M+ 敢探號 : 教材套 M+ RoveR: a TeacHeR s ResouRce PacK LooK at you 潮俚 Tang KwoK Hin 潮國騫 2016 鄧
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本教材套的內容沒有特定的使用次序 ; 教師預備課堂時, 可按課堂所需, 調動或獨立使用其中部份內容, 並從以下方面探討鄧國騫的作品 潮潮俚 : 三個主題 為每個主題提供討論問題 以延伸活動作為訪校體驗的延展或未來計劃的起點 The information in this resource pack can be approached in any order; each section can be rearranged and individually used as you fit the content according to your lesson planning. It explores Tang Kwok Hin's work Look at You through 3 themes, while providing a number of entry points for discussions on each theme, and extended activities as follow-ups to the experiences or as starting points for future projects. 鄧國騫 6 Tang KwoK Hin 6 潮潮俚 10 LooK at you 10 主題一 : THeMe 1: 角色扮演與表演 14 RoLe PLay and 潮潮俚 中的角色扮演 PeRFoRMance 14 現實生活中的角色扮演 Role Play in Look at You Role Play in Real Life 延伸活動 : 校內角色扮演 相遇 Extended Activities: Role Play in School, The Encounter 主題二 : THeMe 2: 解讀與誤讀 20 interpretation and 俚語與語言 MisinTeRPReTaTion 20 文化差異與解讀 Slang and Language 符號與標示 Cultural Differences and Interpretation Symbols and Signs 延伸活動 : 符號書寫 表情符號對話 不同家庭的俚語 Extended Activities: Writing in Symbols, Emoji Dialogue, Slang in Different Families 主題三 : 真實與虛構 26 THeMe 3: 敘事與書寫 FacT and FicTion 26 可信性與事實 Narration and Writing Accountability and Facts 懷疑 Scepticism 延伸活動 : 新聞與虛構 物件與故事 Extended Activities: News and Fiction, Objects and Stories 4 5
鄧國騫 Tang KwoK Hin 鄧國騫生於香港, 於 2008 年取得香港 中文大學藝術系藝術碩士, 並於 2009 年 獲得香港當代藝術雙年獎優秀獎, 作品曾在 香港及海外多處展出 他以概念為本的藝術 實踐, 包括拼貼 素描 雕塑 裝置藝術 錄像及行為藝術 鄧國騫在新界圍村長大, 入讀大學前 甚少踏足香港島 他的鄉土成長經歷, 塑造 了他對城市生活的敏感度及對時間 空間和 現代社會習慣的獨特看法 他的座右銘是 : 相信懷疑 ; 懷疑相信 ; 相信相信 ; 懷疑懷 疑 他明白事物與含義的流動性, 認為 保持懷疑是驗證真實與真我的最好方法 對於鄧國騫來說, 生活與藝術之間並 無界線 他稱其創作方式為 符號拼貼, 透過挪用及語境重構的手法, 把現成物及 影像重新並置, 引導觀眾以新的觀點角度來 檢視現代社會的問題 他以拼貼來反思廣 告及傳媒對我們生活的影響 一水西城 (2007 至 09 年 ) 取材自不同的酒瓶貼紙, 是一 系列模仿中世紀歐洲風景畫的拼貼作品 在 作品 我喚妳作楠詩 ( 2012 至 13 年 ) 中, 他 利用 Google 搜索而來的照片, 虛構了一個 詳細資料, 可瀏覽鄧國騫的個人網頁 : www.tangkwokhin.com, 或上網收看港台電視節目 好想藝術 在 2016 年 2 月播出的藝術家訪問 從沒出生的妹妹的成長歷程, 反思這個由互聯網主導 看似開放的資訊時代之局限性, 質疑我們的世界觀是如何被日常所忽視的資訊系統所塑造 鄧國騫經常挪用酒瓶 汽水罐及拾來的傢俬進行創作 他常以 消除 的方式探討消費主義及物質主義 白雪銀 (2014 年至今 ) 一作中, 他以雕刻手法把可樂罐上的紅色外層除去, 露出罐的銀色表面 皮囊 ( 2011 年 ) 是一個徒勞無功的嘗試, 他企圖透過除去打磨及其他加工痕跡, 復原木傢俬的原貌 弱肉 ( 2013 年 ) 是個由加工食物的包裝組成的裝置藝術作品 他進食加工食物後, 將包裝反轉, 露出白色的部分, 並把它們井然地展示在透明容器中 他將大量工業產品回歸原本的失敗嘗試, 反而像在宣揚我們生活中, 由消費主義引起 與大量生產息息相關的 有毒美學 這結果對他而言極具諷刺意味 他大部份的創作都在反思這種對無法逆轉的事物及遙不可及的目標所產生的挫敗感 6 7 Tang Kwok Hin was born in Hong Kong. He received a Master of Fine Arts from the Chinese University of Hong Kong in 2008, won first prize at the Hong Kong Contemporary Art Biennial Awards in 2009, and has exhibited widely in Hong Kong and overseas. His conceptuallybased practice includes collage, drawing, sculpture, installation, video, and performance art. Tang grew up in a walled village in the New Territories, rarely crossing the harbour to visit Hong Kong Island before entering university. His rural upbringing explains his sensitivity towards urban life, as well as his alternative views on time, space, and modern day social conventions. The underlying motto to his practice is: Believe in scepticism; be sceptical about beliefs. Believe in beliefs; be sceptical about scepticism. Realising the fluidity of matters and meanings, he considers scepticism the best way to examine authenticity and one s truest self. For Tang, there is no clear distinction between life and art. He calls his approach symbolic collage. Through appropriation and re-contextualisation, he examines modern issues by juxtaposing found images and readymade objects, prompting viewers to take on a new perspective. He employs collage to reflect on the impact of advertising and mass media on our lives. Made from wine bottle labels, Yi Shui Xi Cheng (2007 09) is a series of collages that mimic medieval European landscapes. I Call You Nancy Learn more about Tang Kwok Hin on his website: www.tangkwokhin.com, or watch the February 2016 episode of Artspiration by RTHK featuring an interview with the artist. (2012 13) is an imagined account of his unborn sister; he used Google images to reflect on the limitations of the seemingly open data in the Internet-driven information age. He questions how our world view is shaped by the information systems we often ignore. Tang often appropriates wine bottles, soda cans, and salvaged furniture in his work to explore consumerism and materialism. Erasure is common in his practice. For Snow White Silver (2014-present), he removed the red coating on a Coca-Cola can by hand, exposing the silver aluminium exterior. Bodies (2011) is a futile attempt to restore the natural surface of wooden furniture by removing the polished finish and other traces of manufacturing. The Weak are Meat (2013) is an installation comprising packaging from processed foods consumed by the artist. The packages are neatly displayed in transparent containers, folded inside-out to reveal the blank inner lining. Tang sees his unsuccessful attempts to recover the natural state of mass products as ironically advocating for the mass-produced poisonous aesthetics consumerism has brought into our lives. Much of his art practice reflects on this frustration of irreversibility and unattainable goals.
右 : 弱肉 2013 年現成影像 食品包裝 玻璃 Right: The Weak are Meat 2013 found images, food packages, glass 一水西城 ( 貳 ) 2007 至 08 年數碼打印 醋酸纖維 木 Yi Shui Xi Cheng Series Two 2007-08 digital print on acetate, wood 左 : 弱肉 ( 貳 ) 2013 年至今壓克力膠櫃子 食品包裝 Left: The Weak are Meat (Two) 2013-present acrylic cabinets, food packages 右 : 白雪銀 2014 年至今罐 海綿 手作木盒 Right: Snow White Sliver 2014-present aluminium cans, sponge, wooden box 左 : 我喚妳作楠詩 2012 至 13 年 皮囊 數碼打印 醋酸纖維 2011 年 木 玻璃 Left: I Call You Nancy, 現成木器具 Bodies 2012-13 2011 digital print on found wood acetate, wood, glass objects 8 9
潮潮俚 LooK at you 鄧國騫為 潮潮俚 命題時, 運用了粵語中的同音字 兩個代表 新潮 的 潮 字合起來, 成為了一個動詞, 並加上代表 俚語 的 俚 字 全句讀來, 就是 讓俚語變新潮 之意 潮潮俚 又與 瞧瞧你 同音, 鄧國騫反思語言如何塑造觀點 引導知識以及構成習慣 透過審視俚語不斷的演變, 他誠邀大家置身不同語境中, 在主流及權威的規範下, 瞧瞧 你 自己 鄧國騫以不同年代的粵語俚語為靈感, 在 M+ 敢探號 創造出一個裝置藝術作品, 其中包含廣播 札記 日常物件及其他在計劃中累積的素材 潮潮俚 亦包括一個由藝術家帶領的工作坊, 透過參與式的創作, 師生將一起塑造這個裝置藝術作品 隨著 潮潮俚 巡迴香港, 參與者會透過對話及活動與不同社區的觀眾互動 根據選出的粵語俚語, 鄧國騫創造了來自不同年代的虛構人物, 讓參與者進行角色扮演 參與者帶上面具以隱藏身份, 並帶著聽筒以接收演出的指示 他們一半是表演者, 負責演繹角色 ; 另一半則是觀察者, 負責紀錄表演者的行為, 並畫寫在札記上 在工作坊的後半部, 表演者和觀察者在看同一段錄影時, 會聽到不同的錄音, 以強調同一事件在不同觀點之間的差異 鄧國騫透過角色扮演及表演等形式, 藉由誤解 真實與虛構所產生的意思差異, 營造出一個令人有點迷失的經驗, 凸顯個人的獨立自主跟主流規範之間的角力 這不協調的經驗, 象徵了個人在現代群體生活的洪流下無所適從的感覺 10 11 The title Look at You (ciu 4 ciu 4 lei 5 ) is a translation of a Cantonese pun created by Tang Kwok Hin. He doubles the word ciu, meaning trendy, to make it a verb and combines it with lei, meaning slang. Put together, the phrase means making old slang trendy again. Ciu ciu lei also shares the same pronunciation with the phrase look at you. With this play on words, Tang reflects on how language frames our perspective, directs our knowledge, and formulates our habits. He invites participants to look at one s self ( you ) in different contexts in the face of conformity and authority, through the evolution of slang. Tang takes Cantonese slang from different decades as inspiration to create an installation on M+ Rover which includes audio broadcasts, journals, objects extracted from daily settings, and other materials that accumulate throughout the run of the project. Look at You also comprises an artist-led workshop where students and teachers engage in participatory art practice and contribute to the installation. Participants later engage with audiences from different communities, through discussions and activities, as Look at You travels around Hong Kong. Based on the selected Cantonese slang, Tang created fictional characters from different generations for a role play activity. Participants wear masks to disguise their identities and headsets to receive audio instructions on how to act. Half are performers, acting out an assigned character. The other half are observers, documenting the performers actions with sketches or notes in their journals. During the latter part of the workshop, performers and observers listen to different soundtracks while watching the same film clip, highlighting the discrepancies between perspectives during the same event. To highlight the tension between individuality and conformity, Tang incorporates role play and performances as an approach, and plays with the discrepancies in meaning through misinterpretation, fact, and fiction. This disorientating experience created is thus a metaphor for the sense of loss between the individual perspective and the larger current of collective modern living.
1 角色扮演與表演 RoLe PLay and PeRFoRMance 製造誤讀 反思意義 Misinterpretation as a way to Reflect on Meaning Making 鄧國騫Tang KwoK Hin 透過演繹探索生活 acting as a way to examine Real Life 真實與虛構 FacT and FicTion 2 解讀與誤讀 interpretation and MisinTeRPReTaTion 虛構故事質疑 事實 Fiction as a way to Question 3 authoritative accounts 12 13 潮潮俚 LooK at you
主題一 THeMe 1 角色扮演與表演 RoLe PLay and PeRFoRMance 鄧國騫在 潮潮俚 設計不同的角色, 並預先錄製指示給予每位表演者和觀察者 在表演過程中, 每人都戴上面具 鄧國騫認為這樣不但能掩藏身份, 更能令參與者大膽表演 他們對劇本的解讀可能會與藝術家的原意有所不同, 但這正好可以探討主觀性及身份之間的關係 鄧國騫運用日常動作 話語及聲音, 將表演元素融入作品, 並透過設計人們熟悉的日常角色及場景, 讓觀眾更易於投入其作品中 他的 作品 棘園過客 (2010 至 11 年 ) 是一個在沙田公園進行的持續性表演 一位表演者在十週之內, 幾乎每天穿著大猩猩服飾在公園與訪客互動, 逐漸學習並顯現人性的特徵 他藉此表演探討城市環境下的人類的活動和互動 鄧國騫在 十載一台戲 (2015 年 ) 中攝錄自己在一幕粵劇對唱中扮演生角, 然後在以不同粵劇劇目的道具搭成的裝置旁播放這段錄像, 將表演者置於整個粵劇行業的語境下 14 15 in Look at you, Tang creates a number of fictional characters and allocates a pre-recorded audio track to each of the performers and observers. Participants wear masks during the performance, concealing their identities; Tang believes this may encourage them to act bolder. as they interpret the script they may come into conflict with the artist s intent, making this an opportunity to examine the relationship between subjectivity and identity. Tang incorporates performative elements in his practice, employing everyday gestures, languages, and sounds in his art. He creates relatable characters and familiar situations to draw in audiences. The Spine Passerby (2010-11) is a durational performance set in Sha Tin Park. over the course of ten weeks, a performer wearing a gorilla suit appeared in the park on most days. The gorilla gradually exhibited more human qualities as he interacted with park visitors. Through this performance, the artist examines human interactions and activities within an urban environment. For Ten years a Play (2015), the artist filmed himself singing the male part of a Cantonese opera duet. The video plays alongside assemblage related to different Cantonese operas. This audio visual installation situates the performer within a broader industry context.
老師可以運用以下問題及延伸活動帶領學生討論或創作 : Teachers can lead the student discussion or creation with the following entry points and extended activities: 關於 潮潮俚 中的角色扮演試形容你在演繹表演者或觀察者的過程中的體驗 可以從五感方面去思考 戲服或面具如何塑造你的行為? 聽筒及其他道具如何影響你的體驗? 這次體驗與其他表演經驗有何異同? 問表演者 : 你如何投入角色? 你有權力按自己所想去演繹角色嗎? 你是否以角色的角度來思考? 你的表演對工作坊的結果有何影響? 觀察者的存在有影響你的表演嗎? 問觀察者 : 你在這個過程中扮演甚麼的角色? 你和表演者有著甚麼的關係? 你認為你的角色亦是一種扮演或表演嗎? 你認為自己影響了表演者的行為嗎? 個案討論 : 試選一些學生熟悉的名人, 檢視那些人物於不同渠道中的形象 : 電影 舞台 訪問 真人秀 社交媒體或小報等 是由誰去決定和創造那些人物所展示的形象? 延伸活動校內角色扮演兩人一組, 一人當表演者, 另一人是觀察者 表演者選一個觀察者熟悉的人, 例如校內的人物來扮演 表演者須全日扮演這個角色, 觀察者則觀察著表演者, 猜猜誰是其模仿對象 On Role Play in Look at You Describe the experience of acting as a performer or as an observer. Think about all five senses. How does a costume or mask shape your behaviour? How does the use of a headset and other props shape your experience? How is this experience different or similar to other experiences with performance? For the performers: how did you immerse yourself in the role? Did you act according to your own interpretation of the role? Did you think in the voice of the role assigned to you? How much does your performance affect the outcome of the workshop? How much does the presence of the observers influence your performance? For the observers: what role are you playing in the process? What is your relationship with the performers? Do you think your part was also a form of acting or performance? Do you think your presence affects the performers actions? Case study: Pick some celebrities that students are familiar with and examine the image they present in different situations: movies, stage, interviews, reality TV, social media and tabloid news. Who is in the position deciding or creating these different images of the celebrities? Extended Activities Role Play in School Select a partner. One person is the performer, while the other is the observer. The performer chooses a person with whom the observer is familiar, such as a known figure at school. For a day, the performer acts in character as the chosen person. The observer must guess who the performer is playing by observing him or her throughout the day. 關於現實生活中的角色扮演對你而言, 擔當某角色 的含義是什麼? 想一想你擔當的不同角色 : 學生 風紀 子女 兄弟姐妹 表親 朋友 人們對這些角色及其行為舉止有甚麼既定的觀念和期望? 你如何擔當不同的角色? 試從衣著 說話方式以及行為方面探討它們引伸出來的意思及聯想 相遇創造兩個虛構的角色, 並設計他們相遇的場景及原因 選兩位表演者, 在表演前分別向兩人單獨介紹其角色 指引表演者即興創作對話, 讓兩個角色在對話之中可以相互了解 最後探討原定指引與實際演出之間的差異 16 17 On Role Play in Real Life What does the phrase performing a role mean to you? Think of all the roles you inhabit: student, prefect, child, sibling, cousin, friend. What preconceptions, expectations, and behaviours are associated with these roles? How do you perform differently in these roles? Think in terms of what you wear, your manner of speech, and your behaviour. What meanings or associations arise? The Encounter Create two fictional characters, a scenario where they meet, and a purpose for their encounter. Select two people to perform. Brief each performer on his or her character only. Instruct the performers to improvise dialogue, allowing the characters to get to know one another during the scene. Explore the difference between the original instructions and the resulting performance.
棘園過客 2010 至 11 年 錄像 十載一台戲 54 分 50 秒 2015 年 The Spine Passerby 混合媒介裝置 2010-11 Ten Years a Play video 2015 54 min. 50 sec. mixed media installation 18 19
主題二 THeMe 2 解讀與誤讀 interpretation and MisinTeRPReTaTion 俚語是指非正式的詞句, 較多用於口語而非書面語, 通常在特定的語境或群體中使用, 因此其意義多變 且取決於語境 正因這種特性, 透過 俚語探討信息解讀以及相關意義是最 適合不過 潮潮俚 工作坊的目的之一是要觀察者解讀表演者的行為, 從而猜出由各個角色串連而成的整體故事 然而, 觀察者要像正在進行實地考察的人類學家或歷史學家一樣, 只依靠線索和暗示去尋找答案, 對整體語境則往往一無所知 由於觀察者要以個人知識來解讀表演者的動作, 因此難免在觀察和畫寫札記的過程中產生誤讀 通過 特意引起誤讀, 鄧國騫令參與者反思意義的建構和客觀性的本質 每一位觀察者的札記都證明了 解讀的過程往往可以是隨意的 作為一名成長於圍村的全職藝術家, 鄧國騫一直注意到自己的生活方式與一般人不同 他的非主流生活使他對當今社會的準則有所 懷疑, 並令他樂於分析圖象的象徵 意義及聯想 在早期作品 一水 西城 (2007 至 09 年 ) 中, 他以拼貼 的手法, 利用酒瓶貼紙上葡萄園及村落的景觀, 營造虛構的風景, 以反思消費主義社會中的符號象徵 他把常見的社會標誌和符號圖象以 符號拼貼 的方式創作了一系列的作品, 從中捕捉了現代社會的 精神, 藉此挑戰主流觀點以及人際 溝通中的謬誤 20 21 Slang is words or phrases that are considered informal, more commonly used in speech than writing. The use of slang is typically confined to a particular context or a group of people; thus, its meaning is fluid and bound by context. The specificity of slang makes it an appropriate subject for examining interpretation and associated meaning. one of the aims of the Look at you workshop is for the observer to interpret the performer's actions and figure out the whole story that connects the different characters. yet, like a field anthropologist or historian, the observer acts according to clues and hints, often not knowing the broader context. observers apply their own personal knowledge to decipher the performers gestures, so they are likely to make misinterpretation in their observations and notes. By intentionally provoking misinterpretation, Tang invites participants to reflect on the nature of meaning-making and objectivity. The journals kept by each observer become evidence of the arbitrary nature of interpretation. as a full-time artist who was brought up in a walled village on the outskirts of Hong Kong, Tang has always found himself leading an atypical life. His unconventional lifestyle prompts him to question the codes surrounding modern-day living, inspiring his interest in examining visual symbolism and association. in an early piece, yi Shui Xi Cheng (2007-09), he creates fictional landscape collages from images of vineyards and villages from wine bottle labels in order to reflect on the symbolism at work in our consumerist society. For his photo collage works, he cuts and pieces together common social signs and symbols from everyday life to create symbolic collages that capture the spirit of modernday living. He wants to challenge mainstream perspectives as well as the fallacies of how we communicate with one another.
老師可以運用以下問題及延伸活動帶領學生討論或創作 : Teachers can lead the student discussion or creation with the following entry points and extended activities: 關於俚語及語言 你認為藝術家為甚麼選擇 俚語 作為 潮潮俚 的主題? 俚語有甚麼特質使其與 正式語言有所不同? 你能說多少種語言? 你的母語是甚麼? 在甚麼情況下你會使用 特定的語言? 你會否因應不同場合而採用 不同的語言? 為甚麼? 關於文化差異與解讀 人們溝通的時候會否受各自的文化背景 限制? 你知道工作坊中的俚語背後的故事 和意思嗎? 來自不同文化背景的人能否明白 呢? 你曾否因文化差異而誤讀對方的肢體 語言或言語? 關於符號與標示 除語言之外, 我們的日常生活中其實被 符號與標示所包圍 這些符號與標示都有 一套約定俗成的意思, 比如綠燈代表可以 過馬路 社會中的圖象溝通系統是如何形 成的? 你能否想到其他例子? 個案討論 : 牛津詞典 2015 年的年度詞彙是 表情符號 ( emoji) 你認為一個符號能表 達情緒 意義或信息嗎? 表情符號可以看 成一個字嗎? 表情符號是社交媒體及數碼時代的新語言嗎? http://blog.oxforddic tionaries.com/2015/11/word-of-the-year 2015-emoji/ 延伸活動 符號書寫 只用符號來寫日記, 形容平常逸事及 個人感受, 一星期之後再讀, 你會如何 解讀或回憶當時想表達的事件或情緒? 與同學分享你的日記, 看看他們如何解讀 你的記錄 表情符號對話 用表情符號或其他圖象系統來玩猜畫 遊戲 不用圖畫, 只用表情符號來描述一個 詞語, 讓其他人來猜 不同家庭的俚語 記錄你的父母或其他親戚在家使用的 俚語, 之後在學校邀請其他同學進行解讀 收集到各種新的解讀後, 再討論一下這些 誤讀 是否比原意更貼切 22 23 On Slang and Language Why do you think the artist chose slang as the subject for Look at You? What unique qualities does slang have that is different from formal language? How many languages do you speak? What is your native language? In which contexts do you use a particular language? Would you choose to speak a certain language in different scenarios and why? On Cultural Differences and Interpretation When we communicate, how much are we preconditioned by our cultural upbringing? Did you know about the background stories and the meanings of the slang mentioned in the workshop? Would people from a different cultural background understand what the slang conveys? Can you recall an incident where you misunderstood a gesture or a saying because of cultural differences? On Symbols and Signs In addition to language, we are surrounded by symbols and signs that embody a particular set of meanings that are often defined by social codes. For example, why do we cross the street when a traffic light turns green? How are these systems of visual communication established in our society? Can you think of other examples? Case study: The Oxford Dictionaries Word of the Year 2015 is an emoji. Do you think a symbol can convey an emotion, a meaning, or a message? Do you think an emoji can be considered a word? Are emojis a new form of language in this generation of social media and digital communication? http:// blog.oxforddictionaries.com/2015/11/wordof-the-year-2015-emoji/ Extended Activities Writing in Symbols Use only symbols to write a diary entry, describing events and emotions. Reread your diary in a week s time. How do you interpret or remember the incident or emotion you were trying to convey? Share the entry with your classmates, and see how they interpret your writing. Emoji Dialogue Play Pictionary with emojis or another visual system. Instead of drawing, one player depicts a word using only emojis for other players to identify. Slang in Different Families Take note of the slang used at home by your parents or other relatives. At school, invite others to interpret this slang. You can collect a series of new interpretations, and discuss whether these new misinterpretations are more apt than the original meanings.
一水西城 2007 至 09 年數碼打印 醋酸纖維 木 Yi Shui Xi Cheng 2007-09 digital print on acetate, wood 24 25
主題三 THeMe 3 真實與虛構 FacT and FicTion 潮潮俚 會隨著工作坊內容的 逐步豐富而不斷演進 表演者具創意的聲音回應將被記錄, 而有關表演的圖象及文字會由觀察者整理為札記 聲音廣播和札記就像電視新聞 電台 社交媒體 課本及其他渠道所傳達的官方和權威聲音 工作坊後, 參與者將會明白 事實 其實是不 可靠和可肆意塑造的 因為那些 事實 是由對整體情況一知半解的參與者所製造 鄧國騫揭示了一個現象 : 某些話語會因經歷時間的洗禮而增加權威性, 但我們往往渾然不知 參與者同時經歷預製的敘事錄音和實時的表演, 這不協調的體驗會讓參與者反思過去與現在 真實與虛構如何在每天影響著他們 鄧國騫希望在他的藝術實踐中探討真實性 在這個群體生活與主流意見被毫無疑問地接受的世代, 他認為懷疑 分歧以及對權威和主流的顛覆都是很重要的 對他來說, 虛構是延展真實的可靠方式 在作品 我喚妳作楠詩 (2012 至 13 年 ) 中, 他虛構了一位從未出生的妹妹的生平 他從 Google 搜得無關的圖片, 加上自己編造的故事, 製造她存在的証據 他在 鄧爺爺 (2015 年 ) 中也用了類似手法, 把自己祖父及祖先的傳家寶稍事篡改, 並在真實故事中摻雜一些虛構的成份, 從而對敘事與個人歷史的本質提出質疑 ; 在這視覺與物質刺激泛濫的時代, 進一步反思真實與虛構這個主題 26 27 Look at you evolves over time as material is generated and added during workshops. The creative audio responses of the performers are recorded, while image and text about the performances are collected in the observers journals. The audio broadcast together with the journals stand for the official and authoritative voices we are exposed to in our daily lives via the television news, radio, social media, textbooks, and other narratives. once participants have taken part in the workshop, they will understand the precarious and performative nature of facts created by participants that only have partial understanding of the bigger picture. Tang Kwok Hin demonstrates that we may be unaware of how certain narratives gain authority over time. His prerecorded narration happens in parallel with a live performance, creating a disjointed experience that encourages the participants to reflect upon how past and present, fact and fiction, impact them every day. Tang seeks to investigate authenticity in his artistic practice. in an age where collectiveness and mainstream are often unquestioningly embraced, he sees the value of scepticism, dissidence, and the subversion of authority and conformity. For him, fiction is a reliable tool for expanding a sense of the authentic. in i Call you nancy (2012 13), he commemorates a fictional account of the life of his unborn sister. He fabricates stories and compiles evidence about her existence using irrelevant image sources through google search. Similarly, in grandpa Tang (2015), he makes minor alternations to a display of genuine heirloom items from his grandpa and ancestors. He weaves fictive and factual accounts to question the nature of narration and personal histories. in doing so, he reflects on fact and fiction in an era of ubiquitous visual and material stimulation.
老師可以運用以下問題及延伸活動帶領學生討論或創作 : Teachers can lead the student discussion or creation with the following entry points and extended activities: 關於敘事與書寫一件事的每種解讀和演繹方式都是可信的嗎? 記憶是否可靠? 你會如何講你自己的故事? 歷史是主觀還是客觀的? 歷史是誰書寫的? 歷史的書寫有沒有解讀和演繹的成份? 關於可信性與事實我們如何評定一件事的真偽? 如果每個故事背後都有一個作者, 你如何能確定它的客觀性? 列出令人相信資訊的因素, 譬如資訊來源 表現手法及語境 資訊的媒介如何影響你對它的信任度? 試從印刷品 圖片 關於懷疑你如何理解懷疑這種態度? 鄧國騫的座右銘是 : 相信懷疑 ; 懷疑相信 ; 相信相信 ; 懷疑懷疑 你如何看待他的說法? 你如何平衡相信與懷疑 信任與批判思考? 你可以將討論引伸至不同的學科範疇, 例如人文學科 宗教 社會科學 科學和數學等, 思考懷疑在推進知識及探索發現方面起了甚麼作用 延伸活動新聞與虛構 On Narration and Writing Can we trust every interpretation of a situation? Are memories reliable? How would you tell your personal stories? Is history subjective or objective? Who is writing the history? Does this writing involve interpretation? On Accountability and Facts How does one define something as true or not? If every story involves a writer, how can you be certain of its objectivity? List the reasons that would lead you to trust a piece of information, such as the source, its presentation, and the context. How does the medium influence your view of its credibility? Think in terms of printed text, images or photographs, video footage, online materials, and television or radio broadcasts. On Scepticism What does being sceptical mean to you? Refer to Tang's motto: Believe in scepticism; be sceptical about beliefs. Believe in beliefs; be sceptical about scepticism. What is your opinion of this idea? How do you balance belief and scepticism, trust and critical thinking? You can expand the discussion to many fields of knowledge: liberal arts and humanities, religious studies, social science, science, and mathematics. Think about the role scepticism plays in the progression of knowledge production and human discovery. Extended Activities News and Fiction Search for stories that seem ridiculously fictional but are in fact true. Create fictional stories in the form of news stories. Gather all these together to play a game of Is it news or fiction?. 或照片 錄像 網上資料 電視或電台廣播等例子思考 個案討論 : 新聞媒體如何運用表現手法來營造其權威形象? 其表現方式如何影響可信度? 可信度是否建基於其表現手法? 分析以下把真假信息混雜的諷刺性新聞媒體, 思考如何區分客觀新聞報導與子虛烏有的故事? 他們用了甚麼方法使虛構的內容更像新聞? http://www.theonion.com/ http://www.tvmost.com.hk/ 找一些看來荒謬離奇, 卻又千真萬確的故事, 同時以新聞形式寫一些虛構的故事 把這些故事放在一起, 玩猜 是真是假 的遊戲 物件與故事每名參與者帶一件祖傳的物件回校, 先簡介物件的基本資料, 如它原屬的物主 那物主與你的關係及你如何得到這件物件等等 之後在真實資料的基礎上加上個人聯想, 以不同方式及媒介為這件物件編個故事 28 29 Case study: How does a news media outlet use presentation to create an authoritative image? How much does their credibility rely on their style of presentation? Is their credibility supported by their presentation style? Examine the following satirical news media sites, which merge fact and fiction. What defines objective news from fake nonsense? What techniques do they use to make their fictions seem like real reportage? http://www.theonion.com http://www.tvmost.com.hk Objects and Stories Each participant brings an object from home that belongs to an ancestor. Present the basic information about the object, such as who is the owner, his/her relation to you, how you came to own it, etc. Then expand on the unknown parts of the story and create an account of the object that combines factual information with your personal imagined account. You can present this narrative through any form or medium.
M+ 敢探號 鄧國騫 : 潮潮俚 由 M+ 教學及詮釋組策劃 2016 年 3 月至 4 月 M+ Rover Tang Kwok Hin: Look at You is curated by M+ Learning & Interpretation team March April 2016 教材套撰稿黎穎胡沐雲莫雅宜翻譯李俊彤審稿劉淑莊鍾玉玲 Teacher s Resource Pack Contributors: Winnie Lai Athena Wu Anne Mok Translator: Konstance Li Copyeditors: Doretta Lau Zhong Yuling 計劃團隊 Project Team 設計 Design 方詠甄策展人 Stella Fong Curator Milkxhake www.milkxhake.org 鄧爺爺 2015 年混合媒介裝置 Grandpa Tang 2015 mixed media installation 胡沐雲副策展人林韻姿活動統籌莫雅宜策展助理楊柏匡活動助理 Athena Wu Associate Curator Tracy Lam Programme Coordinator Anne Mok Curatorial Assistant Dicky Yeung Programme Assistant 特別鳴謝黃國才參與 M+ 敢探號 的設計及鄧國騫構思 潮潮俚 Special thanks to Kacey Wong for contributing to the design of M+ Rover and Tang Kwok Hin for envisioning Look at You. 所有圖片由藝術家提供 鄧國騫 All images courtesy the artist Tang Kwok Hin 我喚妳作楠詩 2012 至 13 年數碼打印 醋酸纖維 木 玻璃 I Call You Nancy 2012-13 digital print on acetate, wood, glass 30 31 版權所有翻印必究版權屬西九文化區管理局 M+ 所有 2016 All rights reserved. Copyright 2016 by M+, West Kowloon Cultural District Authority