytechnic University

HONG KONG


36 x 113 cm

2011

劍客The Challenger

黎振寧LAI Chun-ling香港，香港藝術學院墨爾本皇家理工大學


HONG KONG

平版畫Planography

41 x 244 cm

2010

消失的土地The Vanishing Country

林沛鈺LAM Pui-yuk香港，香港理工大學設計學院

School of Design,


HONG KONG


38 x 65 cm

2011

除了太陽，這草地這屋這樹，一切都將要消失。

The grass, the houses, the trees … everything will disappear, except the sunlight.

太陽花Sunfl owers

藍艾潔 LAM Oi-keat香港，香港理工大學設計學院

School of Design,


HONG KONG


70 x 36 cm

2011

人生之樂莫過於自在。日理萬機的當兒，

別忘了呼吸生命的芬芳。

The joy of life is feeling free. As you rush through each busy day, don’t forget to stop and smell the fl owers.

煙斗市民Smokers

黃勇 WANG Yung香港，香港理工大學設計學院

School of Design,

Hong Kong Polytechnic University,

HONG KONG


76 x 56 cm

2011

香港政府在二零一一年大幅調高煙草稅逾四成，

增加煙稅對減少市民吸煙並沒有多大幫助。

這幅作品其實是對＜財政預算案＞的一個小諷刺。

Cigarette tax was increased in Hong Kong in an attempt to curb smoking. But it had little effect. This work is an ironic look at budgeting.

每天踏進地鐵車廂時，我發現人們的耳朵上，總是掛著耳筒。彷彿他們有著自己的世界，

聽著想聽到的和預知的聲音。那麼四週的聲音呢 ?掛著耳筒的人，你會知道嗎 ?

Every morning on the MTR, I see people with their ears plugged with headphones. They seem isolated in their own sound worlds. But what about the sounds around them? Do the headphone wearers notice these?

以影像逐格列印，水墨重繪及平版印刷，

審視一個運動員的劍客情懷。

This work uses ink wash and printmaking techniques to recreate the sportsman's challenge frame by frame.

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無題Untitled

郭家榮 KWOK Ka-wing香港，香港理工大學設計學院 School of Design,


HONG KONG


29 x 21 cm

2011

甚麼是好 ? 甚麼是壞 ?

甚麼是對 ? 甚麼是錯 ?

What is good? What is evil? What is right? What is wrong?

魚眼下的我Self-Portrait with a Fisheye Lens

陳奕愉 CHAN Yik-yue香港，香港理工大學設計學院 School of Design,


HONG KONG


20 x 20 cm

2011

魚眼鏡下的一切尋常事物都變得超現實了。

The fisheye lens lends a surreal perspective to ordinary things.

探索Observation

何苑瑜 HO Yuen-yu香港，香港城市大學創意媒體學院 School of Creative Media,

City University of Hong Kong,

HONG KONG

凹版畫Intaglio76 x 56 cm2009

成長是由微小而漫長的改變而成

The sense of growth comes from

slight but continual changes.

阿森與順利街市Ah Sam's, Shun Lee Market

莊德森 CHONG Tak-sam

香港，香港理工大學設計學院 School of Design,


HONG KONG

厭食症病患者The Anorexic

馮凱靖 FUNG Hoi-ching香港，香港藝術學院墨爾本皇家理工大學 Hong Kong Art School, RMIT University

HONG KONG

凹版畫Intaglio

21.5 x 100 cm

2009

為人民服毛Serve Mao

張偉明 CHEUNG Wai-ming 香港，香港理工大學設計學院 School of Design,


HONG KONG


56 x 76 cm

2011

我沒有頭髮了

他也是沒頭髮的

無法無天了。

I’m hairless He was bald Bald-faced lawlessness


20 x 120 cm

2011

順利街市，每一店主每一物都是見證時代變遷的產物，在這兒生活的我，都應把他們好好記錄下來。

The most interesting part of Shun Lee, where I live, is the Shun Lee Market. Everything, including the people there, has witnessed the passing of time. I want to take this chance to record these things.

Note: The title and text accompanying this work play on the double meaning of the Chinese character 毛 (máo: Mao; hair) and the similar sounds of the characters. 髮 (fà: hair) and 法 (fa: law)

3736

七年記七年念7 Years - Remembrance

丘藝藍YAU Ngai-lam

香港，香港藝術學院墨爾本皇家理工大學 Hong Kong Art School, RMIT University, HONG KONG


26 x 26 cm

2010

流逝的水點，漸次模糊的影像，是我對已去世七年外公的思念。

My work combines images with drops of water to symbolise the passing of time. A commemoration of the 7th anniversary of my grandfather’s passing.

隨心所肉Indulgence

葉莉婷 YIP Lee-ting, Tina香港，香港理工大學設計學院 School of Design, Hong Kong Polytechnic University,

HONG KONG


40 x 60 cm

2011

我的作品靈感是來自一個小胖子叫盧志豪。佷多人只是覺得他的外形佷“有趣”，

可是我認為一切都是他父母溺愛造成的。

My work was inspired by an overweight boy, Lu Zhi-hao, who everyone called ‘Little Fatty’. Most people thought he looked ‘cute’ but his appearance was the result of his parents’ doting indulgence.

錯角The Wrong Angle

趙之華 CHIU Chee-wah 香港，香港理工大學設計學院 School of Design, Hong Kong Polytechnic University,

HONG KONG


29 x 42 cm

2011

試過在窗上嗎？描畫窗外大廈嗎？你以為能夠準確記錄它們嗎？

退後一步，換了角度，世界又變不一樣了。

Have you ever looked through a window and tried to draw the buildings outside on the window pane? You think the proportions are accurate? Step back, look from a different angle, and the world changes.

獅子山下Below Lion Rock

李靜兒 LEE Ching-yee香港，香港理工大學設計學院 School of Design, Hong Kong Polytechnic University,

HONG KONG


45 x 60 cm

2011

獅子山寄喻香港人的精神 , 象徵著努力及堅毅的為生活

為家庭去奮鬥。

Lion Rock symbolises the industriousness of the people of Hong Kong and their struggle for a better life for their families.

成長Growth

周凱琳 CHOW Hoi-lam, Jenny香港，香港藝術學院墨爾本皇家理工大學 Hong Kong Art School, RMIT University

HONG KONG


76 x 120 cm

2011

探索各種版畫素材及重疊較果的可能性。

My work explores the printmaking possibilities of various materials and layering effects.

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孔雀Peacock

SITI NUR BALQIS Abdul Halim

馬來西亞檳城，馬來西亞大學藝術學院

School Of the Arts, Universiti Sains Malaysia, MALAYSIA

其他Other

36 x 24.5 cm

2010

色彩繽紛的孔雀讓我體會到人生的美好，只要不傷害他人，我可以率性而為。

This artwork shows my interest in the colourful peacock. It makes me realise that life is a great place to do whatever you want, as long as you never step on others.

拯救地下生命Rescued Growth of Ground

NURIZA Bakte Mohd馬來西亞檳城，馬來西亞大學藝術學院 School Of the Arts, Universiti Sains Malaysia,

MALAYSIA

其他Other

19 x 24.5 cm

2010

大自然是我的靈感。只要我們耐心觀察，

枯葉也好像人一樣會發出各種訊息。

Nature is my main inspiration. Like people, the dead leaves give many signs. We just need to be a little observant.

春天Musim Bunga (Spring)

NOR AFFIDAH Noh馬來西亞檳城，馬來西亞大學藝術學院 School Of the Arts, Universiti Sains Malaysia,

MALAYSIA

其他Other

37 x 30 cm

2010

植物的細部及草木的質感給我孤寂的感覺，

引發我思考表像的問題。

This artwork is inspired by observing my surroundings – that are lush with colourful plants. It makes me think about appearances in this world – the details of the plants and the texture of grass sets off a feeling of loneliness.

海草Rumpai Laut (Seaweed)

MOHAMMED HAIZAR Rosarudin馬來西亞檳城，馬來西亞大學藝術學院

School Of the Arts, Universiti Sains Malaysia,

MALAYSIA

其他Other

33 x 44 cm

2010

作品表達人在水底的感覺，

並探索海草形態之美。

This artwork represents the sense of being under the sea, looking at the seaweed as subject matter to convey an aesthetic art form.

海有多深？How Deep is the Ocean?

Emily DIEHL美國費城，賓西法尼亞州藝術學院

Pennsylvania Academy of the Fine Arts,

USA


38 x 58 cm

2010

我的作品藉著色調和深淺的微妙變化營造氣氛。為達至柔和、有機的圖像效果，

我在印刷前刻意以不正確的方法處理畫紙。圖像不指向任何具像的主體，但又

令人聯想到風景。這些畫像不能複製，每一張都獨一無二。

My pictures are explorations of subtlety in tone and colour in order to create atmosphere. The printing process I invented involves paper being prepared incorrectly for printing. The result is a soft organic image, free from any direct subject matter, but implying landscape. They can never be reproduced. Each is one of a kind.

傳統Traditions

CHUNG Ah-kow馬來西亞檳城，馬來西亞大學藝術學院

School Of the Arts, Universiti Sains Malaysia,

MALAYSIA

凸版畫 :木刻Relief Print: Wood Block

42 x 29.5 cm

2010

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約爾斯IIYnyslas II

Emily HOPKINS英國，阿伯瑞特威斯大學藝術系 Aberystwyth University, School of Art

UNITED KINGDOM

凹版畫 :直刻法Intaglio: Dry Point

5 x 13 cm

2010

西方江戶IIThe Western Edo II

Cara DUNCAN英國，阿伯瑞特威斯大學藝術系 Aberystwyth University, School of Art

UNITED KINGDOM


40 x 150 cm

2011

馬努拉Maloula

Ousama LAZKANI英國，阿伯瑞特威斯大學藝術系 Aberystwyth University, School of Art

UNITED KINGDOM


64 x 33 cm

2009

靈感來自敘利亞古城瑪路拉。當地居民仍依然用阿拉美語。

This work is inspired by the ancient Syrian town ‘Maloula’

where the Aramaic language is still spoken.

受歌川國芳、葛飾北齋、歌川廣重的浮世繪版畫啟發，我一向有志以威爾斯的風景為題創作當代版畫。

Inspired by the work of UTAGAWA Kuniyoshi, KATSUSHIKA Hokusai and UTAGAWA Hiroshige,

I have been interested in making contemporary prints based upon the Welsh landscape.

日光游移不定，雲的抽象形態與風景互動，為作品賦與瞬間一刻。

Here the central focus is the formation of clouds. Their abstract nature and interaction with the landscape creates immediacy in my work as the light constantly changes.

探索中的青蛙Exploring Frog

Robert McMORRINE 英國，阿伯瑞特威斯大學藝術系 Aberystwyth University, School of Art

UNITED KINGDOM


20 x 15 cm

2011

這個作品的難度在於描繪青蛙的造形的基礎之上進

一步捕捉牠的動感。圖中的旋渦形狀表現出蛙在

叢林裡、水中及空氣中的動態。

Trying to capture not only the image of the

frog itself but also its movements was a great

challenge – swirling shapes that could suggest

movement through foliage, water and air.

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印象#6Impression #6

Ben PARTRIDGE英國，阿伯瑞特威斯大學藝術系 Aberystwyth University, School of Art

UNITED KINGDOM

凹版畫 :照相蝕刻Intaglio: Photo-etching

300 x 415 cm

2011

金里維爾IIKingley Vale II

Maxine PRESCOTT英國，阿伯瑞特威斯大學藝術系 Aberystwyth University, School of Art

UNITED KINGDOM

凹版畫 :美柔汀Intaglio: Mezzotint

7.5 x 12.5 cm

2011

我的前作是關於夢、恐懼和俏俏走進意識層面的

潛意識。其後我以艾德文．伯克的《關於美與崇高

的哲學問題》為出發點創作了這系列美柔汀作品。

Following works about dreams, fears and

the subconscious seeping into the conscious

mind, this series of mezzotints are inspired by

Edmund Burke’s ‘A Philosophical Enquiry into

the Sublime and Beautiful’.

作品旨在探索個人在群體中的角色。我把這重新創造出的人群從原來的背景中抽離，

畫面呈現新的故事及圖案。

My work explores the individual's role within a crowd. Removed from their

original context, previously unseen narratives and patterns emerge within

this newly constructed crowd.

非一般的威爾斯IIUnscene Wales II

Elizabeth NASH英國，阿伯瑞特威斯大學藝術系 Aberystwyth University, School of Art

UNITED KINGDOM


31.5 x 30 cm

2011

靈感來自美麗的威爾斯風光和它的理想形象。

My work is inspired by the beautiful landscape

of Wales combined with the ideal image.

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彭納迪斯山Pen Dinas

Tom VOYCE英國，阿伯瑞特威斯大學藝術系

Aberystwyth University, School of Art

UNITED KINGDOM

凹版畫 :蝕刻法、細點蝕刻法

Intaglio: Etching, Aquatint

10 x 15 cm

2011

本作品靈感來自本．派恩和 JMW 泰納的畫作、

愛德華．霍普和馬丁．路易斯的銅版畫，以及

諾曼．阿克萊德的版畫作品裡刺眼的咬痕。

This work is inspired by the paintings of Ben

Payne and JMW Turner as well as the etchings

of Edward Hopper, Martin Lewis and the foul

biting found in the prints of Norman Ackroyd.

後門The Back Door

Julie WILLIAMS英國，阿伯瑞特威斯大學藝術系


UNITED KINGDOM


38 x 28 cm

2011

作品靈感來自我家後門以及通往花的階梯。

This work is inspired by the back door

to my house and the steps leading down

to the garden.

缺口Openings

Ian WILKINS

英國，卡地夫威爾斯大學藝術及設計學院

Cardiff School of Art and Design,

University of Wales Institute,

UNITED KINGDOM


76 x 56 cm

2011

布吉樂Stone Bone Boogie

Gini WADE英國，阿伯瑞特威斯大學藝術系


UNITED KINGDOM


56 x 76 cm

2010

生與死往往只是一線之差。即使在沒有生命的

石頭和骨頭裡也有舞動的原子。舞蹈代表生命，

而骷髏則象徵死亡。

Life and death are indivisible. Atoms dance even in stone and bone. Dance is the essence of life and the human skeleton symbolises death.

4746

源Source

Tereza REICHOVA捷克，布拉格藝術學院 Academy of Fine Arts,

THE CZECH REPUBLIC


100 x 70 cm

2010

作品靈感源自深淵。

This work is inspired by the abyss.

衪在我心Jesus is in my heart

Julia Rodriguez GALLEGO英國，坎伯韋爾藝術學院 Camberwell College of Arts,

UNITED KINGDOM

凹版畫Intaglio

38 x 53 cm

2011

7 月11 日07/11

Alfonsina CAPURRO英國，坎伯韋爾藝術學院

Camberwell College of Arts, UNITED KINGDOM


50 x 70 cm

2010

不同文化的人有各自不同的方式面對人間悲劇。在旅

居倫敦的一年間，我研究英國人如何面對社會挑戰。

這個作品以 711 倫敦地鐵爆炸事件為出發點

Every culture has its own way to deal with tragedy.

Living in London for a year already, I have been

researching how British people react towards

social stimulus. This piece is based on the

underground terrorist attacks on the 7th of July.

昂山素姬Aung San Suu Kyi

John Joseph LYNCH英國，里斯托西英格蘭大學

University of the West of England,

UNITED KINGDOM


53 x 38 cm

2011

4948

來自另一個世界的張望- BB Baby Peeps from Another World

肖雅雯XIAO Ya-wen澳門，澳門理工學院

Macao Polytechnic Institute, MACAU

凹版畫 : 蝕刻法 ,細點蝕刻法Intaglio: Etching, Aquatint

26 x 24 cm

2011

這個世界的真相，不會因為我們的認知不足而不復存在。

The truth of the world exists, despite our lack of knowledge.

預言 Prophecy

張馨月ZHANG Xin-yue澳門，澳門理工學院


凹版畫 : 蝕刻法 ,細點蝕刻法IIntaglio: Etching, Aquatint

35 x 22 cm

2010

地球一天天在被人類破壞而啟發我的創作。

This piece is a reflection on the daily damage done to our planet by mankind.

瓶子的故事-夢Story of a Bottle - Dream

李曉巧LI Xiao-qiao澳門，澳門理工學院


版畫 : 蝕刻法Intaglio: Etching

44.4 x 35 cm

2010

理想很堅定，夢越來越多，仿佛連瓶子都已經盛不住，

不斷地往外面湧，瓶子關不住我的理想和夢。

I hold onto my ideals and nurture so many dreams that they overflow like froth from a bottle – longing to be realised, to be released.

5150

民間藝術團體「香港版畫工作室」四年前開

始舉辦香港圖像藝術節，為香港藝術界近

年鮮見的、具規模的國際版畫專題展覽。

在 2007 和 2010 的圖像藝術節，參展作品主

要以世界各地工作室為單位。今年則開拓大

學生交流展覽，是為「新一代！國際大學生

版畫交流展」；並首度與深圳關山月美術館

合作，部分作品跨境展出，適逢「第二十六

屆世界大學生夏季運動會」在深圳舉辦的時

機，成為運動與青年文化之間一個很好的交

流展示的展覽項目。

版畫藝術在中國源遠流長，可追溯至唐代或

更早，形式以木刻為主。魯迅在一九三零年

代發起新興版畫運動，劃出近代版畫的時

代，與當時的政權解放事業緊密相連。當時

的進步左翼文藝青年以此為創作媒介，啟蒙

群眾思想，推進革命。

The Hong Kong Graphic Art Fiesta is a

large-scale international printmaking

exhibition that was launched four years ago

by the Hong Kong Open Printshop, a non-

governmental art organisation in Hong Kong.

In 2007 and 2010, the Fiesta showcased

international studios. This year’s exhibition –

“Xin Yi Dai: An International University

Students Exchange Exhibition”– focuses on

artistic exchange between universities. And,

for the fi rst time, Hong Kong Open Printshop

is working in collaboration with the Guan

Shanyue Art Museum in Shenzhen to make

this year’s Fiesta an inter-city exhibition.

The event takes place alongside the

Universiade 2011 – the 26th Summer World

University Games – creating a youth culture

exchange showcasing art and sport.

The history of printmaking in China dates

back to the Tang dynasty, and earlier, with

woodblock being the dominant form. The

“New Woodblock Movement”, which Lu Xun

promoted to accompany political liberation

in the 1930s, marked a brand new era for the

art form. The medium was much favoured

by young leftist intellectuals as a way of

reaching out to and enlightening the general

population and simultaneously fuelling the

revolution.

Prints that faithfully record the political

upheavals of the mid 20th century play a

major part in the collection of the Guan

Shanyue Art Museum, which is dedicated

to the research of 20th century Chinese art.

Located on the fringes of the nation and

with less than two decades of history, the

Museum has not attempted to compete with

its Beijing or Guangzhou counterparts in the

contest to collect much sought-after items

of contemporary art. Instead, it began its

acquisition with social realist prints and now

has a collection of about one thousand works

by renowned Chinese printmakers.

The idea for this year’s collaboration,

as Yan Weixin, the Deputy Curator at the

Museum explained, came from

Chen Xinliang, Deputy Director of Culture,

Sports and Tourism Administration of

Shenzhen Municipality. Chen had heard

about Hong Kong Open Printshop’s track

record and plans for printmaking exhibitions,

and, observing that university students were

creating their own unique and international

visual language worthy of the Museum’s

study, an idea dawned on him: “Why not

join hands with Hong Kong to host this

exciting and dynamic exhibition during the

Universiade?” Representatives of Guan

Shanyue Art Museum then paid a visit

to Hong Kong to fi nd out more about the

Graphic Art Fiesta. They were impressed by

the Hong Kong Open Printshop’s determined

pursuit of the art of printmaking and the

group’s ability to survive in such a commerce-

跨境合作A Cross-border Collaboration 訪關山月美術館副館長顏為昕先生An interview with Mr Yan Weixin, the Deputy Curator of the Guan Shanyue Art Museum

今天已是讀圖的時代、蓋過了文字。今天也是個體化的時代：

藝術家注重個人表達，表現方式更為自由，多元有趣。

We live in an age in which graphics have taken precedence over words. It’s also a time for individualism, with artists seeking freer and more diverse means of expression.

driven city. “Hong Kong and Shenzhen are

close neighbours, so our artistic collaboration

should highlight the benefi ts of cooperation

and integration,” said Mr Chen.

The art produced by university students

nurtured in an educational institution, refl ects

the mainstream local and national aesthetic

trends of their time, according to Mr Yan.

“Directions for the future of art are often

spelled out by university students in their

interpretation of art and graphics,” mused the

curator. Proof of the students’ solid technical

foundation is easy to fi nd in the exhibition,

which ranges from social realist works

in traditional media to modern and post-

modern works in combinations of new media.

Many of the works are large-scale prints that

are striking in theme, visually imposing and

executed with strength and confi dence.

“We live in an age in which graphics have

taken precedence over words. It’s also a time

for individualism, with artists seeking freer

and more diverse means of expression. It is

no longer seen as necessary to have a strong

foundation. Earlier I spoke to a printmaking

major from the Xi’an Academy of Fine Arts.

He had overlaid his work with all kinds of

collage and colouring so that it no longer

looked like a print at all. I asked him what

his art meant to him. ‘This is a print, but

fi rst and foremost, it’s my work,’ answered

the student. Looking back at the 1940s and

’50s, all a printmaker had was a knife and a

woodblock, and he or she simply dug into a

block, day in and day out. I once interviewed

veteran printmaker Luo Gong-liu, who spoke

of the working conditions during the war:

‘This knife was made from a piece of bomb

shell, while that one was made from a

cartridge casing.’ Just like the material

conditions of life in general, printmaking

at that time was very simple. Each mark

on the block showed the artist’s skills of

visualisation, drawing and colour planning –

as well as the individual’s passion for the new

nation and new society.

關山月美術館定位二十世紀中國美術研究，

自然將目光聚焦在該世紀風風火火的版畫藝

術上。在當代藝術館激烈競爭的今天，只十

多年歷史、位處邊陲的關山月美術館，甚難

與北京甚至廣州爭鋒，購藏油畫等炙手可熱

的當代藝術作品。館方則選擇了以反映現實

主義題材為主的版畫作品為切入點，迄今收

藏近千餘幅國內著名版畫家作品。副館長顏

為昕先生指，此展覽的緣起是深圳市文體旅

遊局副局長陳新亮先生瞭解到香港版畫工作

室過往的版畫展覽及及今年策劃「新一代！

國際大學生交流展覽」的計劃後，陳局長說

大學生的藝術語言是一種「國際語言」，大

學生是很獨特的群體。他們的藝術既然值得

館方研究，為何不將一個如此充滿激情與活

力的展覽安排在大運會期間舉辦？為此，關

山月美術館去年專赴香港瞭解圖像藝術節舉

辦的細節，覺得香港版畫工作室在如此的社

會商業壓力的環境下，仍堅持著版畫藝術的

追求，實在做得不錯。





5352

“Most of the prints in the Guan Shanyue collection were created after the birth of the People’s Republic of China, during the decades of subsequent economic reform that continue to the present day. The definition of printmaking has now broadened to include the larger domain of digital graphic art, inspiring deeper thoughts as society undergoes high-speed change. In Shenzhen, printmaking is also enjoying a kind of revival – with the construction of a new arts and crafts street fully supported by the government, as well as the Guan Lan Centre for the Industry of Printmaking, which is being built on government land with public investment of over one hundred million yuan. The only existing nation-wide professional annual for printmaking is also published in Shenzhen. No matter how technology evolves, the basic syntax of a knife and a block will never change,” explained Mr Yan.

“In the Mainland, contemporary art has made a deep impression on students and teachers, leading their art to move further and further from the basics of printmaking. Teachers

of printmaking no longer rely solely on the logic of technique to guide their students’ conceptual development and expression. Although art students in the Mainland are strong in terms of their technical foundation, their conceptual development is weaker than their Hong Kong and overseas counterparts. This is the consequence of the prevalence of contemporary art. Artists, especially the younger ones, should slow down, exercise their intellect, and expose themselves to a broader spectrum of cool-headed artworks from overseas.”

Mr Yan hopes that Mainland students and teachers can take this opportunity to break away from their comfort zone into the bigger world of art. “Those ‘crazy’ celebrity artists, like Andy Warhol, are just exceptions. Most artists labour quietly and cool-headedly at their art. Young artists should not dream of overnight fame. There is no quick route. Success involves years of creative endeavour. In Hong Kong, the rustic, grass roots traditions of printmaking have been preserved, and artists motivated purely by the

joy of creation make smaller pieces inspired by everyday life,” Mr Yan told us.

Mr Yan concluded that exchange among university students has a more direct impact than visits and internships. Graphic art represents a wider picture of local culture, one that reaches beyond individual reflections on creative media. He hopes that young artists and university art students will be able to open their eyes to new influences and ways of expression, and enrich their art in ways that reflect their country and their culture.

「我們和香港地理上很接近，藝術的合作上

更應該體現出彼此城市之間的促進與融。」

顏副館長說。

顏為昕先生指，大學生在教育體制裡滋養成

長，反映出當下地域或國家主流審美趣味。

「大學生對美術、圖像的理解，很大程度代

表未來藝術發展方向。」場內所見，內地大

學生作品已見紮實功架，巨幅版畫「頂天立

地」，議題大，視覺衝擊強烈；氣魄、刀法

皆見重量，有傳統方式、庶民題材，但亦有

糅合新媒體、材質的當代／後現代話語作品。

「今天已是讀圖的時代、蓋過了文字。今天

也是個體化的時代：藝術家注重個人表達，

表現方式更為自由，多元有趣。不需要展現

強烈的基本功色彩。就如他詢問的參展的

西安美院版畫系學生，在版畫加上併貼添色

等各種效果，看上去其實不像版畫。作品對

你的意義是什麼？他回答，這還是版畫，

但更重要是這是我的作品。回顧 40、50 年

代的版畫家只有一刀一板，天天在刻。當年

採訪版畫家羅工柳先生時，談到他在日戰時

的創作環境，說『桌上這把刀是炮彈片做的，

那把刀是子彈片做的』。當時的版畫簡單、

和生活技術條件掛勾。每刀都是個人功力的

表現：造形能力、素描、色彩都好厲害。

並切切表現對新社會、國家的憧憬。

關山月美術館的版畫收藏以新中國成立、

改革開放到當下為收藏的主線，今時今日，

社會、時代背景改變較大，大家視版畫為更

廣闊的圖像來思考。作為手工藝術，版畫

以另一種姿態——尤其在深圳——復興。深

圳新近建成一條手造街；政府給地、投放億

計資源建造觀瀾版畫原創產業基地。深圳也

出版全國版畫年鑑，它是唯一的專業版畫雜

誌。顏為昕先生說，無論科技如何飛躍，新

面目的版畫如何發展，但是那一刀一板的版

畫基本的表現語言，是永遠不變的。」

「在內地，老師和學生受當代藝術影響太

深，版畫味道少了。版畫教授不再以版畫單

向藝術思維的方式來要求學生的思考及作品

如何表現。尤其是美術教育。國內學生基本

功會好過國外、香港學生，但觀念上有些浮

躁。這也是因為當代藝術喧囂的年代所致。

藝術家應該要慢下來，特別是年輕的藝術

家更應該冷靜的思考並多閱讀一些來自他方

的、平靜的作品。」

通過此次展覽，顏為昕先生希望國內師生

能跳出自己圈子：「不是每個藝術家都像

Andy Warhol 那樣『癲』，很多都在冷靜、

默默的創作。年輕的藝術家不要以為一夜成

名是好事。其實創作的累積才是可以成名的

基礎。香港作品小幅、生活細節裡找題材、

情趣，視創作為過癮之事，「手法反而有傳

統版畫味道。」

顏為昕先生認為，大學生彼此以作品交流，

比參觀、實習更為直接。圖像藝術超越個人

或對媒介的思考，表現文化的地域參照。

另外，也希望未來所有的年輕藝術家及在大

學裡進行藝術學習的年輕人，擁有更加開放

的視野，把自己真正對民族、國家的文化

思考，以更豐富的藝術形式表現出來。

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版畫裝置 P

rintstallations

5756

毛布底兒Felt Cloth and Slippers

潘旭PAN Xu 中國內地，西安美術學院


混合媒介MixedMedia

28 x 25 x 9 cm

2011

平面作品《小刀》系列是實物拼貼版畫。

《毛布底兒》是《小刀》系列的延伸，探究立體走到平面，再從平面走到立體的旅程。

This piece is a collage-type work from the ‘Little Knife’ series. It explores the cross-over between flat planes and three-dimensional objects.

個人空間Personal Space

王淑霖WONG Shuk-lam

香港，香港藝術學院墨爾本皇家理工大學


HONG KONG

凸版畫 Relief Print

90 x 100 x 300 cm

2011

繁囂鬧市中很難覓得私人空間。在地下鐵裡被推擠

的經驗驅使我思考個人空間的問題。

It is hard to find a private place in the city. The push and crush of crowded trains inspired me to consider personal space.

被忽略的細節Neglected Details

李巍LI Wei中國內地，西安美術學院Xi'an Academy of Fine Arts, MAINLAND CHINA

混合媒介Mixed Media100 x 160 cm

2011

事物的更新和生命的新陳代謝是不可阻止的，我用

版上的痕跡和顏色來重現這些快被遺忘的細節。

The cycle of life, death and regeneration is unstoppable. Through my work I record the details and colours of things that may soon be forgotten.

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浮於時間Floating in Time

王淑霖WONG Shuk-lam

香港，香港藝術學院墨爾本皇家理工大學


HONG KONG

凸版畫ReliefPrint

16 x 26 x 17.5 cm

2010

向日葵象徵生命與死亡，是我的一貫創作主題。

我用平版技巧表現向日葵枯萎、

褪色及失去香味的過程。

Sunflowers – a symbol of life and death – are a continuous motif in my work. Using lithography, I record the sunflower wilting, fading and losing its fragrance.

奴．材Slave Material

黎梓麟LAI Tsz-lun香港，香港藝術學院墨爾本皇家理工大學


HONG KONG


100 x 200 x 30 cm

2010

社會的文明 ,奴隸制度亦與時並進 ,

烙印從肉體巧妙地轉移到精神上。

In our civilised society, slavery has changed with the times – no longer physical but mental.

父親 My Father

曾麗嫦TSANG Lai-sheung, Amanda香港，香港藝術學院墨爾本皇家理工大學


HONG KONG


90 x 28 x 13 cm

2011

爸爸精彩的演技深印腦海 .

I am imprinted with my father’s talents.

厭食症病患者 The Anorexic

馮凱靖FUNG Hoi-ching香港，香港藝術學院墨爾本皇家理工大學


HONG KONG

凹版畫 :版畫裝置

Intaglio: Printstallation

2009

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略有小成Small Achievements

Jade HOYER 美國，明尼蘇達大學雙城分校

University of Minnesota - Twin Cities, USA


8.9 x 7.6 x 61 cm

2010

不只一次Indisposable

Ngoc-long James LUU澳洲，昆士蘭科技大學

Queensland University of Technology

AUSTRALIA


30 x 20 x 25 cm

2011

今時今日，以筷子進餐在澳洲也日漸普遍。

這個作品以竹筍的外形為輪廓，呈現顯微鏡下

竹枝的橫切面。

Microscopic view of a bamboo cross section constrained to the form of a bamboo shoot to represent the growing cultural practice of eating with chopsticks in Australia.

我的創作以社會時事評論為主題，幽默而非武斷。這件作品靈感來自最近的經濟危機。

I create social commentary, but do so in a manner that is humorous rather than polarising. This piece is inspired by the current economic crisis.

侵蝕空間Eroded Space

張翠婷CHEUNG Chui-ting香港，香港藝術學院墨爾本皇家理工大學


HONG KONG

混合媒介Mixed Media 15 x 61 x 91 cm

2010

城市發展而侵蝕自然的空間，但大自然仍頑強地從

城市空間中苟存。我們不難從城市空間中找到自然

的根莖。但可笑的是人們需要依賴著兩者才能生存。

Although urban development devours natural spaces, nature survives amid crevices in the city. The irony is that human survival depends on both kinds of environments.

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鮑爾The Bower

Sarah TITE澳洲，昆士蘭科技大學

Queensland University of Technology,

AUSTRALIA


2011

創作靈感來自澳洲的滑浪活動，及其帶動的相關

生活方式和工業。創作技巧包括手印及手工藝。

The Bower was inspired by the introduction of surfing to Australia and the lifestyle and industry that has evolved around it. The pieces embrace hand printing and craftsmanship.

調和Reconcile

Lauren STEWART澳洲，昆士蘭科技大學

Queensland University of Technology,

AUSTRALIA

其他 Other

50 x 100 x 100 cm

2011

歐洲移民以圍欄畫分出今日所見的各個州，

但同時把固有的原住民氏族割裂，深化了澳洲白人

和原住民之間的鴻溝。

This work is inspired by the influence of European Settlers on Aboriginal culture; the introduction of the fence segregated and divided existing clans, creating the states we know today and furthering the distance between indigenous and white Australians.

紅色眼鏡Red's Glasses

Benjamin EMERTON澳洲，昆士蘭科技大學


AUSTRALIA


55 x 160 x 155 cm

2011

創作靈感源自視障人士以及他們如何透過

觸覺得到美學體驗。

This work is inspired by visually impaired people, and how they interpret aesthetic qualities through touch.

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織梭Woven

Lisa DE RE澳洲，昆士蘭科技大學


AUSTRALIA

混合媒介MixedMedia

80 x 2 x 66 cm

2011

藤蔓為這作品的設計師及他的家人朋友提供庇蔭。

藤蔓和它的枝架為設計師提供了圖案和工藝的靈感。

Inspired by the vines that provide cover for the designer's family and friends on many occasions, a motif and artefact have been derived from the patterns generated by the vines and the structure that supports them.

家庭進化論Family Evolution

Katrina STOCKLEY澳洲，昆士蘭科技大學


AUSTRALIA

其他 Other

2011

上世紀二三十年代的大蕭條令家庭崩潰，

然後一種新的家庭單位應運而生。

This work is inspired by the impact of the Great Depression on the family unit. How it initially caused a breakdown, then later a reforming of a new type of family unit.

街舞Street Dancing

Miriam PFEFFER澳洲，昆士蘭科技大學


AUSTRALIA

其他 Other

21 x 15 cm

2011

這個作品探索街舞 ( 嘻哈hip hop) 的影響力，

以及其與澳洲本土文化相關的圖像。

這個作品印在 iPod 上供街舞者使用。

This work explores the influence of street dance (hip hop) and its associated imagery in Australian culture. The print was translated into an iPod cover to be used by street dancers.

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消耗Consumption

Alana KOWALCZYK澳洲，昆士蘭科技大學


AUSTRALIA

數碼圖像 Digital Image

29 x 28 x 28 cm

2011那魯Nalu

Brooke PROCTOR澳洲，昆士蘭科技大學


AUSTRALIA

數碼圖像 Digital Image

2011

城市擴張Urban Sprawl

Elle TREVORROW澳洲，昆士蘭科技大學


AUSTRALIA


2011

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The Hong Kong Graphic Art Fiesta, an international printmaking exhibition, has been one of Hong Kong Open Printshop’s major achievements in recent years. This year, the big event is “Xin Yi Dai: An International University Students Exchange Exhibition”. Behind the bustle of big exhibitions, however, the status of printmaking in university art education in Hong Kong looks quite precarious, as Mr Fung Ho-yin, Chairman, Board of Directors of the Hong Kong Open Printshop, reveals. “At the University of Hong Kong, there is no major programme or specialised course on printmaking, and the course that was previously offered at the Chinese University of Hong Kong is no longer available. Also, while the Hong Kong Polytechnic University offers elective printmaking courses, the Hong Kong Institute of Education has no plans to hire a replacement printmaking teacher after the current one retires. The Baptist University is the only institute that not only offers new courses, but has also purchased a large printing press.”

It is common nowadays for secondary schools to revamp their art rooms into computer labs for digital art. Much of the equipment at the Hong Kong Open Printshop was acquired from educational institutes as their printmaking departments closed. The group has also just acquired an 80-year-old antique press.

From humble beginnings

Fung Ho-yin was trained in Product Design and Applied Photography at the former Hong Kong Polytechnic and later studied

photography and advertising in the UK. Talking about his own work, he said, “Gum bichromate printing, the forerunner of colour photography, became popular during the 19th century after photography was invented in 1839. Gum bichromate is very difficult to handle, but I was fascinated by its effect. The result is a contact print in the original scale.”

In the 1990s, Fung Ho-yin met Yung Sau-mui. At that time, Yung was working at the Polytechnic as a research assistant on a project about post-war printmaking in Hong Kong under Liu Siu-jane. “Yung caught me making gum bichromate prints in the darkroom and realised that I was a fellow printmaker.”

Together with other friends, Fung and Yung decided to found the Hong Kong Open Printshop to help promote the art form. Memories of those difficult days are still fresh. “We were in dire need of a studio but we couldn’t afford one. Then we won the tender for a residency in the Shanghai Street Art Space, and were given a two-year lease on a 4th floor tenement flat at an annual rent of HK$1. Unfortunately the flat had no lift access, which was a real problem, and there was no support from the two or three neighbouring art groups. It was during that time that we began to hold printmaking classes and small-scale competitions,” Fung recalled.

When the two-year lease was up, the unit had to be handed back to the Lands Department. The group was at a crossroads but eventually settled in a rented industrial unit in Kowloon Bay. “We applied for exhibition funding from

the Hong Kong Arts Development Council, and liaised with social welfare groups to organise community projects. When the Jockey Club Creative Arts Centre was inaugurated in 2007, we moved into a space here. The close community of different art groups creates a kind of synergy. And we’ve managed to keep going with the support of various partners such as the LCSD Art Promotion Office and the Hong Kong Heritage Museum,” Fung said.

Giving to the community

According to Fung, the three major objectives of the Hong Kong Open Printshop are community art, art education, and professional exchange. “With funding from the Art Promotion Office, we’ve visited over 20 community centres and social minority groups to hold printmaking workshops targeting the wider community. Our main focus is to reach out to deprived social groups such as the elderly, children with special needs and young single mothers.

Talking about the Open Printshop’s principles regarding art education, Fung says, “I don’t think we should give our resources to groups that already get a lot of support, financially or otherwise. I hope our effort goes where it is most needed, so that communities with diverse backgrounds can gain access to art. To encourage these people to enjoy art is the very first step.” The technical aspects of the art form are not the first priority when working with the underprivileged. “We begin with content. Participants are encouraged to transform their ideas into messages that can be reproduced in their own art works.

由內容出發，我們鼓勵學員將他想表達的

內容，變成可複製的信息，然後印出來。

Participants are encouraged to transform their ideas into messages that can be reproduced in their own art works.

近年，香港版畫工作室策劃了香港圖像藝術節，推廣版畫藝術。而今年

的重點展覽題為「新一代！國際大學生交流展覽」。不過，談到版畫在

大學教育的位置，據香港版畫工作室馮浩然描述的狀態，多少是令人憂

心的。「香港大學沒有版畫系或專修版畫課程；香港中文大學藝術系現

在也沒有了；香港理工大學設計學院 ( 理工 ) 餘下選修科；香港教育學院

的版畫老師退休，再沒人執教。唯獨浸會大學視覺藝術院不單有相關課

程，還添置了大型印版機。」

其實，香港版畫工作室現有的不少機器都從學院丟棄的物事中拾遺。

千禧年前後，很多中學的美術室都給拆掉了，改建為電腦室，為學生

提供數碼美術訓練。有人漏夜趕科場，有人辭官歸故里。馮浩然說，

他們收了一台古董版畫機回來，足有八十年歷史。

由零開始，艱苦經營

馮浩然在理工唸產品設計，學習應用攝影，後來又去了英國進修攝影和

廣告。「1839 年發明攝影，光媒版畫 (Gum bichromate Print) 是彩色

攝影的先驅，在十九世紀盛行一時。這媒介的技巧好複雜好麻煩，但我

喜歡水彩與畫紙所產生的效果。作品是原大比例，是 contact print ( 印

樣 )。」馮浩然在九十年代中認識翁秀梅，當時她在理工當研究助理，

協助廖少珍一項關於戰後香港版畫發展的研究。「她在黑房發現我在做

光媒版畫，發現原來我也是搞 printmaking ( 版畫 )。」

馮浩然，翁秀梅和及其他朋友後來成立香港版畫工作室做版畫推廣。

他回憶當初的艱難時期︰「我們要創作，沒有能力負擔工作室，1999 年

投得上海街視藝空間，那是一個唐四樓單位，每年租金一元，租期兩年。

但是單位沒升降機始終不方便，同區雖另有兩三個藝團，但彼此其實也

沒甚麼支援。從那時起，我們開始有版畫班，也舉辦小型版畫比賽。」

兩年後上海街的單位給地政署收回了。馮浩然坦言這是十字路口的時刻。

結果，他們一夥嘗試租下九龍灣工業大廈一個單位，「我們試過問香港

藝術發展局拿資助搞展覽、又與社福機構洽談，策劃社區藝術推廣計劃

(community art promotion)。2007 年石硤尾賽馬會創意藝術中心落成啟

用，我們搬了進去。跟其他藝團在一起，有協同效應。現在又多了些合

作伙伴，例如藝術推廣辦事處、香港文化博物館等，這些支持讓我們足

襟見肘地維持下去。」

版畫，就在日常生活裡Printmaking: day to day訪香港版畫工作室馮浩然先生

An interview with Mr Fung Ho-yin, Hong Kong Open Printshop





7170

藝術工作，不是錦上添花

馮浩然表示，現在香港版畫工作室主要有三

大工作方向：社區藝術、藝術教育、專業交

流。「「以社區藝術推廣為例，過去一年和

藝術推廣辦事處合作，我們走訪了 20 多個

不同社區中心、邊緣團體，合作推廣以社群

為對象的版畫工作坊。企劃的資金由藝術推

廣辦事處提供。我們尤其關注那些缺乏資源

的社群，如老人家、群育學校、母親的抉擇

等等。」

這種把焦點放在邊緣社群的策略，正是香港

版畫工作室對藝術教育的理念。馮浩然解

釋︰「有些團體，資源多、地方充裕，或者

不那麼需要我們的投入。我希望這些工作坊

不是錦上添花的活動，而是鼓勵不同的社群

接觸藝術。第一個嘗試，便是讓他們去享

受創作。」在邊緣社群的工作坊裡談論「藝

術」，香港版畫工作室嘗試不去強調當中的

技術層面。「由內容出發，我們鼓勵學員將

他想表達的內容，變成圖像，然後印出來。

印出來這環節很重要。某程度上，我們不是

直接推廣版畫，鼓勵參加者以圖像藝術作為

表達形式。」

去年的香港圖像藝術節是集中推動國際版畫

工作室的交流，今年的是面向大學生，明年

的圖像藝術節將會面向中學生 ( 少年印象 )，

香港版畫工作室有目標清晰的年曆，三年一

個循環。除此以外，他們每季開設版畫班，

又連續三年在香港國際藝術展示範與推廣版

畫。「現在主要集中建立版畫觀眾的工作。

在香港，不少朋友可能中學時代創作過一兩

塊版畫，之後放下了，他們亦沒有想過與其

他藝術形式做串連。我們最新的計劃 ( 版畫

四圍 LOOK ) 是把工作室庫藏的三百多張作

品送到不同學校巡迴展出，並在學校開設工

作坊。」

先天不足，逐步發展

對於香港的版畫發展，馮浩然的總結是︰

先天不足，後天努力。他指出，版畫工作所

得到的資源，較諸其他視藝媒介相差甚遠。

馮說︰「我們嘗試與相關部門努力合作，

如藝術推廣辦事處。香港也有像廖少珍的

專業版畫家，但觀眾究竟不多，媒體興趣

不大。可能認為距離一般市民的認知與生活

太遙遠了。」

香港版畫工作室現有三名全職職員，也借著

企劃找到資助。然而，他們嘗試申請香港藝

術發展局的行政資助，三年都被拒門外。馮

也曾向外求援，找尋有意開拓文化活動成績

表的商貿企業。

馮浩然指出︰「現時目標中，我們最希望能

設立版畫庫藏 ( archive )。一個較完整的版

畫機構，應該有個庫藏累積歷史、有工作室，

有畫廊展示創作之餘也供人購藏。但現時未

有條件這樣做。」

未來目標︰藝術普及化

談到未來的活動，馮浩然表示，今年 11月，

香港版畫工作室和香港文化博物館合作的

「刻畫人間－－黃新波回應展覽」開幕，這

是一個推廣教育活動，鼓勵一些中學生大

學生以版畫創作，回應三十年代中國新興木

刻運動的中一位版畫家黃新波。黃經歷二次

大戰，透過作品描述很多當時的社會問題。

最後，馮浩然總結︰「巿民特地跑來找我們

動力不大，我們需更積極去推動藝術的普及

化。其實，香港人對版畫不應陌生，鈔票、

菜單，柯式平版印刷品俯拾皆是。有版，可

以印製的，就已經是版畫。噴墨打印機印出

來的噴畫，正是版畫。我們希望令參加者學

習兩個小時後，便能完成一幅作品。」

香港版畫工作室在資源有限的情況下沉著

應戰，踏實地踐行理念，一步一步，把藝術

從殿堂帶回民間。這種不亢不卑、持續而日

常的態度，或者正是版畫創作的生活精神。

Printing this message is very important. We are not directly promoting the art of printmaking, but we are promoting graphic expression in a broader sense,” Fung told us.

Last year, the Hong Kong Graphic Art Fiesta promoted international exchange among printmaking studios. This year, the focus is on exchange among university students and next year's Fiesta, "Youth Impressions", will be dedicated to work produced by secondary school students. The Hong Kong Open Printshop aims to continue these exhibitions in the future, with each theme rotating every three years. Besides this, the team hold printmaking workshops each season and, for the last three years, have conducted demonstrations and promotional events at the Hong Kong International Art Fair. “Our focus now is to widen our reach. One experience that many people in this city share, is that we all made one or two prints while we were at school, but then never again. This experience was never connected with any other medium. The next project that we’re planning, "Prints On Wheels", is a school tour of our 300 plus print collection with accompanying workshops.”

Overcoming setbacks

Summing up the situation for printmakers and printmaking in the city, Fung said, “There is little support, but we manage to get

by with hard work.” He also pointed out that, in comparison to other visual art media, far fewer resources are available for printmaking. “We’ve built up collaborative networks with institutes such as the Art Promotion Office. And Hong Kong has its share of professional printmakers, like Liu Siu-jane, but they get very little public or media attention. Maybe people think printmaking is too removed from daily life.”

Currently, the Hong Kong Open Printshop has three full-time employees and receives funding on a project basis. Although the group has applied for administration sponsorship from the Hong Kong Arts Development Council, their applications have been rejected for three years running. This has led Fung to seek sponsorship from business corporations with ambitions in the arts.

“One of our objectives is to establish an archive of prints. An archive built up over time, a studio, and a gallery for exhibiting and selling works are all essential for an established printmaking institute, but at the moment this is out of our reach,” mused Fung.

The future

Fung Ho-yin also told us about some of the Open Printshop’s upcoming activities. For example, this November, in collaboration with the Hong Kong Heritage Museum,

the group is holding a series of practical and theoretical programmes titled "Life Impressions: A Printmaking Quartet". This series acts as a prelude and response to "Imprint of the Heart: The Artistic Journey of Huang Xin-bo" an exhibition that will be held by the Museum. Targeting students from secondary schools as well as universities, the event aims to encourage students to create their own printmaking works in response to the works of Huang Xin-bo – one of the key players in the New Woodblock Movement of the 1930s, whose prints reflected the social grievances of his time. “The chance that people will come to us of their own accord is slim; we need to work harder to boost the popularity of this form of art. Actually, the products of printmaking are all around us: bank notes, menus, materials printed using off-set or lithography… Anything that is duplicated from a master plate is actually a form of printmaking, even output from an inkjet printer. In this series, our aim is that each participant will produce a piece of work within a two-hour workshop,” Fung concluded.

Step by step, Hong Kong Open Printshop is moving towards its goal of bringing the art of printmaking to the people – remaining true to the spirit of the art of printmaking: humble but dignified, steadfast and close to life.

7372

時態動畫 Sequential Im

ages

7574

烏鴉反哺Filial Crow

李媛莉LI Yuan-li中國內地，西安美術學院

Xi'an Academy of Fine Arts,

MAINLAND CHINA


6'00"

2011

徒勞無功Much Ado About Nothing

梁期豐LEUNG Kei-fung香港，香港藝術學院墨爾本皇家理工大學


HONG KONG


00'44"

2011

最美的花The Most Beautiful Flower

黃晉傑WONG Chun-kit香港，香港藝術學院墨爾本皇家理工大學


HONG KONG


3'30"

2011

生命之循環不息，

亦是向逝世的祖母聊表敬意的獻禮。

This work reflects the cycle of life, and is a respectful tribute to my late grandmother.

木刻的黑白形式與我作品的內容非常貼切，動畫媒體可讓觀者清晰的瞭解作者的意圖。

The black-and-white woodblock technique is used to complement the animation-style content and give the audience a clear understanding of the artist’s viewpoint.

7776

起樓拆樓Putting Up, Tearing Down

梁寶玲LEUNG Po-ling香港，香港理工大學設計學院

School of Design, Hong Kong Polytechnic University

HONG KONG

凸版畫ReliefPrint

1'17"

2011

列車即將到站 ......The Train is Arriving…

張嘉寶CHEUNG Ka-po香港理工大學設計學院


HONG KONG


1'05"

2011

作品啟發自日常乘搭的香港地下鐵。

This piece is inspired by the MTR in Hong Kong.

我從香港密集的環境中得到啟發，以報紙的文字作為大廈紋理，用高樓景觀和繁華節奏演繹出

香港快速轉變的城市景象。

This work is inspired by the crowded environment of Hong Kong. The newspaper background of the prints adds texture to the cityscape, and with its bustling rhythm, the video echoes the city's rapid urban transformation.

布吉樂Stone Bone Boogie

Gini WADE英國，阿伯瑞特威斯大學藝術系Aberystwyth University, School of Art

UNITED KINGDOM

石版畫Lithography3'47"2010

作品旨在為畫在石版上的圖形增添動感，

賦予生命，探索當中無限可能。

This work investigates the possibilities of extending still images drawn on a lithographic stone into the realm of movement, in other words,

how to bring them to life.

7978

嗚謝 Acknowledgements

院校名單 Participating Institutes

中國內地MAINLANDCHINA

上海大學美術學院

Fine Art College of Shanghai University

中央美術學院

China Central Academy of Fine Arts

天津美術學院

Tianjin Academy of Fine Arts

中國美術學院

China Academy of Art

四川美術學院

Sichuan Fine Arts Institute

西安美術學院

Xi'an Academy of Fine Arts

佳木斯大學美術學院

Jiamusi University

南京藝術學院

Nanjing University of the Arts

深圳大學

Shenzhen University

清華大學美術學院

Academy of Art & Design, Tsinghua University

湖北美術學院

Hubei Institute of Fine Arts

廣州美術學院

Guangzhou Academy of Fine Arts

廣西藝術學院

Guangxi Arts Institute

魯迅美術學院

Luxun Academy of Fine Arts

香港HONG KONG

香港城市大學創意媒體學院

School of Creative Media, City University of Hong Kong

香港理工大學設計學院


香港藝術學院墨爾本皇家理工大學


澳門MACAU

澳門理工學院

Macao Polytechnic Institute

香港康樂及文化事務署藝術推廣辦事處

總館長 (藝術推廣辦事處) 劉鳳霞

館長 (社群藝術) 譚美兒

一級助理館長 (視覺藝術中心) 蘇慧娟

二級助理館長 (視覺藝術中心) 黃麗妮

香港版畫工作室

總監馮浩然

項目策劃翁秀梅

項目主任吳小盈、何苑瑜

編輯姜慧

展品管理張中柱、蔡偉聰

編訪黃靜

翻譯陳麗娟、林慧賢

攝影 / 攝錄趙冠瑜、楊展鈞

場地設計鄧偉光

設計劉倩勤、陳豐明、

莫韻兒、黃洛尹

宣傳片製作倫訟文、羅文駿

宣傳推廣壹一公關顧問有限公司

場刊設計衍信傳意有限公司

虛擬畫廊 The Panomatics

Guan Shanyue Art Museum

Director of Exhibition Organising Committee Chen Xinliang

Vice Directors of Exhibition Organising Committee Zhang Jinwen, Liang Shihui

Chen Xiangbo

Exhibition Organising Committee Chen Xinliang, Zhang Jinwen

Liang Shihui, Li Jianyang

Chen Xiangbo, Yan Weixin

Wen Zhenfei, Xu Zhongyun

Chen Qizhong, Wang Xinni,

Peng Baoyu, Zhou Yi,

Xiao Zhuqing, Lu Shan

Leisure and Cultural Services Department Art Promotion Office

Chief Curator (Art Promotion Office) LAU Fung-ha, Lesley

Curator (Community Art ) TAM Mei-yee, Eve

Assistant Curator I (Visual Arts Centre) SO Wai-kuen, Jessie

Assistant Curator II (Visual Arts Centre) WANG Lai-nei, Connie

Hong Kong Open Printshop

Director FUNG Ho-yin

Project Manager YUNG Sau-mui

Programme Officer NG Sio-ieng, Ranee; HO Yuen-yu, Louiza

Editor Vikki WESTON

Exhibit Management CHEUNG Chung-chu; TSOI Wai-chung

Interview WONG Ching

Translations CHAN Lai-kuen; LAM Wai-yin

Photography & Documentation CHIU Kwun-yu, Enzo; YEUNG Chin-kwan

Venue Design TANG Wai-kwong, Danny

Design LAU Sin-kan, Sadie; CHAN Fung-ming, Tet;

MOK Wan-yee, Esther; WONG Lok-wan, Loraine

Trailer Molly LUN, Laurent LAW

Promotion & Publicity SAGE Communications

Catalogue Design Vision Plus Co Ltd

Virtual Gallery The Panomatics

巴西BRAZIL

巴西南大河聯邦大學藝術學院

Universidade Federal do Rio Grande do Sul

加拿大 CANADA

喬治亞學院設計和視覺藝術學系

Georgian College School of Design and Visual Arts

魁北克大學三河分校

Université du Qébec à Trois-Rivières

西班牙SPAIN

巴塞隆拿大學

University of Barcelona

美國USA

明尼蘇達大學雙城分校

University of Minnesota - Twin Cities

費城美術學院

Pennsylvania Academy of the Fine Arts

馬來西亞MALAYSIA

檳城馬來西亞大學藝術學院

School of the Arts, Universiti Sains Malaysia

英國UNITED KINGDOM

卡地夫威爾斯大學藝術及設計學院

Cardiff School of Art and Design, University of Wales Institute

西英格蘭大學

University of the West of England

坎伯韋爾藝術學院

Camberwell College of Arts

阿伯瑞特威斯大學藝術系


捷克THE CZECH REPUBLIC

布拉格藝術學院

Academy of Fine Arts

澳洲AUSTRALIA

昆士蘭科技大學


關山月美術館

展覽組委會主任陳新亮

展覽組委會副主任張晉文、梁詩慧、陳湘波

工作委員陳新亮、張晉文、梁詩慧

李建陽、陳湘波、顏為昕

文禎非、許中雲、陳麒仲

王新妮、彭寶玉、肖竹青

周怡、魯珊

Edition版數1000

香港版畫工作室出版及編制

版權屬香港版畫工作室所有 ©2011 年

版權所有，不得翻印

Copyright©2011 Hong Kong Open Printshop

All rights reserved

Tel: (852) 2319 1660

Fax: (852) 2319 1770

http://www.open-printshop.org.hk

[email protected]

http://www.facebook.com/HongKongOpenPrintshop

香港藝術發展局全力支持藝術表達自由，本計劃內容並不反映本局意見。

Hong Kong Arts Development Council fully supports freedom of artistic expression. The views and opinions expressed in this project do not represent the stand of the Council.

ISBN 978-962-86128-3-2

香港圖像藝術節2011 《新一代 ! 國際大學生交流展覽》圖錄

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