Art Hotpot-An Arts and Cultural
Exchange Program Between Hong Kong and Poland

002

About the ’Bay of Art’/’Zatoka Sztuki’關於「藝術海灣」(Zatoka Sztuki)

008

Notes on Art Hotpot in Sopot Part I

014

Programme

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Works in Poland Exhibition

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Works in Hong Kong Exhibition

049

Review

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Poland Hong Kong Express

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The Side Dish of Art Hotpot

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Organizer

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打邊爐﹣香港 及 波蘭藝術文化交流計劃

在波蘭索波特《打邊爐》

節目

波蘭展覽作品

香港展覽作品評論

波蘭香港快車花絮

主辦單位資料1

Art Hotpot-An Arts and Cultural Exchange Program between Hong Kong and Poland

Both Sopot, Poland and Hong Kong seem to be the thirdworld regions when it comes to contemporary art. These twocities are not lack of money. In fact, they both are pretty well off
in their tourism sectors. Hong Kong also has an “international”
well-known art fair. Nevertheless, local contemporary artists
in both places are not well supported. Sopot does not have acontemporary art gallery. Hong Kong has many art galleries,
but only a few trade artworks by local artists. The percentageof expenditure into the development of contemporary art inthese two places is not much either.
Despite of this unpleasant background, both Sopot andHong Kong are not lack of enthusiastic artists and art teams.
Under its revitalization scheme in 2009, the city council of
Sopot called for proposals to run a cultural art center at along-abandoned building on the beach in Sopot. Several Polishartists then teamed with several art lovers from the businesssector to submit a proposal to start MCKA (Multi-disciplinary
Center of Arts and Culture Foundation). Besides launchingdifferent creative art programs, MCKA also has a café andrestaurants to help financially fund its programs. In Hong Kong,
C&G Artpartment is another example of an alternative art
space. It was started up by two local artists in 2007. It does
打邊爐﹣香港 及 波蘭藝術文化交流計劃
波蘭及香港同是藝術第三世界地區，這種第三世界狀態，並非因為當地經濟疲弱、或經濟發展遲緩這類經濟因素，而是當地本土的藝術發展相對其經濟發展不成正比，如本地的國際藝術博覽會及藝術品拍賣活動，在世界舉足輕重，但當中涉及本地藝術的似
乎不足千分之一。及對自己文化藝術的自豪感不足，
當然還有其他因素在內。作為幾乎無能為力的藝術
家，也要力挽狂瀾，怎不火滾？
一群藝術家光火滾，也理性務實地進行着作為當代藝術家的使命。位於波蘭索波特的兩位藝術家，於2009年計劃把當地一個三層建築，改建為該城第一個
多元化當代藝術中心Zatoka Sztuki（波蘭文即「藝術海灣」之意）MCKA；位於香港的兩位藝術家，於2007年
2試圖打破本地依靠政府資金資助才能成立藝術空間，及必然位處偏遠的定律，自資在九龍交通樞紐的太子成立
了C & G藝術空間。當代藝術就是這樣「活」的打拚出
來，就如「打邊爐」，熱力互相傳播，不斷的滾動。
《打邊爐》是一個關於熱能的藝術展覽，展示
的作品會發熱、幫助燃燒卡路里或表達與火熱相
關的題材。當中有關注核電問題的作品，有關於
本土社區的錄像，審視當代藝術的概念性創作等等。本展覽由 C & G 藝 術 單 位 與 Za t o k a S z t uk i
MCKA合作策劃和舉辦，邀請來自波蘭及香港的視覺藝術家一起參與，透過對談及創作促進兩地
的藝術家和公眾擴闊視野。此活動的第一部分共邀請九位波蘭藝術家及五位香港藝術家參與，並已於一月在波蘭索波特順利舉行，而第二部分邀

not rely on any long-term funding from the government, but
supports its own gallery and exhibition activities by running
different art education workshops.
“Art Hotpot” is an art exhibit about HEAT, showing art
pieces that can generate heat help burn calories, or present
ideas about heat. Amongst are artworks concerning nuclear
power, video works about the local community, conceptual
pieces criticizing the contemporary art scene etc… Involving
artists from both Poland and Hong Kong, it is an art exchange
program curated and presented by C&G Artpartment and
Zatoka Sztuki. “Art Hotpot,” does not only initiate a platform
for exchanges between Polish and Hong Kong artists, but also
start up a bridge for the two alternative art spaces in Sopot andHong Kong for further collaborative development in the future.
The first part of it was launched at the art space: Zatoka Sztuki(The Bay of Art) in Sopot, Poland in January 2012, while thesecond part of it will take place in Hong Kong in March 2012.
As a platform for exchanges“Hotpot” is a dinning style embraced by a great numberof Chinese everywhere in China. In hotpot, we all sit together ina round table as a union, cook together, eat together and chat
together. The cultural and symbolic meaning of hotpot for the
intimate exchanges amongst a group of friends is essential in
請第一部分其中五位波蘭藝術家及全部香港藝術家參與，活動於三月在香港展開。
真交流「打邊爐」是大多數中國人，甚至華人圈裡的一種晚膳方式。「打邊爐」期間，各人圍桌而坐、一 同煮、一同吃、一同談笑風生。打邊爐的意義就這樣既混雜，又親密，也是一種中國人用以打破「同枱食
飯，各自修行」的心理隔膜的飲食文化。本計劃藉此概念，希望促進香港、波蘭兩地藝術家及藝術機構「同枱食飯，一起修行」。
真火熱「打邊爐」另一重要元素是「火熱」，本計劃要求參與藝術家於創作期間須注入與火熱有關的概念，

例如：作品創作過程或本身需發熱、有助燃燒卡路里等。據了解，波蘭索波特的冬天天氣十分嚴寒，是香
港人難以想像的凍，於是我們希望透過「火熱」為那
裡、也為自己升溫。
此外，就是「混雜」，或文雅地說是交流。我們促成香港波蘭雙方的當代藝術交流，香港藝術家去波蘭，波蘭藝術家到香港，其實是經過了兩次的相互交流。「打邊爐」就是希望這樣，互相吸收，互相影響，
品味、文化、習慣、要求混雜，為冷漠解凍，為兩地民眾對當代藝術的冷漠解凍。
真互動
本計劃另一重要元素是互動，不但交流過程著
重互動，作品創作亦強調互動，這不但在於藝術家與
3

this program. “Art Hotpot” will be a platform for the Hong Kongand Polish artists in this exchange program to experience art
together, make art together, and chat about art together.
“Hot” artworks

Another important element in “Art Hotpot” is the “heat”:
all artist will be requested to make artworks that can generateheat or help burn calories. The winter in Sopot is definitely
freezing cold. In such weather, heat generator should be a
big hit for the public, and very useful for the artists, especiallythe Hong Kong artists who do not often experience such cold
weather.
Beside this practical aspect, the symbolic meaning of
this gesture is to stir up the passion for contemporary art
amongst the public in the two places. As mentioned above,
the general public in Poland and Hong Kong simply is engaged
into contemporary art very much. The heat from “Art Hotpot”
will take this attempt to melt down the “cold” wall between
the public and contemporary art in both Sopot and Hong Kong.
Even though Hong Kong people in March may not physicallyneed too much heat, the heat energy will bring along an artistic
sense for the public to care more about contemporary art.
Interactivity

Other than the “heat”, the artworks in “Art Hotpot”

in both Sopot and Hong Kong will have an emphasis ofinteractivity. In Sopot, artists will make site-specific installation
art piece. In Hong Kong, Hong Kong and Polish artists tried
to collaborate together in groups to conduct art projects withthe local community. Either the art-making process or the
final installation art pieces will involve interactivity with thecommunity or the audience in this program. Although the
public in Sopot may not be very fluent in English, the sitespecificity of the installation artworks certainly can provide acommon ground for communication and exchanges between
the audience and the artists.
Chinese New Year

Invited by MCKA, the first part of this exchange program
will take place in Sopot during the Chinese New Year. Although
the Chinese population in Sopot is not a very big number, itcertainly forms a community. Since Chinese New Year is a time
for Chinese to have a re-union with families and friends, MCKA
would like to take this opportunity to celebrate this special datewith the Chinese community in Sopot and to introduce artworks
from China to its public. In the Chinese New Year in 2012,
Hong Kong artists from China will be invited to have “Art
Hotpot” with Polish artists together.

藝術家之間，也包括藝術家與民眾、藝術家與觀眾之間的互動。就是互動，所以「打邊爐」如此惹味，加上藝術家們的作品是在地創作，更能引起觀眾注意。
真開心波蘭索波特的主辦單位Zatoka Sztuki認真考慮
到較深入的文化交流，在第一次活動，即2012年一月
份，香港藝術家去波蘭交流時，加入中國農曆新年的元素，身在異地的香港藝術家自然樂於參與。Zatoka
Sztuki還邀請當地華語學校合作，共同打造一次中國文化節日交流配套活動。

45About the ’Bay of Art’/’Zatoka Sztuki’

The building of the ’Bay of Art’/’ Zatoka Sztuki’ is situatedon the sea shore and the edge of a park, in the place whereonce was placed a historical baths- Łazienki Północne, in thebest known Polish seaside resorts, Sopot.
’Bay of Art’/’ Zatoka Sztuki’ is the first artistic culturecenter in Poland that is financed entirely from private funds.
The project’s authors are: Natalia Turczyńska-Schmidt
and Karolina Matea, who in 2009 came up with the conceptof creating a private cultural institution running: workshops,
spectacles, exhibitions, etc.
It is an ‘art & business’ initiative and this gives it anopportunity not to depend on public means and therefore not toundergo any censorship.
In order to run such a cultural and artistic activity inthe ’Bay of Art’/’ Zatoka Sztuki’ there has been created afoundation MCKA (Multidisciplinary Centre of Culture and Art)
that covers the animation and production of cultural events andhandles the artistic program.
The foundation cooperates with local artists and thewhole artistic community and one of its major aims is
networking with similar institutions all over the world, culturaland artistic exchange.
關於「藝術海灣」(Zatoka Sztuki)「藝術海灣」這座多層建築位於波蘭著名臨海旅遊區索波特海旁，背靠公園，而它的最前身，是一座
浴場 - Łazienki Północne，原建築已被拆卸。

（Multidisciplinary Centre of
同時創立MCKA基金會
Culture and Art）
，以負責籌劃及舉辦藝術文化活動，

在波蘭，「藝術海灣」乃首個自負盈虧、由私人
資金成立的多元藝術文化中心。策劃成立該中心的主
Turczyńska- Schmidt及Karolina
事人是Natalia
Matea，她們早於2009年開始構思成立一個包含藝術
工作坊、展覽、藝術家工作室、藝術家駐場、文藝展
演、餐廳等等的多元藝術文化中心。

關於《打邊爐》
自早前應邀參與C & G藝術單位的展覽後，互相
有更深入了解，促成「藝術海灣」能參與策劃是次主題
十分有趣吸引的《打邊爐》香港及波蘭藝術文化交流計
劃，真的非常高興。這亦是一個難得機會與香港藝術
家合作，並展示其作品。

這種「藝術」與「商業」結合在波蘭是一項新嘗試，令中心可以毋須申請公帑，增加中心的自主性和籌劃活動的自由度。主事人就著「藝術海灣」的成立，

是次計劃，我們邀請波蘭北部「三連城」（Gdansk格坦斯克、 Sopot 索波特、 Gdynia 格丁尼亞）的年青、具高水準及名氣的藝術家參與，包括 Kamila

8並與當地藝術家合作，與世界各地藝術空間建立聯網，發展藝術文化交流活動。

About Art Hotpot

It was a great pleasure for us as the ‘Bay of Art’/’ Zatoka
Sztuki’ to become able to carry out the Art Hotpot project, themore because earlier we were invited to join the exhibition
organized by C & G. We were pretty excited having finally theopportunity to host artists from Hong Kong and to exhibit theirwork here, in Poland. We were also all-fascinated about the
project’s main theme, the idea was surely inspiring.
We had also invited various artists from the Tricity tojoin the project, and we were glad to collaborate with: Kamila
Chomicz, Katarzyna Podpora, Elvin Flamingo, Maciek
Salamon, that accepted our invitation. Considering how strong
artistic group has been created, we knew the work will turn out
just great. Also knowing that this project offers an exceptional
opportunity of working and exchanging views on art andcultural issues with artists from Hong Kong, we had invited
some art students: Magdalena Malyjasiak, Justyna Orlowska
and Malgorzata Kalinowska.
During the first part of the Art Hotpot that took place inSopot in January 2012, we have been presenting Hong Kong’s
culture to Polish people, not only the artists’ community but to thebroad audience, by organizing numerous events around the main
artistic activity, for example: Celebrating the Chinese New Year.
Chomicz、Katarzyna Podpora、Elvin Flamingo、Maciek Salamon ，同時亦邀請一班藝術系本科學生
Magdalena Malyjasiak、Justyna Orlowska和Malgorzata Kalinowska參與，這個藝術家組合，的確為觀眾帶來很多驚喜，讓香港及波蘭雙邊交流製造別具意
義的衝擊。
《打邊 爐 》第 一 部 份 於 2 0 1 2 年 一 月 在 波 蘭 索
波特的「藝術海灣」舉行，兩星期的活動中，除了波蘭
及香港藝術圈交流外，另一目的是向波蘭的朋友介紹
香港及中國的文化，其時適逢農曆新年，於是更於大
年初一同慶傳統中國新年。
《打邊爐》整個計劃的主題是圍繞「熱」，是一個很能引發聯想的概念。展覽開幕當天，展出作品穿插

在「藝術海灣」的餐廳裡，餐廳成為展場，吸引數以百
人參觀、流連，活動也吸引傳媒作正面報導。
《打邊爐》第二部份於2012年三月在香港舉行，我們一行五位波蘭藝術家遠赴香港，進行一次兩星期的
探索式藝術交流旅程。兩星期，讓我們更了解香港的文化，東西方的文化差異、香港地貌、景物、人事、住屋等同樣深深感染我們，超出想像。
各藝術家對香港都有其獨特的感覺及體會，我們對香港的不同想像，都反映在這次展覽創作上。展覽開幕當天，十分熱鬧，與第一部份於一月在「藝術海灣」舉行的開幕式不遑多讓，見觀眾對我們的作品很感興趣，我們都樂於為其解說。除展覽外，C & G藝術單位統籌了三節不同主題的藝術家分享會作配套活
9

The first meeting with artists from Hong Kong andworking with them over the issue of warmth, consideredas broadly as possible, was truly inspiring. The exhibition’s
opening, where the whole artistic work on the project has beensummoned up and presented, attracted the attention of abroad
audience which made it last long hours. It has also gainedsome very good reviews.
The second part of the Art Hotpot project has been even agreater adventure for us, because it meant flying to Hong Kong.
Thanks to the two weeks lasting residence there, we became toknow a lot about Hong Kong’s culture and got totally fascinatedby its contrasts, landscapes, images, people, and the valueof the whole residence in HK has surpassed our greatest
expectations.
It was a very creative period of time, and the issues taken
up by the Polish artists were very diverse. Every one of us had
found something different there, different inspiration and saw
different nuances, which shows how extraordinarily reach andinfluential is the city of HK. One could observe this variety ofinspirations during the opening of an exhibition promoting thesecond part of the Art Hotpot project, which came to be as
successful as the first -Polish part. The audience/Spectators
were very interested in the artwork and willing to talk about

it, which was also a fantastic experience for Polish artresidents.
C&G had also made possible for us to present Polishart and culture in HK. There were three meetings carriedout, each covered a different aspect of the ‘Polish cultural
stuff’. Those ‘sharings’ attracted the audience’s attention
and invited Chinese people to discuss Polish culture
broadly.
Leaving HK each one of us declared he will want tocome back.
We would like express our gratitude to every person
and institution thanks to whom, it was possible to carry out
the Art Hotpot project, in particular:
C&G Artpartment, the City of Sopot, Hong Kong Arts
Development Council, Burger COLLECTION, the City ofGdansk, Adam Mickiewicz Institute, Mandarin - Center for
Asian languages “Mandarynka”, Fleurs des lettres, Kubrick,Wooferten, Film Culture Centre.
Karolina
4-2012動，討論波蘭的當代藝術發展，吸引不少市民參與。
我們相信波蘭藝術家自是次活動後，都對香港留下正面印象，並期望有機會再次重臨。在此，衷心感謝支持《打邊爐》計劃的朋友、機構及單位：C & G藝術單位、The City of Sopot、香港
藝術發展局、Burger COLLECTION、The City ofGdansk、Adam Mickiewicz Institute、Mandarin Center for Asian languages “Mandarynka”、字花、Kubrick、活化廳、電影文化中心。

Karolina
4-20121011

Notes on
Art Hotpot in
Sopot

On Jan 11, 2012, five Hong Kongartists, Cally Yu, Law Man-Lok, Lock Lo ChiKit, Gum Cheng and I (Clara Cheung), took offfrom Hong Kong airport for Sopot, Poland. It
was an excellent group: everyone being easygoing, caring and with a sense of humor.
History of Zatoka Sztuki“Zatoka Sztuki” is the name of thespace founded by MCKA. It is Polish, meaning“Bay of Art.” Zatoka Sztuki is a three-storied

Artist Talk
The artist talk focused on various
problems about the usage of space in Hong
Kong, and related artworks or art projects. The
talk was started by Law Man asking, “Time ison our side, but how about space?” Showing
images about contemporary Hong Kong’s
condensed space in Central with all the city
scrappers, Law Man pointed out while Hong
Kong had more and more tall commercial
buildings, Hong Kong also was having more
and more units for slavery-like office workers
to receive commands and orders. On the other
hand, we are losing our autonomy in our space,and losing our “public space.” Different Hong
Kong artists’ works or projects in response tothis situation were then discussed, for example,
the freedom ball campaign, Happy Action,
various art events organized by C&G at the
public space of West Kowloon, artworks by Luke
Ching, Hung Fei, Tozer Pak, Ger Choi etc. Someof the audience actually found the materials
presented in this talk to be quite meaningful,in a sense that it helped them see Hong Kong
with an alternative perspective: other than the
touristy and financial side.

在波蘭索波特《打邊爐》
architecture by the beach of Sopot.
The first floor is a very decent restaurant,
while the second and third floors are underrenovation at the moment. Learning froman artist from Sopot, Kasia Swinarska,
this location actually has a long history forthe local community. Back in 1903, it wasa bath place. Later in the 1970’s, it wasreconstructed to be shops and discos. All theway along, many locals from the community
would come to the area around this location,for it is next to the public park and the beach.
It was a bit disappointing to see the wholebuilding is being completely renovated witha very modern style, without revealing its
history. Nevertheless, it is still an absolutely
beautiful place. Sitting there for breakfast or
a cup of coffee, facing the horizon of Baltic
Sea, certainly is a surrealist experience. In
fact, the whole Sopot is as surreal as thescenes from fairy tales.
Art exchange activities involved mainly,(1) an artist talk by Hong Kong artists, titled,“Art and Society in Hong Kong,” (2)an art
exhibition with 5 Hong Kong artists and 9
Polish artists on the theme of “heat” and“hotpot,” and (3)Hong Kong artists visiting
different Polish artist studios and art spaces.
14

Art Exhibition
The art exhibit was not held in an “official”
gallery setting, but the space of the 1st floor of
Zatoka Sztuki was very well organized to showeach one’s works. Many of the pieces were donewith materials or people from the area, andall participating artists either conceptually or
physically involved “heat”in their artworks for theexhibition. Some artists used their own bodies
to give out heat. Some used other media to giveout heat. Some applied heat-related issues intheir artworks. Some directly used heat to reveal
different meanings. The followings are short
descriptions of each piece:

2012 年 1 月 11 日，五位又好、又有趣、又獨當一面的香港藝術家，包括：俞若玫、羅文樂、羅至傑、鄭怡敏（阿金）及本人（張嘉莉），組成一支強勁組
合，起程去波蘭 索波特開展「《打邊爐》香港及波蘭藝術文化交流計劃」。
「藝術海灣」（Zatoka Sztuki）的歷史「藝術海灣」是 MCKA 基金會轄下的一個當代
藝術中心，中心位於索波特海灘旁，樓高三層，地面
是優雅的餐廳，樓上一、二樓仍在裝修中 ， 可 能 於
2012 年內完成大部分裝修。據當地藝術 家 K a s i a
S w i n a r s k a 表 示 ， 早 於 19 0 3 年「 藝 術 海灣」這地
點曾是一個浴場，至七十年代之後曾改建為商舖及的
士高，其後還作不同其他用途。由於這地點位於海灘
旁，背靠公園，一直以來都吸引不少人士前來。經過
多次拆卸重建，現在，浴場、的士高等建築舊貌已不復見，原址正是「藝術海灣」，已是一座富現代建築特色的藝術中心。身處「藝術海灣」內，在餐廳坐下，望著180度闊的波羅的海，吃份早餐，喝杯咖啡，真是香港人夢寐以求的生活環境。
回歸正題，「《打邊爐》香港及波蘭藝術文化交
流計劃」主要有三部分：一. 香港藝術家藝術講座，題
為「香港的藝術與社會」；二. 一個由五位香港藝術家及九位波蘭藝術家共同參與，主題關於「熱」和「打邊爐」的聯合藝術展覽；三. 香港藝術家拜訪不同波蘭藝術家工作室及藝術空間和機構。
藝術講座
在「香港的藝術與社會」講座中，藝術家分別
講述香港土地用途的問題及其相關的藝術創作與藝術
計劃，首先由羅文樂道出香港「有的是時間，就是沒
有空間」，介紹了香港樓與樓之間的密集情況，指出
香港越多摩天商業大樓，反映越多「打寫字樓工」的港
人被「困」寫字樓，每日接受著殘酷的指令。此外，藝術家們都分別表示香港的公共空間正逐漸減少，並透
過分享不同藝術計劃，如自由波、C & G 藝術單位的
個別針對性計劃、香港藝術家程展緯、白雙全、蔡芷筠等作品去回應香港的公共空間問題。講座中，個別
觀眾亦作回應及提問。促使各參與者能更全面了解香
港非商業的另一面。
藝術展覽
是次藝術展覽，並非於典型的畫廊展示，而是
於「藝術海灣」地面餐廳內舉行，共展出九位波蘭藝術
家及五位香港藝術家的全新創作，創作主題主要是圍
繞「熱」，可能是概念上的「熱」，可能是物理上、生理上的「熱」。有的藝術家以其身體散發更多的熱；有的透過另一媒介去產生熱；有的以熱作為其作品的中
心概念；有的透過熱表達其他意思，以下簡介各參
與藝術家的創作：15

Elvin Flamingo
Atomic Body –Natural Heat Transfer
原子身體—天然傳熱from the scene of the performance. The eight
warmed-up bodies and the natural January
coldness of the sea symbolize the cheapest
technology for cooling the reactors with sea
water. In other words, the sea naturally takes
the heat generated by naked bodies, and the
naked bodies smash the Sopot lampshades toabsolute smithereens.

Gosia Kalinowska
Untitled
無題

The action will play out with:
4 reactors
8 naked human bodies
24 lamp shades form the Sopot pierthe Sopot beach at entrance 18 (near
Zatoka Sztuki)
the natural coolness of the sea
the heat of warmed-up bodies”

Elvin Flamingo in this performance
video art piece, addresses the planningof nuclear plants in Poland. (Please referto this link for the video: http://vimeo.
com/35435373) This performance wasconducted in nude in the morning of the
opening day, on the Sopot beach in thefreezing weather with 0-2°C. The video wasthen edited within one afternoon, and shownat the opening night by the window of Zatoka
Sztuki, in front of the theatrical set for the
performance on the beach. Besides watching
the video, the viewer could also refer to thephysical site of the performance outside of
the window immediately. The aftermath of theactions from the day and the loneliness of thesite in the snow at night was as shocking andpowerful as the video itself.
Here is the statement from the artist:“Location of the performance: The
Sopot beach between entrances 18 and
19 (near Zatoka Sztuki); this is one of thebest known vacation spots in Poland. It also
mirrors one of the most beautiful beachesof the entire Polish coast - that in Lubiatowo
between entrances 37 and 38 near Białogóra.
The four white barrels symbolize theconstruction of four atomic reactors on thebeach. The lampshades from the Sopot piersymbolize nothing - they remain lampshades
from the Sopot pier located about 500 meters
16

Elvin Flamingo創作這個行為表演錄像作品，
是 回 應 波 蘭 興 建 核 電 廠 計 劃（ 有 關 錄 像 可 瀏 覽 這 網
頁： http://vimeo.com/35435373 ）。這行為表
演於開幕當天早上，在展場對出海灘上進行，當時氣溫約攝氏零度。行為表演拍攝完畢後，Elvin 立即進行
剪輯製片工作，在晚上開幕時於展場內播放，展場窗
外正是早上行為表演完畢後餘下的道具。觀眾在欣賞
錄像作品時，同時欣賞實景、實物，湊巧當時開始下雪，更可同時感受當時演出的寒冷。這是一件配合得
非常好及完整的作品。
《原子身體—天然傳熱》創作者言：是此演出選在波蘭最著名的旅遊勝地 S o p ot
舉行，就在入口 18 及 19 之間的海灘上舉行。它位在
Lubiatowo 入口37及接近Białogóra 的38 入口之間，灣景怡人，正正代表了全波蘭最美麗的海岸線風景之一。四個白色大桶，象徵了四個將要建在此的原子反應堆。遠離演出場 500 米的 Sopot 碼頭，掛上燈罩，沒有象徵意義，就是燈罩。八個赤裸的身體及一月冷
冽的海風，象徵了以最廉價的技術，最天然的海風來
冷卻反應堆。海風從人體受熱，而赤裸裸的肉身把
Sopot燈罩打成碎片。

Stycha Orlowska的作品很有家的溫暖感覺，
她的作品是一幅色彩繽紛的大毯子，毯子是由她的朋友的衣服縫製而成的，展覽開幕當天，她邀請有份提
供衣服作大毯子的朋友出席，並把那大毯子鋪在地
上，讓朋友及觀眾坐下來一同交流、野餐，很溫馨。
她們身後是另一參展藝術家Maciek 的黑白大型壁畫，形成在視覺上出現很大對比，很吸引。

Similar to Stycha’s work, Gosia Kalinowska’s
piece also encouraged an interactivity with people
in town in a more subtle fashion. Gosia had herwork outdoor along the pathways, showing her
lovely care of the community. She made a seriesof boxes for the public to put in warm garments for
whoever in need to take. The box was in a bright
redish- orange color, which stood out sharply inthe winter with all the dark brown tree trunks or
the snow.
Gosia 的作品與Stycha Orlowska的同是互動
的，前者與相識的人互動，後者嘗試與不認識的人互動。Gosia 於展場外行人路公共空間，擺放若干橙紅色
膠箱，鼓勵民眾把自己過剩的衣物放進箱內，讓有需
要人士取出穿著保暖。（展覽前後氣溫平均大約攝氏零度左右）Elvin Flamingo 作品《原子身體—天然傳熱》：
演出內容包括：4 個反應堆
8 個赤裸身體
24 個Sopot碼頭燈罩
接近Zatoka Sztuki 的海灘入口18 號

天然散熱的海風人體暖氣

Her project was to make a big quilt out of her
friends’ clothes and had a picnic with all thefriends on this quilt at the opening night, as afriendship hotpot. The multiple colors of thequilt was situated in front of Maciek’s black
and white drawing, and formed an interesting
contrast, both visually and concpetually,at the site. (More details can be found on
her blog: http://stycha-arthotpotinsopot.
blogspot.com)

Justyna Stycha Orlowska I
wspoltworcy,
Blanket Friendship
被子上的友誼

Stycha Orlowska’s work was very warm
and turned the art space into a homely place.

Kamila Chomicz
MBIRA
Mbira is a box-like African musicalinstrument, and also is the title of thevideo work by Kamila Chomicz in this show.
As stated by Kamila, this piece “is aboutburning. She “asked friends if they want toburn something from everyday life... Some ofthem bring shoes, umbrella, drawings, somecut the hairs and burn them with seabirds aswitnesses, there seems to be many untold
stories inside.” (link to the video: http://kamilachomicz.blogspot.com/p/video.html)
M b i r a 是非洲一種以彈動簧片震動音箱產生
17

不同聲音的樂器，同時也是藝術家 Kamila 是次展出作品的題目。該錄像作品是關於燃燒，她問她的朋友想燒掉甚麼日常生活的東西，然後拍攝記錄她朋友把那些東西燃燒掉的過程，其中燒掉：鞋、雨傘、畫、頭髮等，他們於索波特海灘上，以大量海鳥作背景，
燃 燒 ， 畫 面 很 有 詩 意 。（ 有 關 錄 像 可 瀏 覽 這 網 頁 ：http://kamilachomicz.blogspot.com/p/video.
html）

tellers with white paper for the audience toplay at the opening. This paper game is called“Heaven and Hell” in Poland and is named“East, South, West and North” in Hong Kong.
While most of the paper sculptures have blue
and orange colors in the center representing
heaven or hell, some actually have orange
colors only.
Karolina 作為珠寶首飾設計師，其作品都傾向
細緻、手作。她用紙摺了約100 個「東南西北」，波蘭的「東南西北」其中一個名稱叫「天堂與地獄」，玩法是只有兩個組合，一個橙紅色，一個藍色，橙紅色是地
獄，藍色是天堂，讓觀眾透過玩這個古老玩意，預測
自己未來似地獄還是天堂。

Katarzyna Podpora
Shrink/foiled sand warm/up –things to be carriedstarted moving and carrying them around. My
daughter actually associated the sandbags
with grounded fish meat from Hong Kong’s
fresh meat market.
另一藝術家Katarzyna 把展場旁的索波特海灘
的沙，放進不同大小的透明膠袋中。嬌小的她，自己運沙、入沙、包沙、封袋口，一共四十多個「沙袋」，
雖然每個也不算很大，看來，她也做得吃力。「沙袋」有手挽，開幕時讓觀眾帶著回家。「沙袋」的形狀讓人想起以前住家式飯餐到會便當。開幕當日， Katarzyna
把沙袋由室外拿到展場，期間，若干小朋友都拿起來
玩。Clara 的女兒還表示沙袋很似在香港街市買到的攪
碎鯪魚肉。

塗鴉的感覺。畫面充滿批判圖像，如一些變形的動
物、被劍插著的大象、古靈精怪的廸士尼卡通人物，
還有一些對煉獄的想像的字句。

Magda Malyjasiak
Make a wish
許願

Maciek Salamon
Is there a hell?”
這是煉獄？

便攜式熱身沙包Karolina Matea
Heaven and Hell
天堂與地獄

Karolina, who is also a jewellery
designer, in consistent with her previous
style, kept working with fine and handcrafted
elements. She made about 100 paper fortune
18

Another artist Katarzyna Podpora
packed a lot of sandbags with transparent
plastic and sand from Sopot’s beach. As
she was not muscular at all, she needed tostart slowly carrying all the sand and packing
a week before the opening. After days ofsweaty hard work, she got about 40 sacks indifferent sizes. Although the bags do not lookvery big, they certainly were heavy. Each bag
has a very handy handle for people to takehome. In fact, the bags remind me of thosehome-packed meals from the old days. On the
day of opening, the artist put all the bags indifferent sizes at the corner of Zatoka Sztuki
by the public park. Instantly, some children
at the park were interested in the bags, andAnother artist, Maciek Salamon,
associated “burning” with “hell.” He did ahuge drawing (about 10 X 3 m) with black
charcoal and oil pastel on the theme ofhell on the wall inside Zatoka Sztuki. It wasin a relatively raw style, with a rebellious
touch. The drawing involves a lot of distorted
animals, like a gigantic elephant stamped
by a sword at the center, and even cartoon
characters mimicking Mickey Mouse. Next tothe elephant is a car with the plate number“666.” “In hell we trust” is another sentencehiding in this wall drawing.
另一藝術家Maciek Salamon，把「燃燒」與「煉獄」連結起來，他在展場中一面大牆上以黑色炭支及粉
彩繪畫一幅約闊10米、高3米的壁畫，畫風充滿原始、

Photographer, Magda Malyjasiak,
interviewed nine people from Sopot, Gdansk
and Hong Kong.about their dreams and took
portrait photos of them, amongst them are
Cally Yu, my daughter: Ning Shan, and myself.
In the show, Magda exhibited the nine nicely
printed and mounted photographes, in a
3 by 3 grid. This piece did not impress theaudience with its size (with each photo about
A5 size) nor special stories. However, thewhole set has a fine and poetic touch. Postedon the wall next to the exist of Zatoku Sztuki,
the photos attempted to remind the passersby
about their own dreams also.
Magda 訪問了九位分別來自索波特、格坦斯
克及香港的人士，請他們道出自己的夢想，並為他們拍攝肖像，其中包括Cally 、Clara 及其女兒子寧。該作品以九幀高質素照片(約 A5 大小)，配文字組成，以橫三、直三形式展示。作品置於出入口旁，並非很當眼，但照片與文字組合，使人看上去十分精緻及有詩
意，也促使觀眾聯想自己的夢想。

19

Natalia Turczynska-Schmidt
Philosophy of art for doubting
andPhilosophy of art for dummies

質疑藝術的哲學 及 仿製藝術的哲學

即換算點吃甚麼及做甚麼藝術活動可做到健康飲食的效果。
其中一件作品的圖表中顯示，做不同藝術活動
或工作，可燃燒多少卡路里的換算：
畫畫 - 400 kcal ／小時
用筆寫小說 - 90 kcal ／小時
用電腦寫小說- 80 kcal ／小時
唱歌 - 122 kcal ／小時彈鋼琴 - 120 kcal ／15分鐘另一件作品的圖表中顯示，參與不同藝術活動，可燃燒多少卡路里的換算：
聽音樂- 40kcal ／小時
看芭蕾舞表演 - 140 kcal ／小時
鼓掌 - 140 kcla ／小時逛畫廊／藝術館 - 215 kcal ／小時(較正常走路
多消耗15 kcal /小時)

Natalia’s work is more conceptual andhumorous. She listed out different art-related
activities to help burn calories, and exhibitedthe framed list on wall for audience to read.
It is, in face, a prefect association for theexhibition site, which is a restaurant and anart space at the same time.

Cally YU俞若玫Natalia 的作品是很概念性的及較幽默，她列出
不同藝術活動或工作，可有助燃燒多少卡路里（kcal）的圖表。當這件作品展示在作為展場的餐廳內，觀眾可立20

俞若玫作品置於戶外，她把 350 個以人手鉤針
編織而成、大小及顏色不一的「逗號」，掛在展場出
入口外的樹上。樹上大部分樹葉已落下，由黑、白、綠色的「逗號」補充。「逗號」似葉、有的觀眾認為似嬰兒，有的覺得似海馬。在特定的樹上出現特殊的形
狀，予人聯想，因為「逗號」，所以聯想無法休止。

about the planning of nuclear plants in Poland.
本人Clara作品是透過了解到波蘭即將興建新核電廠，然後以香港人的經驗去作為回應。本人的作品
是一件結合繪畫、行為、裝置的作品，本人重畫一幀
由互聯網得到的有關香港人因為日本福島核事故而盲
目搶鹽的畫面，並煮沸展場對開海灘的海水，製成海
鹽，再入瓶，於開幕當天作為禮物送給觀眾。香港
人「盲搶鹽」的畫面需予人無知的感覺，但同時反映港人對核災難的無助、無奈、自救意識。同樣，本人都
為波蘭即將興建新核電廠而憂慮。

Gum Cheng
Clara CHEUNG張嘉莉

A gift of Sopot’s salt to prepare for the
future Nuclear Disaster
以索波特的鹽作為禮物，
為未來核災難作好準備鄭怡敏(阿金)Gum can dance in Poland II
在波蘭，阿金都識跳舞 II

Photos by: Law Man Lok , Lo Chi Kit
攝影：羅文樂、羅至傑

http://www.youtube.comwatch?v=xzQxKfkH3n4

Falling Commas
下墜的逗號

One table showed calories you can burnwhile doing art activities, e.g:
Painting a picture - 400 kcal/hWriting a novel with pen and paper 90 kcal/hWriting a novel on a computer - 		80 kcal/hSinging - 122 kcal/hPlaying a piano - 120 kcal/ 15min
The other one is for people who
experience art, e.g:
Listening to music- 40kcal/hWatching ballet performance 140 kcal/hClapping hands - 140 kcla/hWalking in a gallery/museum 215 kcal/h (15 kcal/h more than normal walk)

objects for different viewers. Some associatedthe crochets with babies while the others
thought of seahorses. The works interested
many passersby to pause and took a closer
look, for it was quite surprising to see green
colors on trees during the winter in Sopot.

Another artist who chose to installed
her piece outdoor was Cally Yu. Instead ofclothing humans, she did that for a tree. She
had been exploring the medium of knitting
and crocheting recently, and this time, shecrocheted 350 commas in the colors ofdifferent kinds of greens, black and white, toinstall on the tree in front of the entrance of
Zatoka Sztuki. The size of the commas varied,
but echoed to those of general tree leaves.
The crochets actually signified different

While Lawman brought up issues
outside of Sopot to show to the Polishaudience, I, myself, reponded to the nuclear
plants planning in Poland with Hong Kong
people’s experience. I painted a news reportfrom internet, showing the panic buying ofsalt during the nuclear crisis after Fukushima
tsunami, and gave out salt evaporated from
Sopot’s seawater to the audience as gifts.
On one hand, the panic buying may show thestupidity of Hong Kong people. On the other
hand, it also is a sign of hopelessness ofhuman beings in nuclear crisis. By giving out
the salt gifts, I would like to share my worry

Another piece responding to therelaxing environment in Sopot was Gum
Cheng’s stop-motion animation. Instead of
singing, he “danced.” He took more thana hundred photographes of himself doing
different poses learnt from a tranditional
Polish dance. Here is his statement: “Gum,
who is never into dancing, left behind hisbusy schedule in Hong Kong during January,
2012 and went to Sopot, Poland with his wifeand the elder daughter for an art exchange
programme. He spends a week there to dosomething and burn calories that only ispossible in an extremely relaxing situation. In
21fact, even if one has the money or the time, s/
he may not be willing to do so.”

的超級繁重工作，與太太及長女赴波蘭的 Sopot 參與
藝術交流活動，以一星期的時間，做了一個有錢都不
會做、有時間又未必會做、只有在極之輕鬆的情況下
才有可能做的舉動，並燃燒了不少卡路里。」

make snow objects as image attached. Thesesnow objects will then be set along the beachof Sopot and become an installation. The planis redesigned due to sudden warm weather.”有關錄像可瀏覽這網頁：http://www.
youtube.com/watch?v=xzQxKfkH3n4

He wrote a poem, “SNOW MONK” -Empty is in vain and no one is being blamed
Nihilists steal the core of Zen
Lift the heaviness of the Nothingness
Imagine there is no corpus
Glowing darkness is the fate of matches, while
Happiness carelessly got it self-immolated
Thus it have to be carefully buried
Empty is in vain when people vowed“Silence is sane.”
Nothingness is no longer in pain,at least our spirit gains.
Moulding, burning, melting,Embed those to comfort the inflamed soul
Not a statue not a tomb, I mix the rituals withsnow. Now,
The wind blows and hollow got a hole.

展覽開幕當日吸引了不少觀眾，據展場Zatoka
Sztuki 負責人表示，出席開幕人數之多簡直超出預期，而且很多新面孔，還有不少重要藝術雜誌記者出
席採訪，令人興奮。在中國，「打邊爐」表示各有所好的美食，都共冶一爐。在是次《打邊爐》香港波蘭義務
文化交流活動，我們都把很多美好事情、開心的活動
共冶一爐。

The opening night (on 21 January,2012) attracted quite a number of audience.
Zatoka Sztuki’s organizers commented,“The number of visitors was more than our
expectation. We were happy to see newfaces, and even reporters from important art
journals.” “Hotpot” in Chinese basically is a
pot involving anything you like. In “Art Hotpot
in Sopot,” we also had a lot of other related
activities besides the exhibition, like Chinese
lessons for Poles, Polish lessons for Chinese,
Chinese new year party(image 30,31,32),
art studio visits(image 33,34) etc. In March
2012, we will have the second part of thisexchange program in Hong Kong, bringing art
from Sopot to Hong Kong, and have another“hotpot” melting possibly everything together.

另一件回應索波特悠閒理想生活的作品是阿金的單格動畫作品，他在索波特找尋不同風景，為自己拍攝數以百計跳當地傳統舞蹈的照片，再串連成單格動畫。以下是他的作品簡介：「素來不跳舞的阿金，於2012年1月份放下香港
22

2012年3月波蘭藝術家會到香港與我們再次「打邊爐」。

LAW Man Lok
羅文樂Snow Monk
雪僧

Walking away from the intimacy from
Cally Yu’s works, one could then see Lawman’s
work installed next to the entrance’s window,
which involved big fire. His piece was inresponse to the self-immolation of Tibetian
Monks.
Sopot had heavy snow for more than aweek during our stay. Seeing all the whites,
Law Man had a plan to make a piece withsnow: “The materials are originally planned to

The change of weather gave Lawman
a huge challenge. In the end, instead ofburning the snow sculptures, he redesigned
his plan and set fire to burn the black tables
with the names of the Tibetian Monks whodied from self-immolation. The fire was set
up to burn only a triangular shape of thetable surface. The seventeen tables were set
on fire all at once on Sopot’s beach, making
an unforgettable scene. The burnt tables
were then stacked up like a big grave andinstalled in Zatoka Sztuki by the window,
facing the passersby. The table structure
itself was interestingly revealing anotherhidden message: with the part of the surfaces
burnt, and part of the honeycomb structure
underneath revealed.

Another version:Commit suicide is the will to escape from theworld by leaving
Self-immolation is the will to enlighten theworld by staying
In this piece, I intended to mix up the ritualsof making Buddha statue and cremation, inthe name of art.”

經過Cally 的作品，就在展場出入口左旁的落地
玻璃內，正是羅文樂的作品，他的作品是回應近年十七名自焚的西藏僧侶。
他本希望在海灘上用十七張桌子，分別上置人形盤膝坐雪人，可惜天意難料，開幕前數天開始融雪，
雪人做不了。於是臨急改變策劃，最後透過焚燒十七張桌子，去完成其視覺上看來十分沉鬱的裝置作品。
十七張桌子均寫上自焚西藏僧侶的名稱和自焚
23

日期，而每張桌的桌面上被燃燒成呈三角形痕跡，燃燒時的的景象想當震撼，令人難忘。羅文樂把十七張燃燒過的桌子疊高，置於展場出入口處，像一個大紀念碑，以回應這件事情。
他為該作品題了首詩（英文），詳見英文部分。

Lock LO
羅至傑

Nocturne No.20
夜曲 No.20

fact, it is such a simple task for someone
like me who suffer from social anxiety during
blushing. Thus, I intend to create kind of anembarrassing performance situation: inviting
strange Poles to ‘sing’ a nocturne in publicwith me in the daytime. Other than increasing
temperature on one’s face, blushing also
appearing in red color, the luckiest color
in chinese tradition. Happy new year of the
dragon!”Lock 以香港很流行的卡拉 OK 社交形式，邀請
索波特當地居民參與完成其作品。他選擇波蘭音樂家
蕭邦的夜曲No. 20 ，再轉化為卡拉OK 形式，邀請當地
居民「唱出」，並錄影、錄音。作品就是把不同錄像及聲音剪輯成一首由波蘭人一同合作唱出的蕭邦《夜曲No. 20》，錄像展示唱歌者的點點尷尬，彷彿感到他們
面紅耳赤。整首夜曲由十多人在索波特不同的漂亮景
致前，分別只以簡單的「嘟」、「氹」等單聲唱出片段，再重新組合，形成一串十分有趣的畫面，當然，也聽不
出這是首蕭邦的夜曲No. 20 。
以下是藝術家Lock 的作品介紹：「是次展覽《打邊爐》，參展藝術家需要創作主題主要是圍繞「熱」，以其身體散發更多的熱。事實上，這是一個讓人透過社
交焦慮而導致面紅耳赤的簡單試驗，我利用我認為能
產生尷尬的行為：邀請陌生的波蘭人，與一個陌生香
港人在日間「唱」夜曲。讓唱歌者因尷尬而面紅，同時「紅」正是傳統中國新年的幸運顏色，（正值農曆壬辰年新年）龍年新年快樂。」

Lock Lo’s work was very inviting andwas engaing people from Sopot in a Hong
Kong style, using the most popular medium
for social gathering in Hong Kong: karaoke.
He used a music program to set up a karaokesystem of “Noctune No. 20” by Chopin, andinvited Polish in Sopot to ‘sing’ the nocturnein public with him during the day. During
the exhibit, he showed the video of him anddifferent Poles singing together. The video
looked surreal and was very funny to watch.
It showed the characters having headphones
on, looking at a computer and singing somenotes that usually cannot be recognized. The
backgrounds included outdoor scenes from
Sopot, like the beautiful beach, traditionalarchitectures from Sopot etc.
Here was his artist statement: “In thisexhibition ‘Hotpot’, artists are required tomake artworks that can generate heat. In
24

25

Art Hotpot
inPolandArtist Talk 2
分享會 2		

18/1/2012 (Wed 三)
18:00 - 19:30

An Arts and Cultural
Exchange Program
between Hong Kongand Poland

Theme 題目
Hong Kong Art vs Polish Art
香港藝術 vs 波蘭藝術

Venue 地點
Zatoka Sztuki MCKA, Kulturalno-Artystyczne,
Ul. Ogrodowa 12/1, Sopot, Poland

在波蘭索波特《打邊爐》

Art Hotpot
inHong Kong
Exhibition
展覽Exhibition Opening 展覽開幕日期
31/3/2012 (Sat 六) 17:30

Exhibition Period 展覽日期1(Sun 日) - 30 (Mon 一)/4/2012
14:00 - 19:30
Thu to Mon 逢星期四、五、六、日、一Artist Talk 3
分享會3

Exhibition Venue 展覽地點C & G Artpartment C & G 藝術單位
3/F, 222 Sai Yeung Choi Street South,
Prince Edward, Kln, HK
香港九龍太子西洋菜南街222 號3/F

Theme 題目
Polish Independent Video Art

Artist Talk 1
分享會1

百老滙電影中心二樓演講室

15:00 - 16:30 (Sun 日) 25/3/2012

波蘭錄像藝術Venue 地點
Lecture room, 2/F, the Broadway
Cinematheque

香港及波蘭藝術文化交流計劃

Other activities 1
配套活動 1		

在香港《打邊爐》

Exhibition

20/1/2012 (Fri 五)
18:00 - 19:30

18/3/2012 (Sun 日) 15:30-18:00

Exhibition Opening 展覽開幕日期		
21/1/2012 (Sat 六) 18:00

Theme 題目I Like Panda. How About You?
(A Chinese Learning Session)

Theme 題目
WISLAWA SZYMBORSKA in daily life:
poetry recital and documentary screening

Venue 地點
Zatoka Sztuki MCKA, Kulturalno-Artystyczne,
Ul. Ogrodowa 12/1, Sopot, Poland

Venue 地點
Film Culture Centre (Hong Kong) 電影文化中心
Flat A3, 11/F, Tung Nam Factory Bldg.,
40 Ma Tau Kok Road, To Kwa Wan,
Kowloon, H.K.
香港九龍土瓜灣馬頭角道40 號東南工廠大廈11 樓A3 室展覽

Exhibition Period 展覽日期22(Sun 日) - 29 (Sun 日)/1/2012
10:00 - 21:00
Exhibition Venue 展覽地點
Zatoka Sztuki MCKA, Kulturalno-Artystyczne,
Ul. Ogrodowa 12/1, Sopot, Poland

Artist Talk 1
分享會1

		
15/1/2012 (Sun 日)
19:00 - 21:00
Theme 題目
Art And Society In Hong Kong
香港藝術 vs 波蘭藝術

Venue 地點
Zatoka Sztuki MCKA, Kulturalno-Artystyczne,
Ul. Ogrodowa 12/1, Sopot, Poland

我喜歡熊貓。你呢？(學習中文環節)

Other activities 2
配套活動 2 		辛波絲卡在日常：詩歌朗誦及紀錄片放映會

23/1/2012 (Mon 一)
17:00 - 20:30

Artist Talk 2
分享會2

Theme 題目
To Celebrate Chinese New Year

23/3/2012 19:00 - 20:30 (Fri 五)慶祝中國農曆新年

Venue 地點
Zatoka Sztuki MCKA, Kulturalno-Artystyczne,
Ul. Ogrodowa 12/1, Sopot, Poland

Prosperous Garden, 3 Public Square Street.,Yau Ma Tei, Kowloon,HK
香港九龍油麻地眾坊街3號駿發花園

Artist Talk 4
分享會4
31/3/2012 (Sat 六) 18:00 - 19:30
Theme 題目
So Hotpot Together
笑談打邊爐

Venue 地點C & G Artpartment C & G 藝術單位
3/F, 222 Sai Yeung Choi Street South,
Prince Edward, Kln, HK
香港九龍太子西洋菜南街222 號3/F

Theme 題目
How to create an art space in the Art-ThirdWorld Regions?
怎樣在藝術第三世界中創造藝術空間？

Venue 地點Wooferten 活化廳
G/F, 404 Shanghai Street, Yau Ma Tei,
Kowloon,HK
香港九龍油麻地上海街404號地鋪

26

27

索波特

Atomic Body –Natural Heat Transfer
原子身體—天然傳熱Elvin Flamingo

30

Performance and video installation 行為及錄像裝置
30

Stamp, paper 印章、紙31

Untitled
無題

Gosia Kalinowska

Blanket Friendship
被子上的友誼

Justyna Stycha Orlowska I wspoltworcy

Installation 裝置
32

Stamp, paper 印章、紙Installation 裝置

Clothes and performance 布及行為33

Heaven and Hell
天堂與地獄

Karolina Matea

MBIRA
Kamila Chomicz

Video art 錄像
34This is a video for a music composition
bearing the same title. The inspiration behindthe video is the Polish tradition of „paleniemarzanny”, which celebrates the beginning ofspring and the farewell to winter. The symbolic
expression of this tradition is a bow towards
the future; a preparation for something new,replacing what has come to an end. Invited
participants brought things that, for them,symbolize the past and remind them of things
they want to forget. The ritual burning of those
things represented a spiritual farewell to this partof themselves and a catharsis, making room forthe new to come. The process has also became
an artistic expression of the Hong Kongese
tradition of burning paper items, which I foundout about when making the project. This custom
is practiced during the Hong Kongese Day of theDead. The burnt items are dedicated to the deadaiming to glorify the relation between the real
and the after-life. The act of burning, in this case,is a ritual of commemoration, not of separation;
the new beginning does not destroy the past but
is inspired by it.
Stamp, paper 印章、紙Installation 裝置

Ink on paper 墨水紙本
35

shrink/foiled sand warm/up –things to be carried

Taken straight from the one and only sandy
beach of Sopot,

便攜式熱身沙包dug out from under-the-snow, warmed up
again, but this time in portions and into the foil
package;

Katarzyna Podpora

these packages, endowed with the special‘Sopot-brandng-handle’, were put on the floor,
just waiting to be picked up and carried byanybody;
Installation 裝置
36such foiled-sand-package one can carryhome; and having burnt some calories this way,
one can for example:
create his own miniature Sopot beach;though it seems enough, just to carry the thingaround and get a warm/up_

sand and foil 沙及保鮮紙
37

Is there a hell?
這是煉獄？

Maciek Salamon

Installation 裝置
38

charcoal on wall 炭筆壁畫39

Make a wish

Philosophy of art for doubting andPhilosophy of art for dummies

許願

質疑藝術的哲學 及 仿製藝術的哲學

Magda Malyjasiak

Natalia Turczynska-Schmidt

photography 攝影
40

Stamp, paper 印章、紙Installation 裝置

Computer printout on paper 電腦打印於A4紙
41

Panic buying of salt during the nuclear
crisis after Fukushima tsunami,on one hand, may
show the stupidity of Hong Kong people. On theother hand, it is a sign of hopelessness of humanin nuclear crisis. By giving out salt evaporated
from the seawater here to Sopot’s people, I
would like to share my worry about the planningof nuclear plants in this area.

Falling Commas

A gift of Sopot’s salt to prepare forthe future Nuclear Disaster

下墜的逗號

索波特的鹽給索波特的人

Cally Yu俞若玫Clara Cheung
張嘉莉

Installation 裝置
42

Stamp, paper 印章、紙Performance 行為

Acrylic on canvas, salt from Sopot’s seawater, hotpot, plaster containers塑膠彩布本、索波特的海水、電鍋、小膠盒43Gum can dance in
Poland II

Gum, who is never into dancing, left
behind his busy schedule in Hong Kong during
January, 2012 and went to Sopot, Poland with hiswife and the elder daughter for an art exchange
programme. He spends a week there to dosomething and burn calories that only is possible
in an extremely relaxing situation. In fact, even if
one has the money or the time, s/he may not be
willing to do it.

在波蘭，阿金都識跳舞 II

Gum Cheng鄭怡敏(阿金)Duration: about 1 min
44

Photos by: LAW Man Lok ,LO Chi Kit

stop-motion animation Installation 單格動畫45

In this exhibition ‘Hotpot’, artists are
required to make artworks that can generate
heat. In fact, it is such a simple task for someone
like me who suffer from social anxiety during
blushing. Thus, I intend to create kind of anembarrassing performance situation: inviting
strange Polishes to ‘sing’ a nocturne in publicwith me in the daytime. Other than increasing
temperature on one’s face, blushing also
appearing in red color, the luckiest color inchinese tradition. Happy new year of the dragon!

Snow Monk
雪僧

Law Man Lok
羅文樂Nocturne No.20
夜曲 No.20
Lock Lo羅至傑

Installation 裝置46

coffee tables, fire, installation 茶几、火、裝置

video art with performance 行為及錄像
47

香港

Chinese Guys With
Big Mustache Wanted
尋求中國籍大鬍子 2012

Elvin Flamingo(Jarek Czarnecki)

Take It, Go Out And
Do What I Didn’t Do
拿去，走出去做些我沒做的事 2012

A kind of bridge between Poland &Hong Kong

A simple change from “Made in China” to“Made in Poland”

波蘭與香港之間的一道橋

由「中國製造」到「波蘭製造」的小轉變

Elvin Flamingo(Jarek Czarnecki)

Installation 裝置
50

Stamp, paper 印章、紙Photography 攝影

Stamp, paper 印章、紙51

Same Day In Hong Kong 2012
Kamila Chomicz

Phoyography 攝影
52This is a collection of photos inspired by
the reflection on different forms of confrontationand conflict resolution. Sometimes a battle is agame of strategy and the political decisions areplayed out at a stadium. Sometimes a conflictis a demonstration of power and a manifest a
protection of dignity. Sometimes you lose yoursocial freedom , sometimes it’s two beers. The
social emotions unfolding during one day in Hong
Kong are the major characters of the photos.

Stamp, paper 印章、紙Unit of freedom
自由個體 2012

Kamila Chomicz

Video 錄像The video is a dialogue between citizensof Gdańsk and Hong Kong. They share theirthoughts on personal freedom in the context
of historical and social events. The cultural
background becomes the starting point for
personal reflections on the concept of freedomthat is based on individual experiences.

Stamp, paper 印章、紙
53

Talking about my Szymborskatranslating-contribution
翻譯「與辛波絲卡對話」 2012

Katarzyna Podpora

I was just delighted having heard, that forthe second part of the Hotpot in China, there
is a discussion panel planned, on the great
Polish poet and Noble prize-winner Wisława
Szymborska. Firstly, because I am simply a great
fan of her poetry, secondly, because it gave me
the opportunity to take part in the Hong Kong’s
part of the Art Hotpot project, even though I
could not manage to be there in person and workwith other artists for the exhibition.
Translating the polish documentary about
Szymborska, for young people in China – openminded and interested in poetry, making theseEnglish subtitles was a challenge for me, butalso great pleasure. I am very happy I could
contribute to the project in this particular way!!

Tattoo紋身 2012Karolina Matea

Body Art 裝置
54

Stamp, paper 印章、紙Video 錄像Stamp, paper 印章、紙55

Everyone Has A Right To
每個人都有權去 2012

Maciek Salamon

I Don’t Like You
我不喜歡你 2012

Maciek Salamon

Mural 壁畫56

Emulsion paint, oil pastel 乳膠漆、油粉彩Video 裝置Stamp, paper 印章、紙57

Polish Fortune Telling
波蘭占卜術 2012Natalia Turczynska-Schmidt

Performance had been placed on famousNight Market on Temple str. in district of fortune
tellers. One night Natalia become a polishfortune teller; she used simply, polish, traditional,
folk methods of discovering fortune like readingfrom carts or from tee lives, left after drunk hot
tea, what was pepper for every “client” of Mrs.
Natalia.
Natalia gave people not only hot tea,
but also hope for better future and some open
advices. She uses her skills of fortune telling tomeet and talk with accidental citizens of HK.
Important part of project was help of Gum
Chan, who translate her predictions from English
to canonize. What made performance more
serious and open for much more people.

Performance, installation 裝置
58

Stamp, paper 印章、紙59

After 325, cotton trees arestill there, but...

The Symphony Of Hong Kong
SeaWater

325以後， 木棉仍在，只是⋯ ⋯ 2012

海水發電顯幻彩 2012

Cally Yu

Clara Cheung

俞若玫

張嘉莉

This is responding to the Symphony ofLight that happensin Hong Kong every night
besides our polluted harbor, which is getting
smaller and smaller.
我想把 “幻彩詠香江” 反轉。紀念這個變得愈
來愈小的維港。

Installation 裝置
60

Ceiba, plastic bags 木棉花、塑膠袋Dimensions variable 尺寸可變Installation with polluted sea water from Victoria Harbor andabandoned plastic bottles along the sea side61

Heart Attack + CPRHeart Attack + CPR

心臟病發 + 心肺復甦 2012

心臟病發 + 心肺復甦 2012

Gum Cheng鄭怡敏(阿金)Law Man Lok
羅文樂Before being replaced, the old objects
would struggle. They moan, and sometimes
have momentary recovery of consciousness justbefore death. In some more serious cases, theobjects’ heartbeat would be temporarily stopped.
Facing this situation, we will need to offer CPR tostart-up their heartbeat again.
舊事物在被淘汰前及掙扎求存之際，難免出現
死唔斷氣、迴光返照等現象，嚴重的，會出現心臟停頓，這時候，我們會施以心肺復甦法，令其心臟再次
跳動。

62

63

Nocturne No.20
夜曲 No.20 2012
Lock Lo
羅至傑

評論

66

67

Poland Hong Kong
Express

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波蘭香港快車Gdansk（格但斯克）及團結工會，八十年代經常
聽到的名字。
Gdansk and the solidarity union were often
heard in the 80’s.

This is a group of Polish artists(1) (along with another one who is a bit elder
but is not in the photo) in Hong Kong for an art exchange program in March(hosted by C&G Artpartment, 3/F, 222 Sai Yeung Choi Street South, Mong
Kok). Since it is also the “election” month for Hong Kong C.E., some ofthem actually involve elements about this “election” in their artworks. On
March 25, they joined the protest against the small-circle election withall the locals, and demonstrated until the Exhibition Center. Though they
do not know Chinese, they helped hold up banners like “Without the Pig,
without the Wolf, I only want universal suffrage,” in order to show theirsolidarity with Hong Kong people. Most of them are quite young, andhave not gone through the political suppress under the Soviet Union. It
is anomalous for them to see only 1200 people are eligible to elect the“mayor” in Hong Kong: Why 1200? Doesn’t make sense. In their eyes,
Hong Kong actually is a modern cosmopolitan that should naturally be
accompanied with a democratic system.

Posted on 07-04-2012 by greyreporter
68

Some of these Polish friends came from Gdansk where the solidary union
started. Grey Reporter took the opportunity to flaunt his seniority, andtalked to the eldest artist amongst the group about the experience whenstudying in the North American. In 1981, Grey Reporter heard a speech
by a member of the Poland’s solidary union. This artist told Grey that hewas 14 years old in 1981. Grey cannot remember what exactly this union
member talked about in the speech anymore, but can still recall thecomments from a Spanish friend who was the translator for that speech.
(This friend’s father was once the Spanish business representative in69

Poland. Therefore, this friend also had lived in Poland and spoke Polish.)He said the eyes of that Polish speaker were like many Poles from Poland:
often having a gloomy mood, and a sense of tenacity at the same time.
Grey also talked about Polish movies with this Polish friend. We didn’t talkabout Krzysztof Kieślowski with whom most Hong Kong people are familiar.
Instead, we chatted about Andrzej Wajda’s political films. Grey saw “Man of
Marble” (1976) and “Man of Iron” (1981) during college period in the North
America. Grey cannot remember
very well the content of bothmovies. Reviewing the introductionof both movies, one can learn
about how Wajda and other artists,
with strong political consciousness,used films to show their disinterestin Stalinism and Soviet Socialism(referring to political propaganda of“socialism” and the heroic figures)within a censorship system.
“Man of Marble” was filmed in aperiod with relatively less censorship control. It clearly showed support
to the solidarity movement. Back then, Solidarity Union had just been
established, and was recognized by the Polish government for a shortperiod of time. By the end of the same year, Polish government imposeda curfew and, starting from here, the solidarity movement had to gounderground. However, less than a decade, with the support of the Catholic
Church, Solidarity Union was able to negotiate with the government, andsuccessfully fought for the right to vote for all the Poles when Soviet Union
was also undergoing big changes in East Europe.

In their eyes,
Hong Kong actuallyis a modern
cosmopolitan thatshould naturally
be accompanied witha democratic system.

Many Leftists who had absolute belief in “Karl Marx,” had many doubts
about the break down of Soviet Union. Some even thought it might be a
new attack by Neo-liberalism of the UK and US, and it perhaps was the
pro-western camp with Soviet Union taking over, with the support of theWestern countries. It was what the Chinese Socialist called a “peaceful70

evolution.” These “Karl Marx” Leftists often shared similar points ofviews with the Chinese Socialists. Following the same logic, the June 4th
Massacre in Beijing was also an attempt to take over the government by thepro-American camp within China, with the help of the United States.
It is true that the UK and US often join together to intervene othercountries’ affairs, but it does not mean the people’s desire for political
reform and democracy in Eastern Europe and China is only the conspiracyof the two western powers. In fact such an interpretation is an insult tothe people from Eastern Europe and China.
Mentioning our Polish friends(3), one can find this eldest artist also has agloomy mood, like that solidarity union member in the speech. Perhaps it
was because this artist has lived in the “socialist” period during his youth.
One cannot find these “traces” on the other younger Polish artists at all. In
1989, the democratic movement in China was brutally suppressed, and thepolitical reform was never able to proceed anymore. However, in the same
year, the people from Eastern Europe said “No!” to Soviet Union’s Stalinism,and forced the “Communist” political powers fell one after one. Poland alsocame out from “Communism,” and marched toward the Capitalist camp.
Poland also joined the European Union and NATO afterward, which is acomplete different story from China.
Two other younger Polish artists, who probably were born in the 1980’s,
have spent most of their time growing up and living in a capitalist Poland,and enjoy the “universal values” of democracy and freedom for thebourgeoisie (in the wordings of the “politically correct” leftists). It follows
they may easily take the freedom of expression and liberty as granted. For
example, one young female artist from the group took a lot of photographs
on March 25th during the protest against the “small-circle election.” That
was also the same day as the “international sport event”: Rugby Sevens
final. These artists also went to Lan Kwan Fong at night to take photosof the celebration party of the rugby fans. In the end, she put two sets ofphotographs taken in Hong Kong during the same day together. To thisartist, the strongest impression of Hong Kong was full of contradictions
71and contrasts. On one hand, outside the Convention and Exhibition Center
full of was anxiety, disappointment and anger toward the “election”
manipulated by the Chinese Communist Party. There was unhappiness
about the public’s opinion being completely ignored, and also lots ofworries about Hong Kong’s autonomy in the future amongst the people.
On the other hand, at another corner of the city was full of excitement
and happiness like a carnival. It seemed like the same old day where
prosperity and stability was the everlasting totem.
Art can be a tool for communication between two places(4-5). It can bevery sensitive, very political, and also very inviting. Besides the great
contrast in Hong Kong, this young female artist also was interested
in the definition of the “universal values” to different people. The art
form is still positioning one against another, but in a different medium:video art. It is showing a “conversation” of Poles and Hongkongers on
freedom. Nowadays, many Hong Kong people have lots of fear toward
the suppression of freedom and the enactment of Article 23 legislation.
Standing in the small art space, Grey reads the subtitles on the screen
and listens to the freely thrown Polish and Cantonese dialog, and thensuddenly realizes that the uncensored creativity and freedom this young
artist embraces has only been there for her in the past two decades. Ever
since the 18th century, Poland was constantly craved up and occupied
by Russia, Prussia and Austria. There was a short period of time when
Poland was an independent nation from 1918 to 1939, but it was divided
up again in 1939 under the secret agreement between Germany andRussia. Later on, it became the satellite state of the USSR after WWII. The“Brezhnev Doctrine of limited sovereignty,” as stated by Leonid Brezhnev,
the General Secretary of the USSR, after the USSR conquered Czech
Republic and ended the Prague Spring, was about the “general interest”
for all the “socialist camps,” and, therefore, every socialist country should
be obligated (except the USSR, of course). Poles were able to gain theirown “national freedom” only after 1989.
Of course, according to the “Marxist” leftists, this kind of freedom is “false
freedom.” It is the capitalist freedom. Of course, under the globalized72

Art can be a toolfor communication
between twoplaces. It can bevery sensitive, very
political, and also
very inviting.

capitalism, Poles are now sufferingfrom the financial crisis, andfacing many problems like capital
exploitation, unemployment,
wealth gap, economic injusticeetc. However, it is the free choiceof the Polish people in 1989,
when they voted against the Soviet
Communism in their universal
suffrage. Although the protection for
individual freedom is not absolutely
comprehensive, it is still a positive side of the western capitalist society, andis also what the “socialist” countries still are unable to provide. This kind of
freedom, of course, is not voluntarily provided by the capitalist class. It can
only be realized after many fights of the people. The ironic part is that therightists in capitalist societies are as the same as the socialist countries:
using the benefits for the nation and society as excuses to swallow up
people’s freedom. For example, the UK, USA, China etc., have seriously
violated human rights in the name of “counter-terrorism.”
These young Polish friends give a strong impression to Grey reporter thatthey do cherish autonomy and freedom(6), and stand against unreasonableintervention. Another young male artist in the group is surprised by the“extremely careful” management
scheme in Hong Kong’s public
space, like the shopping malls,
streets, parks and many others,
in which one can find many“Don’ts” and restrictive signs.
He has painted a mural, titled
as “Everyone has a right to,” in
response to the over-management
or over-restriction in this city,
including the restriction of theright of election. For people, like

Nowadays, many
Hong Kong
people have lotsof fear toward the
suppression of
freedom and theenactment of Article
23 legislation.

73

“become red” ispart of theirchildhood memory ,and it belongs
to the last generation.

Grey Reporter, who have hadcomplaints about Hong Kong’s
over-management mentality longtime ago already, the slogans on
this mural can certainly bring asmile to the face: “everyone has aright to trespass,” “everyone has aright to vote,” “everyone has a right not to hold a handrail,” “everyone has
a right to hawk,” everyone has a right to smoke”
Besides works by Polish friends(7), the exhibition also consists of art pieces
by Hong Kong artists. They had an artist exchange in January in Poland.
One of the Hong Kong artists is having a slide show to reveal how the
information from Hong Kong government often is just some propaganda
slogan to fool the people. For example, the government should havecontingency plans for the Daya Bay Nuclear Power Station nearby HongKong. However, from the government information this artist friend reads,
one cannot find instructions for people to follow step by step in response toradiation emission in different levels. Instead, the government information
is just promoting how capable our government will be during nuclear crisis.
This artist is very humorous. He even inserts an image of Regina Ip from2003 in this slide show. Whoever knows about the implementation of
Article 23 legislation would be able to sense the humor: Regina Ip, who
was the Secretary for Security then, also had told everyone not to worry,and believe in her that Article 23 would not destroy our freedom. Fortunate
enough, Hong Kong people did not believe in her, and more than five
hundred thousand Hong Kong people protested on the street to defend
their freedom. In the end, learning about the public’s opinion, the Liberal
Party “woke up,” and gave up their position in support of the government.
Thus, the legislation of Article 23 was withdrawn, and Hong Kong people
could temporarily prevent their freedom from suppression.
Another art piece about freedom and resistance is by Grey Reporter’s goodfriend(8). She inserts some red cotton trees’ flowers in some transparent
plastic bags, and then paints them with black ink. My friend honestly

74

expresses her disappointment about March 25th. She feels the darkness
from that day, and is afraid Hong Kong’s freedom will slowly disappear. Shesays she likes the bright color of cotton tree’s flowers, and also adores it
being so straight and upright. In fact, to her, it represents the “spirit” or the“core values” of Hong Kong. This piece is showing how the lively spirit ofthis city is being trapped and blurred. She also writes a poem, along withher work, titled, “(9)Friends from Post-communist
came to see how our sky changed
from pure white to pale red,
to red, into red
325689 in addition to 23
I can not stand any magic, infact.
Heaven , Hell or Humanall in our little bean, housing
7 million
Facebook is a world
HKgolden is a planetTea cafe also named as shelter
Lankwaifong selling instanthappiness
Canton road could be the placein China with most freedom
they are invisible therefore theyare
indifferent is the most modest
greeting
cold-eye is quite a tender
treatmenttears in the morning untouched
the laughters at nightroars from the dinner fully
covered the soundless breathing
during lunch hours
tourists try hard to cut their time
time quick enough to dump our
historyhistory runaway from the scenefrom the very first beginninga friend asks, “are you free?”my hands and foot say guess sonose murmurs that methane
gas is spreading, fear smiles at
gunpowdereyes keep searching where thewolf knitting their intertwined, secretconnection network from day to dayears are getting good with hopeto hear the different twittering
movements in the air from the airroots of power
mouth cannot help shouting outthat ,now knowing well who is myfriendmy brain finally said: only if
resistance is a choice, I am free.
75

To friends from Poland, to “become red” is part of their childhood memory,and it belongs to the last generation. At this moment, their Hong Kong
friends are facing the accelerating “red” with unknown feelings. Is the pastof Poland the future of Hong Kong? Is it too naïve to think so? Perhaps not.
Poland was been under foreign powers’ control for three hundred years. In
the end, Poles’ resistance movement with their undaunted spirit ended theempirical rule of the “red” power. Hong Kong people do not have a “reason”
to fight for their “national freedom,”but do have their “legitimate right” toresist against the erosion of their “high-degree of autonomy” within “onecountry, two systems.” It would depend on one’s own understanding andexperience of freedom, for him/her to choose to resist or not.

那時候，團結工會成立了不多久，獲波蘭政府短暫承認，但同年底波蘭政府實施戒嚴，工會
領導的扺抗運動從此進入地下。不過，不足十年，團結工會運動，在天主教會的聲援下，透過與政府談判，最終在蘇聯東歐大環境的轉變下，波蘭人爭取到自由選舉。
不少「永遠正確」的「馬列」左翼人士，對蘇聯集團瓦解感到極到懷疑，甚至認為是英美合謀的新自由主義的一次進攻，是蘇聯東歐陣營內的親西方勢力，在英美等西方國家撐腰下掌權，
即中共的所謂「和平演變」。這些「馬列」左翼人士很多時觀點與中共不謀而合，根據這種邏輯，八九民運也是美國策動中國的親美勢力企圖奪權了。
英美合謀希望干預影響別國當然是事實，但把東歐和中國人民對政治改革、民主自由的渴求說成英美在東歐和中國的代理「陰謀詭計」，實在是以偏概全，對東歐和中國人民
都是一種侮辱。

這幾位是來自波蘭的藝術家（還有一位年長一些的不在鏡頭內）(1)，三月中來香港交流、創作（由回到這些波蘭朋友，站在灰記面前這位波蘭新生代中的年長者(3)，不笑的時候，的確多少有位於旺角西洋菜街（北）222號三樓的C&G藝廊主辦），適逢那個特首「選舉」，部分人把「選當年那位團結工會成員的憂鬱氣息，不知是否跟他青少年時曾生活於「共產主義」波蘭社會

舉」的元素放進作品中。三月廿五日，她/他們更跟著本地民間反小圈子選舉的示威隊伍，遊有關？其他幾位更年青波蘭人，便完全沒有這些「痕跡」。1989 年，中國的民主運動被血腥行至會展場外，雖不懂中文，卻幫忙高舉諸如「不要豬，不要狼，我要雙普選」的標語，以示鎮壓，政治改革從此停滯不前。但同年東歐人民向蘇聯斯大林主義說不，「共產」政權一個個倒

波蘭同香港人民的團結。她/他們大都很年青，沒有經歷波蘭作為蘇聯衛星國家時期的政治壓

下。波蘭亦由「共產主義」走向資本主義陣營，後來更加入歐盟及北約，真的不可同日而語。

抑，對香港由1200人選出「市長」覺得不可思議，why 1200, does’t make sense。在她／他們眼中，香港這個現代化大都會，民主普選應該是理所當然的事。

有兩位相信是八十後的年青波蘭藝術家，
大部分時間在資本主義波蘭成長／生活，享在她／他們眼中，香港這個現
代化大都會，民主普選應該
是理所當然的事。

在這些波蘭朋友，部分來自團結工會發源地格但斯克，灰記乘機在她/他們面前倚老賣老，向受被一些「政治正確」左翼抨為資產階級民

當中年紀最大的提起在北美留學時，於八一年聽過一位波蘭團結工會的成員的演講。他告訴

主自由的「普世價值」，對自由意志、個人表

灰記，八一年他十四歲。老實說，那位團結工會成員當時說些甚麼，早已忘得一乾二淨。倒達視為理所當然。譬如其中一位女藝術家，

是還記得當時做現場翻譯的的西班牙好友的一些感言（他的父親曾於波蘭當西班牙的商業代

就在三月廿五日反小圈子選舉示威中，拍了很多照片。而當日又是「國際體育盛事」國際七人表，所以他也曾在波蘭生活過，懂波蘭語）。他說那位波蘭人的眼神跟很多生活在波蘭的同胞欖球賽決賽日，她又到蘭桂坊拍了很多球迷於賽後慶祝的照片，把它們一對一的放在一起。

一樣，非常沉鬱，但卻有一種不屈的堅持。他說認識不少波蘭人，沉默寡言，因為生活在專

這位年青藝術家對香港的最深刻印象，就是這裡充滿矛盾和強烈對比。把反小圈子選舉示威

制社會中，一片苦悶。但他們總給他一種感覺，並沒有放棄希望。

和七人欖球賽球迷慶祝放在一起，也是一種強烈對比吧︰一方面會展場外的焦慮、失望、憤怒，對中共操控「選舉」，對選委置民意不顧感到極度不滿，對香港自治前景感到無比擔憂；

灰記又跟這位波蘭朋友談起波蘭電影，但談的不是香港很多人痴迷的奇斯洛夫斯基，而是華另一方面在城市另一角，充滿嘉年華式的喜氣，如節日般狂歡，仿佛一切不變，年復一年的爾達（Andrzej Wajda）
的政治電影。灰記在留學北美時，就看了他的Man of Marble（1976）和盛事，繁榮安定像是永恒不變的圖騰。

Man of Iron（1981 ）。影片的內容大多忘記了，但重看對這兩套電影的介紹，反映即使在「體制內」的審查制度下，華爾達等有政治意識的藝術家，如何透過電影表達對斯大林主義

藝術可以溝通兩地(4-5)，可以很敏感，可以政治，可以人人參與。除了香港城市的對比，年青及蘇聯社會主義現實主義（即宣傳「社會主義」正面事物及「人民」英雄）的不以為然。Man of

的女藝術家對「普世價值」對不同人的定義亦很感興趣。形式仍是一對一，這回是錄像，波蘭Marble 更是在短暫審查較寬鬆的環境下，表達對團結工會運動的支持。

人與香港人就甚麼是自由的「對話」。現在不少香港人對打壓自由，對23 條立法對自由的威76

77

藝術可以溝通兩地，可以很
敏感，可以政治，可以人人參與。

脅，充滿恐懼。灰記站在細小的藝廊，看著
字幕，聽著波蘭語和廣東話自由發揮。忽然
想到，這位年青藝術家不須經審查的創意，對自由理所當然的擁抱，只是近二十年的「掃把頭」形象出現葉劉也放進幻燈show 。了解零三廿三條立法風波的人便會有回會心的微笑︰這位當年的保安局局長，不是大大聲說市民放心，放長雙眼相信她，廿三條立法不會剝奪
市民自由。幸好市民沒有上當受騙，超過五十萬人上街，譬要捍衛自由，結果自由黨在強大民
意下「醒覺」，放棄支持政府，廿三條立法才告失敗，香港人暫時幸保自由不至大倒退。

事。而波蘭這個民族，自從十八世紀開始，
就不斷被俄羅斯、普魯士和奧地利瓜分和佔領，只曾在1918至1939年實現短暫「民族自由」

同樣有關自由與抵抗的作品來自灰記的好友(7)，她把木綿花套上透明膠袋，再油上黑墨汁。好，成為獨立國家。但1939 年德蘇簽署秘密協議，波蘭再次被瓜分。二戰後它淪為蘇聯衛星友坦言對三月廿五日極為失望，覺得是黑暗的一天，生怕香港的自由從此陷入衰落，雖然這種國，正如蘇聯1968年入侵捷克，鎮壓布拉格之春時，蘇共總書記布列茲尼夫所講的「主權有衰落短時間未必顯露。她解釋說，喜觀木綿花的光彩、筆直、堅挺，它代表了香港的「精神」、限論」，即「社會主義」陣營以「整體」利益為依歸，每個社會主義國家的主權受此限制（蘇聯當然或說得太多了的「核心價值」？好友說希望它能代表這個城市的生氣，但這種生氣已被困，被朦例外）。波蘭人要到1989 年後才取得「民族自由」。

朧。她還作了一些詩，稱作「自由嗎？」(9)︰

現在不少香港人對打壓自由，對 23 條立法對自由的威當然，對於「馬列」左翼，這種自由是「偽自變天後的朋友來看我們變天晚飯的浪語蓋過午飯無聲的喘息由」，是資產階級自由。的確，作為全球化

白區漸紅 靠紅 更紅

遊客努力切割時間

資本主義的一環，波蘭人受到經濟金融動

325689 再加23

時間急速抱離歷史盪，資本剝削，要面對失業、貧富懸殊、其實，我們魔幻不起

歷史逃離現場    早早以普選方式向蘇式「社會主義」說不，這是波蘭人民的自由選擇。個體自由的保障，雖然不全

天堂、地獄和朋友問，你自由嗎？

面，但的確是西方資產階級社會的一大進步，亦是「社會主義」國家至今仍未兌現的承諾。當

七百萬人的人間，就在小豆裡

手腳答︰還可以然這些自由亦非資產階級自願施予，而是人民不斷爭取才可實現。諷剌的是，資產階級保守

面書是一個世界鼻子說︰沼氣蔓延，恐懼跟火藥微笑

右翼，同共產黨國家一樣，經常以國家和社會利益為藉口，侵蝕人民自由。例如英美及中國

高登是一個星體等，以「反恐」為名，不知做了多少嚴重侵犯人權的事。

茶餐廳別名避護場

脅，充滿恐懼。

經濟不公等問題。但波蘭人於1989 年後，

蘭桂坊現售歡樂
面前的年青波蘭朋友給灰記很強烈的感覺(6)，他們珍惜自主自由，反對不合理的干預。好像

廣東道可能是全中國最自由之境另一位青年男藝術家，很驚嘆香港「無微不至」的管理主義，即在商場、街道、公園及其他公

看不見所以存在眼睛忙於搜索狼群以日積的密算去盤結關係的秘道
耳朵靈動願能分辦權力的氣根在		空氣的各種擺動
咀巴耐不住了，叫嚷︰誰是朋友我		還是懂眾地方無處不在的不准和限制告示，畫了一幅叫「人人有權」的壁畫，表達對這個城市過份管理／限制，包括對選舉權的限制的異議。對灰記這類早已不滿香港的管理主義的人，會對壁

冷漠是最禮貌的對待畫的一些口號法發出會心微笑，例如「人人有權闖入」、「人人有權投票」、「人人有權不握扶不屑是相當溫柔的照顧手」、「人人有權做小販」、「人人有權吸煙」……

早上的眼淚沾不上晚間的嘻笑

腦袋最後說︰只要扺抗仍是選擇，		
我自由。

除了波蘭朋友的創作(7)，也有香港人的創作。他們都曾於一月到波蘭交流。其中一位的幻燈

對波蘭的朋友，「染紅」是童年往事，是上一代的事。此刻，她／他們的香港朋友，對正在加速

show，要揭露香港政府的所謂資訊，很多時只是宣傳口號，蠱惑市民。例如香港鄰近大亞灣

滲透的莫名的「紅」，有莫名的感受。波蘭的過去，香港的明天？太想當然的聯繫？也許不是，

核電廠，理論上政府有應變措施，但原來這位朋友讀到的所謂政府資訊，並非根據核漏露的波蘭人經歷了三百年被外來勢力指手劃腳，最終憑不屈不撓的扺抗運動，掙脫極權帝國的「紅「染紅」是童年往事，是上一代的事。

色」枷鎖。香港人沒有爭取「民族自由」的「硬道理」，卻有扺抗宗主國侵蝕「一國兩制、高度自嚴重程度，指導市民step by step的應變方
法，而是要市民相信政府有能力作出應變的
宣傳單張。這位朋友很幽默，他把零三年以78

治、港人治港」的「合法權利」，不管是怎樣形式的，甚麼層面的扺抗。選不選擇扺抗，也許端視大家對自由的體味。
79

花絮

SOPOT82

POLAND83

HONG KONG

84

CHINA

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The Side Dish of Art Hotpot
花絮The agenda of “Art Hotpot exchange program between Hong Kong andPoland” is to further develop the concept of hotpot, which is about heat andhybridity. It is a very Hongkongish concept. Hotpot is a dinning culture of Hong
Kong people, as a very common part of our life. The current article is going
to present the side dishes of this exchange program, with C&G Artpartment’s
perspective, in order to help develop a vision for the future.
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January, 2012, at Poland
Snow
As the trip to Poland approached, Hong Kong artists checked the weather
forecast of Poland more often. Learning that it was mostly around 0 °C in
Poland, Hong Kong artists, who did not have much tough winter clothing, brought
and borrowed different kinds of snowshoes, snow pants and snow coats(1).
Fortunately, during the sixteen days in the trip, artists witnessed Sopot started tosnow, stopped to snow, had all the snow melt, and then started to snow again(2-6).
Fortunately, no one got sick(7). Fortunately, Poland’s freezing weather with -20°C
arrived, after the Hong Kong artists left. Fortunately, everyone is still good friend
after the trip.
Daughter in the trip
The organizers of this program, Clara and Gum from C&G Artpartment werealso the participating artists. They also took five-year-old daughter to this 16-daystrip in avoiding child neglect, and as an alternative experience for the daughter.
It is not difficult to imagine how situations with kids would get out ofhands. It happened a few times in this trip, but doing art should not stop one
to have a family(8). After all, everything worked out, and this experience allowed
us understand that, besides art-making, a good artist also should know how tomake friends, take care of his/her family, and, after all, have a life. We are still in
the process of learning.
Cooking rice for breakfast
Having a long trip with a young daughter and three Hong Kong artists,
C&G were responsible as the organizer and as the parents. We brought along
electronic pot, rice, dried scallop, Chinese sausage etc. and also bought
spaghetti, sausage etc in Sopot’s local stores. Every morning at the hostel,besides making big breakfast for our daughter(9), we also cooked a bit more to
thank the other three Hong Kong artists. It certainly provided a feeling of home,
and was a little thing only a parent would do.

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Chinese new year and firework in Poland
Hong Kong artists celebrated this Chinese New Year day in Poland.
87Zatoka Sztuki had a big crowd, as big as the crowd at the opening day of the Art
Hotpot exhibition. They had some new faces also. We all had different missions:teaching how to make glutinous rice-balls(10), teaching how to write “hui chun” (11):Chinese new year greetings, teaching how to play the gambling game: “fish,
shrimp, crab,(12)”and documentating(13), The Chinese language school at Sopot,
as the partner of Zatoka Sztuki, was showing the guests how to make Chinesetea(14), showing the 12 animals of Chinese zodiac(15), and organizing a real
“hotpot” dinner(16). (our electrical pot was not used for “hotpot” in the end).
Being the organizer of Zatoka Sztuki and also a participating artist thistime, Natalia told us earlier on that they had applied for a firework licensefrom Sopot’s government for the Chinese New Year. The application was finallyapproved on the New Year day. Firework on top of the beautiful scene made thisNew Year like a fantasy(17).

23Artist studio visit in Sopot and Gdansk
Hong Kong artists had a visit to the home of the Polish artist, Elvin
Flamingo, in Sopot. His home was also his studio, which was a dream space for
us: very comfortable and fully equipped.
We also visited the artist studios of Maciek Salamon(18) and Magda
Malyjasiak(19) in Gdansk. Showing us the artist studios at the shipyard, Maciek
also told us about the how artists made this abandoned area alive with art at thefirst place(20-22), and then how they are now being kicked out by developers.
Another artist, Kamila Chomicz showed us different cultural and artorganizations in Gdansk, who have had a lot of efforts in preserving their history,
while developing contemporary arts. Kamila took us to the Laznia Center forContemporary Art, which allowed us to appreciate the fine quality of the artworks
by Gilbert and George in an extremely short distance(23). It was a complete
opposite of how the Hong Kong Museum of Art exhibited Gilbert & Geroge’s
works back in 2009, when it was “collaborating” with L.V. to showcase L.V.’s
private collections. In Hong Kong Museum of Art, a line was drawn on the floor
to prevent viewers going too close to the artworks. This line does not only reveal
how little Hong Kong officials understand international contemporary art, but also
how little self-esteem these officials have on the culture of Hong Kong people.
Learning Polish
After the opening, the Polish language school for foreigners approachedthe Hong Kong artists, and freely provides a 45 min Polish language session for
us. We all participated and learnt a few phrases, which were soon forgotten(24).
Law Man had some talents over language though. After the lesson, he could not
help, but repeated those phrases he learnt altogether again and again.

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JAK MASZ NA IMIĘ?
(What is your name?)
MAM NA IMIĘ……
(My name is……)
Tatoo
On the Chinese new year day, Zatoka Sztuki had a big crowd. The organizerof Zatoka Sztuki and also one of the participating artists, Karolina, introduced
her friend, Filip Chajecki to me. He said he had been to China and had sucha strong impression of China that he would actually like to tattoo this feelingon his body in a Chinese calligraphy style. Thereafter, he discussed with me
through emails, and, in the end, decided to put, “Being on the journey withoutboundary(25).”on his arm. This was my first artwork being tattooed on other’sbody(26). Thanks Filip for being fond of my calligraphy.

March, 2012. in Hong Kong.
Apply for funding
The planning of this exchange program started in 2009. Its related
proposal was submitted to Hong Kong Arts Development Council in June
2010. In November, 2011, we were notified that we could have more than halfof the budget funded. It was good news. The next morning after the news was
the day for air-tickets reservation. Due to the late notice and late reservation,
the price of the tickets had already gone up to almost HKD$70,000. The firstfound of the funding was not sent out until February, 2012. Fortunately, C&G
Artpartment is an art space with strength. It paid for the air-tickets in advancewithout any hesitation. Since this program is an exchange program involving
two parties, the budget must also be doubled. The funding from ADC alone
was not enough. We then tried to ask for the Human Affairs Bureau for help,
in the hope of receiving funding for the tickets. We had missed the deadline
already, but the Bureau still accepted our application and gave us a little
hope. However, on the second day after the submission, the Bureau called us
and told us our application was denied. We once doubted if it was because
C&G Artpartment had anyhow offended the government before, but did not
spend much time thinking about it. Looking forward was the only way out.
We also sought help from Poland Consulate in Hong Kong.
Unfortunately, their reply was that we were way past the application deadline.
We then tried the Charities Trust of Hong Kong Jockey Club, but in vein. The
last time in touch with the Charities Trust was when their staff telling us thatthey would not have time joining our exhibition opening.
After many attempts, we also tried to ask Burger Collection for help.
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A few days later, they sent the good news that they would like to support the
program. Another couple days later, the grant was sent to us. Thanks to this,the second part of the program in Hong Kong could successfully proceed. We
appreciated very much the support of ADC, Burger Collection, Zatoka Sztuki,
and all other parties who have spiritually supported us.
Reservation of the hotels
Recently, Hong Kong is having more and more hotels. The hotel rooms
are more and more expensive also. A room within a motel without any stars
cost at least HKD$ 450 per night. We went online and also visited many
hotels directly in order to plan within our budget. Restricted by the budget,
we reserved some rooms from YWCA’s motel, which did not have private
bathroom for each bedroom. Worrying that the accommodation with suchquality will prevent our partners to collaborate with us in the future, wechanged our decision. In the end, we booked rooms from a 3-stars hotelwith private bathrooms and decent facilities. It was a release after all thesearches.
Demonstration on March 25th
C&G Artpartment was the hub for the Polish artists in Hong Kong. They
did not go out altogether in five all the time, but gathered along according totheir art-making preferences, and personal hobbies. On the 25th March, threeof them, Elvin Flamingo, Maciek Salamon,. Kamila Chomicz, went to protest
against the “small-circle Chief Executive election” with Cally and us(27). Afterlearning about the background of this protest, the Polish artists told us that
their Presidents had been elected by the people ever since 1989. The routefor this protest was not long, and the participates were in good order. All theartists had a special experience.
Horsing Racing
At the evening of the 28th of March (Wednesday), Lock and us
took the five Polish artists to visit Happy Valley racecourse, which was
one of the world’s few urban racecourse. Of course, we also gambled forrelaxation. Natalia won and bought everyone beer in the end(28). Within suchatmosphere, even a small bet can make one nerves and exciting. Watching
ten horses racing for championship in the field can definitely cause pressure
for the heart, which is the kind of pressure artists always have before
exhibition openings.
Artist Talks
As the organizer of the program, I had been extremely busy andtherefore missed all the sharing activities by the Polish artists(29-34). It was
Clara representing C&G to participate in the artists talks. I apologize here formy absence.
94

New Faces
Every artist worked very hard for his/her artworks, and everyone makes
use of all the possible time to make his/her works, including the moment before
opening. Maciek Salamon helped us paint a mural(35) along the stairway up to
C&G Artpartment. A new neighbour who lived upstair came to us and said she
was scared by the skull monster from “He-Man” cartoon. Although I explained
to her that this was just a cartoon character, she still wanted me to erase thatas soon as possible. We insisted not to change Maciek’s work. In the end, I told
her this is part of the exhibition for the upcoming month, and let’s have further
discussion afterward. Besides, we had another special move for the realizationof this mural: we had removed all the art events’ posters we posted on this wallin the past 5 years. All the posters were sold for recycling and earned us fiveHong Kong dollars after all(36).
On the end of March (Saturday) 5:30pm, the Hong Kong part of thisexchange program had its opening ceremony at C&G Artpartment. Everyone
was in a hurry, but everything was ready for the right moment. We had a good
crowd and met new friends. Ms. And Mr. Burger from Burger Collection(37), andthe vice consul from Poland Consulate also visited to show their support(38). Twovolunteers from Lingnan University, CHU Shuk Yee, Convoy, and WONG Sin Yi,
Stacie, also came to help with reception and documentation(39-40).
Hiking at Night
Most artists I know love the nature and love hiking. My favourite is to go
hiking at night. Two nights after the opening evening, which was also the night
before the Polish artists left Hong Kong, Elvin Flamingo, Cally, Lock, Clara andI went night-hiking. It was a easy route for a little trial: from Tai Wai’s Hung Mui
Kuk barbecue site(41) to Amah Rock(42). The whole route took about forty-fiveminutes. Around the Amah Rock, there were some new fences along the stairsteps. The Rock had some new graffiti on top of the previous erased layers.
Besides the Rock were some candles and incense sticks for paying respect toancestors. The area did not have much change in general... Looking at Tai Wan,
Shatin, Fotan from the site, one could see more tall buildings and lights(43) than
before…At about 10pm, we went back.
Further development
We look forward to other exchange programs in the future with different
parties, especially with artist friends from what we call “the third world” in theart scene.
We believe that, after a period of struggling at the edge of theinternational art scene, everyone must adaptively develop a set of “survival
tactics” and “immunity.” Art events have become much bigger and involving
much more disciplines. The trend of “biennale” has become weaker in the past95

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decade, while the trend of “art fair” gets stronger. After all, these are dominantly
directed by the commercial world. Small art spaces, without strong financial
support, can hardly host any big events. The only solution is to build up the
profile bit by bit in the long term, and attempt to earn special insights throughdifferent experiences. We hope to collaborate with different art spaces facing
similar situation, in order to create a platform for us to learn from each other.
More survival tactics can then be developed at the edge of the international
stage, so as to allow different areas on the edge can become a unique stage on
its own. This is the ideal.
其實是次「《打邊爐》香港及波蘭藝術文化交流計劃」，是透過香港及波蘭雙邊混雜
交流去展現打邊爐的深層概念，是一個火熱的的概念，是一個混雜的概念，是一個很香
港的概念。「打邊爐」是香港人飲食文化一部分，是生活一部分，普通不過，卻又特別不過。這裡想以香港主辦者「C & G藝術單位」的角度，講講本交流計劃裡的一些小插曲、花絮，並希望作一個理想化的展望。

2012年1月，在波蘭落雪
香港藝術家臨近起行去波蘭，總會看當地天氣預報，了解到當地當時天氣徘徊攝
氏零度，而香港從不落雪，香港藝術家未必有足夠裝備應付波蘭的寒冬，所以香港藝術家
會刻意添置香港少用得著的禦寒衣物，包括厚厚的雪鞋、雪褲及雪褸(1)。猶幸，短短十六天，已能經歷了落雪、停雪、融雪、再落雪(2-6)；猶幸，各藝術家都沒有因此而病倒(7)；猶幸，香港藝術家去波蘭交流完畢回港後幾天，波蘭的氣溫已降至攝氏零下二十度；猶幸，大家仍然是好朋友。
帶女兒同行
是次計劃，主辦者C & G藝術單位兩位負責人（夫妻關係）同時參與作為藝術家，由於需離港十多天，所以帶同僅五歲的長女同行，免她被疏忽照顧，也讓她作個體驗。
相 信 各 位 不 難 想 像 到 這 情 況 。 失 控 情 況 是出現過若干次，但搞藝術活動總不能拋開一切，自己顧自己，公幹始終是公幹，家庭始終更是家庭 (8)。最後當然各方兼顧得宜，一切順利。這經驗讓我們體會到，作為藝術家做好創作是應該的，再兼顧生活、起居細節、感情生活、朋友網絡，樣樣週全，就真是了不起。我們還在學
習，學習。

煮早飯
一家三人出門，加上三位香港藝術家，作為主辦者，彷彿做了家長。我們隨行帶了
電煲、米、瑤柱、臘腸等食物，也在當地買了意大利粉、肉腸等，在旅館做早餐，除每朝
早工作前讓女兒可有豐富早餐享用(9)，也煮多一點「孝敬」三位香港藝術家。回想，很有家
的感覺，亦是有家室人士會做的事。
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於波蘭過農曆新年+放煙花
香港藝術家於波蘭過壬辰年農曆新年，大年初一，Zatoka Sztuki十分熱鬧，與早兩
天的展覽開幕比較，同樣人多，亦是新面孔。我們各人有不同的任務，有的教做湯圓(10)、有的教寫揮春(11)、有的教玩「魚蝦蟹」(12)、有的拍攝紀錄(13)。Zatoka Sztuki的合作伙伴「華語學校」負責教授中式泡茶(14)、認識十二生肖(15)、還真的「打邊爐」(16)（我們的電煲最後沒用作打邊爐）。

Zatoka Sztuki負責人兼參與藝術家Natalia早前向我們表示，已向索波特政府申請希望在大年初一晚上放煙花助興，直到大年初一當日，申請才獲批，有驚無險，煙花加環
境，很美，很夢幻(17)。
參觀Sopot及Gdansk藝術家工作室
香港藝術家們去拜訪了居於索波特的藝術家Elvin Flamingo的家，他的家也作為工作室，他的工作環境及狀態，對我們而言有點是夢寐以求的感覺，就是舒服、完備。
還去了Gdansk（格坦斯克）參觀Maciek Salamon(18)及Magda Malyjasiak(19)的工作
室，Maciek Salamon帶我們參觀當地船塢區的藝術家工作室，了解到他們如何活化地利用舊區，如何促進藝術生產力(20-22)，及如何面對因地產商發展該區而面臨逼遷的現實。
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另外，藝術家 Kamila Chomicz亦帶領我們參觀格坦斯克的不同文化藝術機構及單
位，了解到他們在保留歷史及發展當代藝術方面的努力，都值得我們學習。其中一
天，Kamila帶我們去格坦斯克的當代藝術中心，超近距離參觀Gilbert & George歐洲巡迴展的「印刷」作品 (23)，真的能細緻看到印刷作品中的幾乎零瑕疵，及作品製作的認真
度甚高。記得 2009年 LV與香港藝術館「合作」舉辦其藏品展，展幾幅 Gilbert & George
的「 印 刷 」作 品 ， 館 方 又 怕 市 民 行 得 近 ， 又 怕 人 拍 照 ， 在 地 間 條 線 ， 只 讓 市 民 遠
觀 ， 唉 。 別 人 就 想 辦 法 支 持 你 去「 做 」， 香 港 就 想 辦 法 制 止 你 去「 做 」， 唉 。 這 更 反
映香港官方對自我文化藝術的卑微感是何等強大、對國際當代藝術的理解程度是何
等低能。
學波蘭文
活動開幕後，索波特波蘭語學校表示向我們香港藝術家提供一節四十五分鐘的波蘭
文學習班，我們參與了，學了幾句，忘掉幾句(24)。好學的羅文樂對學習外語似乎有點天份。之後有幾天他都滿口波蘭文，總是一口氣把他學過的連珠訴出。

JAK MASZ NA IMIĘ? （你叫甚麼名字？）MAM NA IMI…（我的名字叫……）
紋身
大年初一晚，人頭湧湧，Zatoka Sztuki負責人之一兼參與藝術家Karolina介紹一波
蘭朋友Filip Chajecki與本人（阿金）認識，他表示之前曾到中國，對中國印象很深，希望把這份感受及印象紋在身上，他更表示希望以中國書法的方式去呈現。於是本人與他不斷電
郵溝通，最後決定於手臂上紋上「人在旅途，行者無彊」(25)。這也是本人第一件紋在別人
身體上的作品(26)。感謝Filip喜歡本人的書法。
992012年3月，在香港
申請資助
本計劃構思自 2009 年， 2010 年 6 月正式向香港藝術發展局（藝發局）申請資助，2010年11月得知獲超過一半資助，是好消息。翌日便立即訂機票，由於越遲訂機票
越貴，所以，單是機票及保險已接近港幣七萬元，但藝發局的第一期撥款要到2012年2月
才發出，幸好C & G藝術單位是一個具實力的藝術空間，因此面不改容墊支港幣七萬元買機票，由於本活動屬雙邊交流，並分兩部分進行，所以需要雙倍資源，單是藝發局的資助
是不足夠。我們曾申請民政事務局的藝術發展基金，希望可以資助藝術家交通費，雖時間
緊迫並已過了申請期，但局方都表示照收申請，讓我們多一線希望。遞交申請後第二天，
局方致電表示否決申請，並不作受理。希望泡湯，心想是否我們C & G藝術單位得罪政府
了，還是不多疑，向前看。
波蘭駐香港總領事館也找過，可惜他們表示申請資助時間已過，愛莫能助。我們再找香港賽馬會慈善部門人員，告知實情，要求資助，雖心知時間倉促 ，但我們願意一試。
最後不果，不了了知。最後一次接觸是他們表示沒有空出席於香港C & G藝術單位舉行的
第二部分交流展覽開幕。
輾轉，向一向支持香港當代藝術發展的Burger Collection叩門，直接告知實情，表示
尋求資助，幾天後，收到好消息，再過幾天，收到資助，香港交流展覽部分可以順利如期進行。不得不佩服其高效及慧眼。本活動得以完滿，確實感激藝發局及Burger Collection及其
他就算只是精神上支持過我們的朋友，當然還有Zatoka Sztuki的共同努力。
預訂酒店
香港的酒店越開越多，卻越來越貴，無星賓館一間房也要港幣四五百元一晚。為配合我們預算，我們上網，甚至直接走訪不同酒店，也找不到合意的。以預算為大前提，我們先預訂了YWCA賓館房間，但該賓館房間沒有獨立廁所，需共用房外公廁。我們想了又想，我們提供這樣的住宿，往後別人還會和我們合作嗎？不肯定，但我們不能接受。再四處找，找貴一點的，再貴一點的。起碼是三星酒店，有獨立廁所，基本設施齊全。找到
了，舒一口氣，吃少碗飯。

3．25遊行C & G藝術單位固然是一個基地的角色，是波蘭藝術家到港後聚合最多的地方，
但通常他們並非常常五人行，是按個人創作及興趣而聚散的。3月25日「反特首小圈子選
舉」遊行，其中三位波蘭藝術家Elvin Flamingo、Maciek Salamon、 Kamila Chomicz與我們及Cally同行(27)，我們向其講解是次遊行的原委及目的，他們表示，自1989年波蘭不再共產之後，總統就是由人民普選產生。是次遊行路線不長，遊行者有秩序，藝術家們得到
一個很特別的體驗。

跑馬

2012年3月28日（星期三）晚上，我們及Lock帶領五位波蘭藝術家去快活谷馬場，
參觀這個世上絕無僅有位於市區的馬場，當然也小賭怡情，Natalia更贏了錢，請大家飲啤對心臟構成一定壓力。類似這種壓力，每逢展覽開幕前一刻都會出現。
講座
作為主辦單位及策展人之一，由於日常工作過於繁忙，因此，全部四節藝術家分享會活動(29-35)，本人（阿金）也缺席，幸C & G有C for Clara作代表。現謹此為頻頻缺席致歉。
陌生面孔各藝術家都非常努力做作品，幾乎用盡一切時間，連開幕前的一刻也繼續努力。Maciek Salamon為我們的梯間畫一幅大壁畫(36)，期間，住在樓上的一位陌生的姨姨表示，對壁畫中「He-Man」卡通內「骷髏魔」的圖畫表示害怕，雖然本人已向她解釋這是卡通人物，但她仍希望我們把它塗掉，我們當然不會塗改Maciek的作品，本人只表示本展覽
展期一個月，一個月之後再算。另外，為這幅壁畫，我們拆去已累積張貼於牆上近五年的宣傳海報，並拿去回收，最終竟收到港幣五元的廢紙回收費(37) 。

3月31日（星期六）下午5:30，香港部分的展覽在C & G藝術單位開幕，雖有點趕
急，但總算一切就緒。當晚十分熱鬧，很多陌生面孔，各人都開開心心。本活動資助單位
之一Burger Collection的負責人亦到場支持(38)，就連波蘭駐香港副領事也應邀出席（雖然他們未能給我們提供資助）(39)。還有兩位嶺大學生CHU Shuk Yee，Convoy 及WONG Sin
Yi，Stacie義務協助前線工作，招呼周到(40,41)。
行夜山
基本上本人認識的大部分藝術家都喜歡大自然、喜歡行山，而本人更酷愛「行夜山」。開幕後第二晚，亦即波蘭藝術家們將起程回波蘭之前一晚，Elvin Flamingo與我們、Cally及Lock決定去行夜山。該晚，小嘗試，由大圍紅梅谷燒烤場(42)，慢行至望夫石(43)，
路程約四十五分鐘。到達望夫石，梯級旁多了些人造的圍欄，石上留下被人洗刷塗鴉後的另一種塗鴉，石旁還插有善信拜祭後的香支，沒大變化……遠眺大圍、沙田、火炭，多了
高樓，多了燈光(44)……晚十時許下山。
我們將計劃組織另一次「行夜山」，希望行得更夜、更遠、更高。
展望對未來交流活動的展望，我們是抱著正面及積極的態度，希望可以與世界不同地域
的視覺藝術界朋友交流，我們尤其有興趣與非主流的藝術地域合作，有時我們會稱該些地域作藝術第三世界。
因為我們相信大家都在國際藝術舞台邊緣掙扎一段時間後，將會自我塑造一套「求生技能」及產生「抵抗力」。現時，藝術活動越做越大、越闊、越廣，「雙年展風」於近十
年幾乎變成微風，產生不了甚麼雲湧，最近「博覽會風」吹得比較熱，說到尾，始終是商
業社會主導吹甚麼風。像一些小型藝術機構，沒有強大水喉，莫說大活動，中活動也難辦到，唯有繼續積少成多、以時間累積成果，以嘗試取得深入獨特的經驗，我們希望互相參
詳，取長補短，相得益彰，以不同的求生成效衝擊國際藝術舞台中央，令每片邊緣都能成
就自己成為舞台。想是這樣想。

酒(28)。在那種氣氛，就算小賭也難免緊張及情緒高漲，看著十多隻馬在面前奔騰爭勝，

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C&G Artpartment
C&G藝術單位主辦單位

C&G Artpartment
Founded in 2007, C&G Artpartment isa local art space with two portions: an art
gallery and a visual art education unit. Witha strong concern over the local art ecology,
C&G helps develop new flavors in the local
art scene, use art to respond to local current
issues, and provide art education programsfor the public. Its essential goal is to fillup the crack in the current art scene, andbecome an art space for idea exchanges.
In the past 4 years, C&G Artpartment has
curated more than 20 art exhibitions to
respond to the social and cultural issues inHong Kong, including “Back To The Basic,”“0771,” “To Tsang, C.E.”, “The Preview of
New West Kowloon Exhibition Venue” and “Sick Leave,” “To Tsang, C.E. 2”etc. All these
exhibits attracted the media and. many
visitors. More information of the shows canbe found over www.CandG-Artpartment.com

C&G 藝術單位於 2007 年由張嘉莉及鄭怡敏（阿金）成立。分
別以視覺藝術教育及畫廊雙線發展，目標為協助培育
本地藝術工作者，拓展觀眾，以填充本地藝術圈的灰色地帶和罅隙，成為具本地特色的藝術交流中心。在過去四年，C & G藝術單位共策劃了二十多個展覽，包括「基本回歸」、「 0771」、「致曾特首」、「西九新展
場．預展」、「請病假」、「鳥巢之下」、「貪婪」、「心肺復甦法」、「原始當代系列」、「致曾特首二」、「西九文化大革命區」、「 6,000 」等。這些展覽的主題均是關注本地的藝術生態及回應社會時事，吸引了不少觀眾參觀和傳媒報導。相關展覽詳情可在 www.CandGArtpartment.com瀏覽。

3/F, 222 Sai Yeung Choi Street South,
Prince Edward, Kowloon, Hong Kong(behind Pioneer Centre)
香港九龍太子西洋菜南街222 號三字樓（始創中心後）
T: 23909332
F: 23909332
E: info@CandG-Artpartment.com
www.CandG-Artpartment.com

Zatoka Sztuki MCKA
“Zatoka Sztuki” is the name of thespace founded by MCKA. It is Polish, meaning“Bay of Art.” Zatoka Sztuki is a three-storiedarchitecture by the beach of Sopot. The firstfloor is a very decent restaurant, while thesecond and third floors are under renovation
at the moment. Learning from an artist from
Sopot, Kasia Swinarska, this location actually
has a long history for the local community.
Back in 1903, it was a bath place. Later inthe 1970’s, it was reconstructed to be shops
and discos. All the way along, many locals
from the community would come to the areaaround this location, for it is next to the publicpark and the beach. It was a bit disappointing
to see the whole building is being completelyrenovated with a very modern style, whilelosing its history. Nevertheless, it is still
an absolutely beautiful place. Sitting there
for breakfast or a cup of coffee, facing thehorizon of Baltic Sea, certainly is a dream ofmany Hong Kong people. In fact, the whole
Sopot, for Hongkongers, is as surreal as thescenes from fairy tales.
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Publisher

DesignC&G Artpartment
C&G 藝術單位
Zatoka Sztuki MCKA

Muuutewww.muuute.com

Organizer

插圖

出版

設計

Illustration
Peggy Chan

統籌

C&G Artpartment
C&G 藝術單位Print Run
印刷數量

Editorial Team300 Copies / 本

Cheung Clara

Publishing Date

Cheng Yee Man鄭怡敏

October 2011
2011 年10 月

Translation

Isbn: 978-988-99959-7-3

Cheung Clara

All Rights Reserved

編輯

張嘉莉

出版日期

翻譯

張嘉莉

版權所有，不得翻印

Cheng Yee Man“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.”鄭怡敏

Proof Read
校對Cheung Clara
張嘉莉「香港藝術發展局全力支持藝術表達自由，		本計畫內容並不反映本局意見。」

Cheng Yee Man鄭怡敏

Co-presented by

Supported by合辦

資助

Partner

Venue

伙伴

場地

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