我就是這樣的

我就是這樣的－盤永傑、林家健創作展覽

This’s Me! – Creative Works by Kit Pond and Kevin Lam

開幕時間 / Opening :

2009年4月11日(星期六/Saturday) 下午三時

3:00pm, 11 April 2009

展期 / Exhibition Period :

2009年4月11日至5月24日

11 April to 24 May 2009

創作是每個人與生俱來的，不論我們接受甚麼教育，社會環境如何，身體總潛伏創作元素，只是每個人的發掘與否都有所不同！

每個人的性格不同，而創作就是性格的表現，盤永傑(Kit Pond)與林家健(Kevin Lam)兩位未正式入讀藝術學校的青年，憑自學或參與一些短期課程而踏入了藝術之門。 盤永傑自小喜歡在功課簿上塗鴉，畫著畫著發展出個人的風格，用簡單的原子筆畫出繁複而鬼怪的幻想空間。林家健在這個數碼相機盛行的年代，反璞歸真以菲林相機拍出一幅幅的照片，那年少輕狂的歲月，那響往自由的生活態度，均能從相片中窺探出來！

Everyone has innate creativity hidden within us, independent of our education and social background. What makes the difference is whether or not we discover and develop it.

Different persons have different personalities. Creative activity will reveal one’s character. Never attending any formal art academy, the two young artists Kit Pond and Kevin Lam propel into the artistic world through self-educating and taking short term courses. Kit used to scrawling on his homework books, by which he gradually developed a personal style. Using a single ball pen he sketches out an eerie, complicated yet imaginative scope. Kevin has persisted in taking photos using traditional film camera in the e-era where digital camera prevails. His photos will let you have a peek into his young and passionate days and a life attitude craving for freedom.

參展藝術家 / Participated Artist:

盤永傑 / Kit Pond、林家健 / Kevin Lam

策展人curator：

施援程 / Cora Si

主辦 / Organization：

婆仔屋藝術空間 / Old Ladies’ House Art Space

贊助 / Sponsor:

民政總署/ IACM

地點 / Venue：

牛房倉庫 / Ox Warehouse

澳門美副將大馬路與罅些喇提督大馬路交界

No Cruzamento entro a Avenida do Coronel Mesquita e a Avenida Almirante Lacerda Macau

開放時間 / Opening time：12:00 ~ 19:00, 逢星期二休息 / Closed on Tuesdays

巴士路線 / Bus Line : 1，1A，3，3A，4，5，6，7，8，8A，9，9A，16，17，23，25，26，26A，28C，32，33，34

查詢 / For enquiry：28530026 (12:00 ~ 19:00, 逢星期二休息 / Closed on Tuesdays)

傳真/ Fax：28533047

E –mail：oxwarehouse@gmail.com

Website：http://oxwarehouse.blogspot.com

四月活動

4月1日至4月10日, 我們剛好兩個展場都在展覽預備中, 故這段時間我們暫時没有展覽, 但我們的工作仍在進行中, 仍然會開放, 大家可密切留意我們接下來的活動。
We are setting up two exhibitions in Ox warehouse, between 1^st to 10^th April, 2009. So the exhibition halls are closed, and no exhibitions at this moment. Ox warehouse office is still open and operated. If you wanna know any coming activities in here, please check on below information.

4月3日, 開始新的創意陶藝手作坊, 逢星期五晚 7:00-9:00上課, 牛房報名上課。

In 3^rd April, 09, we begin the hand-build ceramic workshop, ‘Creative Ceramic’. Time is between 7:00-9:00pm in every Friday. Enrolment is in Ox warehouse now.

4月11日, 二樓有最新展覽《我就是這樣的 - 盤永傑、林家健創作展》, 下午3:00開幕, 敬備茶水, 免費入場。
At 3:00pm In 11^th April, 2009, we will organize an exhibition opening, This’s Me! – Creative Works, by Kit Pond and Kevin Lam’. Reception will be provided and free admission.

4月12-13日, 20:00, 澳門藝穗活動《光 . 音》身體劇場(台北), 牛房演出, 廣星購票。
In 12, 13 April 2009, we will show Macau Fringe activity, ‘Luz e Som Aurora’. It will performed by SunSon Theatre (Taipei) in Ox warehouse. Ticket is on sale in Kong Seng Paging now.

4月14日, 19:30, 澳門藝穗活動《身體聲音 - 節奏開發創造》身體劇場(台北)工作坊, 牛房上課, 廣星報名。
In 14 April 2009, we will co-organize a Macau Fringe workshop, ‘Inspiring and Creating the Body, Voice and Rhythm’ by SunSon Theatre (Taipei), in Ox warehouse. Enrolment is in Kong Seng Paging now.

4月18日20:00&4月19日15:00, 澳門藝穗活動《搏拉奇異坊》荷蘭戲萃, 牛房演出, 廣星購票。
At 20:00 in 18 April 2009, and 15:00 in 19 April 2009, we will show another Macau Fringe activity, ‘Cirque du Bold’, in Ox warehouse. It will perform by H.mix,. Ticket is on sale in Kong Seng Paging now.

4月19日, 14:30, 兒童工作坊《大人細路城市樂園》, 逢星期日上課, 牛房報名上課。
In 19^th April 2009, we will begin a workshop, ‘Children and Adults Funland’. Lesson wil be at 14:30 on every Sunday. Enrollment is in Ox warehouse now.

4月26日, 地下大倉最新展覽《我不在3 - 多元創作展》開幕, 敬備茶水, 免費入場。

In 26 April, 2009, we will organize an exhibition opening, ‘My absence 3: Group creative exhibition’. Reception will be provided, free admission.

Running Art and Culture in a Vacuum

Round table discussions by Macau’s art spaces at the Ox Warehouse.

As the tenth anniversary of Macau’s Handover rapidly approaches, local communities are becoming more and more aware of the effect of time. Macau has undergone considerable changes during the recent years. Different sectors of society naturally feel the urgency to reflect on past efforts, in order to better discern the future path. Among these sectors, Art and Culture is counted as one of the main features of Macau’s future development.

In an effort to group opinions from cultural actors of the city, art director of the Ox Warehouse Art Space, Frank Lei, initiated a round-table discussion on the topic at the end of 2008. Representatives from government departments and local art spaces were invited to share their experiences on how they have been carrying out their projects, and most importantly, what kind of challenges they are facing towards the tenth year of Macau’s handover.

At the invitation of the Ox Warehouse, different interested parties attended the event. Participating art spaces included the Art Association of Comuna de Pedra, the Macau Sky & Earth Ceramic Association, the Meow Space, the Poor Space, the Cut Association of Visual Arts, the Art for All Association and the Macau Arts Affair Institute. Apart from local art spaces, representatives from the government such as Ng Vai Ming and Choi Chi Hong from the IACM, Chou Kwok Ping from the University of Macau, and Hong Kong art critic Chow Fan Fu, also joined in the discussions.

Brief presentations of each art association commenced the event with remarks on the numerous challenges that they are facing. Comuna de Pedra, for example, explained that although the art association has been running for over 15 years already, the mode of its very own survival is still in question. Cheung Sio Han, current director of Comuna de Pedra, explains that the major problem comes from the area of funding.

“Every year we are supposed to present an annual proposal to concerning public departments such as the Cultural Institute or the Macau Foundation in order to apply for funding. But the system of funding is in fact not ‘annual’ at all; the projects are to be considered one by one. And if they don’t accept the application of a particular project, there is no way to know why. Apart from filling in the bureaucratic forms provided by these organizations, we have no concrete contact at all with any of these organizers. Since we have received no guidelines and the attribution of money has always appeared to be unstable, we keep dealing with one project after another without a general vision of where we are actually going. In time, we just fill in the forms with the project contents, hoping that they will fit into the actually non-existent criteria of our sponsors.”

Cheung Sio Han further explains that the situation is creating a deep problem for the Association of Comuna de Pedra, because counting on the association alone; they cannot really change the overall situation.

Mok Sio Chong, director of the Poor Space, which is a local theatre and workshop, also joined in the commentaries.

“The Poor Space is named in such a way not without reason. I go from time to time on the government’s website and realize that certain local associations in Macau can get allocation of funding of up to 1.2 million patacas per year, while the Poor Space is getting only 20 thousand! I can’t help but ask myself, why is it like that? Who decides the criteria to allocate money? There is a lack of transparency and

a lack of responsible departments within the government to monitor all these questions.”

While most of our art spaces share the same kind of funding problems in Macau, Hong Kong art critic Chou Fan Fu, also the external counselor for the Ox Warehouse, explains that in Hong Kong, the situation is quite different. The Hong Kong Arts Development Council was founded in 1995 and is considered to be the major public department created to manage the area of Art and Culture. Chou Fan Fu explains,

“It was started in fact in the 1970’s. The main question was to create some sort of standard or criteria as a reference. And any member of the legislature could freely sign themselves up to this particular group of the council. And then in 1995, this council was transformed into the Hong Kong Arts Development Council. From that time half of the council members have been elected or recommended by the art circle in Hong Kong, and half of them are designated by the government.”

As Chou Fan Fu continues to explain, there are two kinds of support provided by this council; one is aimed at short-term projects while the other is managed on a long-term base, such as how to maintain the survival of local art associations. “The advantage of the council system is that everything has now become very transparent. Guidelines are being given as to how the artists or art associations can apply for different programs. And if the jury should reject any particular project, then a report must be written to state clearly the reasons. The names of the jury members are also given for public scrutiny. If there should be any conflicts of interest, this should also be reported.”

But while there are advantages to this system, Chou Fan Fu also admits that there is also inconvenience.

“Certainly, once established, this mechanism can be quite inflexible with all sorts of rules. Artists or art associations that know very well the rules of this game may do very well. But as we know, artists may not have a very organized personality and most of the time, they may still be excluded from the bureaucratic nature of this system.”

As Chou Fan Fu describes the advantages and disadvantages of the establishment of such an art council, our government representative, Choi Chi Hong, Head of Division of Cultural Facilities of IACM, also expresses his opinion. For Choi Chi Hong, the idea of creating an art development council is not compatible with Macau.

“It is possible in Hong Kong because it is much bigger. In Macau, we don’t have enough people to provide such services. The people who would be involved would probably be the same circle of people.”

But the Hong Kong art critic does not agree. Chou Fan Fu says, “In Hong Kong, there are also the same groups of people who are involved in the art affairs anyway. The problem is not that they might have different roles to play.

The main question is the concept of the rules. Once the rules of the game are established and are clear, everyone is free to join the game.”

Indeed, the real problem in Macau’s Art and Culture sector is the lack of a responsible department and in other words, there is not even a game to play. Subsidies are being attributed arbitrarily by separate public organizations without any stated guidelines or public consultation. The lack of transparency is obvious. It is as if local associations are being run in a vacuum of policies and rules. The situation is an obstacle for any long-term vision and planning.

James Chu, director of the Art for All Association, expresses opinion on the topic.

“Now the government is considering the development of Creative Industries, which is a good thing. But the problem stays the same. We still don’t have a specific department for such matters. The Cultural Institute and the IACM are doing a lot to promote the ideas of Art and Culture among citizens, but we still need the government to lead the role to create specific positions, so that different departments can work together. Once the work loads are divided clearly, the work can actually be achieved.”

One of the main keys to achieve this, James Chu says, is the training of competence. “We who are running art associations know very well this situation: we lack people who can take care of the administrative process between the artists and the government. Due to the lack of resources, we cannot afford to employ administration professionals. The situation is that the government provides the most promising conditions and people tend to choose working in the government rather than with us, local associations. If the government does not take this problem seriously and start training competence in art administration, there is little that we can do with our limited resources.”

Indeed, the present situation is still very different from what we can expect. Considering all the commentaries of our most active “art workers”, we might realize that there is in fact not a lack of vision towards the future development of Macau’s Art and Culture, but there is obviously a lack of communication between local voices and the government. Towards the end of its second term, Edmund Ho’s government is perhaps not in the most convenient place to make any consequential decisions now. But ten years have almost gone by and we cannot help but look back with a certain degree of regret. Clear-minded as an outsider, Chou Fan Fu describes the situation, “Nine years after the Handover, we realize that no fundamental change has been made in Macau (concerning Art and Culture). It seems that many opportunities have been missed during all these years, while the resources were still abundant. Now that the economic future has become somewhat gloomy, it will be even more difficult for us to move.”

by Alice Kok

Quotation: macau Closer (March)

http://www.macaucloser.com/art_culture_in_vacuum.html

大人細路城市樂園

大人細路城市樂園

兒童藝術工作坊

Children and Adults’ Funland

時間：2009年4月-7月

對象：7-10歲小朋友（共兩班）

導師：林月娥，黃春雅

每班人數：12

學費：MOP$550 (完成90%課程的學生可退回一半學費)

報名及上課地點：牛房倉庫

單元名稱	A班（7-8歲） 上課日期（時間）	B班（9-10歲） 上課日期（時間）
單元一：你最喜愛的房舍	4月19日 2:30-4:00	6月7日 2:30-4:00
單元二：家家樂	4月26日 2:30-4:00	6月14日 2:30-4:00
單元三：用眼晴呼吸	5月 3日 2:30-4:00	6月21日 2:30-4:00
單元四：空間大玩家	5月10日 2:30-6:00	6月28日 2:30-6:00
單元五：玩轉澳門街	5月17日 2:30-4:00	7月 5日 2:30-4:00
單元六：相聚一刻	5月24日 2:30-3:30	7月12日 2:30-3:30

透過「城市樂園」的教學活動，讓小朋友對城市生活狀態、生活環境產生初步的了解和想法，藉著感觀的經驗，建立小朋友對生活上點點滴滴的關注；同時部份活動將融入大人和小朋友共同參與，以合作形式來相互激發創作靈感，擴闊個人的想像空間。

活動由民政總署及文化局贊助

南洋清新電子風

南洋清新電子風 ：

aspidistrafly & flica澳門音樂會

Fresh electronica from S.E.Asia : aspidistrafly & flica live in macau

演出時間/Time:8:00pm 29-3-2009

演出者 / Performer：aspidistrafly (Singapore) / flica (Malaysia)

特別嘉賓 / Guest Appearance：evade (Macau)

門票/Ticket：MOP $60
售票點/Ticket Office：牛房倉庫及邊度有書/ Ox WareHouse & Pinto Livros
(牛房之友、邊度有書之友及學生可享MOP$50票價優惠，購票時須出示有效證件)
(Special ticket purchase at MOP$50 are open for Friends of Ox WareHouse,Pinto Livros and students.
Please present vaild ID during purchase)
現場不設劃位 Seats are not assigned

主辦 / Organization：婆仔屋藝術空間 / Old Ladies' House Art Space
協辦 / Co-organization：Kitchen , 边度有音樂(Pintomusica)

節目查詢 / Program inquiry：(853)28 530026

for more information:

http://oxwarehouse.blogspot.com/

http://blog.roodo.com/pintomusica

aspidistrafly：

“Refined and robust, these well organized aural assemblages give ample animation and seriousness to the light and prosaic elements of the everyday.” -– Cyclic Defrost (Australia)

"Full of dreamy post shoegaze soundscapes, ethereal female vocals & lullaby folk textures. It kind of reminds me of the pastures between Sigur Ros & Cocteau Twins, the voice fluttering & hovering around tantalisingly between absorbing passages of crisp acoustics, subtle found sound samples, gentle ambient/drift textures and blissed laptop glitch. It's definitely of a high pedigree, lovingly produced and a delight to look at as well hear." - Norman Records (U.K.)

“A gentle album thats shines like a jewel, like sunlight through the leaves of trees." -- Bounce Magazine (Tower Records Japan)

"Everything is worked out into the smallest details. With field recordings and microsounds they sculpture songs to accompany dreamy vocals. With an eye for details like Taylor Deupree and in the vein of Japanese musician Piana. 8/10" --　EARlabs

”ts not easy to pin down aspidistrafly’s music into a specific genre, which is a good thing. Can you imagine Richard Chartier playing dreamy pop music? With some female vocalist? I’d say aspidistrafly is microsound and pop. Very refined.”-- Vital Weekly

"他們全心全意打造出一張滿載追憶與情感，卻跳脫文字，純粹以深思熟慮的聲音設計營造出獨特氛圍的專輯,「i hold a wish for you」每個細節都盡見aspidistrafly對他們心血結晶有多麼的重視！" -- Node Culture (Taiwan)

"仿佛一串追憶中的片刻清醒，一次長途遷徙中的短暫停留，安逸、和煦，點綴著自身的優雅和aspidistrafly式的消匿，就像天高氣爽的時日，從空氣中踱出一位詩人，他無聲無息地握住另一位詩人微顫的雙手――aspidistrafly也曾這般仁慈――然後，指縫間滲出一道明銳的光" - - 中國著名音樂雜誌《通俗歌曲．搖滾》

http://www.aspidistrafly.com/

flica：

“大馬獨立音樂人flica的處女專輯，以清新小電為主軸，加上靈巧的IDM韻律和甜美且不落套俗的流行樂架構，得以充滿畫面感的方式漂亮地呈現出獨立電子音樂其溫暖及人性化的一面”-- Node Culture (Taiwan)

“閉上眼睛，感受自體內逸出的自然旋律，來自吉隆坡的Euseng Seto（flica），以鋼琴為中心，融合如呼吸心跳般自然有機的電子韻律，特別適合在夜晚聆聽，讓想像力自由飛翔” -- intoxicate vol.77(Japan)

“Though piano is the central instrument in the new album's ten pieces, the instrument is joined by acoustic guitar, strings, programmed beats, and ambient atmospheres in Euseng Seto's electro-acoustic settings. Throughout, the music is warm, the style consonant, and the vibe pastoral; the Malaysian artist's music, in other words, is anything but nightmare-inducing… It goes without saying that Flica's Nocturnal will also appeal to devotees of Sawako, Daisuke Miyatani, Akira Kosemura and Rist” --- textura (Canada)

“I have no doubt that some will view this similarity of feel and sound across all of the tracks as a hallmark of dreaded predictability, but considering the way in which Flica's work stands out from many others in the IDM crowd in terms of its ability to utilize complexity in an extraordinarily accessible and comprehensible manner, I feel it unfair and, indeed, mistaken to think of it as anything other than consistency.” --- Fred Bevan (The Silent Ballet, USA)

http://www.myspace.com/flicasound

evade：

來自澳門的四人樂隊evade，音樂風格深受electronica、dream-pop、shoegazing和dubstep影響，目前成員包括主音Sonia，結他Brandon，低音結他Jason和電腦音效的Faye。Evade的音樂充滿甜蜜和夢幻的意境，以聲音作媒介，尋找飄渺美感的氛圍。

evade is from Macau, whose style blends together electronica, dream-pop, shoegazing and dubstep. After several changes to personnel, the current setup is established in 2006, and includes Sonia (vocal), Brandon (guitar), Jason (bass) and Faye (sound programming). evade's music is characterized by a sweet, dreamy mood. Through the medium of sound, an ambience of beauty can be found．

http://www.myspace.com/evademacau

French hip hop duo begin China tour in Macau

From: The Macau Post Daily March 13,2009

華僑報特訊-創意

牛房辦創意陶藝手作坊

【特訊】牛房倉庫將於下月開辦「創意陶藝手作坊基礎班」工作坊會先以教授陶藝基本技巧為基礎，再加入不同元素啟發學員的創作思維，製作獨特的藝術作品。
　 這次牛房倉庫邀請了李舜如及Diana Maria Banares de Jesus作為工作坊導師。李舜如早年於美國休斯頓大學學習視覺藝術及雕塑，其後回澳學習和教授陶藝，零六年開辦陶藝工作室，教授陶藝及首飾。零七年與在 澳學習陶藝的Diana一起教授陶藝，兩人曾多次參加本地及外地藝術展覽。
工作坊為十六歲或以上人士而設，適合初學及對陶藝有認識人士參與。
　工作坊上課時間由四月三日至六月五日，逢星期五晚上七時至九時，共八節課。費用為澳門幣陸佰元，包材料及燒製（婆仔屋之友及學生可享九折優惠）。
　工作坊於牛房倉庫進行，場地由民政總署提供，牛房倉庫（澳門美副將大馬路與提督大馬路交界）開放時間為每日中午十二時至晚上七時，逢星期二休息。
查詢可電二八五三００二六，電郵oxwarehouse@gmail.com，更多資料可瀏覽http://oxwarehouse.blogspot.com/。◇

本文摘自 華僑報 2009/3/16

FISTO & NEMO音樂會順利告終

FISTO & NEMO(法國HipHop)巡迴音樂會澳門站於週四晚在牛房倉庫順利完成，FISTO與NEMO兩人對音樂熱情投入，在設備簡陋的牛房亦無礙兩人的全情演繹，他們把在場觀眾的熱情帶到高點，令觀眾完全投入到他們的音樂世界。FISTO 和 NEMO在澳門短短逗留不足兩天已趕著離開，繼續他們的中國巡迴之旅。

澳門日報「牛展」專輯

“牛年牛又展”創作特展

牛牛話語/繪畫 黎嘉敏 一天一杯牛奶震驚一個民族/錄像+裝置 李銳俊 黑焦牛樓市免炒/裝置 王 翊 肉食者/錄像 洪靜文 日出而作/裝置 施明坤 蠻牛/素描 余韶湘

“牛年牛又展”創作特展 大 家應該還記得2003年新春時的“羊年牛展”特展吧，讓這個當時對市民仍然陌生的廢置倉庫加入了“藝術”的新鮮養份，令“牛房”煥發出其獨有的創造力和感 染力，不同的創作媒介一起投入到這個全新的空間裡，大家發表各自的見解與想像，漸漸地，牛房經過一年又一年的蛻變，至今，仍不斷換上一件件的新裝。 踏入2009年的新春，我們共聚一堂，牛房希望再次邀約當年曾參展的藝術家及一些創作新人類，為新春開年注入不同的色彩，也讓創作這回事變得自在、輕鬆起來。對進入第六個年頭的牛房倉庫，回望也好，期望也好，希冀透過不同的展示方式保持獨特的藝術氣象。 瞬間變幻的小城，旣熟悉又陌生，不斷打破固有的框框，惟如此，才能讓我們覺得生機盎然。也許，我們透過有趣、有心的創作，透過大家不同的回響，令這個日趨繁雜的城市添多些樂趣吧！這也許是大家在這一年的願望。 參展藝術家：陳秀燕、余韶湘、蔣志儉、黃家龍、吳子軒、百強、Fernando Madeira、洪靜文、蘇惠瓊、李英維、李綺琪、胡松偉、吳方洲、李銳俊、方惠萍、施明坤、陳遠問、唐重、黎嘉敏、陳佩玲、潘羽祐、王翊、蔣靜華。 主 辦：婆仔屋藝術空間 地 點：牛房倉庫（美副將大馬路與罅些喇提 督大馬路交界） 開放時間：12:00~19:00；逢星期二休息。 本文摘自 澳門日報 2009/3/10 E03版

Delta Bridges

http://deltabridges.com/event/fisto-nemo-tour-french-hiphop-concert-macau-macau

FISTO & NEMO on tour (French HipHop)-Concert in Macau (Macau)

Details

MACAU EVENT

Event Date:

Thursday, 12 March 2009

Time:

9:00pm

Price:

MOP $50

Organizer:

Old Ladies' House Art Space / Alliance Française de Macao

Venue:

Ox Warehouse, Intersection of Av. do Coronel Mesquita and Av. do Almirante Lacerda, MACAU

澳門美副將大馬路與罅些喇提督大馬路交界 牛房倉庫

Phone:

(853)28 530026

Email:

oxwarehouse@gmail.com

Website

Flyer

Description

On the forefront of mature French rap, Fisto moves easily among the various music styles and modes of expression that characterize the genre.In this era of hard-hitting Hip Hop, Fisto took to creating a style aimed at satisfying the mind as well as sales.He is, as Desproges would say, an “unencumbered artist”. Working with themes such as intimacy, instinct, decadence and the specious present, his effusive odes to unrequited love allow the listener space for his or her own personal vagaries.

Ticket Office： Ox WareHouse, Pinto Livros & Alliance Française de Macao(2896 5342)
(Special ticket purchase at MOP$30 are open for Friends of Ox WareHouse, Pinto Livros, Alliance Française de Macao and students. Please present vaild ID during purchase)

創意陶藝手作坊基礎班

李舜如作品 --------------------------------------------------------------------------------------------------------------------------- Diana 作品

創意陶藝手作坊基礎班

李舜如早年於美國休斯頓大學學習視覺藝術及雕塑，其後回澳學習和教授陶藝，零六年開辦陶藝工作室，教授陶藝及首飾。零七年與在澳學習陶藝的Diana一起教授陶藝，兩人曾多次參加本地及外地藝術展覽。牛房開辦「創意陶藝手作坊」希望藉此，讓更多對陶藝有興趣的人士參與，工作坊先以教授陶藝基本技巧為基礎，再加入不同元素啟發學員的創作思維，製作獨特的藝術作品。

名 額：10人
對 象：16歲以上，適合沒有基礎或有初步基礎對陶藝創作有興趣的人士。
導 師：李舜如、Diana Maria Banares de Jesus

上課日期：3/4—5/6/2009，逢星期五7:00—9:00pm (共八節，10/4, 1/5假期)

材料費：MOP$600.00（包材料及燒製）

(牛房之友、及學生可享九折優惠，報名時須出示有效證件)

上課地點：牛房倉庫 (澳門美副將大馬路與提督大馬路交界)

查詢致電：2853 0026 (12:00~19:00，逢星期二休息)

（工作坊由婆仔屋藝術空間主辦，民政總署提供場地。）

今日華僑新聞-牛展座談及音樂會

本文摘自華僑報 2009/3/7 第二張 第二版

本文摘自華僑報 2009/3/7 第四張 第四版

(點擊放大更清楚)