Exhibition dates 展覽日期:19.10-24.11.2019
德籍韓裔哲學家韓炳哲藉著一個事例,延伸了來自意大利哲學家阿甘本所提出的「瀆神」(profanation)概念:在希臘受緊縮政策影響後,一些小孩在一間荒廢的大屋裡發現了一團鈔票,但他們不但沒有把現金據為己有,還把那些鈔票作為耍樂的玩具,將之撕碎,去除鈔票本來的意義。「瀆神」本義解作將神聖(屬於神)的物質,轉化為世俗的用途,同時亦解亂用和惡意使用;韓炳哲用以上事例說明了當世界化成頹垣敗瓦的將來,金錢將失去意義,成為我們用以撕掉的娛樂,就如小孩們的「瀆神」行為。
藝術上,「瀆神」可以比擬為藝術家創作的手段,諸如挪用和概念轉換,均給予已有事物新的意義。是次展覽由姚少龍和陳凌欣聯合策展,展覽《Play. Boredom. Worship.》將展示香港六位新晉藝術家的作品。藝術家們通過和策展人之間的討論和辯證,他們的作品將以不同的態度和角度去演繹展覽的主題。
South Korean-born German philosopher Byung-Chul Han once quoted an example to explain the Italian philosopher Giorgio Agamben’s concept of ‘profanation’: During the recession period in Greece, a group of children discovered a large amount of banknotes in a ruined house. Instead of using them in the way money is supposed to be used, they played with them, tearing them to shreds. Profanation is the act of taking sacred things from gods and using them by mortals. In this example, Han portrays a post-apocalyptic world where money has lost its meaning, and we are shredding paper for fun.
Perhaps in art, ‘profanation’ could be described in the way artists create through appropriation and conceptualisation. Both ways are giving new meaning to pre-existing objects and subjects. Curated by Alex Yiu and Suze Chan, ‘Play. Boredom. Worship.’ will present new artworks from six emerging artists from Hong Kong. Through dialogue and discussion with the curators, the artists interpret the idea with different perspectives and angles with their artworks.
六名創作者均來自於不同的背景,包括建築(陳滿)、平面設計(陳凌欣)、電影(陳嘉浚、黃紫嫣)、當代藝術(譚煥坤)和新媒體藝術(朱文雅),而在是次展覽《玩樂。無聊。崇拜。》裡,他們以「藝術家」的身份把弄著媒介中各種概念的交錯和流動。
在日常不再平常、而平常似是從不存在的日子裡,六位藝術家各自以不同的手法,實視「瀆神」的各種面向。
Coming from different backgrounds, architecture (Chan Moon), graphic design (Suze Chan), cinematography (Harry Chan and Wong Tsz Hin), visual art (Vunkwan Tam), and new media art (Mia Chu), for ‘Play. Boredom. Worship.’, each artist manipulates the interferences and flows in between concepts and materials as ‘artists’, departing from their own practices.
When days are unsettling and mundaneness disappears, the six artists incorporate different methods and practices to realise the multi-dimension of ‘profanation’.
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