Exhibition dates 展覽日期:22.3-5.5.2019

“A mile or so away, at the top of terraced rice-fields, stood (and still stands) the little village of Hong Kong Wai - the village of the Fragrant Lagoon...It is easy to see ... how finally, as steam succeeded sail, the fragrant little haven on the south yielded to the great harbour over the
hill.”
  ------- Hong Kong, 1841-1862 Birth, Adolescence and Coming of Age by Geoffrey Robley Sayer

Fragrant Little Haven takes a description from Geoffrey Robley Sayer. Hong Kong, means fragrant harbour in Chinese, was only a name of a village at the south of Hong Kong Island before the English came. It was a harbour for transporting the luxury Aquilaria sinensis trees, which produces agarwood, a valuable fragrant wood used for incense and medicine. One and half centuries have past, the artist found out that at least 180 streets in Hong Kong were named after plants.

Hong Kong is no longer the name of a village, the once prosperous habitat for vegetation now replaced by concrete jungle, with only the names on street signs reminding the passers-by of its forgotten past, past with colonial histories that are heavy, hard to imagine, meanwhile romantic. These hundreds of streets shared the same beautiful and romantic street names, becoming Hong Kong, becoming the history of Hong Kong.

「距離這裡約一英里遠的稻米梯田上,有一條名叫『香港圍』的小村落,意指芳香瀉湖上的村落…隨著蒸汽成就了航海業的發展,這條位於南部的芳香小天堂逐漸發展成山另一端繁華的港口。」
節錄自佘義(Geoffrey Robley Sayer)著作《Hong Kong, Birth, Adolescence and Coming of Age》

「芳香小天堂」(Fragrant Little Haven)一詞源自港英時代公務員兼史學家佘義對於香港的描述。「香港」意即「充滿香氣的港口」,本是指英殖時代前、位於香港島南部一條平凡的村落。當時這裡是運送用作焚香或藥材的名貴沉香木的港口。一個半世紀過去了,藝術家曲倩雯發現到香港至少有180條街道均以植物命名。

星移物換,香港不再只是一條村落的名字,昔日植物繁茂的棲息地現已被石屎森林取代,唯有街道名字提醒我們關於香港被遺忘了的過去,那些無比沉重,難以想像的歷史,同時卻又充滿著浪漫情懷。這數以百條的街道擁有同樣醉人浪漫的名字,成為了香港,成為了香港的歷史。


Vvzela Kook is a new media artist who mainly works in audiovisual mediums, including performance, theatre, generative video and drawing. Her audiovisual works combine media with performance; they explore the possibility of coexistence between contemporary performance types, like dance or choreography, and computer-generated new media.

Kook’s video works combine technology with her artistic practice to reproduce and convert urban cityscapes into an integrated virtual experience, guiding the audience on a cybernetic journey. The condensed textures in her works connect with multiple sensual levels in our perception and
reintroduce the unexplored potential of video as a medium.

Kook has participated and shown her works in Microwave International Media Festival in Hong Kong (2018), PuSh Performing Art Festival in Vancouver(2017), Mill6 Foundation (2017), Microwave International Media Festival in Hong Kong (2016), K11 Shanghai (2016), Hong Kong Arts Festival (2015), Sound Art China Exhibition (2013), Frischzelle Festival and Dusseldorf Festival (2012), and “89+”program (2012) co-curated by Hans Ulrich Obrist and Simon Castets.

曲倩雯 (b.1990, 生活工作於香港) 新媒體藝術家曲倩雯, 主要以聲音視覺作為創作媒介, 包括聲音視 覺現場演出, 劇場, 衍生藝術(generative art)與繪畫。她的聲音視覺作品結合現場演出, 探索 與當代表演類型, 如舞蹈, 編舞, 與計算機生成藝術之間共存的可能性。

她的視覺作品結合了技術與她的藝術實踐, 以再現和轉換城市景觀為一個集成的虛擬體 驗, 引導觀眾在符控流域旅行。她作品當中的多重的紋理與我們感知的多個感官相連, 重新介 紹視頻作為一種媒介的潛力。
她曾經參與PuSh Performing Art Festival in Vancouver(2017), Mill6 Foundation (2017), 香 港微波國際藝術節(2016),香港藝術節(2015), 中國聲音藝術大展(2013), 德國 Friszchelle藝術 節, 杜塞爾多夫藝術節(2012)與 Hans Ulrich Obrist 與 Simon Castets 共同策劃的“89+”計 劃(2012)。