FELIXISM CREATION
想像力研究所2023 –階段性實驗展演
"Institute of imagination 2023" - In-progress experimental showcase
策劃︰FELIXISM CREATION
想像力研究所2023 - 關於突破想像的自由意志
策劃：陳偉基 Felix Chan
究竟每一個年代的創作人經歷及觀摩過怎樣的藝術時期，才來創造自己的作品？我們又受到怎樣的社會與思想局限，並從中尋求轉化，而有了今天的成果？如果上一個十年、二十年，有一班前輩開闢了一系列的創作平台，來讓當年那些現在已是藝術界的中堅人士去發展自己的狂野幻想，我很好奇，當下香港又回到過份注視成品及製作，因着約定俗成的慣性和不斷增補的條例產生大量的不可行與不可能，但同時開始有更多機構思考試演與實驗的重要性時，我們需要怎樣的環境，來再一次突破想像？如果有多一些資源及機會，去給予人失敗及測試，是否就足夠呢？怎樣的策劃方向，才能讓最多有需要的人受惠，特別是平時多為別人的作品做設計或製作，而其實他們都想發展自己藝術的創作者，肆無忌彈地呈現腦裡的瘋狂？這些問題成為了我去思考「想像力研究所」計劃的基本元素。
故此，2021至22年籌策了第一次「想像力研究所」，針對當時大環境熱烈討論的藝術科技，作為徵集計劃的主要目標，成就了陳瑋聰及假日貞操兩組風格及取向各異的試驗，但受疫情政策影響，改以網上形式展示。2023至24年，感謝康樂及文化事務署再次給予機會及資源，有幸舉行第二次計劃，且吸收了上一次評審的意見，希望將徵集範疇拓寬，非限於科技，而是容讓不同的藝術範疇去試驗，更重要是尋找有突破自己決心的創作者。於是就有了現在的想法，以對本地的「新」或自己的「新」為目標，徵集了很多走向不盡相同，但都很有趣的計劃書。最後評審團選取了現在這三個，都對自己的藝術理念及發展有很清晰的想法，以及渴求在試演中尋找更多可能性的隊伍。最終，我們設計了一個必須回歸劇院製作試演的限制，卻選取了三個都在不同層面上挑戰劇場框架的計劃，這正好配合了「想像力研究所」的初心，在當下全球劇場分類越趨模糊化的年代，期望在香港發展一個盡可能不設藝術範疇規限的表演資助平台，去支援更多不必去定義形式的作品，那已不是停留在「跨界」的概念，而是從根本就不理會那些恆常的藝術邊界，讓當代的創作人與觀眾回頭重視最原始的想像力與創造力，直面藝術本來應有的冒險與叛逆精神。
在此特別感謝今次的評審團隊，包括十分敬重，實力與理念兼備的資深創作人及教育家的馮美華；合作多年，一起創造很多新形式演出的甄拔濤；臨危受命，也是我認為香港少數頂級表演者與創作人之一的梁曉端；很欣賞其設計及創作，積極發展當下藝術更多新可能性的黃漢樑；首次認識，在科技藝術及創作理念上給予很多寶貴意見的黎智富；以及一直以來很想合作，有很強的藝術信念，對本地藝術貢獻良多，特別在是次評審中給予我們及眾多申請者非常具啟發性意見的楊陽。還有，很感激團隊的協助，包括一起策劃，為計劃每個細節思考很多，付出無限，心思慎密的執行監製阿強，及無微不至照顧三個創作團隊，為他們克服種種困難的製作經理K及燈光統籌及執行燈光設計Adonic。
最後，在我策劃兩次「想像力研究所」期間，有些團體及機構來詢問意見，為的是他們也想製作類似的支援平台，給予留下來的，及努力尋求資源的創作人出口，做更多的嘗試。其中一些計劃已經開展了。很感恩有更多有心有力的人，仍想努力改變現狀，為藝術發展貢獻。特別在當下集體經歷苦難的年代，我相信或者人的肉體可以被疫情與政策困住，但心仍是無限制的，只要持續想像，自由意志終將化為具體的力量，創造新的可能性。
《想像力研究所2023》製作團隊
策劃：陳偉基
執行監製：王禧彤
製作經理：梁烯樺
燈光統籌及執行燈光設計：羅兆鏵
音響統籌：王梓健
舞台助理：劉世偉
泥土仙人《皮膚的內置化》2024-01-10 ( 8:00 PM )
創作人的話
是次概念從皮膚出發，皮膚原是區分內在與外在，個人與社會的一種器官，但這個區分在作者的身上變得模糊，她的身體在與外界的對抗中始終處於劣勢。 她提出這是一個皮膚外置化的過程，皮膚不再與她身體密切接觸，而是向外擴張，試圖成為隔離她與環境的新的屏障。
我們將在舞台上利用光固化技術重塑這層外置的皮膚，探索個體如何重新與其周遭連接，帶領觀眾親近即時創作經驗。審視個體如何拋開內與外這二元對立的束縛，探勘經驗的內在需求。
我們的舞台源自童年的芭比，芭比同時也是一個文化符號，塑造了我們這一代很多人對裸體的第一想像。在我們的記憶中，第一個對裸體的印象就是芭比，例如芭比身體上雕刻著有紋路的肉色胸罩和肉色內褲，我們給她脫下衣服洗澡和穿上衣服梳頭，但不會真正接觸到她完整的裸體。
時代娛樂化裸體和性化的裸體，但似乎對裸體本身感到慌張又困惑，帶著這種時代情緒，表演者將利用光固化技術重塑自己的身體，透明樹脂滑落並凝固，像是在洗澡也像是在穿衣，在舞台上列印創作者的第二層、同時也是第三層皮膚。
團隊名單及鳴謝
導演、演員：林律汝、陳諾
音樂：吳子藝Lobo
錄像記錄：江曜榮、林凱琪
鳴謝 Special Thanks：
余榮基 Rik
盧韻淇wiki lo
團隊介紹
陳諾
陳諾（1998年，中國麗水）2020年畢業於台灣實踐大學商業學士課程，2023年畢業於安特衛普皇家藝術學院劇場服裝系碩士課程。陳諾對身體知覺感興趣。她的作品主要使用三種媒介（機械、織物和身體）探索「生成」和「內部空間」。
作品獲荷蘭Metropolis M Graduation Special 2023，比利時Horlait-Dapsens Award，參展比利時Onboards Biennale 23，並於日本Bunkyo University演出。
林律汝
林律汝，（1999年，香港）2017年畢業於香港兆基創意書院，2023年畢業於台灣實踐大學建築設計學士課程。林律汝是一個充滿熱誠的人，她的創作致力於探索空間共時性，形式涵蓋了影像、空間、水墨及展演。作品「在腸道異質空間裏找」於2020台北北投共築節展出。
吳子藝
吳子藝，（2002年，香港） 2019年畢業於香港兆基創意書院，現於台灣實踐大學就讀媒體傳達設計學士課程。吳子藝擅長插畫，3D動畫，聲音設計。喜歡觀察人與人之間的細節，並將這些觀察轉化為作品，以誇張幽默的手法呈現。
作品曾於「磷現 The Ignited: Phosphorus」臺灣當代文化實驗場 C-LAB 2023、「高雄亞洲插畫藝術博覽會」2022、「台灣酷兒藝術節」2022、「凝視赤裸之軀」黃竑嘉個展2022展出、並在2023年開始跟台灣自家服裝品牌WODEN長期合作，推出不同的商品與衣服。
王穎琳《白紙百次》2024-01-12 ( 8:00 PM )
創作人的話
做紀錄片副導演、做舞者和表演、做後台、做剪輯, 到做自己作品， 做導演、做行為、也紀錄行為， 亦用自己的生活作為材料剪進影片中， 這幾年我的身體和思考頻密地穿梭在鏡頭和大幕前後。有時我覺得自己在不同角色、不同語境、不同社群間像人格分裂， 雄性和雌性、語氣和姿態， 自覺但自然地在不同權力架構間切換。於是不斷嘗試整理、思考和書寫著這些不同媒介的特點， 長處丶短處、相互對抗的地方， 以免自己陷入在慣性和制度中對他人不自覺的榨取和利用， 亦希望可以通過反思更接近媒介的本質， 因為也許越接近本質， 便會越理解未知的可能。
謝謝 Felixism Creation 和六位評審讓我作為想像力研究所2023 其中一員， 亦提供實質的資源和溝通 ， 讓我有機會邀請來自不同背景但同樣有實驗精神的朋友們， 包括形體演員、行為和裝置藝術家、動畫製作者、攝影師、電影製作者等，互相理解彼此的創作方式和媒介， 一起通過《白紙百次》四十分鐘的展演， 打破一些想像中的界限。
通過融合攝影、行為、劇場藝術之長，我們實驗若同時觀看現場表演和即場攝錄拮取，並讓表演者、記錄者丶觀看者的主動性互通， 會產生什麼樣的體驗。問問題在實驗中是最重要的， 我透過問問題和團隊一同去想像和創作， 然後從中有獲得更多的問題。為甚麼要用某種媒介? 不同媒介的訓練和它生產出來思維是如何形成的? 屬於每種媒介的魔法是什麼， 如何造成和達到? 甚麼是家? 物質如何產生意義? 身體如何具公共性? 如何交出和分享權力，它又意味著什麼？
短短一個月的準備時間， 在排練的過程中已覺獲益良多， 但仍是貪婪地想繼續將這些問題延伸和討論下去。希望這次展演能將我們現有的答案和問題分享給大家，亦期待這種思考， 甚至是很多未能承載在這四十分鐘的故事和實驗， 以後能在足本版或其他場域繼續探討下去。
In my journey from being an assistant director of a documentary to a dancer, performer, backstage person, editor, and creator, my body and mind have constantly shifted between roles and contexts around the camera and the stage in the past few years. Sometimes I feel like I have a split personality between different roles, different contexts and different communities, with my femininity and masculinity, tone and posture, which consciously yet naturally switch between different power structures. This has led me to reflect on and write about the characteristics of different media, their strengths, weaknesses, and interactions with each other, to prevent myself from falling into the habit and system of unconsciously extracting and exploiting other people. I also hope that I can get closer to the nature of the medium through reflection, because I believe the closer we get to the nature, the more unknown possibilities could be opened up.
I would like to thank Felixism Creation and the six juries for allowing me to be a part of the Imagination Institute 2023 and for providing me with resources and support generously, enabling me to invite friends from diverse backgrounds who share the same experimental spirit, including physical theatre performer, performance and installation artists, animators, photographers, filmmakers. As a team, we exchange our ways of creation and thoughts to our major mediums, and to work together, and try to consolidate the exchanges and break the imaginary boundaries through a 40-minute performance.
By combining the strengths of photography, performance, and theater, we experiment with the experience of watching a live performance while simultaneously documenting it, allowing the performers, documentarians, and spectators to interact with each other. Asking questions is the most important part of the experiment.I use questions to fuel imagination and collaboration with the team, which in turn generates further questions, such as the magic and specialty of each medium, how training in different mediums shapes certain behaviors and ways of thinking, the concept of home, the significance of the tangible matter, the public presence of the body, the surrender and sharing of power, etc.
We have already gained valuable insights from the rehearsal process in just one month of preparation, yet my hunger to extend and discuss these questions remains insatiable. I hope to share some of the answers and questions with the audiences through the performance, and I aspire for this sort of thinking, and the many untold stories and unexplored experiments within these forty minutes, to be further pursued in other editions of this story or the future.
團隊名單及鳴謝
編創及導演：王穎琳
即場攝影：李嘉濠
編創演員：何知穎 李嘉濠 王子欣
影像混接：簡以誠
美術設計：呂楚翹
製作助理：鄭文越
Director and Creator: Vivian Wong Wing Lam
On-site Photography: Lee Ka Ho
Creative Performers: Ho Chi Wing, Lee Ka Ho, Wong Tsz Yan
Video Remixing: Kan Yi Shing
Art Designer: Lui Chor Kiu Bithiah
Production Assistant: Thisby Cheng
鳴謝 Special Thanks：
全藝空間 All Round Arts Space
BASE基地
梁曉端女士 Ms. Melissa Leung
甄拔濤先生 Mr. Yan Pat To
團隊介紹
王穎琳
Vivian Wong Wing Lam
(編創及導演 Director and Creator)
王穎琳是一位以身體為中心創作的混合媒介藝術家， 以融合現場表演和影像藝術的方式創作。透過行為表演、舞蹈及影像創作，她以身體經驗作為符號，探討個人身體、集體經驗及權力倫理之間環環相扣的關係。她感興趣的議題包括文化象徵概念中的個人形象、人際關係中的距離和空間、現代社會的失語狀態等。她具舞蹈治療應用資格， 於2022年獲香港大學文學士學位，雙主修比較文學和香港研究，現於香港生活和工作。
王穎琳的行為藝術曾於不同藝術空間展出，包括香港HART Haus、Tomorrow Maybe、Mist Gallery、Negative Space、EJAR.RAGORA、BASE基地、Current Plans， 德國Galeria Kub，並於Mella Jaarsma的行為裝置作品 "The Constructor"(2008-2023) 中擔任表演者。她曾以舞者身份參與未景之業舞蹈劇場《無眼睇》 、綽舞場《Train of Thought 2023》、廣東現代舞團《舞跡可尋》、香港舞蹈聯會《絲路海魂》《火龍傳說》《歲月印記》的製作。她為香港樂隊立秋《氵、夕》音樂錄像及獨立影像作品《褪》、《Single Spark》編舞， 為浪人劇場《文學地景劇場─ 葵青好景II ：橋》聯合導演，De Tesla《Own it! Now or never》聯合創作。
她憑紀錄短片《ROUTINE》在2020年釜山國際學生電影節上獲季軍， 其實驗短片 《繭》亦於第四屆平地學生電影節及香港大學進行放映， 並於同年展影拾年攝影比賽獲得冠軍。她的影像藝術作品《The Apocalypse is Your Oyster》於2023年在黑犬齒:透明盒子2.0 以裝置方式首次展出。
Vivian WONG Wing Lam is a body-centred mixed media artist based in Hong Kong. Through performance, dance, and lens-based creation, Wong explores the interlocking relations between the body, collective experience, and the ethics of power by working with somatic experiencing and using the body as a signifier. She is interested in personal image in the notion of cultural representation, distance and space in human relationships, and the dysfluency of modern society. She holds a BA in Comparative Literature and Hong Kong Studies from the University of Hong Kong, and she was certified in Dance & Movement Therapy for Caring Professionals.
Vivian Wong Wing Lam's performance art has been exhibited in various art spaces including HART Haus, Tomorrow Maybe, Mist Gallery, Negative Space, EJAR.RAGORA, BASE, Current Plans, Galeria Kub (Germany), and she was a performer in Mella Jaarsma's performance installation "The Constructor" (2008-2023). She has an extensive background in dance and has participated in various productions including "Mo Ngaan Tai" by Labora Terry Arts Dance Theatre, "Train of Thought 2023" by Beyond Dance Theatre, "Dance The Traces" by Guangdong Modern Dance Company, "The Soul of the Silk Road" and "Legend of the Fire Dragon" by Hong Kong Dance Federation. She has also worked on choreography for the music video of "Tide"《氵、夕》by Hong Kong band Lap Chau, as well as for the independent video works "Fade"《褪》 and "Single Spark". Additionally, she has co-directed "Good Times of Kawi Tsing Theatre Project II : The Bridge" with Theatre Ronin, and co-created the DeTesla Concert "Own it! Now or Never".
She won the 2nd runner-up in the Busan International Student Film Festival 2020 with her short documentary ROUTINE, and her experimental short film Temporary(+)Boundary was screened in the 4th Groundup Student Film Festival and the University of Hong Kong. She won the 1st runner-up in the A Decade Captured in Photographs Competition in the same year. Her video art The Apocalypse is Your Oyster was exhibited as an installation at Black Canine tooth:Transparent Box 2.0 in 2023.
李嘉濠
Lee Ka Ho
(即場攝影On-site Photography)
李嘉濠 (Holy)是一個本地的影像創作者，2022年畢業於香港樹仁大學的中文系，現時就讀於香港浸會大學的電影高級文憑，影像為他的核心創作媒介，創作的題材以人像和行為藝術紀錄攝影為主，重視人們的真實情感，並着力用影像發掘人們的慾望和恐懼。
近年的創作也有在不同展覽展出，例如M+攝影展「創意日營-影像講故師」(2022年8月）和「創意日營-社群紀錄者」（2023年8月）社區攝影展出，以及「十八有藝-《文學地景劇場 - 葵青好景 II」實驗影像「何物為珍重」(2023年3月）等。
更多攝影作品可以在以下網頁參閱
https://holee3p.myportfolio.com
Holy, an image creator who graduated from the Hong Kong Shue Yan University majoring in Chinese in 2022, is currently studying for a Higher Diploma in Film at the Hong Kong Baptist University, with video as his core creative medium. His works focus on portraits and performance art documentary photography, emphasizing on people's real emotions, and exploring their desires and fears through images.
In recent years, his works have been exhibited in various exhibitions, such as the M+ photography exhibition "Creative Day Camp - Storytellers" (August 2022) and "Creative Day Camp - Community Recorder" (August 2023), as well as the "18d ART - Good Times of Kwai Tsing Theatre Project II" experimental video "What is Precious?
More photography works can be viewed at the following webpage
https://holee3p.myportfolio.com
簡以誠
Kan Yi Shing
(影像混接 Video Remixing)
簡以誠在2019年畢業於倫敦藝術大學，現正就讀城市大學創意媒體書院就讀藝術碩士。他的創作使用實驗動畫作媒介，拼接及組合生活中零碎。曾參與及執導《第十屆動畫支援計劃》作品-香特里拉以及其他MV 和短片作品。
Kan Yi Shing graduated from the University of the Arts London in 2019 and is currently studying for an MFA at City University's School of Creative Media. His work uses experimental animation as a medium to reconstruct and concatenate the daily bit and piece in his surroundings. He has participated in and directed the 10th Animation Support Program project - chandelier, as well as other music videos and short films.
呂楚翹
Lui Chor Kiu Bithiah
(美術設計 Art Designer)
自由工作者，喜愛運用不同素材「造世界」。2022年獲香港中文大學文化管理學士學位，副修新聞與傳播學。現居香港並活躍於美術設計及指導崗位，參與不同廣告及拍攝工作。
Freelancer, loves creating and carrying out “a world” with her sense of quirkiness. She holds a BA in Cultural Management from the Chinese University of Hong Kong and, minoring in Communication and Journalism. She currently lives in Hong Kong and is active in art design and direction positions, participating in different advertising and filming work.
何知穎
Ho Chi Wing
(編創演員 Creative Performers)
何知穎 (b.2001，香港) 現於香港生活及工作，2023年畢業於香港中文大學，獲藝術文學士(B.A.)。 她的創作以宗教、信仰、原生家庭、關係形態等問題展開，透過裝置、行為、影像、文字，重構自身的生命史:童年回憶、創傷、覺悟，探索人如何「過渡」生命之過程。她習慣將被使用過的物件納入作品中，捉緊及呈現回憶的重量和質感，再次注入全新的敍事。
近年參與展覽包括「冥王星入閣樓」（Parallel Space，2023年）、「趕在漪淪散去前」(香港中文大學文物館，2023年)、「Per.platform 第四屆行 為藝術節 ̶ 未知的物料」(香港大埔藝術中心，2023 年)、個人展覽「靈性過渡」(香港中文大學， 2023年)、「負片空間:集體行為」(富德樓，2022 年)、「Per.platform 第三屆行為藝術節 ̶ 流動 與無常」(香港逸東酒店，2022年)、「2020 新人類紀」(K11 Chi 藝術空間，2020 年); 近期策動的展覽包括「靈性過渡」（香港中文大學，2023年）、「野生藝術節 2022 ̶ 哪有一點藝術界線?」(全港，2022年)、「謬人類 E:ra 」(香港中文大學，2022年)等。她曾在香港大館當代美術「信任與迷惑」展覽(2021)為Tino Sehgal的〈這些聯繫 These Associ ations〉擔任演繹者，並在 M+ 為 Florence Lam 的〈自由擁抱練習曲 Étude for Free Hugs〉擔任表演者。
Ho Chi Wing (b.2001) currently lives and works in Hong Kong. She obtained a B.A. in Fine Arts from The Chinese University of Hong Kong. Ho works with issues of religion, faith, oriented family, and human relation. Through installation, performance, video, and text, she reconstructs her life history, including childhood memories, trauma, and awakening, exploring how people "transit" through the process of life. She often incorporate used objects into her artwork, capturing and illustrates the weight and texture of memories, and injecting new narratives into them.
In recent years, she has participated in various exhibitions, including “Pluto in Attic” (Parallel Space, 2023), "Before It Billows Out" (Art Museum of the Chinese University of Hong Kong, 2023), "Per.platform 4th Performance Art Festival - The Unknown Material" (Tai Po Arts Centre, 2023), solo exhibition "Spiritual Transition" (Chinese University of Hong Kong, 2023), "Negative Space: Group Performance" (Foo Tak Building, 2022), "Per.platform 3rd Performance Art Festival - Fluidity and Imperma nence" (Eaton Hong Kong, 2022), "2020 Neo-Anthropocene" (K11 Chi Art Space, 2020). She has also curated exhibitions such as "Wild Art Festival 2022 - Skipping Boundaries" (Hong Kong, 2022) and "E:ra" (Chinese University of Hong Kong, 2022).
She served as an Interpreter for Tino Sehgal's "These Associations" at the "Trust and Confusion" exhibition at the Tai Kwun Contemporary in Hong Kong (2021) and as a performer for Florence Lam's "Étude for Free Hugs" at M+.
王子欣
Wong Tsz Yan
(編創演員 Creative Performers)
自由身劇場工作者，近期參與之演出包括綠葉劇團《拾荒》及《#1314》、去劇場《港城阿牛》及《一即全/全即一》、流白之間《烏克蘭讀劇節2022》、蛋炸饅頭劇場《係邊個盗？》及巧克力劇場《滲》等。
Freelance theatre practitioner. Recent productions include “Scavengers” and “#1314” by Theatre de la Feuille, “UKR/HK Playreading Festival 2022” by Blank Space Studio, “Ox in Kong City” and “One in All/ All in One” by Nobodies’ Theatre, “Light Talks” by XTRAMENTAL and “Dripping” by Chocolate Theatre.
鄭文越
Cheng Man Yuet
(製作助理 Production Assistant)
鄭文越曾修讀於香港浸會大學電影學院，後轉學並畢業於香港中文大學文化管理系。她是一位導演，製片及演員，亦是藝文共住空間c.95d8的創辦者之一。
她的實驗短片作品UNI，拍攝三中邊緣群體，並多次於不同藝文空間及平台放映。
可於IMDB查看她曾參與過的電影作品：https://www.imdb.com/name/nm9798233/
Thisby Cheng studied at the Hong Kong Baptist University School of Film before transferring to the Chinese University of Hong Kong where she graduated with a degree in Cultural Management. She is a director, producer and actress, as well as one of the founders of c.95d8, an arts and cultural co-housing space.
Her experimental short film, UNI, captures marginalized groups in three schools and has been screened in various arts and cultural venues and platforms.
Check out the movies she has involved at IMDB: https://www.imdb.com/name/nm9798233/
Dandelion are meant to fly (2023). Photo by Monika Deimling @monikadeimling_art. Performance at Galerie Kub PAS82
Photo Credit: "Heaven Spot" (2021-2023) Florence Lam. IMPORT/EXPORT, Livorno, Italy. Photo by Monia Pavoni
團隊名單及鳴謝
概念、展演：Florence Lam
陶土顧問：李穎儀
樂器顧問：羅嘉俊
拍攝團隊：
錄像拍攝：陳梓桓、羅凱麒
相片拍攝：區子朗
Concept & Performance: Florence Lam
Clay consultant: Lee Wing Yee
Music instrument consultant: Julian Law
Documentation team:
Video documentation: Chan Tze Woon, Ivan Law
Photo documentation: Au Tze Long
鳴謝 Special Thanks:
心陶美術材料公司 Hearty Ceramic Supply Company
唐緈縼 Tong Heng Syun
王穎琳 Wong Wing Lam Vivian
簡以誠 Jonathan Kan
李嘉濠 Lee Ka Ho
劉倩兒 Lau Sin Yi
方瑞婷 Sui Ting Fong, Sui
黃祖兒 Jil Wong
陳梓桓 Chan Tze Woon
琪琪 Kiki
支支 Jiji
Florence Lam
(概念、展演 Concept & Performance)
Florence Lam於1992年出生於加拿大溫哥華，目前在香港生活與工作。她以wonder、魔法思考和泛靈論作為靈感，以即興為思考模式，透過行為、文字、影像和聲音，將當代倫理問題與孩童般的世界觀結合。她於2014年在英國倫敦中央聖馬丁學院獲得學士學位，2017年在冰島藝術學院取得碩士學位。
她曾於亞洲和歐洲等地展覽及展演，包括香港M+（2023），香港大館當代藝術館（2022），香港Para Site（2021），香港Hidden Space（2020），台北南海藝廊（2019）， 羅馬當代藝術博物館（2018），冰島Kling & Bang畫廊（2018）， 蘇黎世歐洲宣言展（2016）等。藝術節包括：意大利利弗諾 IMPORT/EXPORT行為藝術節（2023），香港 Movement Festival（2022），德國法蘭克福 Black Market International – Exploring 2021（2021），冰島A！行為藝術節（2019），德國奧斯納布魯克YÜP行為藝術節（2019），烏克蘭利沃夫ZABIH行為藝術節（2019），冰島雷克雅維克藝術節（2018），波蘭盧布林行為藝術平台（2017），挪威卑爾根開放行為藝術節（2017）等。她在2022年獲香港Para Site「2046醖釀獎助金」，亦曾獲選到日本Paradise Air和挪威Surnadal Billag A/S參與藝術家駐村。她的行為作品捐贈於Para Site拍賣會2022。
她曾在德國波恩Bundeskunsthalle為Marina Abramović 的「The Cleaner」回顧展（2018）擔任re-performer，並在法蘭克福舊歌劇院「A Different Way of Hearing - The Abramović Method for Music」擔任facilitator（2019）。她在2020年開始舉辦現場和線上行為藝術工作坊 ，是「Per.Platform」（成立於2021年的香港現場藝術平台）的聯合創辦人和策展人。
Florence Lam (b.1992 Vancouver, Canada) is currently based in Hong Kong. Lam works with wonder, animistic and magical thinking, with improvisation as thought process, to fuse together current moral issues with child-like world views through performance, poetry, video and sound. The aim is to explore the fertility and sterility of the mind manifested through the properties of the biological body and language as a hint to the evolution of human values and spiritual understanding. She obtained her MA Fine Art from Iceland Academy of the Arts in 2017 and her BA Fine Art from Central Saint Martins in 2014.
Lam has performed around Asia and Europe, including M+ (Hong Kong, 2023), Tai Kwun Contemporary (Hong Kong, 2022), Para Site (Hong Kong, 2021), Hidden Space (Hong Kong, 2020), Nanhai Gallery (Taipei, Taiwan 2019), MACRO Testattio Mattatoio Art Museum (Rome, Italy 2018), Kling & Bang (Reykjavík, Iceland 2018), Manifesta 11 (Zürich, Switzerland 2016) etc. Art festivals include IMPORT/EXPORT (Livorno, Italy 2023), Movement Festival (Hong Kong 2022), Black Market International - Exploring 2021 (Frankfurt, Germany 2021), A! Performance Festival (Akureyri, Iceland 2019), YÜP Festival (Osnabrück, Germany 2019), ZABIH Performance Festival (Lviv, Ukraine 2019), Reykjavík Arts Festival (Reykjavík, Iceland 2019), Performance Platform Lublin (Lublin, Poland 2017), Sequences Art Festival (Reykjavík, Iceland 2017), Performance Art Bergen Open (Bergen, Norway, 2017) etc. She received a fellowship grant from "2046 Fermentation + Fellowship" fund from Para Site in 2022, and has been a resident artist at Paradise Air, Japan and Surnadal Billag A/S, Norway. Her performance work was donated and auctioned as an experience lot for Para Site Auction 2022.
She worked as a re-performer for “The Cleaner” Retrospective of Marina Abramović at Bundeskunsthalle, Bonn, Germany (2018) and a workshop facilitator for “A Different Way of Hearing - The Abramović Method for Music” at Alte Oper, Frankfurt, Germany (2019), facilitating "The Abramocić Method" workshop with audiences. Since 2020, she has been holding live and online performance art workshops. She is the co-founder and co-curator of Per.Platform, Hong Kong-based live art platform founded in 2021.
李穎儀
Lee Wing Yee
(陶土顧問 Clay consultant)
2016年畢業於香港浸會大學視覺藝術院 。
她的創作以身體為本，透過五感與覺察去理解自身和世界的關係，偏好透過雙手造物，造物過程身心合一。思考傳統和當代工藝與藝術的界線，喜歡從舊事、舊物、舊觀念中求變，以此作為創作基礎及靈感。
她是本地陶藝節一本地陶發起人，亦是梨木製陶所創辦人之一。
同時關注生活美學，透過陶土、茶學、香道等方式持續修行中。
生活關乎修行，然而自在。
Lee graduated from the School of Visual Arts, Hong Kong Baptist University in 2016.
Her practice are body-based, and she understands the relationship between herself and the world through her five senses and awareness. She prefers to create objects with her hands, and the process of creation is a unity of body and mind. She is interested in the boundaries between traditional and contemporary crafts and art, and likes to seek transformation from old things, old objects and old ideas as the basis and inspiration for her creations.
She is the founder of the Hong Kong local Ceramic Art Fair and a co-founder of Toki Nashiki.
She is also concerned with the aesthetics of life and continues to practice through pottery clay, tea studies and incense lore.
Life is about practice, yet it is about being at ease.
Florence Lam《女媧和她失去的孩子》2024-01-14 ( 8:00 PM )
團隊介紹
創作人的話
《女媧和她失去的孩子》（2024-）
行為藝術家Florence Lam是次《女媧和她失去的孩子》的展演是一個長期作品的第一步試驗。
這是一個關於生育和隨之而生的情感的作品。藝術家和自己雙倍重量的巨大陶泥互動：捏、拉坯、擠壓、撫摸。土能生金，金多土變。巨大的黃土裡長出金色的樂器。她把樂器清洗、擦亮、吹響，再利用金色樂器的身軀作為塑造泥土形狀的工具。時間久了泥土乾固，漸變僵硬，藝術家便用眼淚和口水把它沾溼，再次為物料賦予生命和可塑性。
藝術家將神話女媧造人的起因和自己五年前墮胎過程中同樣經歷過的「孤獨」聯繫，比較兩種「孤獨」的情感，作為在女性生育職責裡生物層面上的動機和意義。人類的情緒是我們的身體與靈魂之間交流的語言，翻譯成不同心理壓力和放鬆等身體反應。愛是輔助萬物生長的燃料。哭泣會釋放安多酚，為我們帶來幸福的感覺，幫助我們在悲傷和絕望中找到快樂和生存的力量，所以哭泣是身體對靈魂表達愛的方式。女媧因為孤獨而創造了「人」，而懷孕和墮胎過程亦為女性帶來孤獨：身體能量的爆發和熄滅，情緒過山車，孕期的各種胃口慾望，身體結構上的變化（肋骨、骨盆的增大）；罪惡感、不知道身體會否復原的恐懼、人生重獲自己的掌控的自由，一方面想盡辦法中止生命，另一方面憂慮墮胎程序會影響以後生育力的矛盾感，這些情緒都由女性獨自承受。
吹著金色長號的天使象徵著人們死去後前往天堂前的最後審判。在藝術家的理念中行為藝術的可能性，儘管當中保留對對象主體和選取物料的尊重，代入藝術語境裡的行為並沒有崇高或低俗之分，一切轉化爲創造敘述的材料，是一個思考過程。《女媧和她失去的孩子》呈現人類失去了與地球母親的聯繫，失去了作為世界上生物體成員之一的純粹性，並通過長時間行為嘗試重新取之連結。藝術家連結神話中對人的始源和幻滅的各種想像和信仰，去理解當中顯生萬向的情感，並透過行為和物質處理將其轉化，從而嘗試尋找對於女性生育力量在靈性層面上進一步的理解。
『有一天，女媧在美麗的山丘樹林裡獨自散步。儘管世界景色優美，她還是按耐不住孤獨。她走到河邊，看見河中自己的倒影，靈機一觸，她伸手到河床深處五指一抓，抓了一把黃土，小心翼翼地捏出了一個一個仿照自己模樣的、細小的泥偶。這些泥偶各有臉孔，有雙手、雙腳。在她把泥偶放在地上的瞬間，他們用兩腳行走起來，開始圍著她跳躍、起舞，然後她稱之為「人」。』
“Nvwa and her lost child” (2024-)
Performance artist Florence Lam's presentation of "Nvwa and her lost child" is the first stage in the experimentation of a long-term performance piece.
This work is about loneliness and fertility. The artist will engage with a giant lump of clay double of her weight: kneading, drawing, squeezing and stroking. In the 5 elements, earth produces gold, and when gold increases, the nature of earth changes. Out of the yellow clay grows one golden musical instrument after another. She cleans them, polishes them, plays them, and uses them as tools to shape the clay again. As the clay dries and stiffens over time, the artist moistens it with her body fluids (tears and saliva), giving life and plasticity to the material once more.
The artist draws a connection between the two types of 'loneliness' as a human emotion and experience, as initial causes for the creation of humans by Chinese mythological goddess Nvwa, and that the artist herself experienced of during her abortion four years ago, comparing the motivation and meaning of the two 'lonely' emotions as a biological aspect of a woman's reproductive responsibility. Human emotions are the language of communication between our body and our soul, translated into bodily reactions coming from different levels of pressure and relaxation in the heart. Love fuels the growth of all things. Crying releases endorphins, which bring us the feeling of happiness and help us find joy and strength to survive in the midst of despair and loss. Therefore, crying is a way the body expresses its love to the soul. Triggered by loneliness, Nvwa created humans as she longed for connection of her own kind, and the process of pregnancy and abortion brings a sense of immense loneliness for women who had to go through it: the body switching on and off, emotional rollercoasters (pain and euphoria), pregnancy cravings, body transformations (enlarged rib cage, pelvis); the guilt, the fear of not knowing if the body would recover, the ambivalence of trying to terminate life while worrying that the procedure will affect future fertility, all of which women bear alone.
Angels playing the golden trumpet symbolise the final judgement after a human's death before going to heaven. In the artist's own insight of the possibilities of performance art, while retaining respect for the subject matter and the materials chosen, there is no moral superiority or vulgarity in the actions when being substituted into the context of art; everything is transformed into the material for the creation of a narrative, a thought process. “Nvwa and her lost child” as well presents humanity’s loss of connection to Mother Earth, loss of purity as a member of living organisms in the world, and through long duration, the artist strives to find a grip upon the disconnection. The artist attempts to connect the mythological imaginings and beliefs about the origin and departure of the human being, to understand the manifold emotions involved, and to translate them through actions and transformation of materials with her own power. In doing so, the artist seeks to pursue a development of spiritual understanding of the power and meaning of female fertility.
"One day, Nvwa takes a walk through a beautiful forest of hills and trees. Despite the beauty of the world, she could not help but feel extremely lonely. She reached the river and saw her own reflection in it. With a stroke of inspiration, she reached deep into the riverbed and grabbed a handful of clay, carefully moulding tiny clay dolls in her own likeness. These dolls had faces, hands and feet. As soon as she placed them on the ground, they started to walk on their feet and began to jump and dance around her, then she named them 'humans'.”
羅嘉俊
Julian Law
(樂器顧問 Music instrument consultant)
羅嘉俊是一位小號手和作曲家。他曾為多家音樂商標例如Incepto Music、Bliss Eternal和音樂曲庫例如Sonoton、Cavendish Music、Melodise創作作品，並在《國家地理》（2008 年）和本地短片中發表了他的作品，例如：《超級資本家》(2012)和《手游：乒乓蛋》（2017）
他曾於加拿大多倫多 Humber College 學習爵士小號，於 Recording Arts Canada 學習聲音和音樂錄音，並擁有美國波士頓 Berklee College of Music 的音樂商業學位。
Julian還擁有UX / UI的背景，曾在Soundbrenner工作，直接參與了實體產品和移動應用程式的第一代創建。他也是一位經驗豐富的音樂教育家，曾在香港的國際學校任教。
Julian Law is a trumpeter and composer. He has written for various music labels such as Incepto Music, Bliss Eternal and music libraries viz Sonoton, Cavendish Music, Melodise and has had his works published on National Geographic (2008) and locally on short films such as Supercapitalist (2012) and mobile games Pong Pong Egg (2017) .
He studied Jazz Trumpet at Humber College in Toronto Canada, Sound and Music Recording at Recording Arts Canada and obtained a Bachelor’s Degree in Music Business from Berklee College of Music in Boston, USA.
Julian also has a background in UX/UI having worked at Soundbrenner being directly involved with the 1st generation creation of the physical product & mobile app. He is also an experienced music educator having taught at international schools in Hong Kong.