第55屆威尼斯雙年展特輯

第55屆威尼斯雙年展特輯 I
由HKADC（香港藝術搜索頻道)的特搜阿金，帶大家參觀雙年展的媒體中心、介紹今年新增的國家館，和並行項目的數量。片尾還有在小船上的現場音樂。Gum led us visiting the press center in this video, and talked about the number of new national pavilions and collateral events.  In the end of the video is a live-performance on a boat outside of the press center.

威尼斯特輯 II ：中國館外換威尼斯海水 Venice II: Outside Chinese Pavilion

第55屆威尼斯雙年展特輯 II: HKADC 在中國館前方，報導藝術家何云昌，與觀眾交換水瓶及威尼斯海水的情況. HKADC in front of the Chinese Pavilion, reporting about an art piece by He Yunchang, in which he exchanges water bottles and seawater from Venice with audience.

第55屆威尼斯雙年展特輯 III

HKADC 在中國館，訪問藝術家缪晓春, 介紹他的最新創作/HKADC interview with artist Miao Xiaochun at China Pavilion about his latest work

＊缪晓春先生早前都有在香港Osage展出，你有留意嗎？＊

Osage 網頁：http://www.osagegallery.com/

在Art Basel(HK)2013訪問藝術家鄧國騫及Stephanie Mak

HKADC這次特意邀請在Art Basel(HK)中參展的藝術家鄧國騫，介紹下他的作品，以及訴說和分析在這藝術博覽潮襲港期間，本地藝術家的發展狀況。

HKADC在Art Basel 期間的Salon遇見Stephanie Mak參與89+的討論會，介紹自己之作品, 於是也就請她百忙中抽空，接受訪問，讓觀眾可多了解"89＋"是什麼東東！？

Art Basel (HK) 2013: https://www.artbasel.com/en/Hong-Kong

"起動！油街實現" 開幕時，訪問前油街藝術村用戶 Ellen Pau 及Jolans FUNG！

2013年5月21日"起動！油街實現" 開幕時，訪問前油街藝術村（即現時"油街實現"的旁邊）之用戶 Ellen Pau!為新的油街藝術空間打氣！！！

訪問前油街藝術村（即現時"油街實現"的旁邊）之用戶Jolans FUNG! 

他分享前油街藝術村的環境、透露當年曾潛入”油街實現“現址的情況，及為新的油街藝術空間打氣！！！

油街實現網頁：http://www.lcsd.gov.hk/CE/Museum/APO/zh_TW/web/apo/oi_main.html

新加坡藝術特輯 2013

正當香港藝術市場熱哄哄之時，香港朋友對鄰近地區的藝術又了解幾多？東南亞的當代藝術，對於我們來說，有如盲點。故HKADC在2013年5月專程來到新加坡，直擊報導於5月16日在Jerdela Visual Art Space（Esplanade, Singapore） 開幕的 "重新接轨：缅甸当代摄影展"，讓我們一起發掘這些新國度！

新加坡藝術特輯第一集，請來"重新接軌：緬甸當代攝影展"策展人莊吳斌 介紹當中的作品。

第二集訪問"Re-Connection" 缅甸当代摄影展的藝術家Po Po！

第三集訪問"Re-Connection" 缅甸当代摄影展的藝術家Aung Khin Myint！

新加坡特輯最後一擊！帶大家參觀香港藝術家Nadim Abbas在星洲的展覽: "Tetraphilia" , 展現新加坡和香港藝術交流的面貌。

展覽簡介："随着緬甸踏出改革的第一步，它再次成為國際媒體的焦點。過去幾十年， 翁山素姬扛下緬甸民主的重擔。但是，直到前將軍登盛出任總统後，實質的改革才正式啟動。

與此同時，東南亞當代藝術在這幾年越来越受重視。然而，當代藝術和其定義正持續改變。和其他地方的藝術家一樣，緬甸最优秀的藝術工作者對世界藝術的發展和論述相當關注。但他们也清楚意識到，仰光正在蜕變。

这次的展覽為大家推介七位不同年代的緬甸藝術家。他们对摄影的了解和诠释截然不同。

虽然緬甸长期给人的印象是个封闭的国度，其人民的身份认同依然受环球化、世界潮流、和文宣的影响。Po Po和Nyein Chan Su用作品探讨相关问题。Tun Win Aung, Nge Lay和Aung Khin Myint的作品则富个人色彩。他们透过摄影勾起我们面对生老病死的无助感。而象Kaung 緬甸在这几年的改变。他们并非被动地记录这一切，而是通过摄影工作积极地塑造、挑战緬甸的民主自由。"  （http://www.facebook.com/events/366635343441613/）

策展人的香港足跡：

策展人莊吳斌其實常到香港舉辦藝術活動，如2012年8月在光影作坊的攝影展「印尼華人回教徒 (2007-2009)」，今年4月26日在Asia Art Archive舉辦一個有關柬埔寨的藝術講座 等。

HKADC 在 國際請病假日2013 專訪藝術家何遠良

HKADC 在 2013.5.13 國際請病假日,在西九長廊，專訪遠道到來"沖喜"的藝術家何遠良。祝身體健康！/ HKADC with Hong Kong artist Ho Yuen Leung at West Kowloon on 5.13 International Sick Leave Day!

國際請病假日Facebook 群組：http://www.facebook.com/groups/72090363070/?fref=ts

HKADC專訪邱志杰

HKADC專訪邱志杰
今期HKADC(香港藝術搜索頻道)十分榮幸邀請到幽默風趣的翁子健先生，專訪著名藝術家邱志杰先生。

如想知道邱志杰最近的藝術動態，在 Spring Workshop的創作狀況，他對Spring  場地的觀感，以及究竟有否打算申請成為專才來港，並多生幾個小孩？ 就必要看片！！！

展覽期由五月二十三日至八月十八日 免費入場 詳情請參閱：http://www.springworkshop.org/#/?p=1772

活化廳拾德好年宵剩物回收花車混合媒介裝置比賽（2013）

• 每年年宵過後，均會製造好幾百噸垃圾，認真浪費。活化廳，去年舉辦過「種德好植物回收計劃」，在年宵收集濕貨市埸的剩盆剩土剩花剩桔，作為天台農圃的免費資源。其間發現剩物的情況比想像中更驚人，市場內,枱椅衣架玩具水桶風車太陽眼鏡都一應俱全！ 是以活化廳今年再下一城，邀請各位一齊到年宵市場收集剩餘物資，再由藝術家帶領以裝置手法將手推車併湊成巡遊花車。各花車將於大年初七 (人日)於油麻地廣東道巡遊，期間將派發花車上所有拾物，將物資轉贈街坊，並與各街坊拜年。整個競賽活動除了講求各隊伍的即時創作能力、藝術家的結構製作技術及裝置技巧，更對物料取捨及造型設計有相當嚴格的要求，歡迎有興趣朋友加入！ 活動特設「最上鏡花車大奬」及「終極益街坊花車大奬」。參選花車造形將上載到活化廳facebook專頁，讓公眾評分，獲得最多公眾讚好的花車照片將會得到「最受公眾喜愛花車造形大奬」。而在巡遊當日率先「被清貨」的巡遊花車，將會獲頒「終極益街坊花車大奬」殊榮！ 特別鳴謝：油麻地地區小舖贊助手推車、香港藝術搜索頻道全程直擊花車競賽！ ＊＊＊ 「拾德好剩物回收花車裝置比賽」 日期：2013年2月10日（星期日）大年初一 時間：清晨 4-8 am 地點：花墟年宵市場 (界限街入口) 集合 策劃：方韻芝 + C&G 參與藝術家：鄧國騫、楊修麟、梁志剛、拾下拾下過新年隊 (黃振欽、姚君豪、李雪盈、黃榮臻) 及C&G 活化廳網頁：http://wooferten.blogspot.hk/ 活化廳拾德好年宵剩物回收花車混合媒介裝置比賽 第一集

活化廳拾德好年宵剩物回收花車混合媒介裝置比賽 第二集 
出發前，隊形評估﹣﹣﹣﹣﹣

活化廳拾德好年宵剩物回收花車混合媒介裝置比賽第三集

各組視察年宵塲地，檢視暫時的浪費剩物情況:

活化廳拾德好年宵剩物回收花車混合媒介裝置比賽第四集

花車裝置完畢，準備回廳，並進一步測試各花車的真正能耐---

活化廳拾德好年宵剩物回收花車混合媒介裝置比賽第五集

花車回廳路途崎嶇，有驚無險﹣﹣

活化廳拾德好年宵剩物回收花車 終極回 I
 初七人日廣東道花車巡遊

活化廳拾德好年宵剩物回收花車 終極回 II
訪問街坊--

活化廳拾德好年宵剩物回收花車 終極回 III
請藝術家鄧凝姿，從裝置及社區藝術的角度，討論本花車巡遊活動

活化廳拾德好年宵剩物回收花車 終極回 之 終極 終極 終極篇

 花車巡遊頒獎典禮及訪問----

HKADC香港藝術家印度交流特輯 - [en]counters powerPLAY

encounter PowerPLAY 2013 是由Art Oxygen (http://www.artoxygen.org/)和Asia Art Projects (http://www.asiaartprojects.com/) 在孟買主辦的公共空間藝術計劃. 是次計劃救邀請了澳洲的Satellite Art Project, 香港的活化廳及C&G藝術單位，印度當地的藝術家等參與。

HKADC印度交流特輯 一 (Art Exchange in Mumbai I):

2013年1月11日下午,在孟買市中心的公園Horniman circle garden 報導藝術家梁美萍準備舉行工作坊的情況.

HKADC印度交流特輯 二 （Art Exchange in Mumbai II)

2013年1月11日藝術家梁美萍在孟買公園Horniman circle garden 舉行藝術工作坊：她在香港帶來不同 在印度製造（Made in India)的物品，在工作坊中請小朋友用陶泥把那些在印度製造的物品複製，然後與他們交換----＞印度小孩把印度製造的物品帶回家，並把陶泥作品送給Momo .

HKADC印度交流特輯 三 (Art Exchange in Mumbai III)

C﹠G的Clara Cheung在孟買公園Horniman circle garden 舉行工作坊. 內容是關於她作品:Symphony of Mumbai Seawater, 小朋友運用鹽水發電,使由塑膠水樽製作出來的建築物發亮. 

HKADC印度交流特輯 四 (Art Exchange in Mumbai IV)

HKADC 香港藝術家印度交流特輯 四: 追訪活化廳廳長李俊峰在孟買交流的情況, [除與小孩交流也與當地山羊交流], 及報導活化恩--鍾惠恩在當地的作品.

HKADC印度交流特輯 五 (Art Exchange in Mumbai V)

HKADC 香港藝術家印度交流特輯五：本集在孟買的Studio X訪問羅至傑，了解下他在[en]counters powerPLAY 藝術計劃中的創作情況，及他的星星計劃在當地的發展。

HKADC印度交流特輯 六 (Art Exchange in Mumbai VI)

HKADC 香港藝術家印度交流特輯六: 在孟買的Studio X樓下有所地道的餐廳,各香港藝術家在印度首數天，託賴地沒有水土不服後，就在此餐廳盡情品嘗印度菜。

HKADC台灣特輯III：香港藝術家劉學成訪問台灣藝術家朱駿騰

奧沙畫廊的展覽：“煉銀術-從煉金到煉膠”開幕中，邀請到香港藝術家劉學成訪問台灣藝術家朱駿騰，來個港台藝術交流！

香港藝術家到台灣深造和發展？ 藝術家李萬亨分享。

自藝術家李傑先生到台灣發展後，各香港藝術朋友都似乎心癢癢，好有興趣看看台灣的藝術發展前景！

本集HKADC再次在台北台追訪香港藝術家的足跡。在士林找到從香港來到台北深造及打算在此定居的藝術家李萬亨，請他分享下在台發展的狀況！原來真係唔錯架！

HKADC專訪活化廳下放投票權搵鬼投票

HKADC 專訪活化廳下放投票權 搵鬼投票給文化界功能組別：

1．活化廳廳長指出文化權及投票權需要下放，活化廳率先把投票權下放至陰間
2．而由於活化廳也有不少遊魂常客，故此舉必受歡迎
3．廳長已請人紮了三個代表"體育，演藝，文化及出版界別"候選人的紙紮公仔：蕭思江，馬逢國，周俊輝，於9月5日星期三黃昏時份，燒給遊魂，搵鬼投票。

HKADC反洗腦教育, 在9.1政總集會訪問參與集會藝術家朱耀煒

﹣﹣朱耀煒也參與了《官員再培訓計劃》觀念藝術展覽：
當中邀請了十二位身兼藝術教育工作者的藝術家(包括有任教中學、小學、大專院校的藝術教師、獲行政長官卓越教學獎的藝術教師、藝術發展局藝術教育小組委員會主席的藝術教師­等)，以藝術教育角度分析及回應這個科目本身及推行手法的問題。 

邀請藝術家:區華欣、陳發枝、蔡芷筠、周順強、朱耀煒、姜志名、林謐、劉家成、文晶瑩、楊秀卓、張嘉莉、鄭怡敏(阿金) 
展覽開幕: 6pm, 2/9/2012 (日) 
討論會:2/9/2012(星期日)，晚上6:30 - 8:00 
展覽日期: 3/9/2012(一) - 14/10/2012(日) 
展覽時間:2:00 - 7:30pm, 逢星期四至一 
(星期二、三及公眾假期休息) 
展覽地點:香港 九龍 太子西洋菜南街222號3/F 「C&G藝術單位」(港鐵太子站B2出口，始創中心後) 

http://www.candg-artpartment.com/gallery/nationaleducation_newsletter.html

HKADC藝術政策通識：藝發局的開會程序

HKADC 藝術通識講堂：藝發局D野點定出來架? ----藝發局的開會程序 
﹣誠邀藝術發展局藝術教育小組委員會主席蔡芷筠幫忙介紹﹣

This video with Ms. Ger Choi is about the various procedures within HKADC's (HKADC as HK Arts Development Council) meetings.藝發局開會

HKArts Discovery Channel with James Wong on HKADC and M+ at 55th Venice Biennale

Brief notes: 
James Wong discussing his views on the collaboration between HKADC (HK Arts Development Council) and M+ to represent Hong Kong to participate in the 55th Venice Biennale, and updating our audience about his lawsuit with HKADC since 2003.

1. Must have a public forum as soon as possible. Such a forum should invite the members (especially those who were elected by local artists/cultural workers) in the arts council to disclose the details within the meetings of HKADC and let the public know how this decision to work with M+ was made, so that the public can make a judgement on the conducts of these public institutes etc...It is especially good to host such forum before the Legislative council's election.....

2. His lawsuit with HKADC from 2003 is not over yet. He still has not "lost" the competition to represent Hong Kong in the 50th Venice Biennale.....

HKADC with artist Wilson Shieh 石家豪: HKADC and M+ at 55th Venice Biennale

藝術搜索頻道記者引言：
James Wong 在之前HKADC的訪問，(提出要在藝發局和M＋生米煮成熟飯前，就快D開論壇，公開ADC攪什麼，包括交邀請與會者告訴公眾，ADC是怎樣通過與M＋合作的建議。業界在

­搜集更多資料後，才能更有效作出判斷。
本集受訪嘉賓石家豪也提出很好的建議：雖然現在米已成炊，但應組織一個監察委員會，監察藝發局和M＋的合作細節，諸如財政運用的細節，以便為往後揀選香港代表參與國際展覽

­，訂立清楚合理的準則.....


Brief Notes:

1. Set up a monitoring group---
Hong Kong artist Wilson Shieh thinks even if HKADC is working with M+, it is important to set up a group to monitor how they work at the 55th Venice Biennale, e.g. how they spend the money... etc... Such a monitoring group should also be invited to give suggestion on the future model of the selection of HK representatives in Venice Biennale. A more transparent structure should be set up in order to help HK arts development.

2.To use the Legco election to help the problems in the art and cultural scene be exposed to the public through mass media
Supporting Mr. Chow Chun Fai to run for the Legco "Sports, Performing Arts, Culture and Publication Functional Constituency," Mr. Shieh actually does not support the existence of functional constituency in Legco. However, he does not want someone who is not speaking for the people in the field to be representing them again. Besides, it also is an opportunity for the people in the arts and culture to voice out the problems they have, and bring about a wider discussion with the public (through mass media) about our cultural rights and cultural vision.

HKADC with 鄧國騫 Tang Kwok Hin

This is an interview with Mr. Tang Kwok Hin about the collaboration of HKADC and M+ on the Hong Kong exhibition in the 55th Venice Biennale in 2013.

Brief notes:
1. The role of HKADC is to explain the management and development of the decision making process for the collaboration with M+, making it clearer and easier to accept for the public. The sudden announcement of the changes made gave an impression of "black-box operation", which is inappropriate and problematic for a governmental institution like HKADC.

2. The involvement of M+ is interesting because the status of M+, with the support from the Hong Kong government and its international power and reputation, it seems to be so strong that their decisions made are impassable. So, Lee Kit, as a representative artist for Hong Kong in the 55th Venice Biennale selected through the new procedures, has to bare in mind his role in the event.

3. Communication between the local artistic and cultural scene and international curatorial institutes like M+ is still very limited.

---Tang Kwok Hin (A contemporary visual artist in Hong Kong, winner of Hong Kong Arts Development Awards 2010, Young Artist Award of Visual Arts 2011)

HKADC with 周俊輝 Chow Chun Fai

This is an interview with Mr. Chow Chun Fai about the collaboration of HKADC and M+ on the Hong Kong exhibition in the 55th Venice Biennale in 2013.

Brief notes:

1. Focus is not just on how much money is being used, instead the balance between openness and fairness. He understands the difficulties and restrains HKADC has faced, and the collaboration with M+ will is beneficial, but HKADC has failed to publically and clearly explain how and why this decision has been made.

2. It does not mean that decision making process has to be directed entirely by people outside the institution, but sufficient communication and consultation from public is essential. Instead of just reporting the details of how resources are being divided, HKADC should bare in mind and explain to the public their aims, motives and selection conditions with proficiency, and even react and analyze more on principal issues, like the control of Obscene and Indecent Articles Ordinance and Copyright Ordinance.

---Chow Chun Fai (A contemporary visual artist in Hong Kong, winner of 'Hong Kong Arts Centre 30th Anniversary Awards Grand Prize' and the 'Sovereign Asian Art Prize')

HKADC with 黃國才 Kacey Wong

This is an interview with Mr. Kacey Wong about the collaboration of HKADC and M+ on the Hong Kong exhibition in the 55th Venice Biennale in 2013.

Brief notes:

1. Expresses the opposition from the art and cultural scene in Hong Kong for the changes of curators and artists selection scheme for the 55th Venice Biennale: from an open call submission process with public consultation, to disclosing any details of how and why decisions had been made is a form of decline, and is problematic when the financial source are mainly from tax payers in Hong Kong.

2. The artistic and cultural rights should also be in the hands of curators and artists in Hong Kong: Decision should be made under public consultation and high transparency.

3. Compared how decision is being made between the Venice International Architecture Biennale and the 55th Venice Biennale: The Hong Kong Institute of Architects was being invited to form a curation team and encouraged open submission of curatorial proposals. In this case, a comparison can be made between contestants, which enabled a fairer decision making process. 4. Looking forward to the explanation by M+ and HKADC on the decision made this year.

---Kacey Wong (A contemporary visual artist based in Hong Kong, winner of Best Artist Award in 2010, participant of 11th Venice International Architecture Biennale Exhibition in 2008)

HKADC with 黃照達 Justin Wong

This is an interview with Mr. Justin Wong about the collaboration of HKADC and M+ on the Hong Kong exhibition in the 55th Venice Biennale in 2013.

Brief notes:
1. Since there is a drastic change to the decision making process, from open call submission to disclosing any details of how decisions had been made, and explanation is essential: HKADC has to explain and convince the public about how the original open call method is inefficient, leading to the need for sudden change, but in this incident HKADC has failed to achieve that. HKADC need to have a long-term consideration for the decision they have made this time.

2. The amount of money assigned for this commission has doubled compared to the previous years, HKADC should list the details of resource distribution to the public.

3. M+ is in a passive situation, the main problem is on HKADC.

劉小康：香港政府從不缺錢 (只缺視野) Freeman Lau

HKADC with Freeman Lau about the collaboration of HKADC and M+ on the Hong Kong exhibition in the 55th Venice Biennale:

Brief notes:
Freeman Lau agrees to increase the budget for the HK exhibition in Venice Biennale, since he witnessed the situation in last year's show with Frog King in Venice. However, the extra money probably does not have to come from another public institute. (for example, it can be directly from the government/ HAB) In other words, the ability to give out HKD$5,000,000 should not be considered as one of the reasons or criteria to select a group or an individual to become the curator for the upcoming exhibit.