牛房倉庫 / Ox Warehouse

牛房倉庫 Ox Warehouse

和隆街十五號 Rua do Volong, No.15

開放時間 Opening Hours12:00-19:00(逢星期一休息(Closed on Mondays)

郵寄地址/Postal address:澳門郵政信箱6303 P.O.Box 6303,Macau

電話/Tel(853)2853 0026 電郵/E-mailoxwarehouse@gmail.com


Running Art and Culture in a Vacuum

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.”

Running Art and Culture in a Vacuum

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)






Children and Adults’ Funland





學費:MOP$550 (完成90%課程的學生可退回一半學費)








419 2:30-4:00

67 2:30-4:00


426 2:30-4:00

614 2:30-4:00


5 3 2:30-4:00

621 2:30-4:00


510 2:30-6:00

628日 2:30-6:00


517 2:30-4:00

7 5 2:30-4:00


524 2:30-3:30

712 2:30-3:30





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 / Performeraspidistrafly (Singapore) / flica (Malaysia)

特別嘉賓 / Guest Appearanceevade (Macau)

門票/TicketMOP $60
售票點/Ticket Office:牛房倉庫及邊度有書/ Ox WareHouse & Pinto Livros


(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-organizationKitchen , 边度有音樂(Pintomusica)

節目查詢 / Program inquiry(853)28 530026

for more information:




“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》



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 Setoflica),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)




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





  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。

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。




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


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。



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)


本文摘自 澳門日報 2009/3/10 E03版

Delta Bridges


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

Event Date:
Thursday, 12 March 2009
MOP $50
Old Ladies' House Art Space / Alliance Française de Macao
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
(853)28 530026

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)



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



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)



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)



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



南洋清新電子風 :aspidistrafly & flica澳門音樂會

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

演出者 / Performer

aspidistrafly (Singapore)

flica (Malaysia)

特別嘉賓 / Guest Appearance

evade (Macau)

演出時間/Time:8:00pm 29-3-2009

門票/TicketMOP $60
售票點/Ticket Office:牛房倉庫及邊度有書/ Ox WareHouse & Pinto Livros
(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


aspidistrafly是由來自新加坡的April LeeRicks Ang所組成的多媒體藝術團體,本身學習建築的April擔任藝術指導、攝影、主唱與電音創作;而Ricks則負責設計、作曲與監製,兩人於2005年創立設計工作室+音樂廠牌Kitchen

他們在2004出版首張EPThe Ghost of Things》大獲好評,被譽為當年度新加坡最佳獨立發行。2008年出版首張專輯《i hold a wish for you》,並有機會在日本當紅作曲家Haruka Nakamura專輯《grace》中擔任客席音樂人。

aspidistrafly曾為各式多媒體藝術表演與裝置提供作品,當中包括他們應TheatreWorks邀請與日本重量級多媒體藝術團體Dump Type核心成員Takayuki Fujimoto,還有媒體藝術家Daito Manabe一起合作“Drift Net”




From Singapore, aspidistrafly is the music & visual project formed by April Lee (b.1984) and Ricks Ang (b.1980). April is an art director, photographer, vocalist and electronic artist. She has a background of study in architecture. Ricks is a designer, composer and producer. He also runs Kitchen. Label, a design studio + record label established by the both of them in 2005.

Their release “The Ghost of Things EP” was widely regarded as one of the best local independent releases of 2004. In 2008, aspidistrafly gained wide attention with the release of their first full-length album "i hold a wish for you" (Kitchen.) and collaboration with Haruka Nakamura on his album "grace" (schole records).

aspidistrafly has also contributed materials for media art performances and installations, most notably collaborating with Takayuki Fujimoto (Dumbtype) and Daito Manabe on “Drift Net”, curated by Singapore-based international performance company TheatreWorks. aspidistrafly has played live in Japan and other Asia Pacific cities. In March 2009, aspidistrafly is set to embark on a 6 city tour around Asia.



flica是來自馬來西亞吉隆坡的電子原音創作人/平面設計師euseng seto的代號,自2005年起即開始其音樂創作活動,與朋友合組電音二人組合muxu2007初開始以flica名義實踐探索個人較實驗的電子音樂風格,及後與當地獨立廠牌mu-nest合作出版首張個人專輯windvane & window》,悠然舒泰的有機風格讓他打開在日本的知名度,引起日本電子音樂圈的注目,200812月更在日本著名環境電音廠牌schole出版專輯nocturnal》,受歡迎程度更上一層樓。



flica is euseng seto , an electro-acoustic artist and graphic designer residing in Kuala Lumpur, Malaysia. Born in 1982, he began his music activities in 2005 with his first electronic duo project muxu, whose last offering is released by Monotonik Label (United States).Having realized the need to explore further and experiment with his own music style, euseng seto started flica in early 2007, solely crafting and producing his first album, 'windvane & window' which has been one of the top selling albums in the Japanese electronica scene since its release.






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


主辦 / Organization
婆仔屋藝術空間 / Old Ladies' House Art Space

協辦 / Co-organization


边度有音樂 / Pintomusica

贊助 / Sponsor:
文化局 / ICGM

場地提供/ Venue Provided by:

民政總署 / IACM

節目查詢 / Program inquiry(853)28 530026
節目網站 / Program websitehttp://oxwarehouse.blogspot.com/

音樂試聽 / Auditionhttp://www.myspace.com/aspidistrafly



演出場地 / Performing Venue
牛房倉庫 / Ox Warehouse
No Cruzamento entro a Avenida do Coronel Mesquita e a Avenida Almirante Lacerda Macau
查詢 / For enquiry
28530026 (12:00 ~ 19:00,
逢星期二休息 / Closed on Tuesdays)
傳真/ Fax
E –mail