我就是這樣的－盤永傑、林家健創作展覽

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

因為教學的緣故，接觸了一些愛好藝術的學生，也因為是教興趣班，所以，這些學生都不是讀藝術出身，但他們對於藝術的熱愛並不少於讀藝術出身的人，甚至乎長期在創作中。

最初認識阿傑（盤永傑），發覺他很有繪畫天份，喜歡在功課簿上塗鴉 ，只是以簡單的原子筆作工具，圖像天馬行空靈異鬼怪 ，但原來他沒有正式學習過繪畫，小時候常在上課時畫一些火柴人式的小公仔，十多歲開始畫的東西才慢慢多了些線條，再發展為現在線條複雜的圖畫。那些結構密集的畫像可是要經過深思熟慮所構成的，每一幅A4尺寸的原子筆畫要畫上一個月以上。阿傑也許像很多青年人一般，對將來的發展有點茫無頭緒，也許，他算是個幸運兒，兜兜轉轉他終於可以找到一個可以一展身手的行業為職業。

盤永傑這次創作將把作品直接畫在展場的牆上, 而且這將是一個進行中的展覽, 他會在展覽期間不斷的畫, 直至展覽結束之日, 所以無論你甚麼時候來看展覽, 都將看到不一樣的畫......

讀IT出身的Kevin（林家健）差不多大學畢業才開始接觸攝影，在學校讀完一個攝影興趣班後，接著報讀幾個有關的課程，在此期間認識到不同的攝影，起初先接觸數碼相機，到後來用菲林及針孔相機，嘗試過後還是喜歡菲林的質感，他把Lomo-Hogla 120用135菲林來拍攝，以正片沖負片方法沖菲林，用自己的scanner掃描出來，顏色竟與沖曬出來的偏藍效果不同，色彩豐富，也由於scan的緣故，原來不能從菲林沖曬出來的影像，可以用電腦高反差來顯現，這個年代，電腦與菲林的結合，是最佳拍檔。

和大部分初接觸攝影的人一樣，取材是最難的一項，所以，Kevin很多時都是很隨意的拍攝，也是因為菲林不能立即預知所攝的效果，他反而更隨意的到處拍，構圖空間比起數碼拍攝大膽很多，而他的菲林作品，竟然略帶實驗味道，或許，這就是內心深處的Kevin。

Teaching made me have contact with students who love art. I got to know them during informal ‘hobby’ courses that I tutored, and all of them do not have any formal art education background. But their commitment is no less than those of formal art majors. And they have been in the process of incessant creation over a long term.

Kit Pond impressed me in our first contact with his great painting talent. He likes scrawling on his homework books, using a single ball pen to sketch out eerie images infused with imagination and vigor. Yet the fact is that he has never formally studied painting. In his early childhood, during classes, he liked to draw some small, matchstick-men-like figures. Only after his teen years he gradually drew more lines and eventually developed his drawings into paintings with complicated and delicate lines. These images, elaborately composed, are all fruit of long contemplation – each A4 ball pen-painted page would take him more than one month. Kit, like many other young men, was once at a loss towards his personal future development. Perhaps we can say he is lucky enough to finally find a profession in a sector where he can further develop his talent.

Kevin Lam is an IT graduate. He only got into contact with photography when he was about to complete his university degree. He attended several more relevant courses after taking a first photography ‘hobby’ course in the campus, during which he got to know the different types of photography. Starting with a digital camera, he then switched to film and pinhole cameras. After some time he discovered that he really likes touching the film. He took photos with a Lomo-Hogla 120 using film, developed it by way of “e2c” (employ negative film development method to develop positive film) and scanned it afterwards. It turned out that the color is very rich, different from the bluish effects resulting from the traditional development method. Moreover, due to the scanning, images which can’t be produced by conventional development emerge, as a result of the high contrast enabled by computer. The combination of computer technology and film is a perfect combination in this era.

For Kevin, and many other photography beginners like him, capturing subjects seems to be the most difficult thing. To overcome this, Kevin usually take photos at free will. In addition, as using film camera won’t allow the photo effects to be seen instantly, he prefers to give himself much more freedom to take pictures wherever possible, thus composing photos with a bolder approach than in digital photographing. This has givend his film works a bit of experimental flavor. Probably that is what Kevin is.

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

南洋電子音樂會順利完成

澳門樂隊evade


馬來西亞的flica


壓軸有來自新加坡的aspidistrafly



剛過去的星期日晚, 牛房舉行了一場精彩的音樂會, 這次音樂會邀請了南亞的兩個電子音樂組合新加坡的aspidistrafly及馬來西亞的flica, 同場還邀請本地難得的唱作組合evade作演出嘉賓為音樂會打開序幕。演唱會吸引了大批觀眾前來欣賞, 簡單的旋律、柔情的聲線贏得不少掌聲, 不少歌迷更即場購買他們的最新唱片及排隊簽名。其中兩款CD牛房現尚有售, 歡迎光臨選購。

「打開那裡的線面」創作坊

「打開那裡的線面」創作坊

2008年牛房曾邀請香港著名藝術家劉掬色主持「看見未知的面線」工作坊，她由綫條開始帶領學員漫遊未知的想像領域，探討創作的無窮樂趣。今年劉掬色將延續「線」、「面」的無限延伸力量，舉辦「打開那裡的線面」工作坊，其重點將延續上一工作坊的特色，以開拓對物料的追索為出發點，從生活記錄入手，表達與衣食住行有關的狀況。課程特色以基本創作元素出發，著重啟發個人的創作潛能，嘗試帶動起具個人特色的創作風貌，希望能建立起獨特的藝術創作力。完成工作坊的學員更有機會參與六月份由牛房倉庫舉辦的學員作品展，機會難得，名額有限，報名從速。

上課時間：25-26/4，02-03/5，16-17/5，共6堂，逢星期六日下午2:30 - 5:30。

對象：16歲或以上，曾參與「看見未知的面線」的學員(優先)或對藝術創作有濃厚興趣的人士

費用：MOP$500 (婆仔屋之友及曾參與「看見未知的面線」的學員可享九折優惠)

名額：12人

上課及報名地點：牛房倉庫

香港視覺藝術家及教育工作者劉掬色於加拿大修讀藝術，英國進修碩士課程。開辦劉掬色工作室。以影印移印方法創作版畫，喜歡探究萬物本源。

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