IS THERELOVE
IN THIS AIR?
愛 在空 氣 慢遊[en]counters 2014:
Mumbai- HK exchange project
about art in public
孟買香港公眾藝術交流計劃 2014

ORGANIZERS主辦單位
ArtOxygen
ArtOxygen (www.artoxygen.org ) is a contemporary arts organization
based in Mumbai specializing in the production of public art projects.
ArtOxygen 是一個以孟買作為基地的當代藝術機構，以策劃公眾藝術計劃為主。

C&G Artpartment
C&G 藝術單位C&G Artpartment (www.CandG-Artpartment.com) is an
artist-run space based in Hong Kong since 2007. With art exhibitions
and education programs, its essential goal is to develop new flavors andfill up the crack in the current art scene, and becomes a platform for
idea exchanges.
創立於 2007 年， C&G 藝術單位乃一個藝術家自主空間，分別以藝術
教育 及 展覽空間雙線發展，集中發展本地新晉藝術，以填充藝術圈的罅隙，期望成為具本地特色的藝術交流中心。
1

PREFACE

5.2014of the village. LEE Chun-Fung conducted an exchange scheme of oldbatteries and light bulbs in the same village. Clara CHEUNG applied
electrolysis with Mumbai's seawater and aluminum cans in her lightinstallation, with the help of many young students and interested
passersby. Gum CHENG Yee-Man learnt a few basic steps of a classicalIndian dance from a professional dancer (Professor Jeroo Mullaor), andthen performed those steps in the form of stop-motion animation andconducted a children workshop.

This publication documents the artworks and interesting stories froman exchange project between Hong Kong and Mumbai about art inpublic, that took place in Spring 2014.

C&G Artpartment specially hosted a documentation exhibition, andartists talk about the Hong Kong artists' works during "[en]counters
2013: powerPLAY" in March, 2013. We learnt that both Hong Kongartists and audience were very interested in comparing and contrasting
the two cities.

前言

By Clara Cheung
張嘉莉撰文

Hong Kong artists have participated in "[en]counters" public art
festival in Mumbai in 2013 and 2014, to conduct various art projects
in Mumbai's public space. "[en]counters" was created in 2010 by
ArtOxygen to stimulate arts practices in the city of Mumbai, India,
by encouraging artists to work outside the studio and gallery space.
According to the co-founder of ArtOxygen, Claudio Maffioletti, India's
contemporary art scene has more focus over the commercial art gallery
sectors, but is lack of attention to public art or art in the public. Due tothis, ArtOxygen specially designed and launched different art programsin the public space.

[en]counters journey in 2014: Is There Love in This Air?
(in Mumbai)
Since art exchanges between Hong Kong and Indian artists are quiterare, C&G Artpartment participated in [en]counters 2014 again,
with soundpocket and 5 Hong Kong artists. As a way to widen thegeographical scope of the project, ArtOxygen also brings 4 Indian artists'
works to Hong Kong and invites Singaporean artist Jason LEE (whoparticipated in phase I) to launch the second phase of this year's "[en]counters" in Hong Kong, together with other participating artists fromhere. To allow various elements from the projects in Mumbai to flow in
the air which connects the two cities, is also another way to respond to2014's theme: 'Is There Love in This Air?'"[en]counters" is a project that challenges artists to work in and deal
with everyday issues affecting the city and the society we live in.
Through this, it tries to question the role of the artist as facilitator andpotential agent for cultural and social critiques, to enable people of
Mumbai to experience different, experimental forms of art, to trigger
their curiosity by involving them in the process of artistic production
itself. However, due to the lack of funding from Indian government,
ArtOxygen often needs to seek for resources from other countries.

Most of the participating artists do not apply the straightforward
interpretation of 'air' and 'love' in their works. Instead, they pay more
attention to the relationships amongst different people and substances
around them. Co-curator of ArtOxygen, Leandre D'Souza, explains thisyear's theme is related to a rock song, and is open for interpretation.

While the previous "[en]counters" mainly involve artists from India,
the editions of 2013 and 2014 were co-organized with overseas artorganizations: including Satellite Art Project from Australia, C&G
Artpartment, Wooferten, soundpocket from Hong Kong, in order toencourage dialogues and exchanges amongst artists from different places
and the public in Mumbai.

"Chaotic beauty" is how Jason LEE, who is from the tidiest state in
the world, described Mumbai on his blog. For Hong Kong artists,
the different paces in this city's everyday life are the most exciting
and inspiring. For example, the relaxing and spontaneous living stylein Mumbai forms a huge contrast with the precise drifting skills andspeedy efficiency of those three-wheeler taxi drivers on street. In many
ways, Hong Kong and Mumbai are quite similar: both being very
densely populated, dealing with many aspects of pollutions in thecity (like air pollution), having been British colonies, experiencing
a booming commercial contemporary art market, etc. Through art
exchanges, the participating artists and audience from both places areable to learn from each other about how to creatively tackle similar
problems they face in their cities.

[en]counters in 2013
In January, 2013, six Hong Kong artists went to Mumbai, to participate
in "[en]counters 2013: powerPLAY." Hong Kong artists' works had
different degrees of interaction with Mumbai's audience. LEUNG MeePing bought a number of "made in India" products from Hong Kongand invited Mumbai's children to "reproduce" those products withclay in a workshop. In his "Star" project, LO Chi-Kit invited different
locals who worked around Studio X, Mumbai, to draw out their stars
on paper. Ian CHUNG Wai-Ian had great exchanges with children ina fishermen's village. Over the empty space where the children playcrickets everyday, Ian initiate d to paint the cricket field boundary line.
During the process, some children happily joined in, and even took
the rest of the paint to work on another cricket field on the other side

Amongst all the works shown in [en]counters 2014 in Mumbai was ascreening at Juhu Beach and Carter Road of a video work by Joel LAM.
It began its narrative with the blue sky and then moved on to explore
different dimensions under this same sky. LEUNG Mee Ping chose torespond to a touching story of a pair of mother and son from India.
Transforming this story into music, LEUNG invited pairs of audience
to operate two music boxes together by the seaside in order to let the2music merge with the sound from the sea. LO Chi Kit collected manystories from Indians who immigrated to Hong Kong, and then took
their old time stories in India back to Mumbai's public space in theform of transparent graffiti with glue and dust. Sunday LAI constructeda semi-private space, in the size similar to a Hong Kong cage home,on Mumbai's Carter Road. She invited passersby to enter and watch
a video about her feelings toward Mumbai. SO Wai Lam helped
soundpocket to take a series of sound clips recorded in Hong Kong toshare with Mumbai's public. Together with a Mumbai young artist,
Abhinav Yagnik, TSE Chun Sing went into Mumbai's koli villages todraw with children, to install their drawings in the village and try to fly
kites together. Another Hong Kong artist, LAW Yuk Mui, who did not
physically visit Mumbai, invited an Indian mister living in Tokyo tosing a Bollywood love song to send back to Mumbai for his fiancee.

village together. He also extends his concept of developing linkages
in communities in To Kwa Wan, by connecting the old 'Tong Lau'building in the opposite of the Cattle Depot and the artist village witha 100-meter rope full of paper swallows. LEUNG Mee Ping invitedan Indian couple (Mr. & Mrs. GHATGE), who have lived in
To Kwa Wan for more than ten years, but never been to Cattle Depot,
to visit Cattle Depot during the art happenings. Although the originalplan did not require them to have any formal presentation, Mr. &Mrs GHATGE were very nice and sincerely prepared some computer
files to share with audience their own culture.
Both Sunday LAI and LAW Yuk Mui exhibited video-works, the exhibit
venues were two stores on Ma Tau Kok Road outside Cattle Depot.
The story was that on the day before the event, the two artists still had
much hassles about how to set up their video pieces at the outdoor spaceof Cattle Depot where shelters were limited. In the end, Sunday asked
the stores selling second-hand electrical appliances if they were willing tohelp to rent out their TVs to display her videos for two days. It turned
out to be a surprise that the storeowner replied very generously, "Sure.
You don't need to pay any rent. If you like, just give us the price of ameal... You look more like a student or artist who doesn't have muchmoney anyway!" Another shop keeper also generously lent out her TVs
and electricity for the display without any charges.

As an echo to the numerous white motel bed-sheets lying on theseaside for drying, the art intervention by Singaporean artist Jason LEE
involved an 8-meter long white cloth. Passersby were invited to havedialogues with the artist and to graffiti their feelings toward Mumbaion this big canvas. Artworks by Indian artists, who also participate in
the second phrase in Hong Kong, included Pradeep L. MISHRA's
installation of long Indian incent sticks at Juhu Beach, Reena Saini
KALLAT's salted writings, on the sand, of a mother's letters to her son
who passed away, Vibha GALHOTRA's flags with words of Buddhism,
and Hema UPADHYAY's philosophical writings on rice that required
viewers to examine carefully.

The two videos by Sunday LAI were shown side by side. One was thevideo piece she showed in Mumbai street before: combining all therelaxing images she took in Mumbai and all the stressing sounds she
recorded in Mumbai as well. The other one was a new piece she madeafter coming back to Hong Kong. It consisted of different exciting andsexy Bollywood film footages, which formulate a great contrast withthe video piece Sunday made in Mumbai. For the Cattle Depot's event,LAW Yuk Mui showed again her previous video piece with newly
added karaoke subtitles.

Carter Road Promenade was one of the major exhibition site toward
the end of [en]counters public art festival. Many artworks were
exhibited here during the last weekend of the program. Similar to West
Kowloon Waterfront Promenade in Hong Kong, this is a gentrified
area along seaside, with a number of expensive apartment buildings.
However, less than 400 meters away is the fishermen village. According
to the organizer, these two communities are so close, yet so far awayfrom each other. It is not easy to see exchanges amongst the two. These
two years' [en]counters specially invited audience from different social
classes to visit the artworks or participate in workshops at Carter Road
Promenade, in the hope of opening up more exchange platforms foreveryone. Many audience or passersby were interested in the artworks,
and actively take part in various projects or asked the artists questions.
Another nice part was that there was not any intervention from theauthorities during the exhibition at this public site.

LO Chi Kit's work was quieter in Hong Kong: he dressed up like a
Buddhist monk and swept inside Cattle Depot. The dust he collected
was stored in a glass container and exhibited in the documentation
exhibition. Most Indian artists mainly re-exhibited their previous works
or exhibited the documentation of their projects in Mumbai at Cattle
Depot, except Pradeep L. MISHRA. Pradeep played with fragrance
again. Inside Cattle Depot, he set up a flag with a red cow's image in abowl full of soil and fresh rose petals on top.
Besides the two days with happenings and installations at Cattle Depot,
there were also the screening and artist sharing session at soundpocket
on May 3, 2014, curators' talk at C&G Artpartment on May 10, 2014,
and an art talk at Art Basel's Salon Conversations on May 16 with twoof the participating artists (LO Chi Kit and LEUNG Mee Ping) andtwo co-curators (Claudio MAFFIOLETTI and Clara CHEUNG). In
the end, a documentation exhibition took place at C&G Artpartment
from May 10 to June 6 to share with audience a more comprehensive
picture of the whole project. Besides the formal documentation of theartist projects, a group of Hong Kong artists also contribute interesting
objects and materials they collected in Mumbai for display as the"dessert" of the exhibit. Some of these interesting stories during the
Mumbai trip are also included in this catalogue.

[en]counters 2014 (in Hong Kong)
After Mumbai's festival, the artists extend their Mumbai art projects inHong Kong at the second phrase. Some of them have guerilla actions inpublic spaces at Mongkok, To Kwa Wan, while some have installations
and happenings together at the outdoor area in and around Cattle
Depot Artist Village in the afternoons of May 3rd and 4th, 2014. For
example, Jason LEE chatted with people on the street in Mongkok andTo Kwa Wan, exchanged thoughts about their own cities, and also gaveaway printmaking patches by the artist.
Sing TSE invited an art group of senior citizens at Cattle Depot Artist
Village (Cattle Depot) to make kites, and try to fly the kites in the3

Light blub exchange project by LEE Chun Fung / 李俊峰作品 交換燈泡計劃 2013

A Line by CHUNG Wai Ian / 鍾惠恩作品 線 2013

本展覽圖錄主要記錄於 2014 年春，一班香港藝術家在印度孟買參與公

2014 年的 [en]counters （孟買部分）

眾藝術節的創作和交流中的趣事。

Gum Can Dance in India by Gum CHENG / 鄭怡敏作品 在印度，阿金都會跳舞 2013

Artists group photo / 藝術家團體照 2013

謝振聲，則在印度年輕藝術家 Abhinav Yagnik 的協助下，到當地的漁節，但這兩位夫婦還是很用心地準備了電腦檔案，向觀眾介紹印度文化。

民村落發起繪畫行動，再在村中巷內掛起繪畫旗海作展覽，及嘗試與不基於各方對 2013 年的交流都有正面回應 ，再加上本地藝術家到印度參

同的朋友一起放風箏。沒有親身到孟買的羅玉梅在日本邀請了一位住在香港藝術家在 2013 和 2014 年均有參加， 在印度孟買舉行的公眾藝術

與藝術活動相對少有，所以 C&G 藝術單位在 2014 年再接再厲，與「聲

東京的印度人唱了一首 Bollywood 情歌，送給他在印度的未婚妻，情對面的二手電器店。兩位藝術家在展演前夕，仍惆悵如何在牛棚的戶外

節「[en]counters 」，在當地的公共空間及社區進行不同形式的創作。

音掏腰包」和 5 位藝術家再度參與今年的「[en]counters 2014：愛在空

歌由羅玉梅配上東京的影像，再在孟買公共空間放映。新加坡藝術家李空間展示錄像作品最為妥善。後來，黎朗生冒昧地到牛棚對面的二手電器店，詢問可否租借電視機兩天，來播出錄像作品。結果是令大家驚喜，黎朗生與羅玉梅均是展出錄像作品，而展出地點則是在馬頭角道、牛棚此藝 術 節 由 印 度 策 展 單 位 ArtOxygen 於 2010 年 開 始 在 孟 買 舉氣慢遊」，並且嘗試把當中的一些元素帶回香港作伸延創作，慢遊在相嘉昇，在海濱長廊地上設置一幅約 8 米長的白布，邀請途人在布寫上及辦。「Encounter」意為遇上、遭遇。主辦單位特意將 [en] 放在括號中，連兩地的空氣中。

繪出對這城市的感覺。而其實這海邊也正是附近許多旅館晾曬白色被單

其中一小店店主說：「可以。不用什麼租啦！如果可以，給我們一餐飯的場所，這些鋪在地上的白色被單與那滿佈塗鴉的白布藝術作品，在互錢，也好。看你一副學生、藝術人的樣子，也沒什麼錢啦！」另一店主也是慷慨地不收分毫，就借出店內電視和供電。

刻意請觀者留意字的組成，包含了「counter」（意為對立、反擊）。隱喻
希望透過藝術，讓社會中不同的對立面互相溝通、了解。主辦者說，印

是次參與的藝術家，都從較廣義的角度去詮釋「愛」與「空氣」，注重在

相輝映下，更顯趣味。印度藝術家方面，有 Pradeep L. MISHRA 在海

度的當代藝術領域側重商業畫廊的發展，在公共空間進行的藝術活動實空氣中的人與人、人與事、人與物之間的關係和交流。ArtOxygen 的邊使用巨型印度香作裝置、Reena Saini KALLAT 以鹽在沙灘為一位友

是少有，而由於印度政府在藝術文化方面提供資助，故他們舉辦非牟利

策展人說這題目，是與一首名字相近的搖滾樂曲有關，而他們也是希望人寫信給已去世的兒子、Vibha GALHOTRA 在路旁懸掛繡著佛教話

黎朗生展出了兩個同時播出的錄像創作，其一是她早前在孟買街頭展出活動時，多需要向外國機構申請資助。之前幾年的藝術節主要由印度藝藝術家能對主題提出不同見解。2014 年的 [en]counters，有來自香港、語的白色旗幟、Hema UPADHYAY 在微小的米粒上書寫了對這城市

過的，用在當地拍攝的非常緩慢和寫意之影像配上嘈吵得令人緊張的聲

術家參與，最近兩年開始邀請外地藝術家，與印度藝術家和觀眾互動交新加坡及印度的藝術家參與，把高度發展中的城市之人與物互相的關係之感覺，邀請途人以放大鏡審視、重組。

音，另一新作品則把一些 Bollywood 電影歌舞片段串連播出，與前述

流。[en]counters 每年都有不同的副題，上屆是 PowerPLAY，鼓勵參重新連繫。另外，為了加強交流的元素，ArtOxygen 策展人也把四位

與者把玩「能量」及「權力」。而今屆則是「Is There Love in This Air?」（中

印度藝術家的作品帶到香港，並邀請新加坡藝術家到港，與香港藝術家

除 了 沙 灘（Juhu Beach）及 藝 術 家 自 選 的 創 作 地 點 外，Carter Road錄像，但增新了卡拉 OK 式的粵語拼音字幕，再加上展出的地點之轉

譯為：愛在空氣慢遊）。

一起在香港的「空氣慢遊」。

Promenade 是活動尾聲的重點展區，不少作品都於週末時在此展出。這換，與孟買播出時的效果毫不一樣。

2013 年香港藝術家參與 [en]counters 的情況

來自全球最潔淨的新加坡的藝術家李嘉昇（Jason LEE）在網誌中寫到其

宅。有趣的是在距離不到 400 米，便是另一社群：較貧窮的小漁村。主對孟買的感想：「這是一個『亂中帶美』的城市。」而對於香港藝術團隊，

辦者說，這兩個社群既近且遠，不容易有交流。是次活動，特意邀請中

打掃塵埃，之後把塵埃儲藏在一玻璃瓶中，在文獻展中展出。印度的藝去年的 PowerPLAY 中，香港藝術家的創作都特意與當地觀眾互動。梁美最深刻的體會可算是這城市中的慢速與極速：社區生活中的慢速與隨

產以外的社群到此參觀作品及參與工作坊，希望設立開放平台，讓各方

術家中，Pradeep L. MISHRA 在牛棚的回應作品與之前的薰香一樣，萍從香港帶了一批「印度製造」的產品，請兒童用陶泥把物品複製，並把機，與馬路上三輪機車之極速和精準飄移，形成強烈對比，為藝術家帶

交流。可喜的是，當地不少觀眾都十分樂意參與，及主動發問，向各藝也是跟香氣有關，在地上放置一個大碗，當中裝滿泥土和新鮮玫瑰花

術家了解作品的來龍去脈。而管理當局在各操作層面上也沒有任何干預。

的優閑錄像大相逕庭。羅玉梅是次也是展出來自東京的印度男士之音樂

地點有些像西九海濱長廊，是個仕紳化的海旁區域，周邊有不少貴價住
羅至傑在香港的回應部分，很是沉默：在牛棚的戶外空間，穿著和尚服，

這些「印度製造」的產品贈送之。有參加者道：「有趣，我們在本地也買

來無窮的創作靈感。再者，香港與孟買其實有著不少相同之處：曾是英

不到這產品！」羅至傑則邀請當地人在紙上畫星星，然後再把各人繪畫的

國殖民地、同樣面對嚴重的空氣污染、正經歷當代藝術市場的急速冒起星星，根據各人的地理位置，製作人間星際圖，在 Studio X 展出。

等等。這種種都造就了這次藝術節中不少有趣的作品。

2014 年的 [en]counters（香港部分）

鍾惠恩在一小漁村與當地小孩交流，在他們經常活動的空地，為他們畫當中包括林健雄的錄像作品，從藍天出發，探索在同一天空下的不同面

離開孟買後，以上的藝術家都以各種方式在香港延伸之前在孟買的創術家分享會、在 5 月 10 日於 C&G 藝術單位舉辦了策展人分享會、

上板球場的球場界線。過程中，小孩都高興地參與，而完成後，更主動向。梁美萍把一對印度母子感人肺腑的故事，轉化成音樂，邀請觀眾

作，有的於旺角、土瓜灣等進行游擊式的創作、有的於牛棚藝術村的戶

在 5 月 16 日兩位參與藝術家（梁美萍及羅至傑）
和聯合策展人（Claudio

Maffioletti 和 張嘉莉）應邀在香港 Art Basel 的對話系列中分享交流心得，最後，由 5 月 10 日至 6 月 9 日，作品以文獻形式在 C&G 藝術單位再瓣，並插著紅色的牛隻旗幟。至於其他印度的藝術家，都是再次展示早前在孟買展出的作品或文獻記錄。
除了在地展演，本計劃於 5 月 3 日在「聲音掏腰包」舉行了放映和藝

地用剩下的油漆，自行畫另一球場界線和「嚴禁泊車」的字樣。

在海邊成雙成對地攪動音樂盒，讓音樂在空中與海浪聲合奏。羅至傑訪

外空間進行兩天
（5 月 3 及 4 日）的裝置、行為展演。例如，李嘉昇在旺

問了香港的印度人，並把這些印度人移民之前的家鄉故事由香港帶回印

角、土瓜灣等與市民傾談，交換大家對自己城市之看法，並送贈李嘉昇
自製的板畫布塊。

李俊峰在同一村落進行交換電芯及燈泡計劃， 以在當地購買的新電芯

度，以隱形塗鴉的方式在孟買的公共空間展示。黎朗生在海濱長廊搭建及燈泡，與居民交換舊電芯及燈泡，集合回收到的電芯之僅餘電力，通一個大小如床位寓所（籠屋）般的半私人空間，邀請途人進入坐下，欣賞

電照亮一燈飾裝置。張嘉莉利用金屬電解產生電力的原理，分別以鹽水她拍製關於孟買的短片。來自「聲音掏腰包」的蘇瑋琳為孟買的公眾，插出現在讀者眼前。

謝振聲在牛棚藝術村與銀髮藝術團一起造風箏，嘗試在村內放風箏，更及海水進行了為當地年輕學生而設的工作坊和燈飾裝置。鄭怡敏（阿金）向帶來了在香港公共空間錄取的聲音：如渡海小輪的聲音、旺角行人專用

把在孟買社區中連線的概念帶到土瓜灣：用佈滿了紙燕子的墨斗繩，把當地舞蹈家 Jeroo Mullaor 老師，學習基本的傳統印度舞，以單格動畫區的「正宗印度咖喱」推銷員聲音等，她更在兩所孟買小學帶領了聲音

牛棚藝術村和對面的唐樓連結。梁美萍則在牛棚展演的兩天，邀請了兩

方式完成一段 30 秒的跳舞錄像，及帶領當地兒童，以同樣方式完成簡

工作坊，與當地學生一起用心聆聽身邊的環境，並且用簡單的視覺元素

位在土瓜灣區居住了上十年但從沒去過牛棚藝術村的印度夫婦（Mrs. &

單舞步。

繪製聲音地圖。

Mr. GHATGE），前來牛棚逛逛、坐坐。雖則原意並沒特意安排講解環

4

次呈現。文獻展覽中除了作品的紀錄，還把各藝術家在孟買搜集到的有
趣東西重組展出，作為是次文獻展中的「甜品」，並會在本展覽圖錄中穿5邀 參 與 由 ArtOxygen 和 C&G Artpartment 攜 手 籌而我也乘機主動跟他們打招呼以便能進一步地聊更多的畫 的 [en]counters 2014 國際公共藝術活動節。已成

事，同時讓他們了解我在那裡的目的。我都會問他們一功舉辦四屆的 [en]counters，今年其他受邀參與的藝些較為簡單又隨性的問題。話題都主要圍繞著孟買城市

術家有三位來自印度和六位來自香港。聯合策展的是

的變遷和環境污染的問題。然後，最終我邀請他們在布

ArtOxygen 創辦人之一 Leandre D'Souza 以及香港 C&G
Artpartment 創辦人之一張嘉莉（Clara Cheung）。活動

條上面表達他們對正在不停發展的孟買城市的想法，評語或意見。或許用文字來表達出心裡存在的觀點是需要

的宗旨主要是提供藝術家一個能與城市空間對話的平

而外的三思，我不難發覺有少數人告訴我他們需要多幾

台，並探索當代藝術如何在察踏孟買日常生活的同時，

分鐘的時間在 Carter Road 徘徊，為了想認真思考寫些

成為城市的催化劑。

什麼才好。另一個觀察到的情況，就是那些貼在布條上的文字和照片成了參考資料。有趣的是每個人寫下的觀

今年活動節的主題是「Is There Love in This Air?」（愛在點都可能會被下一個人當作尋找「靈感」的資料，彷彿試空氣慢遊）。所有作品的創作內容都以空氣與缺乏呼吸空圖想對其他評語或觀點列出他們心中不吐不快的反應。

間的問題出發進行思考。活動的展出地點有兩個：Juhu
Beach 和 Carter Road。這兩個地點的共同之處就是它們的所在地都靠向阿拉伯海（Arabian Sea）
。我的作品《AirInterception》則被安排在 Carter Road 呈現。

"We hid the groom's shoes and demanded him to pay us for having them returned. It was a big wedding with2,000 guests back in 1978, Jabalpur."The stories of Indians that happened
before they moved to Hong Kong

片時，不少路過的人很好奇地並停下腳步查看個究竟。

# 02

居港印度人移民前的故事

能算是呈現作品過程的序幕。正當我開始拼上文字和照A Free City with Chaotic Beauty —an art exchange trip to Mumbai, India

在我抵達孟買之前，就听說這座位於印度中部的城市
是雜亂和魅力並存的地方。這次有機會飛到孟買是應亂中帶美的自由城市—印度孟買藝術交流之行# 01"I started singing poems and living in the temple since 11. Years later I became a Panj Pyare in the Golden Temple.""I started each day playing Kabaddi for an hour and finished it with another 3 hours after work."從四天內收集到的觀點，能清楚地發現孟買人的想法與

"We were so hungry we didn't wait but ate all the semi-cooked rice."

態度有幾種類型。第一類型是對孟買感到很滿意，而且對這城市充滿著純真的愛與希望。第二類型是對城市環"I was obsessed with the tea in a café for a few months back in 1951, and I later found out they actually put
opium in it."

境，政府和製度都存有嚴肅的批判。第三類型是屬於比

Carter Road 是一條人們喜愛散步，慢跑，歇息和聚在較善於以客觀角度看待孟買的城市環境與社會狀態，給一起聊天的好地方。由於白天時氛的太陽很猛烈，所以予的觀點都有建設性的一面。當這些不同各樣類型的觀

通常人群都在過了傍晚才慢慢開始湧進這條街。

點被抽在一塊時，它反映著孟買社會多元化的特色。而

"I hung around forts with friends in spare time. Sometimes we chatted up new girls we met."

這也達到了此作品其中的一個重要目的。
《Air Interception》的概念主要想表達一些城市發展有關"I woke up at 4, showered and prayed till 6. Everyday I went to the temple twice."的課題。而每當一個城市進行發展，它必然會牽涉到其我很慶幸主辦單位也安排了非政府組織 Apun Ka Club他有關聯的問題。這些種種的問題必然會對人們的處事

前來活動節。他們主要為一群住在貧民窟的孩童們安排態度、思維和想法塑造正面或消極的影響。本人的想法

一些不同有意義的活動。這群小朋友們也在我的作品上

是以一塊白色布條做為像徵一片潔淨的白板，也就如同以繪畫的方式表達出他們對孟買的感想。他們每個都畫

拉丁文「tabula rasa」的意思。跟著，我在布條上貼了一

得興致勃勃，忘我地享受著繪畫的樂趣，不由自主地表

些已剪成條子的相片。這些照片是在孟買的 Bandra 區

現出深藏不露的一面。

"Once, while our family was celebrating Holi and Diwali Festival, I had a big paint-fight with my brother.""In 2008, God gave me a beautiful wife, although we didn't know each other before our wedding.""When we were driving our newly born daughter home from hospital, a large elephant appeared in front of us
on the road."

一帶拍攝的。題材主要是區內景觀的改變。根據得到的
資料，整個孟買城市在近幾年的變化其實很大。有好多到了第四天，我在活動節接近尾聲時為我的作品呈現了古舊建築都已被拆除。唯有 Bandra 還保留著一些有特

一個簡單的閉幕行為表演。原本的計劃是想把布條的前色的舊屋與建築，但數量並不多。與此同時，我也從某端綁在我身體上，而尾端綁在另個人的身體上，然後將些書籍借用了些敘述關於城市與人類狀態的文字，把它布條面向海洋步行一段距離。但是，正當我要開始步行們參在布條上面。視覺上的效果像是個未完成的拼貼。

的那一刻，我恍然發現我犯了一個物理上的錯誤。布條"My father was a farmer and I used to follow him to the field. He had two oxen working the soil, but I was too
young to help out.""We played in the streets like monkeys. That time this kid was flying a kite with his bare hands and it got stuck
onto the cables. He got an electric shock and lost all his fingers."

的長度以及當時刮著的大風使布條無法如我想像中讓布

通過此行為動作把所有人們的想法，意見，評語與盼望

少人走動，布條會變髒，應該撲在走廊外的沙灘或石頭

能穿越人群中，藉著風的力量飄浮至海洋，以讓它們尋上（其實他會那樣的說也不太稀奇。因為海邊四周都可找需要的方向。

看見人們烈日當空之下擺滿衣物，把它們曬乾）。這也
6"We walked pass a taxi strangely parked in the middle of the park, a few steps later it exploded. Those few
steps had saved my life."
7

羅至傑撰文

的布條撲在地面，就有人忍不住給我勸告說那條路有不"We bought the cheapest tickets to travel around the metro line for hours. It's possible as long as we came backand exited from the same station."

By LO Chi Kit

外幾個人來相助，以便讓作品能夠順利「移動」。我希望李嘉昇撰文

條上的插畫與文字輕易地面向大海洋。最終還得請求額

去進行我的作品，一直到七點半。從第一天準備把空白

By Jason Lee

我連續四天從下午四點半開始在那條街上以互動的方式

Mumbai Music
Videos孟買音樂錄像特輯Medium 媒介Music Video音樂錄像a set of two

錄像作品 I 於孟買及Video part I
shown in Mumbai& Hong Kong
錄像作品 II 於香港展出Video part II
shown inHong Kong

香港展出Duration 片長
part 1 第一組 –4:14
part 2 第二組 –4:33

Year 年份
2014

Hong Kong

9
8

一組兩件

Sunday, LAI Long Sang 黎朗生

The Dessert Wall in Documentation exhibition / 文獻展覽中的甜品牆 2014

Medium 媒介
Mixed media

錄像作品於孟買及香港展

Video shown in
Mumbai &Hong Kong

Year 年份
2014

Duration 片長
4:01

Duration 片長
7:26

Year 年份
2014

Aimee is also interested in the male lead in that Bollywood movie who becomes a robot after his deathin the story. She thinks it is a real hi-tech movie just like in Hollywood. Really? We really look like theothers?We are moving forward, progressing, becoming stronger, upgrading, but sometimes, we stop fora while. I remembered when I just moved back here after graduation, I could hear a girl crying fromthe next door. It keeps happening and didn't stop. I went to find out from the neighbor. An old couple
answered the door. They told me that they didn't have any girl in their apartment. I think I made a
mistake. I apologized. They closed the door but as soon as I did, the crying started again. I think I made a
mistake...again? Did I?

I met Saurabh Bhide at Gotonda( 五反田 ) in Tokyo on February 9.

藝術家的話

Saurabh has a cool Japanese name 沙優羅武 .

Saurabh likes the quality of Japanese people.

出Video shownin Mumbai &Hong Kong

錄像作品於孟買及My old college buddy, Aimee, told me in an E-mail, some Bollywood movies are being screened in her
neighborhood theatres. She said the movie is awesome. The actresses are gorgeous. But the actors seemto have another standard of beauty. Of course, the movie will have crazy dancing scenes. Aimee said she
didn't get the dance scenes. It is OK. This is our nature and we show it through our movies. It is also ourway of life, history and culture.

Artist Statement

Saurabh is very busy, as he is the PHD student of Tokyo Institute of Technology.

混合媒介Medium 媒介
Video

錄像

I have got good buddies and my family here. Everyone works very hard for a living. This is the reason
why we are getting developed here. We like gathering. But, it is pretty crowded living here.
We don't have many spaces where we can be alone... or be lonely. I really want to find some place where
I can taste loneliness... Can I?

A Love Song

each other, right?

一首情歌

Our sky is beautiful. Our sky is different. We definitely can tell our sky
is different from other places, can't we? Everyone shares the same sky
here. We breathe together, work together and live together. We love

LAW Yuk Mui 羅玉梅

Within Behind
Without

字幕

No other sky in other places is like ours. The birds are flying, people are living, dogs are relaxing everyday.
I can smell the people here. They are familiar, though different.

香港展出Joel, LAM Kin Hung 林健雄

Video Script

Saurabh is very good at drawing, when he was 10 year-old, one of his paintings was showcased in 23rd
international art exhibition in Tokyo.
Saurabh is very fond of singing. He said, "I am a bathroom singer".
Saurabh's favourite love song is "ka kalena", a song from a Bollywood movie "mumbai pune mumbai".
Saurabh is from Pune.
Saurabh is very bad at remembering lyrics.
Saurabh downloaded the ka kalena karaoke and made an audio record of his singing before we met.
Saurabh was thinking of his girl friend while singing.
Saurabh married his girl friend on 30 March.
They are love marriage.
This is all about Saurabh, a young Indian man I met in Tokyo. The karaoke video is contributing to
Saurabh, his wife and every Karaoke-lover in Hong Kong.

I am hanging in the promenade today. The sky is still blue. Birds are flying freely. People are busy at their work.
This is the same old place where we still share the same piece of sky here. We still love each other, I think.
by Joel LAM

Hong Kong

Hong Kong
1011

於孟買公共空間展出at Mumbai's
public space

於孟買公共空間展出at Mumbai's
public space

Medium 媒介
Adhesive,dust

離了 15 年，現年 50 歲的母親庫瑪麗出獄。

The project brought the stories of Indians, which had happened before
they moved to Hong Kong, back to their homeland. Their words weretransformed into transparent adhesives. Upon installation in public
spaces, they were invisible but as dust being collected onto the adhesive, the stories would graduallyappear over time.

Artist Statement
藝術家的話

計劃收集了居港印度人移民前的故事，並帶回原來的國土重現。塵埃一直存在於我們共呼同吸的空氣之中，這噴膠，塵Medium 媒介Music box 音樂盒全靠她在獄中誕下的兒子長大後，克勤克儉儲蓄保釋金和聘請律師。2013 年 5 月 4 日，19 歲的罕海亞接分

Dusted

手動音樂盒 播著「世上只有媽媽好」和「月光光照地堂」，而作品是回應以下一個有關印度母子的故事：庫瑪麗
被控謀殺，因付不起保釋金，結果被囚獄中，其間她飽受親人離棄，當局亦從未了結其上訴案，對她不聞不問。

塵述

藝術家的話

Lock, LO Chi Kit 羅至傑

Kumari & Kanhaiya

庫瑪麗 & 罕海亞LEUNG Mee Ping 梁美萍

Responding to the story inscribed on the box covers about the abandoning
and undertaking of an Indian mother and son, the music boxes canbe manually played by pairs of audience members. The two songs arecommon Cantonese folk melodies: one praising mother's love and one being a bedtime song for children.
Artist Statement

Size 尺寸
Variable 尺寸不定

Year 年份
2014

Size 尺寸
20X15X10cm X2

Year 年份
2014

藝術家的話

Dusting有關塵埃

愛在空氣慢遊 — 香港版

Is there Lovein this Air–
Hong Kong Version

An Indian couple in Hong Kong were invited to appear at theexhibition area of "Is there Love in this Air"— Mumbai, Hong Kong
exchange project about public art. No matter what the couple does inthe exhibition space, somehow involves "is there love in the air"?

Artist Statement

次成為書寫的媒介，在公共空間述說著一個個佰生人的親身往事。

Artist Statement
藝術家的話

For Buddhists, all substances in the mundane world are referred to as"dust" and they are all inter-related within a cycle.

「佛教稱色、聲、香、味、觸、法為六塵，認為當前境界由六塵所成，都不是真實的，塵世、塵濁、塵囂、塵海，
佛家謂人間也。」

一對在香港的印度夫婦，被邀在《愛在空氣慢遊》– 孟買香港公眾藝術交流計劃 2014 中出現。無論他們倆在
Medium 媒介
Live
Performanceat Cattle
Depot,
Hong Kong

Year 年份
2014

Size 尺寸
Variable 尺寸不定

Size 尺寸
Variable 尺寸不定

於香港牛棚進行

at Cattle
Depot,
Hong Kong

Year 年份
2014

Hong Kong

於香港牛棚進行

Hong Kong

12

即興行為

Medium 媒介
performance 行為

展場做甚麼，都可以涉及愛在空氣慢遊 ?

佛家眼中的塵世，彼此本是相連共生，互為因果……

13

soundpocket took the sounds of Hong Kong to Mumbai. After listened
to the sounds, a little Indian girl said, 'So I can record the sounds of
Mumbai too!'

www.thelibrarybysoundpocket.org.hk/news/sound-scoop

at Mumbai's
public space

一年間在全球範圍往返遷移的燕子，秋去春回，總不忘回到舊巢。而不僅僅在中華文化象徵時任變遷與離家鄉愁，

藝術家的話

soundpocket 將香港的聲音帶到孟買。小女孩聽過香港聲音後說：那麼我也可以紀錄孟買的聲音！

於孟買公共空間展出in Mumbai &Hong Kong

於孟買及香港進行The work recalls the Chinese idiom "100 birds back home", meaning that after going out to work for certain
days, one will miss home and come home again. It is also a way to ponder the relationship between people
and home.

Sound scoop

I took back the idea and held the same activities at To Kwa Wan, with an imagination to connect people from
India to Hong Kong.

Artist Statement

Medium 媒介Sound 聲音Medium 媒介
Mixed media

混合媒介Spending a few days in the community, I collected pictures with wishes and messages on paper from citizens
near Danda Village, Mumbai. Then I connected them with a rope going through buildings and reached anarea where we flew 100 kites in the shape of swallows. The kites were then installed in a home in Mumbai,
and were released in the sky.

聽閣

藝術家的話

soundpocket 聲音掏腰包100 homing swallows

百燕歸巢

TSE Chun Sing 謝振聲

Inspired by the project name "Love in the Air". My idea is to connect
people, from different classes. This would be a community project, which
was split in two parts: first to collect pictures of people drawing themselves
running, then to invite them to fly kites together.
Artist Statement

在歐洲傳統亦象徵海軍旅行和導航；燕子是一個象徵忠誠和家庭的承諾，無論走多遠路，總是惦記返回。
Size 尺寸
Variable 尺寸不定

Size 尺寸
Variable 尺寸不定

我的作品定名「百燕歸巢」（100 homing swallows），我以燕子作為形象的風箏為出發點，把一百隻風箏帶到孟買
一個小漁村，跟附近的居民交換一張他們繪畫自己奔跑的圖畫，收集後串在線上並連結不同階層的房子。活動分
兩部份，第一部份收集圖畫並把串連的線懸掛；第二部份再邀請繪畫的居民集合在漁村一同放風箏，並把放飛上
高空的風箏綁在串連圖畫的線上。

Year 年份2014Year 年份
2014

回到香港，我把這藝術活動延伸到土瓜灣社區再重做一次。收集十三街街坊的自畫跑步圖畫，並串連在印度帶回來的悉數展現，藉此連繫兩地方的人。而今次放風箏的是土瓜灣街坊。
貧富懸殊的問題在孟買不難看見，漁村附近由基本殘舊的平房到十幾層樓高的私人樓宇；反之土瓜灣亦不難找到舊唐樓和新建私人住宅林立。我希望以這一個社區藝術去連結不同階層的人，和喻意人們即使離開多遠工作生
活，無論花了多少時間向上飛向遠走，生活條件質素上升，仍不忘當日最基本簡樸的兒時風景。

Hong Kong

Hong Kong
14

15

A Letter

書信

Artist Statement
藝術家的話

The letter of a friend sharing a painful loss was etched into sand using salt.
It becomes a reflection of the fragility of human existence and of our needto conserve it within our memories.

藝術家把友人訴說喪子之痛的來信，以鹽刻劃在沙灘上，把珍貴的回憶和脆弱的人生交錯地呈現。

Medium 媒介
Performance 行為

Medium 媒介
Mixed media

混合媒介at Mumbai's
public space

藝術家以一塊白色布條像徵潔淨的白板，如同拉丁文「tabula rasa」的意思。跟著，他在布條上貼了一些有關城
市發展的文字和相片 . 並邀請路人參與書寫和繪畫自身對孟買這城市的看法。

Reena KALLATAir Interception #1

空氣截奪 #1

這作品的概念主要想表達一些城市發展有關的課題。
於孟買公共空間展出in Mumbai
Video & Photo
Documentationin Hong Kong

創作於孟買進行錄像及攝影紀錄於香港展出Size 尺寸
Variable 尺寸不定

Year 年份
2014

Jason, LEE Jia Sheng 李嘉昇This piece is a site-specific installation-performance in response to urban
development issues. The artist lays a big white canvas on Carder Road tosymbolize a clean white board (like "tabula rasa" in Latin). After pasting
printed text and images about urban development on the canvas, he invites passersby to write and draw on
this canvas together.
Artist Statement

藝術家的話

Size 尺寸
Variable 尺寸不定
Year 年份
2014

Air Interception #2

空氣截奪 #2

Medium 媒介
Mixed media

混合媒介

Air Interception #2 is a public artwork which uses interaction as avehicle for the artist and people of Hong Kong to learn and understandthe social conditions of two different countries: Singapore and HongKong. Through intervening public spaces, the artist hopes to create a one-to-one conversation with different
Hongkongers to find out their thoughts on Hong Kong as a constant changing urban city as well as sharing
with them his opinions on Singapore. After each conversation, the artist will give away self-made silkscreen
patches with various texts and images commenting about city. People are encouraged to attach these patches
directly onto their bags or clothes as a way to spread the little messages around.
Artist Statement
藝術家的話空氣截奪 #2 是以互動的方式讓香港人和新加坡藝術家學習與了解兩個不同國家的社會條件的公共藝術作品。通
過介入公共空間，藝術家希望與不同的香港人進行一對一的談話，了解他們對香港作為一個常數變化的城市的想法，以及與他們分享他對新加坡的看法。每次談話後，藝術家就贈送印著註釋不同有關城市的文本和圖像的自製

at various
districts inHong Kong

於香港不同社區創作絲印補丁 , 希望人們直接把這些補丁縫扣在自己的包包或衣服上，以此來散布那些小信息。

Year 年份
2014

Mumbai, India

Size 尺寸
Variable 尺寸不定

Singapore

1617

微型雕刻邀請觀眾透過發現米粒上的哲人話語，嘗試解決他們的精神飢渴。

Loveinair

A miniature piece inviting viewers to quench their spiritual hunger as
they discover a trail of rice grains inscribed with text by writers andphilosophers.

愛在空氣中

藝術家的話

A cluster of agarbattis (Indian incense) were placed on Juhu Beach in
Mumbai, to form an irregular expanse, releasing a natural fragrance in the
air. Used for religious and auspicious rituals, the burning of the incense, its
transformation into perfumed smoke permeating the surrounding, is a reenactment of the eternal cycle of life,in which nothing is born or dead, but everything transforms.
Artist Statement
藝術家的話

在孟買沙灘上的印度香，在空氣中不規律地散發出各種天然的香氣。這香有其宗教、祭典的意義，其氣味提醒我
Medium 媒介
Insense sticks

香Medium 媒介
Mixed media

混合媒介Pradeep L MISHRA

What Are We?

我們是……？

Hema UPADHYAY

Artist Statement

們生命中各元素的不斷轉化與循環。

Size 尺寸
Variable 尺寸不定

Size 尺寸
Variable 尺寸不定

Year 年份
2014

於孟買及香港牛棚展出at Mumbai &Cattle Depot,
Hong Kong
Year 年份
2014

Lovetolive

愛生活Medium 媒介
Mixed media
installation

混合媒介裝置於香港牛棚展出at Cattle
Depot,
Hong Kong

Year 年份
2014

Size 尺寸
Variable 尺寸不定

Mumbai, India

Mumbai, India
18

Artist Statement
藝術家的話

A metal bowl filled with soil androse petals holds a blooded cow
and becomes a metaphor for thecycle of life, uniting all beings.
一個盛滿泥土和玫瑰花瓣的鐵碗，支撐著血牛的樹立，象徵著
生命的循環、眾生的融合。

19

Orbis Unum II

大同世界 II

藝術家的話

A series of white flags with words and symbols inspired from the eighttestimonies of Buddhism, create a world without borders, orders or
differences.

一系列的白色旗幟綉上了來自佛教典籍的字詞，宣揚一個沒有疆界的大同世界。

Medium 媒介
Flags,
made of fabric

布本旗幟Vibha GALHOTRA

Artist Statement

ARTIST BIO

Lock, LO Chi Kit 羅至傑
http://art.lochikit.com

Graduated from the Academy of Visual Arts atHong Kong Baptist University in 2009, Sunday LAI
works in a wide range of media, such as performance,
video, installations and painting. Her works focus on
her imagination about real situation in daily life, andhave been shown in Hong Kong public art project"Budding Winter", Osage Gallery Hong Kong, ART
TAIPEI 2012, etc. One of her well-known piece
titled, "Living in the Scene" which is a documentary
about the artist herself living in an "IKEA" showroom, has participated in different exhibitions
including "Inward Gazes: Documentaries of Chinese
Performance Art 2012" at Macao Museum of Art inMacau.

LO Chi Kit obtained his BFA from RMIT University,
Australia in 2006. Employing different media, heis interested in the development of ideas with afocus on contemporary art and its social context.
Lo has participated in various local and overseas
exhibitions, exchange programs and community
art projects, including in mainland China, Poland,South Korea, Taiwan, India, Thailand, for example,"Public Cushion Project" for the Social Enterprise
Summit in Hong Kong in 2008, "Inward Gazes"–
Documentaries of Chinese Performance Art at Macao
Museum of Art, Macau in 2012, artist-in-residency at
Openspace Bae, Busan, Korea in 2012. He also is thewinner of Hong Kong Human Rights Art Prize for
emerging artist in 2013.

於孟買及香港牛棚展出at Mumbai &Cattle Depot,
Hong Kong

Joel, LAM Kin Hung 林健雄

Size 尺寸
Variable 尺寸不定

Joel LAM received his MFA in Film & Video
Production from California Institute of the Arts,
U.S.A. Currently a senior lecturer at the Academyof Visual Art, Baptist University of Hong Kong,
LAM focuses on independent and documentary film
making. His works have been shown in different
screenings and film festivals, for example, Berlin
Film Festival in 2007, Hexianging Art Museum in
Shenzhen, China in 2008, Subvision Art Festival
at Hambury, Germany in 2009, Videoholica
International Video Art Festival at Varna, Bulgaria
in 2010, Liverpool Biennial at Liverpool, England in2012 etc.

Year 年份
2014

LAW Yuk Mui 羅玉梅
www.lawyukmui.com
Law Yuk-mui graduated from the Master of Fine Arts
(MFA), Chinese University of Hong Kong. She is theeditor and researcher of The Library by soundpocket.
In 2014, Law was awarded grant from Hong Kong
Arts Development Council for an internship in
the curatorial department at Mori Art Museum inTokyo. In 2010, Law was exiled by herself to Beijing
and worked as editor for the magazines Art in China
and Art & Investment. As an artist, her works wereextensively exhibited in Asia, including "Here are
the years that walk between" special commission
video project by Hong Kong Sinfonietta (2013),"The 2nd Beijing International Film Festival" (2012),"The Kuala Lumpur Experimental Film and Video
Festival"(2011), "The 16th Hong Kong Independent
Short Film & Video Awards" (2010), "Inter-city: Art
in Busan" South Korea (2009). Her prose "migration,
insomnia, dreams" is included in Pocket2: Say Listen.
LEUNG Mee Ping 梁美萍
http://www.lmp.hk

Mumbai, India

Mee Ping Leung received her BFA from L'Ecole
Nationale Superieure des Beaux-Arts a Paris, France
and her MFA from California Institute of the Arts,
LA, U.S.A and Ph.D at Chinese University of Hong
Kong (Religious & Cultural Studies Department).
Her artwork genres include mixed media, video,
multimedia installation and site-specific event-based
project. Mee Ping's works examine daily life throughperception of daily life itself. Currently a lecturer
at the Academy of Visual Art, Baptist University ofHong Kong. Leung has participated in numerous
solo and joint exhibitions in Hong Kong and abroad.

20

藝術家簡歷

Sunday, LAI Long Sang 黎朗生
www.lailongsang.com

藝術家簡歷

TSE Chun Sing 謝振聲
www.jantzen-is-shrun.com
Graduated from the Fine Arts Department ofChinese University of Hong Kong in 2009,
TSE Chun Sing has started learning classical musicin primary school, and concentrates on sound art
creations after graduation from university.
Having had solo and group exhibitions in the context
of contemporary art, TSE is also a sound designer andcomposer for independent movies and theatres. He
has led different sound workshops and sound-walks
for different parties, and has made commissioned
sound-work for art shopping mall in Hong Kong. In
2012, he had his first performance in theatre, focusing
on noise and sound clips of speech interweaving
an imaginary soundscape. He was invited as artistin-residency in 2012 during the "Experimentica
Festival" at Chapter in Cardiff, UK, and participatedin "Retreat, Around Sound art festival ", for Kadoorie
Farm & Botanic Garden, Hong Kong in 2013.

abandoned traditions, and sub-cultural lifestyle.
He has participated in group exhibitions, curatorial
projects and collaborations with varying roles as
artist, organizer, photographer, web publisher anddesigner. He is based in Singapore and is a present
member of The Artists Village. He holds a Bachelorof Arts (Honours) in Fine Art from the University of
Huddersfield, UK.
Reena Saini KALLAT
www.reenakallat.com
Reena Saini Kallat (b. 1973, Delhi, India) graduatedfrom Sir J.J. School of Art, Mumbai in 1996 with a
B.F.A. in painting. Her practice – spanning painting,photography, video, sculpture and installation, often
incorporates multiple mediums into a single work. She
frequently works with officially recorded or registerednames of people, objects, and monuments that are
lost or have disappeared without a trace, only to getlisted as anonymous and forgotten statistics. Her
work has been widely exhibited. She lives and works in
Mumbai.
Hema UPADHYAY
Born 1972 in Baroda, India, Hema Upadhyay has
lived and worked in Mumbai, India since 1998.
She uses photography and sculptural installations to
explore notions of dislocation and nostalgia. Hema
had her first solo exhibition, titled Sweet Sweat
Memories, at Gallery Chemould, now Chemould
Prescott road (Mumbai), in 2001. Hema's paintings
are usually characterized by the inclusion of smallcollaged photographic self-portraits. Miniaturizing
images of herself in various positions, she inserts
them into her allegorical landscapes allowing them tointeract with the decorative and fictive environments
she creates.
Pradeep L MISHRA

soundpocket 聲音掏腰包
www.soundpocket.org.hk
soundpocket is an art, education and researchorganization specializing in sound art. The first of its
kind in Hong Kong, it was incorporated as a non-profit
organization in Hong Kong in April 2008, and granted
charitable status in April 2008.
soundpocket understands sound art as manifested inseveral ways: 1. sound art as an art form, ie., sound as
art, 2. sound in different forms of art, eg. music, theatre,
dance, installation art etc., ie. sound in art, and 3. therelation between listening to sounds and silences andthe appreciation and understanding of art in general, ie.
sound and art. In this sense, soundpocket supports notjust an art form, but ideas and possibilities that engage
with aesthetically meaningful, culturally-engaging andpublicly relevant sonic practices.
Jason, LEE Jia Shen 李嘉昇
www.jasonlee.sg
Jason Lee is an artist who works with several media
which includes photography, installation,and
performance. His current works deals with wideissues that revolve around the urban environmentand contemporary society that inspires him. His
artistic interest lies in the areas of urbanization,
21

Pradeep L. Mishra was born in Maharashtra in 1977.
He received a BFA and MFA in Painting (2004) from
Sir Jamsetjee Jeejeebhoy School of Art, in Mumbai.
His solo exhibitions include "Being Berved" at RL Fine
Arts (New York), "Fragrance of Earth" at the Guild
Gallery (Mumbai), "Motherland" and "Fertile Soil" at
Palette Art Gallery (New Delhi). He has been featured
in numerous group exhibitions and has participatedin residencies and camps such as Khoj Peers (NewDelhi), Oberoi Art Camp- Gallery Beyond (Mumbai),Monsoon camp(Vasind) and at Kalakrity Art Gallery(Hyderabad). He lives and works in Mumbai.
Vibha GALHOTRA
Born in 1978, Vibha Galhotra received her B.F.A
from Government College of Arts, Chandigarh
and her masters from Kala-Bhavan, Santiniketan.
Galhotra's work frequently addresses issues ofurbanization, exploring the relationships between cityand citizen. Her solo shows include 'Sediments andother untitled' In collaboration with Jack Shainman
Gallery and Exhibit 320, New Delhi in 2013; 'Utopia
of Difference' Jack Shainman Gallery, New Delhi, in
2012. She was awarded the Inlaks Foundation Fine
Arts Award in 2003 and a National Scholarship from
the Ministry of Culture, Government of India, in2001. She lives and works in New Delhi.

ARTIST BIO

Cross The Red Sea After Riding The Wrong Train

搭錯車後過紅海# 03

旅程其中一夜，三女二男藝術家（女：黎朗生、蘇瑋琳、張嘉莉；男：李嘉昇、謝振聲）乘火車回去住處：「WhatAbout Art」
。火車分男性專卡及女性專卡，男性專卡十分擁擠，女性卡相對鬆動，三女二男藝術家分別進去，開始歸途。
「要轉
一行五人在上車前多番問路，確保行程順利，但火車行駛了十五分鐘後，我和兩位同行女藝術家才發現搭錯車。
乘其他火車，不知怎樣通知在男性專卡內的李嘉昇和謝振聲？」我們嘗試在下一站落車後，走過去隔鄰車廂大聲呼喚：「Jason ！阿聲！」希望他們聽到後下車會合我們。可惜，亳無回應，而火車又即將行駛，我們只好跑回車卡，嘗試找
其電話號碼，索性打長途電話。同時，在到下一個站時，我們重施故技，走到隔鄰，又用廣東話又用英文大聲呼喚。
至少三次這樣跑上跑落。車上越來越多乘客對我們感到疑惑。我們心想難道，「他們已下車？」，難道「在眾多印度人
的名字都叫『阿星』時，我們怎麼呼喚『阿聲！』也是徒然？」。在第三次重施故技後，火車停頓了約一分鐘。 車廂內的女乘客對我們投以奇異目光，並陸續討論起來。雖然我們不懂印度話，但見她們開始與隔鄰的男乘客傾談， 正努力
協助我們會合。
謝振聲憶述，當時男性專卡十分擁擠，接踵摩肩，他和 Jason 被迫遠離女性車廂，在昏昏欲睡之際，謝振聲聽見車廂內一位男乘客高聲叫嚷，之後，眼前人海如「摩西過紅海」般開出一條通道，雖不懂印度話，但從那印度人的身體語言，都明白是示意他們盡快下車。感謝當地朋友的幫忙，我們三女成功會合二男，終於能趕在尾班車開出前，坐上駛
往 Bandra West 的回程火車。

Dessert(Cha Chaan Teng), which to order a dish along with rice already.
Each of us ordered a dish and a plate of rice or Indian pita bread.
Upon finishing all our food, we looked around and found out thatthe other customers actually shared one dish amongst 4-5 friends
together.

甜品篇首兩天在孟買，一顆兒到餐廳吃飯時，我們每人點了一個餸，配以米飯或飽點，就如同在香港茶餐廳叫碟頭飯一樣。吃飽後，我們環看四周，才發現其他食客，多是四五個朋友一起點一個餸， 分享進食。

1

Drum Purchase
買鼓記

I told my Indian friend that many of the artists from Hong
Kong and Singapore in this exchange program admired very muchthe drum hawkers' technique of making that interesting sound,which is like a water drop dripping in a stalactite cave, by simply
rubbing the drum surface with a finger tip. In the end, most artists
couldn't help but bought at least one "Indian" drum from Mumbai's
streets. My friend responded with a smile," I never understood how
those drum players on the street make money...but now I know..."
我告訴印度友人，同行的香港和新加坡藝術家均被賣鼓小販的絕
技深深吸引 : 小販以手指頭磨擦鼓面而發出有如水點在鐘乳岩洞滴下時的One night, three females (Sunday LAI, SO Wai Lam, Clara CHEUNG) and two males (Jason LEE, Sing TSE)from the group got on a train to go back to their residency 'What About Art.' This group of five went onto thefemale and male train compartments separately. Despite all our effort of asking for the directions, we foundout that we still got on a wrong train 15 minutes after our departure. "We need to change to another line. But,
how do we inform the two guys?" Without trying the most expensive way: making an international phone call,
we got out of the train and screamed "Jason and Sing!" at the next stop. Supposedly, Jason and Sing who wereon the very next compartment, could just hear us and reunited with us on the platform right away.

回響之聲。結果，各藝術家都忍不住在孟買街頭買了一至多個印度鼓。
印度友人笑著回應 :「我現在才知道有誰會光顧這些流動小販……」。

sketch drawing by SO Wai Lam 蘇瑋琳繪圖
3

Text by Clara CHEUNG

張嘉莉撰文

Translation to Chinese: CHENG Yee Man

22

英譯中：鄭怡敏

Sing TSE recalled that since there was not enough room in the male compartments, they had to go further awayfrom the female carts. They were stuck in a crowd and could not move much. While they almost fell asleep, Sing
suddenly heard a passenger spoke aloud in Hindi. After such, a 'Red Sea Crossing' appeared in front of them. This
Indian man then used his body language to urge them to leave. Thanks to everyon's help, we were reunited andsucessfully went back to Bandra West before the last train departed.

蘇瑋琳的小書During this trip to Mumbai, SO Wai Lam led two soundart workshops in two Mumbai municipal schools, with assistanceby Sunday LAI, Sing TSE, Clara CHEUNG and Leandre
D'Souza from ArtOxygen. All the students creatively drew mapsof sounds around their schools during the workshops, and all
were even more excited when it came to be the Q&A session tointerview the Hong Kong artists.

The problem was not solved in such a simple manner though.
With no response, three of us had to rush back onto the train. While searching for the guys' phone numbers, we
ran down to the platform at the second stop to scream again in both Cantonese and English. We repeated running
down and up for at least three times. More and more passengers were curious. We asked ourselves, 'Have they left
already? Is it a bad move to scream "Ah Sing" since many Indians' names are "Sing" as well?' At the third time after
we rushed down to scream, the train paused. We were surrounded by many curious eyes. Everyone was discussing
the situation. Eventually, we heard a female passenger spoke to a male on the platform, and another female talked
into her phone. They were all eager to help.

A Small Book by SO Wai Lam

2"What kinds of flowers do you have in Hong Kong? Whatfestivals do you celebrate? What do you eat?" etc. All these questions
may seem to be quite trivial in the first place, but, in fact, very
complicated when one wants to answer them comprehensively.
All Hong Kong artists present at the workshop tried their best to
provide short answers, while SO Wai Lam even tried to elaborate
her answers with illustrations after coming back to Hong Kong.

How To Order如何點菜

When we had dinners at nearby restaurants, we started toorder like how we normally do in Hong Kong's local resturants
23

"What would you choose to represent your living place andyour culture" becomes an important question for SO's illustration.
是次孟買旅程，蘇瑋琳分別為兩所當地學校各帶領一節「聲音藝術」工作坊，協助的藝術家包括：黎朗生、謝振聲、張嘉莉，及是次旅程的孟買策展人 Leandre D'Souza。工作坊期間，學生描繪出其學校附
近的聲音地圖，學生們更在問答環節中熱烈地向香港藝術家發問。
「香港有甚麼種類的花？」、「你們會慶祝甚麼節日？」、「你們日常吃甚麼？」等等。這類問題看似容易回答，但卻又幾複雜，較難全面
地作答。但藝術家們都嘗試盡量精準、扼要回答。而蘇瑋琳在回港後嘗
試就著「你會選擇甚麼去代表你的城市和文化？」並在這本小書上，就有關這個提問作稍進一步的圖文解釋。

5

From the facebook status sharing of LO Chi Kit
羅至傑的臉書留言Train ride in India is full of excitement. The compartments'
doors never shut. Before a train comes to a halt, passengers have alreadyjumped off. They usually had to run a few steps further after jumping,but the whole movement was as smooth as an action movie.

To
Slowly Hang
Aroundin Hong Kong
for ArtExchange?
藝術交流
在港慢遊

再爛的開場白：藝文界每年 5 月總忙得透不space）發起藝術交流活動還是值得鼓舞。但由上述

過氣，如煙花般散落的國際藝術展銷會，帶動各大

情況可見，駐留計劃與展演到底是兩碼子的事，後小商業畫廊藝術空間也紛紛爆出不同的展覽來，彷者無論在持續性、社區互維，還是藝術家之於社區

彿香港藝術就只有國際藝術展銷會。然而，在這遍的因緣關係也只能達到蜻蜓點水的地步。

暢旺聲中，香港藝術就只剩得藝術買賣與展銷？
觀乎本港藝術史，這類交流計劃不常有，可當然我們還需要不同性質的活動來完善整個

謂處於邊陲位置，大眾的認知也有限。 較有規模的

藝術光譜，如跨文化交流或藝術家駐留計劃。這次可算是「國際藝術家交流工作坊（香港）」（AiR）先後在香港的 C&G 藝術單位與印度策展單位 ArtOxygen2005 及 2008 年兩次游擊地舉辦過駐留計劃，其餘

聯合策劃了一次香港孟買的公眾藝術交流計劃

的大多是學院項目。主因不外乎資源與寸金尺土的「[en]counters 2014：愛在空氣慢遊」，計劃主要

空間上，就算得到資助，或是藝術空間自資，但在在印度孟買發生，而香港主要為文獻展、交流會，

計劃書或撥款的要求細項中，往往都受到僵化的制

以及部分藝術工作者（包括本地及海外的藝術家）在

度規限，或是偏重於量化的效益指標上，由交流、

5 月初的藝術展演（Happenings）上，他們在旺角、

創作，到發布、展覽，或已成為計劃書中的既定模

牛棚等地方以游擊的方式展示藝術創作，記錄藝術式，甚至為了容易取得基金支持，而偏頗於「服務社

家在交流計劃中的創作，並藉此在香港的社區再次

區」的單向發展。

展現不同的藝術形式。雖然這次交流並不在港發生，When the train is in full speed, many passengers enjoyed
the breeze with at least half of their bodies hanging outside of the
train. After a few rides, I started to realize the rationale behind: toavoide the strong smell during the hot weather (although insurance
porbably would not cover such...).

4

Addicted to the fun train rides, I successfully rushed andjumped onto a train this morning. After jumping on, I could not be
happy anymore. I remembered very well that I did not get on thefemale compartments, but why did I only see females in front of me?
(scary) Most passengers gave me a strong signal that I must leave assoon as possible. Looking backward, the train has left the platform
already. All I could do was just to look out of the door. The worst
was when all the passengeres from another train that just past by
also threw that strange look at me. It felt like after I was trapped ina female restroom and then dragged to a street march. Indian trains
do not only have female compartments, but also have the wholetrains serving females only at certain hours.

Follow The Flow隨緣

The living momentum for most Indians is always in aspontaneous mode. After the group of Hong Kong artists learnt aboutan opening at Mumbai Art Room, they tried to visit. Upon arrival,
they found out the opening ceremony has been postponed a day, and,
therefore, could only chatted with the artists installing at the venue.
They did not see any opening at their visit on the second day either,but only could see the exhibition. We were not disappointed though.
Allowing everything to be spontaneous, we had surprises: we ran into
a nice exhibition at Clark House on the first day after leaving Mumbai
Art Room; we saw a wonderful street parade for a local festival on thesecond day. Following the 'Way' is the happiest way to live.

但這個「借來」的交流計劃，當中不乏借鑑的部分觀

記得分享會當天，亦有藝術家反映在出發前已
需按計劃書釐定出創作目標，這種形式妨礙了對應因資助左右駐留計劃

時因地的創作中的適應與靈活，也忽略了計劃以社區事緣今年 2 月，一行七位香港以及一位新加為本位時，需顧及每個社區的「特性」，例如群眾參與

坡藝術工作者前往孟買，與印度藝術工作者進行交的熱情度、藝術家的構想與現實是否出現偏差等，以流與創作公眾藝術，通過對於印度的種種想像與關

免藝術工作者成為「他者」，一廂情願地誤解與混淆「異注，最後將創作帶到海灘上展出，也有部分作品在國風情」中的民生、文化等情況。但一體兩面，正正社區內進行。如羅至傑在香港出發前先訪問了多個

是這些想像與相互不同的文化經驗交錯，成就了不少

在港定居的印度人，收集他們在印度故鄉的故事再藝術上的可能性。

帶回印度，將他們的話語，利用噴膠等在孟買車站
等公共空間噴成「隱形塗鴉」，待塵埃慢慢黏在塗鴉

文化交流或是駐留計劃，其實不是以觀眾作

上，使話語慢慢呈現。在香港的回應部分，還有集

為內容，而在於參與的社群與對象，以及不同背景

By Eddie CHEUNG

中羅至傑打扮成一位穿着唐裝衫的清潔工人，將牛

的藝術家作文化交流。整個過程也不等同於展覽，張煒森撰文

棚內的灰塵掃走，以回應他在孟買的作品，部分藝

其目的不在於要刻意營造出被人觀看的「展品」。如術家也有在土瓜灣一帶暫借其他舖位一角作播放錄

資助是以觀眾作為唯一的效益指標，難免交流最終from Hong Kong Economic

像作品。

會標籤為小眾活動而忽視了當中的價值，或窒礙這
類交流的發展。

Journal on 2.7.2014【印度搭火車】充滿驚喜，首先車門是不會關上，車未停定乘客便

轉載自 2014 年 7 月 2 日信報

由民間或藝術家自主的藝術空間（artist-run

開始如拍動作片般上落，腳踏月台從容地跑幾步便緩衝下來，過程暢順。
人們習慣在高速行駛途中，把大半身伸出車門外乘風，有些更根本只有手臂和腳掌留在車廂內。幾趟以後，我開始明白箇中道理，天熱時載滿人的車廂氣味濃烈刺鼻，當我有樣學樣把半個人拋出車外，就明
白了甚麼叫如沐春風（只是保險應該不賠）。
搭火車搭上癮的我，今早成功急步跳上車，得意還來不及便心知

印度人的生活節奏很隨心，也不強求。一群香港藝術家得到有關不妙，明明不是婦女專卡怎麼裡頭全是女人！
（嚇）
半個車廂驚訝地瞪著我，

Mumbai Art Room 的開幕消息後拜訪，發現原來展覽開幕需延遲一並示意我要離開，但回過頭火車已啟動，而我還未學會高速跳車……那天，唯有只與正在佈展的藝術家閒聊一會。第二天再拜訪，看到了佈展只好裝傻轉身往門外看，尷尬地等下一站換車。更糗的是，期間遇上另

好的展覽，但也不見什麼開幕。可是，我們也入鄉隨俗，嘗試隨心行事，

一班並行的火車，那邊廂又投來歧視的目光……感覺有點像入錯女厠後

結果真有驚喜：第一天拜訪不遂後，到處逛，逛到 Clark House，看到

被困，再遊街示眾那樣。原來，印度列車不單止設女性專卡，還居然有

大家都很喜歡的展覽；第二天，參與不到什麼展覽開幕 , 但卻在碰上街

女性班次。

頭節慶活動，看到難得一見的街頭歌舞巡遊。隨心而活，乃樂活之道。
Artist sharing at soundpocket 在聲音掏腰包的藝術家分享會 3.5.201424

經驗交錯成就可能

照交流計劃在港的情況。

25

The Ripple
Effect Encountering
different
questionsraised inthe current
project漣漪效應 —記數個在計劃中
被提出的問題What do you expect from art exchange projects?

space, if we all believe it is truly 'public'?

"What do you expect from art exchange
projects?" asked Sunday LAI in a small Hong Kong
local restaurant(Cha Chaan Teng) in the opposite
of Cattle Depot.

How much of the planning ahead by local
curatorial unit is necessary though? This question
is not only related to how spontaneous certain
art pieces will turn out, but is also about thefundamental understanding of 'public space.' 'Is
it even necessary to apply for licenses for "public"
space, if we all believe it is truly "public"?' was aquestion raised at the curators' talk.

申請相關的公共空間使用牌照？

I said it was the ripple effect I longed for.
Understanding the restrictions withinexchange projects launched by small artist-run
spaces, C&G Artpartment still strives to do so by
applying for one-off project fund or travel grant
each time (for example, organizing 'Art Hotpot' in
2012, with Zatoka Sztuki, an independent art spacein Poland, and participating in '[en]counters' hosted
by ArtOxygen in Mumbai in 2013 and 2014.
Limited by the budget, these are not large-scaled
projects, but are initiatives to encourage friendships
and dialogues amongst artists and audience fromdifferent places in a more down-to-earth andorganic fashion.
How do artists perceive and respond to the theme
set by the organizers?
However organic, from the administrative
viewpoint, certain frameworks are essential for
funding application and publicity. "How do
artists perceive and respond to the theme set by theorganizers?" is another question raised during theartist sharing session at soundpocket.

By Clara Cheung

In the trip of 2014, three out of five of theparticipating artists had never been to Mumbai
before. It certainly was a challenge for artists tosubmit a precise proposal for a 'public art festival,'
which requires a strong linkage to the culturalcontext, before their arrival. Mutual understanding
and trust between the on-site curatorial unit and theparticipating artists, therefore, becomes particularly
important during the planning process.

張嘉莉撰文

4.2014

如果我們認同公共空間是真正的「公共」，是否需要

你對藝術交流項目有甚麼期望？

Is it even necessary to apply for licenses for 'public'

26

Although ArtOxygen did apply licenses
for certain areas in [en]counters, and recognize
such application process is also an act of showing
respect for different parties using the space, Claudio
Maffioletti emphasized they appreciated very muchparticipating artists to play in the grey area at thesame time. Various artists in the project did so.
LO Chi Kit, who went to Mumbai for the second
time, set a good example of playing in the grey area
in a guerilla manner: holding invitation letter andrelated documents from ArtOxygen, he encounteredmany public places not officially reserved for [en]counters 2014. The most interesting story was thatthe police and security guards at the train stationand the closed public park at night were willing toeven offer help to the artist after all, despite theirinitial disapproval of the artist's act. Indians, ingeneral, are eager to help, especially after they obtaina better understanding of the situation. In this case,while the artist has nice negotiation skills and hasinteresting artworks that can attract participants, thedocuments by the organizer helped buy the artist
some more time to explain his ideas to the authority
in the grey area.

「你對藝術交流項目有甚麼期望？」黎朗生在牛
但相關的事前安排其實又需要多少？這問題

棚對面的一間茶餐廳中問。

不單關係到作品在現場呈現時的隨機性，也與對「公我說期望見到的影響應該是滲透性的。

共」的根本理解有關。「如果我們認同公共空間是真
正的『公共』，是否需要申請相關的公共空間牌照？」

作為一個獨立營運的藝術空間，在舉辦藝術

是 另一個在策展人討論會中被提出的問題。

交流項目時確有箇中困難，但 C&G 藝術單位仍努力嘗試籌劃（如 2012 年與波蘭獨立藝術機構 Zatoka
Sztuki 及波蘭藝術家交流的《打邊爐》和這兩年與
ArtOxygen 合作的《[en]counters》）。資金所限，每次

ArtOxygen 在過去的 [en]counters 藝術節中都間的不同使用者的一種尊重。Claudio Maffioletti 強只靠個別申請的計劃資助而行事，舉辦的也非大型項調他們同時也很高興看到參與藝術家嘗試在灰色地帶

有申請相關牌照，並認為牌照的申請也是對於在該空目，但期望是可創造一些能鼓勵友誼和對話之跨文化

中遊玩。是次參與的藝術家有不少都並非只在特定範的有機平台。

圍中進行創作，第二趟去孟買的羅至傑更是一個在灰那藝術家又如何理解和回應主辦者定出的主題呢？

請信和相關文件，在多個沒有作正式申請的地點進行

色地帶進行游擊式創作的好例子。他拿著主辦者的邀「隱形塗鴉」。有趣的是，火車站的警察、晚上關了門
在有機和隨機當中，從行政角度而言，往往卻

的公園內之保安，雖然最初都有微言甚至不批准相關

又因為要申請資助和作公關宣傳，而必須製定一些基

行徑，但最後竟然都落手落腳幫這藝術家一起貼塗鴉

本框架 ，諸如主題、特定場地等。

紙模。事實上，印度人都是樂於助人的，而在理解了
藝術家的動機後，就更毫不猶疑。ArtOxygen 的相關「那藝術家又如何理解和回應主辦者定出的主
題呢？」是另一個在藝術家分享會中被提出的問題。

文件確是為藝術家買來一些可與管理者協商的時間，為藝術家在灰色地帶的邊緣開個缺口。

在是次交流之旅中，五位參與藝術家當中，有每個城市的空間均有其灰色地帶。在各藝術三位並未到過孟買。要求他們在出發前已有相當確實家、參與者、觀眾之間的藝術交流，該可為一個地方

的計劃，去回應一個以在地創作為主的公共藝術項目，

帶來新的視點。儘管力度只能有如向水池投擲小石塊，

確是考驗。解決方法，唯有是盡量幫助參與藝術家與

但願其漣漪效應可帶來滲透性的影響。

當地的策劃者，在安排過程中作出協調，建立互信和
諒解的關係。

Every city has its own grey area, including
Mumbai, Hong Kong, Singapore.
Art exchanges amongst different artists,
participants and audience should be able to bringfresh perspectives to a place. May it be just a small
pebble falling into a pond, the ripple effect willslowly take place.

27

IS THERELOVE
IN THIS AIR?

"Is There Love In This Air?"Art Exhibition and Happenings「愛在空氣慢遊」藝術展演愛在空氣慢遊[en]counters 2014:
Mumbai- HK
exchange project
about art in public
孟買香港公眾藝術交流計劃 2014

Redefining a new public space
Opening Talk
20 / 02 / 2014

7 - 9 pm

Max Mueller Bhavan, Mumbai
Breathe Easy Artistic Interventions
by the Beach
21 - 22 / 02 / 2014

4:30 - 7 pm

Juhu Beach, Mumbai

03 / 05 / 201404 / 05 / 2014

2 - 6 pm
2 - 8 pm

Cattle Depot Artist Village's
open area and nearby area
(No. 63 Ma Tau Kok Road,
To Kwa Wan, Kowloon, HK)

牛棚藝術村之戶外空間及附近地帶
（香港九龍土瓜灣馬頭角道 63 號）Participating Artists 參與藝術家
Vibha GALHOTRA
Reena Saini KALLAT
Sunday LAI 黎朗生
Lock, LO Chi Kit 羅至傑
LEUNG Mee Ping 梁美萍
TSE Chun Sing 謝振聲
LAW Yuk Mui 羅玉梅
Jason LEE 李嘉昇
Pradeep L. MISHRA
Hema UPADHYAY"Is there Love in this air?"
Screening and Artist Sharing session

Participating Artists 參與藝術家
Reena Saini KALLAT
Pradeep L. MISHRA
Mee Ping LEUNG 梁美萍
soundpocket 聲音掏腰包
Lock, LO Chi Kit 羅至傑
Joel LAM 林健雄「愛在空氣慢遊」
藝術放映會及藝術家分享會

Halo in the sky Artistic Interventions
by the Promenade聲音掏腰包香港九龍土瓜灣落山道 108 號
志昌工業大廈 10 樓 C

27 / 02 / 2014 - 02 / 03 / 2014
4:30 - 7:30 pm
Carter Road Promenade, Mumbai
Participating Artists 參與藝術家
Vibha GALHOTRATSE Chun Sing 謝振聲soundpocket 聲音掏腰包
Hema UPADHYAY
Mee Ping LEUNG 梁美萍
Lock, LO Chi Kit 羅至傑
Jason LEE 李嘉昇
Sunday LAI 黎朗生
Joel LAM 林健雄
Law Yuk-Mui 羅玉梅

Co-curated by

03 / 05 / 2014

6 - 8 pmsoundpocket
Unit 10C, Gee Chang Industrial
Building, 108 Lok Shan Road,
Tokwawan, Kowloon, Hong Kong

Screenings by 放映會作品
Joel LAM 林健雄
Reena Saini KALLAT

Documentation Exhibition
Opening & Curators' Talk

Editor 編輯
Clara CHEUNG 張嘉莉

10 / 05 / 2014

Proof Read 校對
Clara CHEUNG 張嘉莉
Winnie Iris FUNG

「愛在空氣慢遊」
文獻展開幕 暨 策展人對談

6 - 8 pm

C&G Artpartment
3/F, 222 Sai Yeung Choi St South,
Prince Edward, KLN, HK
C&G 藝術單位香港九龍太子西洋菜南街 222 號 3/F
Speakers 講者
Claudio MAFFIOLETTI
Clara CHEUNG 張嘉莉
Documentation Exhibition「愛在空氣慢遊」文獻展

10 / 05 / 2014 - 09 / 06 / 2014
2 - 7:30 pm
C&G Artpartment,
3/F, 222 Sai Yeung Choi St South,
Prince Edward, KLN, HK
C&G 藝術單位香港九龍太子西洋菜南街 222 號 3/F
Participating Artists 參與藝術家
Vibha GALHOTRA
Reena Saini KALLAT
Sunday LAI 黎朗生
Joel LAM 林健雄
Lock, LO Chi Kit 羅至傑
LEUNG Mee Ping 梁美萍
TSE Chun Sing 謝振聲
SO Wai Lam 蘇瑋琳
LAW Yuk Mui 羅玉梅
Jason LEE 李嘉昇
Pradeep L. MISHRA
Hema UPADHYAY

Translators 翻譯Clara CHEUNG 張嘉莉
CHENG Yee Man 鄭怡敏
Design 設計
Muuutewww.muuute.com
Photography 攝影All participating artists and ArtOxygen
參與藝術家 和 ArtOxygen
Publisher 出版
C&G Artpartment
Print Run 印刷數量300
Publishing Date 出版日期
9 / 2014
Special Thanks 鳴謝
Mr. & Mrs GHATGE
Rubens MA 馬藍天
CHIM Chi Ho 詹志豪
LAU Tsz Ho 劉子顥
WU Jaitong 吳嘉曈
Ariel NG 吳京燕
CHEUNG Yung 張蓉
WONG Wing Tong 王永棠
社工 Vivien
鵬記電器工程公司
旺旺電器特惠商店

All Rights Reserved
版權所有 不得翻印

Speakers 講者
Sunday LAI 黎朗生
Lock, LO Chi Kit 羅至傑
TSE Chun Sing 謝振聲
SO Wai Lam 蘇瑋琳
LAW Yuk Mui 羅玉梅
Jason LEE 李嘉昇
Claudio MAFFIOLETTI

ISBN
978-988-99959-0-4

Moderator 主持
Clara CHEUNG 張嘉莉

Co-organized by

Supporting unit

Supported by
What About Art
Goethe Institut (Max Mueller Bhavan)
Good Homes
28

Juhu Scheme Residents Association
Bandra West Residents Association