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黎卓華|昔日的未来是一种没有到达的未来


"黎卓華,在香港成长,一定程度沉迷生活中来自各种媒介的图像,和物品产生对话的猜想,以个人化的视角重新描述大众事件与传媒话语。" 文/黄河 


问:黄河

答:黎卓華


1. 请形容一下你的创作方向和兴趣

一些在脑海中挥之不去又让我觉得有魅力的意象我会很感兴趣,即使我未必能够当下立刻了解它是什么。例如展览项目《停滞之中》那对又硬又光鲜的黑色皮鞋,我会很想用不同的角度和方式,好好的描述它。如果能够做到好好的描述,即使那种感觉可能是微不足道,还是会有力量的。


2. 你的出生地是目前的居住地(香港)吗?

对。


3. 你目前的创作和居住地有多大的关系?


4. 在你的创作中似乎有很多传媒图像的元素?

这是我最近感兴趣的题材,特别是一些昔日的传媒图像。某程度上传媒图像例如广告,塑造的是一种当时普遍会憧憬的未来,让人相信更美好的事情是可以发生的。但那些昔日的憧憬,好像在今天没有发生。今天真的是一个比当时更美好的世界吗?我觉得从现在来看,昔日的未来是一种没有到达的未来。


5. 你怎么看待生活环境中的控制与失控?

关于生活环境中的失控要看事情是什么性质,例如因为某些原因突然倾家荡产要流落街头也算是其中,我当然不希望发生,虽然对艺术家来说失控也可能成为某一种洗练和题材。


6. 居住环境、氛围的变化会影响你的创作吗?如果有是怎样的影响?


7. 你怎样看待传媒视角和个人视角的区别?

传媒视角的理想状态是力求客观,具备一种普遍性;个人视角可以是主观的,也是私人的不需要受外界干扰。而两者矛盾的交汇点,例如个人对传媒图像作出不正确的阅读可以是想象力的开展。


8. 你认为有哪些细节是在传媒话语中被忽略的?

传媒需要有效及快速传递资料与讯息,图像亦然,传媒在当代的重要性使它慢慢塑造出普遍观众的阅读习惯。如果观众没有自觉,很容易会忽略图像除了资讯以外可能更有趣的东西。


9. 你认为你的创作是愤怒的吗?

展览项目《停滞之中》很明显是愤怒和严肃的,其他创作好像不是。


10. 最希望他人了解你哪个/哪些作品?

不太了解也没所谓,因为我不希望要求观众很着急地了解我的作品。连我自己很多时候,需要一些时间才能够更了解自己的创作。只希望观众有不要太快否定的能耐。


11. 如果可能,你希望向观看你作品的人提出哪些问题?

想不到。

 


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The Futrue Of The Past Is The Future Yet To Come


"Lai Cheuk Wah grew up in Hong Kong. To some extent, she's indulged in the images coming from life through various medias, the speculations of conversing with objects, as well as the re-articulation of public affairs and media languages through personal perspectives." Text/Huang He


Q: Huang He

A: Lai Cheuk Wah


Q1: Describe a little bit about the focus of your art works and interests, please.

A: I'm fascinated by certain images that I can't get rid of in my head, and yet find charming, even though I may not necessarily understand what they stand for immediately. Take the pair of hard shiny black leather shoes as an example. They are exhibited items from the exhibition project "In Stasis". I'd love to describe them from different angles and in different ways. Though insignificant, the feeling shall be powerful if I do so.


Q2: Is your birthplace also your current residency (Hong Kong)?

A: Yes.


Q3: How is your current artistic creation related to where you live?

/


Q4: Is it true that your works contain a lot of media images?

A: These are the themes I've been interested in lately, especially media images from the past. To some degree, media images, such as ads, portrayed a future desired by many at that time, allowing people to believe that better things could happen. However, those desires in the past were never really fulfilled in today. Is today a truly better world than the past? Looking back, I think the future in the past is the kind of future that has never come true.


Q5: What's your view on the in-control and out-of-control in our living environment?

A: In terms of being out of control, it depends on the nature of matters. In some case where someone suddenly goes broke and ends up living in the streets, this can be counted as an example of getting out of control. Certainly I do not wish to see this happen; somehow, for artists, out-of-control can turn out to be some sort of toughening-up and an inspiration.


Q6: Does the living environment and changes in atmosphere affect your works? If so, how?

/


Q7: In your opinion, what's the difference between the media's viewpoints and personal viewpoints?

A: The ideal media viewpoints should be objective and universal; while personal viewpoints can be subjective and private, free from external disturbance. When the two different viewpoints contradict each other at some point, one can allow his/her imagination to go wild when he/she is misinterpreting the media images.


Q8: In your opinion, what kind of details are overlooked in the media context?

A: The media need to spread news and information fast and efficiently, so do images. The media, of contemporary significance, has slowly cultivated reading habits in viewers. Without any awareness, the viewers could easily overlook something possibly more interesting besides the information in images.


Q9: Do you think your works are angry?

A: Among my works, "In Stasis" is obviously angry and serious; others, not so much.


Q10: Which works of yours do you want the public to know of most?

A: It doesn't matter if they don't really know my works, because I don't expect my audience to be so eager to get to know my works. Very often, even I myself would require some time to better understand what I've created. All I want from the audience is not to make any hasty judgment.


Q11: If possible, what questions would you like to raise to your audience?

A: Can't think of any.



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黎卓華与 Para Site 艺术空间合作的展览项目《停滞之中》,于2015年3月在香港巴塞尔艺术展展出,策展人为林沁怡小姐。当中除了《尽情擦亮你自己的皮鞋》《蹂躏它直至它被移除》两件录像作品,还包括两张油画《倾侧的躺下》和《让它发亮》、一组indigo打印《背向的形象》和现场表演《被划定的区域》。 

Lai Cheuk Wah's exhibition project with Para Site Art Space, "In Stasis", exhibits in Art Basel HK in March 2015, curator is Qinyi Lim. Except two video works "Polish Your Own Shoe As Long As You Can", "Rub It Until It Is Removed", it also contains two oil paintings "Laen And Lay Down", "Make It Shine", a set of indigo print "Back Images" and performance "Demarcated Area".


"当时脑海中很快就出现了这对皮鞋的形象——很黑很黑的,但同时外表又光鲜明亮的,很硬,硬得无论它踏在地上或掉在地上都仍然会发出那种咯咯的声音。我想描述它。其实整个展览,我只是集中用不同的方式去描述这个形象。我很清楚这个形像它会一直在我的脑海之中挥之不去,因为它很大力,现在有时候还是会想起它。 "

"The image of these shoes appeared quickly in my mind—deep dark, but shiny on the appearance, very hard, that whether it treads to the ground or falls on the ground, it would make that noise "cluck cluck". I want to describe it. In fact the whole exhibition is to describe this image in different ways. I am aware this image will always linger in my mind, because it's very strong, I'd still think of it sometimes."

 


《尽情擦亮你自己的皮鞋 Polish Your Own Shoe As Long As You Can》

单频高清录像,彩色,有声,1'11"

single channel HD video, color, sound, 11'11"

2015

 


《蹂躪它直至它被移除 Rub It Until It Is Removed》

单频高清录像,彩色,有声,5'40"

single channel HD video, color, sound, 5'40"

2015

 


《倾侧的躺下 Lean And Lay Down》

布面油画 Oil on canvas,40.5 x 50.5 cm

2015


"油画作品《倾侧的躺下》背后是有一个中年男人,不知道为什么,他忘记了自己其中一只皮鞋,这只皮鞋就这样一直掉在这里,而那个曾经拥有一双皮鞋的男人不知所踪。"

"About the oil painting "Lean And Lay Down", there is a mid age man, don't know why, he forgot one of his shoe, the shoe just lay dowm like this forever, and the man who once own a pair of shoe doesn't exist anymore."



《让它发亮 Make It Shine》

布面油画,Oil on canvas,60.5 x 84 cm

2015



《背向的形象 Back Images》

Indigo打印,亚克力装裱 Indigo Prints with acrylic frames

2015



《被划定的区域 Demarcated Area》

行为,混合媒介 Performance with mixed media

2015


"我聘请了两位香港巴塞尔艺术展的保安员,在展览期间进行现场表演 《被划定的区域》。他们的职责除了要让观众知道自己被监视,还需要每小时移动我提供的栏杆座,使观众在展场中行走的路线,以及可以或不可以进入的范围有所变动。因为是栏杆座,比较敏感的观众应该可以猜测到自己正身处于某一种布局之中,而时间刚好的话就会看到保安员的现场表演。"

"I hired two security men in Art Basel HK to perform "Demacrated Area" during the exhibition. They are not only need to make the audience awared that they're under surveillance, but rearrange the barriers that I offered every hour to manipulate the visitors' route in the exhibition and decide which areas are accessible. Those who are observant will probably start to suspect that they're being in some sort of composition and they'll see the performance if the time is right."


《停滞之中》网页链接 The link to "In Stasis"

http://laicheukwah.com/in-stasis


文字图片由艺术家与艺术家网站提供

Images and text provides by artist and artist's personal website



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本次展出作品 Works on exhibiting



盡情擦亮你自己的皮鞋,单频高清录像,彩色,有声,1'11"

Polish Your Own Shoe As Long As You Can, single channel HD video, color, sound, 11'11"

2015



蹂躪它直至它被移除,单频高清录像,彩色,有声,5'40"

Rub It Until It Is Removed, single channel HD video, color, sound, 5'40"

2015



嗜睡的汽车,装置,LED灯箱,140x110cm

A Drowsy Car, installation, LED light box, 140x110cm

2017



嗜睡的汽车,装置,布面油画,183x168cm 

A Drowsy Car, installation, oil painting on canvas, 183x168cm

2011


在网上偶尔看到的一张新闻剪图,就是一架遇上意外的车仰卧在草地上。我觉得它看起来就像是累了的的样子,很舒服的躺下,但对车来说,这种躺下的方式又好像不太妥当。

Occasionally saw a news picture on internet, it is a car flip over on the grass after an accident. It looks tired, laying on the ground comfortably, but for a vehicle, it seems not a proper way for laying like this.




黎卓華 (生于 1983 年,香港) 成长和生活于香港。2007 年获得香港中文大学艺术系学士学位,现入读香港中文大学艺术系硕士课程。曾参与个人展览有《停滞之中》(Para Site,巴塞尔香港艺术展,香港,2015) 和《用灯光照着一盏灯》(SOUTHSITE,安全口画廊,香港,2013) 等 。群展有:《不隅之见》(第五届三亚艺术季,三亚,中国,2016);《→》(刺点画廊,香港,2016) ;《四子棋》(Simon Lee Gallery,香港,2016) ;《众口铄金》(马凌画廊,香港,2015) 及《第二届CAFAM未来展》(中央美术学院美术馆,北京,2015) 等。

Sarah Lai (b. 1983, Hong Kong) obtained her BA in Fine Arts from the Chinese University of Hong Kong in 2007 and is currently an MFA degree candidate at the Chinese University of Hong Kong. She has held solo exhibitions that include In Stasis (Para Site, Art Basel Hong Kong, Hong Kong, 2015) and Spotting the light onto a light (Gallery EXIT, Hong Kong, 2013). Group exhibitions include Inception, (The Fifth Art Sanya, Sanya, China, 2016), → (Blindspot Gallery, Hong Kong, 2016), Connect 4 (Simon Lee Gallery, Hong Kong, 2016), Clamour Can Melt Gold (Edouard Malingue Gallery, Hong Kong, 2015) and The 2nd CAFAM Future Exhibition (CAFA Art Museum, Beijing, 2015) .