栩栩如生 LIFELIKE

栩栩如生—— 當動物園成為比喻
鄺展維

對自然的模仿、抽象、以至移情，是音樂的一個永恆題材。由《高山流水》到《鹿之遠音》，從《四季》到《田園》，古今中外的音樂創作，都從非要將自然之聲忠實呈現。自然作為靈感，經過音樂家的想像與轉化，在音樂裡留下的，是象徵或比喻性質的存在——樂聲象徵各自然之物，自然亦用以比喻樂章無窮變化之所以然。

在音樂裡呈現自然，在自然裡呈現音樂，《栩栩如生》從「師法自然」的意念出發，是以香港動植物公園為創作對象，將音樂譜入園內的一系列場域特定音樂作品。《栩栩如生》以自然為題材，以自然為師，唯此自然非一般自然，而是在「園」中這個以特殊狀態存在的自然。花園、公園、動物園，都展示著一種由人工安排與擺佈的自然，當中各種動態與靜態的生命，從原生環境被抽離，在圈出的地域裡以被管理的方式生存著。這種存在方式，是自然扭曲的狀態，是人對自然的馴服，卻也是人企圖理解和保存自然的手段。

《栩栩如生》以樂聲仿擬及回應園中萬籟，然而作品從這自然所取之材，不止於聲音，而更是「園」此制度化空間所建構出的秩序。當《栩栩如生》將音樂演出從音樂廳的設定中抽離並移殖到公園中，「園」的空間建構如何模造園中眾生的關係與制度，成為了作品在聲音層面以外一個重要的體驗面向。建築團隊即興項目 (Impromptu Projects) 為《栩栩如生》在香港動植物公園內中設計猶如「園中園」的大型裝置，裝置以竹和搭棚工藝搭建，結構造型與園中林木呼應，並將園內空間進一步分隔。《栩栩如生》演出過程中，樂手與觀眾於此「園中園」遊走或頓足，竹棚將各個個體區間，既是籠，亦是舞台。在抽象化的林、籠與舞台裡，當中發生的音樂演出為在場者之間確立了觀眾與被觀看者的狀態與關係。然而作品的流動性及開放性，將彼此角色界線模糊化，音樂的部份發展透過樂手觀察園內周遭而進行——不論觀眾與樂手，都同時成為了觀看者與被觀看者。
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《栩栩如生》透過音樂演出所建構的處境，是將「園」裡人工化、制度化的自然取代了自然本身，以此為師法對象，探討約翰．伯格 (John Berger) 描述中「當動物園成為比喻」的指向性。當有一場演出要在園中發生，誰是觀看者，誰是被觀看者？進入公園和動物園的訪客，是將園內奇觀視作觀賞對象的局外人，還是也成為了這個場域所設計的制度秩序的一部份？對於長久居於籠中的動物，籠是牠們作為奇珍被觀賞的舞台，還是牠們在看籠另一邊的戲碼的觀眾席？遊人隔著籠，等待籠中物下一個令他們稱奇的舉動，籠裡的動物在更漫長的等待裡，對籠的另一邊又有沒有任何期盼？籠裡籠外，眾生相遇，彼此的生命是否對等？

「師法自然」，《栩栩如生》要達致的「栩栩如生」，非聲音上的栩栩如生，而是將「園」內眾生的存在和狀態，以音樂演出的形式呈現。

當動物園成為一個栩栩如生的比喻，這比喻所對照的，又是甚麼？

LIFELIKE - When Zoo Becomes a Metaphor
Charles Kwong

To imitate nature, to abstract from nature, and to empathise nature, are an eternal subject in music. From High Mountains and Flowing Water to The Distant Call of the Deers and from The Four Seasons to Pastoral, none of the musical creations at all times and from all backgrounds intended to faithfully present the sounds of nature. Instead, taking nature as inspiration, musicians exercise their imagination to transform it, reducing it into a symbolic or metaphorical presence in their music— musical sounds symbolise natural phenomena, whereas nature is used as a metaphor for the infinite developments in musical movements.

To present nature in music, and to present music in nature—Lifelike is a series of site-specific musical compositions that build on the concept of “learning from nature” and weave music into the Hong Kong Zoological and Botanical Gardens. Nonetheless, the theme is not nature in general but one with a unique existence within “gardens”. This kind of nature displayed in gardens, parks and zoos is man-made and manipulated. Both active and static lives in these settings are plucked from their habitats to live and be managed in confined areas. This form of existence is a distorted state of nature, humans taming nature, as well as their attempts to understand and preserve nature.

‍Lifelike mimics and responds to all the sounds in the gardens. It derives from the sounds in nature, but even more so from the order created in the gardens, an institutionalised space. As the piece removes music performance from the music hall setting to a park, how the spatial construction in the gardens recreates the relationships between the life forms and the natural system becomes an important experiential aspect besides sounds. The architect duo Impromptu Projects has been specially commissioned to design in the Hong Kong Zoological and Botanical Gardens large-scale installations that resemble a “garden within a garden” built by bamboo scaffolding. The structures and forms echo the woods in the garden while further dividing the space within the garden. During the performance of Lifelike, musicians and audience roving or pausing in the “garden within a garden” are separated by bamboo scaffolds which act as both cages and stages. Taking place among these abstract woods, cages and stages, the music performance establishes a situation with spectators and spectacles, as well as the relationship between them. However, the fluidity and openness of the work blur the line between the two roles, as the music develop according to the musicians’ observation of the surroundings—the audience and the musicians are thus both the spectators and the spectacles.

Through music performance, Lifelike contextualises the situation of an artificialised and institutionalised nature , in order to explore what John Berger was referring to by “zoo as a metaphor”. When a performance takes place in a zoo, who is the spectator and who is the spectacle? When visitors, as bystanders, marvel at exotic beings in a zoo, do they also become a part of the system and order created for the site? Are the cages, where animals are kept in and displayed as rare treasures, also auditoriums for the animals to watch the show at the other end? As visitors anticipate another intriguing move from across the cage, do the crated animals have any anticipations for the other side? Are the lives on the two sides of a cage equal?

“Learning from nature”, Lifelike is not to be an acoustic verisimilitude, but to present the existence and state of the beings in the gardens, in the form of music performance.

When a zoo becomes a lifelike metaphor, what does this metaphor refer to?

即興項目《尋聲》

《尋聲》是特別為香港動植物公園內舉行的戶外演出而設計的非傳統舞台空間。能夠發展出如此貼近自然法則與著重地形考量的設計方案，源於一次實地視察，及與作曲家鄺展維數次富啟發性的交談。正是鄺氏催生了此次跨界別創作，並為此次演出譜寫樂曲。

舞台設計的最後定案為場域特定開放式籠子。這個籠子由三個高度、長度及闊度不一的大型組件拼合成非對稱類脊椎的結構，整個籠子舞台建於兩幅相鄰的草地上。而由實體組件所構成的間質空間，實際上就是提供沉浸式體驗的建築空間。

這個籠子沒有出入口，也沒有裡外之分。褪去這些界線就可以讓投入感以不同的形式不斷衍生。香港創樂團的樂師及其他特約樂手會散落在舞台的四周製造聲音，而參觀者可自由探索舞台空間及自行發現這些聲音。

設計構造完全使用竹枝作建材，並由香港棚架公司搭建，以推廣這種獨特卻即近失傳的可持續設計技術。這亦是竹搭戲棚的現代版，以回應這種在東南亞地區盛行的傳統。

建築設計：即興項目
首席建築師：蘇約翰、孟麗泰
建築團計：Alexandre Marquês, Madalena Saldanha
監工：李重雨
註冊結構工程師：基士敦工程有限公司

Impromptu Projects: Chasing Sounds

Chasing Sounds is a spatial design for an non-conventional stage to host an outdoor performance at the Hong Kong Zoological and Botanical Gardens. The biophilic and landscape-inspired design approach is the result of a site visit and several inspiring conversations with composer Charles Kwong, who conceived this cross-disciplinary collaborative project and created the musical scores for the event.

The resulting form is a site-specific open cage with an asymmetrical spine-like structure arranged as three large-scale volumes—varying in height, length and width—upon two large adjacent lawn areas. The interstitial or negative space created in-between these volumes is in fact the architectural space that permeates the immersive experience.

In this open cage design, there are no entrances nor exits, no inside nor outside. These boundaries are blurred to give ways to a continuous flow of engaging form, inviting visitors to freely navigate the space and discovering by themselves the sounds produced by the musicians of the Hong Kong New Music Ensemble and other guest artists who in turn are scattered throughout the space.

The design is conceived entirely with bamboo in mind and is built by a Hong Kong scaffolding company as part of a sustainable design strategy to elevate and promote this unique craft which is on the verge of extinction. It is also a contemporary take on the tradition of bamboo theatres, typical in the Southeast Asia region.

Architecture Design: Impromptu Projects
Leading Architects: João Ó, Rita Machado
Architecture Team: Alexandre Marquês, Madalena Saldanha
Site Supervision: Li Chongyu
Structure (RSE): Keystone Engineering Services Company

《栩栩如生》演出及工作坊詳情

演出：
四場場域特定演出在香港動植物公園內的噴水池平台花園舉行，由鄺展維構思及作曲、澳門建築團隊即興項目籌建竹結構、香港創樂團及其他特約樂手演奏。以香港動植物公園的園景設計及動物園的獨特之處作為創作參考點，四場場域特定演出將在展覧期間，於貼近自然設計的舞台上進行，以反思動物園這一概念。

日期及時間：
20.3.2021 (六)
下午4時
香港動植物公園噴水池平台花園

工作坊：
四場工作坊由作曲家鄺展維及客席聲音藝術家帶領，透過聲音漫步、聆聽練習及製作音頻、錄像、繪畫、文字或攝影聆聽記錄，讓參加者發現聲音，了解聆聽。參加者將會以香港動植物公園及其週邊環境作為參考，學習聆聽的不同方式及投入進作品《栩栩如生》裡。參加者可在工作坊完結後兩週內把他們的聆聽經驗記錄發送給香港創樂團，上載至此網站。

日期及時間：
13.3.2021、20.3.2021、10.4.2021、17.4.2021 (六)
下午1:30-2:30
形式：Zoom網上平台
語言：粵語
費用全免

Lifelike Performance and Workshop Details

Performances:
A series of 4 site-specific performances at the Fountain Terrace Garden at the Hong Kong Zoological and Botanical Gardens, with music and concept by Charles Kwong and bamboo structure by Macau-based architect collective Impromptu Projects, featuring musicians from the Hong Kong New Music Ensemble and guest artists. Taking the landscape design and the zoological attractions at the Gardens as creative references for a comprehensive biophilic design approach, 4 site-specific performances that reflect on the ideas of zoo will take place across the period of the entire exhibition.

Date and Time:
20.3.2021 (Sat)
4pm
Fountain Terrace Garden, Hong Kong Zoological and Botanical Gardens

Workshops:
4 workshops led by composer Charles Kwong and guest sound artists will allow participants to explore sound and listening through sound walks, listening exercises and creation of listening documentations in the forms of audio and video recordings, drawings, text or photography. Participants will learn various ways of listening and approach the work Lifelike, taking Hong Kong Zoological and Botanical Gardens and its surrounding environment as reference. Participants are encouraged to submit their listening experience documentations at the Gardens within two weeks after the workshops. Submitted works will be uploaded to this website.

Dates and Times:
13.3.2021, 20.3.2021, 10.4.2021, 17.4.2021 (Sat)
1:30-2:30pm
Format: Zoom online workshop
Language: Cantonese
The workshops will be conducted in Cantonese
Free events

創作團隊

概念及作曲：鄺展維
建築設計：即興項目
演出：香港創樂團及客席樂手
地圖繪畫：鄧啟耀
監製：陳楚珊
行政：香港創樂團

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鄺展維

鄺展維是香港土生土長的作曲家，創作範疇包括管弦樂、合唱、以至為各種室樂組合及獨奏者而寫的音樂作品，曾演出其作品的著名音樂家包括法國現代樂集、法國廣播愛樂樂團、香港小交響樂團、斯圖加特創聲獨唱團、意大利Divertimento樂團、澳洲Ensemble Offspring、香港創樂團、美國Eastman BroadBand、英國克萊采弦樂四重奏、長笛演奏家Mario Caroli及直笛演奏家鈴木俊哉等，近年其作品在國際間曾於日本武生國際音樂節 (2018)、瑞士提契諾音樂節 (2018)、意大利Rondò a Bobbio (2018)、法國巴黎音樂與聲學研究中心ManiFeste音樂節 (2017)、法國拉羅克‧昂迪榮國際鋼琴音樂節 (2017)、德國東弗里斯蘭「浪潮」音樂節 (2017)、葡萄牙馬爾旺國際音樂節 (2017)、西班牙奧維耶多夏季藝術節當代音樂系列 (2017)、香港藝術節 (2017)、意大利soundSCAPE音樂節 (2016)、香港新視野藝術節 (2016) 等之中演出。2016年，其作品《樹猶如此》獲法國現代樂集音樂總監平沙爾挑選，在樂團的香港首演中演出。

創作中鄺展維也有打破演奏廳範式的音樂作品，探討音樂作為一種體驗處境的創作方向，因此除場域特定音樂作品和聲音裝置，鄺展維亦曾與來自其他範籌的藝術家多次合作。2018-2019年鄺展維於《聽得見的城市》擔任策劃及作曲，計劃與香港創樂團、聲音掏腰包及視覺藝術家鄧啟耀合作，由何鴻毅家族基金之「藝術 ‧ 改寫香港」計劃資助，在此計劃中鄺展維為香港多個非音樂廳場域創作一系列的場域特定作品，名為《亞特拉斯》。鄺展維於2020至2021樂季擔任香港小交響樂團之駐團藝術家。2020年的其他動向包括為期四個月的蘇黎世藝術家駐留計劃、於台北由香港創樂團演出的作品專場音樂會、及第二次獲日本武生國際音樂節邀請作品參演。鄺展維早年於香港中文大學及倫敦大學國王學院修讀音樂，及後獲利銘澤百年紀念獎學金全費資助，於英國約克大學在Thomas Simaku指導下鑽研作曲，並於2013年獲頒授博士學位。他近年獲得細川俊夫多次教導，並參加Francesco Filidei、Mauro Lanza及Oscar Bianch等作曲家之大師班，從中獲重要啟迪。

現於香港定居，鄺展維亦積極於本地推動當代音樂。他自2015年起為香港小交響樂團作當代音樂研究，並是2019年創辦的藝術創作及協作平台—廿一檔之聯合創辦人兼藝術總監。

www.charleskwong.com
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即興項目

跨媒體工作室即興項目由蘇約翰及孟麗泰創立。團隊的建築設計積極邀請當地社區的參與，當中的藝術裝置在都市空間展出，並採用鄰近地區出產的竹枝為建築物料，搭建臨時的竹結構，並探討作品與社會的相關性。即興項目的藝術作品《Treeplets Public Leisure》於2015年獲得「A'設計大獎賽—銀獎／建築、建築物與結構設計」；又於2020年在葡萄牙布拉加入選「可持續發展公共藝術獎項」三甲。近期的展覽包括2015年在里斯本國立自然史及科學博物館展出的《記憶宮殿》及2018年在澳門藝術博物館展出的《中國與葡語國家藝術年展—知我者》。

www.impromptuprojects.com
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香港創樂團

香港創樂團由凌藝廉於2008年成立，是亞洲首屈一指的當代音樂組合，多年來為觀眾帶來高水平的當代音樂演出。樂團以創新的節目獲各地觀眾熱烈迴響。除音樂演出外，樂團亦透過教育外展活動、跨媒介合作及研究計劃為本地及國際藝術家建立實驗及合作平台。香港創樂團現由十五位成員組成，以各種靈活組合於不同場境演出。當中包括不少由香港創樂團委約創作的作品。樂團多年來演出多首當代音樂大師的經典名作，並為多位本地及海外作曲家的新作作首演。香港創樂團曾參演新視野藝術節(2010、2014、2016、2018)、統營國際音樂節(南韓，2016)、西九自由野(2014)、法國五月(2014、2015)、澳門藝術節(2016)、澳門國際音樂節(2010)、ECHOFLUXX新媒體、藝術、音樂節(捷克，2016)、柏林三月音樂節(德國，2011)、新舊藝術博物館現代音樂節(澳洲，2011)、香港藝術節 (2014、2015、2017)、CYCLE音樂及藝術節(冰島，2017)及上海當代音樂周 (2018)、北京國際音樂節(2019)、臺灣香港周(2019)及亞洲協會紐約、三藩市等地巡演(2019)。樂團與多個當代藝術團體合作，如聲音掏腰包、進念・二十面體、捌號會所合作。演出以外，近年樂團與大專學院、文化機構及不同場地策展合作，如香港藝術中心、⻄九文代管理局、Spring工作室、亞洲協會香港中心、香港歌德學院等。2018-2019年，樂團主辦及製作場域特定計劃「聽得見的城市」，於香港六處非音樂演奏用途場地演出，其獨特的聆聽及空間體驗大獲好評。香港創樂團自2012年起成為香港藝術發展局資助團體，並兩度獲香港特區政府的「藝能發展資助計劃」資助，創辦「現代學院」。

www.hongkongnewmusic.org

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鄧啟耀

1988年生於香港，藝術家鄧啟耀從城市生活當中尋找人與大自然的痕跡，並將其微渺的關係帶到創作。他於 2010 年畢業於香港浸會大學視覺藝術院(榮譽)文學士。於2014年，他獲邀參與蘇黎世藝術大學為期半年的藝術家駐留計劃。他曾獲「麥羅武中國繪畫獎」(2012)、「美思堂文教基金」獎學金(2012)、「視覺藝術創作獎」(2010)及「友生昌中國繪畫獎」(2009) 。近年，他曾參展於香港藝術中心及比利Les Halles de Schaerbee合辦「香港味道」(2016)、京都藝術中心「音をめぐる場と表現」(2016)、德國蓋爾森基興美術館的中國八項目「Tradition Today – Ink Painting and Calligraphy」(2015)，德國柏林Momentum「為未來而創造：想象不可想象之事」(2015)。其作品更見於德國、瑞士、日本、中國、台灣和香港的各個藝術館、藝術機構和畫廊。

www.tangkaiyiu.com

The Team

Concept and Music: Charles Kwong
Architecture Design: Impromptu Projects
Performers: Hong Kong New Music Ensemble and guest musicians
Map Artwork: Frank Tang
Producer: Sharon Chan
Administration: Hong Kong New Music Ensemble

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Charles Kwong

‍Born and raised in Hong Kong, composer Charles Kwong's creative output ranges from orchestral and choral music to works written for all types of chambers ensembles and solo performers. Distinguished musicians that performed Kwong’s music include Ensemble intercontemporain, Orchestre Philharmonique de Radio France, Hong Kong Sinfonietta, Neue Vocalsolisten Stuttgart, Divertimento Ensemble, Ensemble Offspring, Hong Kong New Music Ensemble, Eastman BroadBand, Kreutzer String Quartet, Mario Caroli and Tosiya Suzuki, among others. In recent years, his music has been internationally featured in festivals such as Takefu International Music Festival (Japan 2018), Ticino Musica (Switzerland 2018), Rondò a Bobbio (Italy 2018), IRCAM ManiFeste (France 2017), Festival International de Piano La Roque d'Anthéron (France 2017), Gezeitenkonzerte in Ostfriesland (Germany 2017), Marvão International Music Festival (Portugal 2017), Ciclo de Música Contemporánea de Oviedo (Spain 2017), Hong Kong Arts Festival (2017), soundSCAPE Festival (Italy 2016), New Vision Arts Festival (Hong Kong 2016), among other presentations. In 2016, his work Lachrymae was selected by Matthias Pintscher and Ensemble intercontemporain as part of the programme for the ensemble's Hong Kong début.

In composing, Kwong is also active in creating works beyond paradigms of concert hall music, extending his explorations in music as experiential situations. This has brought Kwong to site specific works, sound installations and cross-disciplinary collaborations. Kwong is the curator and composer of "Our Audible City" (2018-2019) - a project in collaboration with Hong Kong New Music Ensemble, soundpocket and visual artist Frank Tang supported by the “Arts: Transforming Hong Kong” Grant of The Robert H.N. Ho Family Foundation. For the project Kwong created a series of site-specific compositions tailored for non-concert-hall spaces in Hong Kong, titled Atlas. Kwong is appointed Artist Associates of Hong Kong Sinfonietta in season 2020-2021. Other professional highlights in 2020 include a 4-month residency for the City of Zurich Artist-in-Residence Programme for International Artists in association with Zurich University of the Arts, a portrait-concert in Taipei performed by the Hong Kong New Music Ensemble, and being featured for the second time at the Takefu International Music Festival. Kwong studied music at The Chinese University of Hong Kong (2004-2007) and King’s College London (2007-2008). In 2013, he earned his doctorate in compositions from The University of York under the supervision of Thomas Simaku as an R C Lee Scholar with full sponsorship from the Drs Richard Charles and Esther Yewpick Lee Charitable Foundation. Over the years, he also received important benefits for his artistic development through tutelages from Toshio Hosokawa in multiple occasions and the masterclasses from Francesco Filidei, Mauro Lanza, and Oscar Bianchi, among other composers.

Currently living in Hong Kong, Kwong has also been actively involved in promoting contemporary music in the scene. Since 2015 he has been working with the Hong Kong Sinfonietta for the orchestra’s research and programming in contemporary music. He is co-founder and artistic director of PROJECT21st, a platform for artistic productions and collaborations launched in 2019.

www.charleskwong.com
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Impromptu Projects

Impromptu Projects is a multi-disciplinary studio practice founded by João Ó and Rita Machado. The team proposes architecture design with strong involvement of the local community as critical participants. Their installation work is often shown in the urban space, focusing on the design of temporary structures with bamboo sourced from the nearby region as well as on the study of its social relevance. Artwork Treeplets Public Leisure has won “Silver A' Design Award” for Architecture, Building and Structure Design Category in 2015, and the team were awarded top 3 finalist for the “Art in Public Space & Sustainability Award” in Portugal in 2020. Latest exhibitions include Memory Palace at the National Museum of Natural History and Science, Lisbon in 2015 and Annual Arts Exhibition between China and Portuguese-speaking Countries – Alter Ego at Macao Museum of Art in 2018.

www.impromptuprojects.com
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Hong Kong New Music Ensemble

Founded in 2008 by William Lane, the Hong Kong New Music Ensemble(HKNME) is Asia's premiere new music, dedicated to presenting contemporary music at the highest standard possible. Renowned for its exciting performances, the HKNME’s productions extend beyond the stage to educational outreach events, interdisciplinary collaborations and research projects with a global network of artist associates. The HKNME currently consists of fifteen core members who perform in versatile combinations in a variety of settings. Over the years, the HKNME has performed masterpieces of the contemporary repertoire as well as numerous premières by composers from Hong Kong and overseas, including many commissioned by the HKNME itself.HKNME has been taken centre stage in numerous prominent showcases, including the New Vision Arts Festival (2010, 2014, 2016 & 2018) , Le French May (2014 & 2015), Tongyeong International Music Festival/ ISCM (Korea, 2016), Macao Arts Festival (2016), ECHOFLUXX Festival of New Media, Art & Music in Czech Republic (2016) , and CYCLE Music and Art Festival in Iceland (2017), Shanghai New Music Week (2018), Beijing Music Festival (2019), Hong Kong Week in Taipei (2019) and Asia Society in New York and San Francisco (2019), etc. The ensemble has also collaborated with renowned organisations, such as Zuni Icosahedron, Soundpocket and Studio Acht.The ensemble has been invited to curate events in partnership with the Hong Kong Arts Centre, West Kowloon Cultural District Authority, Spring Workshop, Asia Society Hong Kong Center and the Goethe-Institut Hongkong. In 2018-2019, “Our Audible City”, a flagship project of HKNME, was presented to popular and critical acclaim at six unique non-music performance venues throughout Hong Kong with exceptional spatial design.The HKNME has been annually funded by the Hong Kong Arts Development Council since 2012, and twice received project grants from the Arts Capacity Development Funding Scheme of the HKSAR Government to present The Modern Academy.

www.hongkongnewmusic.org

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Frank Tang

Born in Hong Kong in 1988, Frank Tang uses Chinese painting and video installation as a means being provocative to human thoughts and daily behavior with nature. He received his Bachelor of Visual Arts from Academy of Visual Arts(AVA), HKBU in 2010. In 2014, he was invited to a 6-month residency in Zurich by The Zurich University of the Arts. He was awarded Grant Award by Muses Foundation (2012), the Louis Mak Chinese Painting Award (2012), AVA Award (2010), Yau Sang Cheong Chinese painting Award (2009). Tang has participated in exhibitions including, in “A Taste of Hong Kong” at Les Halles de Schaerbeek in Belgium (2016), 「音をめぐる場と表現」at Kyoto Art Center in Japan(2016), “China 8 - Tradition Today – Ink Painting and Calligraphy” at Kunstmuseum Gelsenkirchen in Germany(2015) and “Creating the future : Thinking About The Unthinkable” at Momentum in Germany(2015). His artworks have been exhibited in museums, art organizations and galleries in Germany, Switzerland, Japan, China, Taiwan and Hong Kong.

www.tangkaiyiu.com

邂逅！市中森

主辦：康樂及文化事務署
籌劃：藝術推廣辦事處
策劃夥伴 (影像藝術)：光影作坊
音樂演出夥伴：香港創樂團

鳥獸原始的叫聲，縈繞在煩囂城中的一片綠洲。香港動植物公園，俗稱「兵頭花園」，乃香港歷史最悠久的公園，坐落香港商業中心地區的一角，保存著珍貴的百年古蹟、古樹名木及各種奇花異草，同時也是一些鳥類、哺乳類和爬行類瀕危絕種動物棲息的居所。自1871年正式落成以來，園內古樸優雅的景色，不但被香港影視作品和文人墨客所記錄，亦存留在無數遊人和攝影愛好者的照片之中；而與動植物的互動，則讓都市人得以在繁忙生活裡偷閒忘憂，感受大自然的生命力。

為了發掘更多公園的故事及探索人和自然的關係，藝術推廣辦事處將於你2021年1月推出「邂逅！市中森」藝術計劃：17組藝術家，包括唐納天、陳曦靜、張康生、張惠文、張惠文、深食、即興項目、葉曉文、李卓媛、梁家泰、梁美萍、吳海賜、蘇秀儀、董永康、黃耀霖、黃榮法、王禾璧、 &dear，聯同是次藝術計劃的策劃夥伴 (影像藝術) 光影作坊及音樂演出夥伴香港創樂團，將從公園的歷史、集體回憶、文化想像及自然生態出發，透過不同媒介的藝術創作，以及在地的創意活動，讓公眾從另一個角度認識香港動植物公園的一切。我們希望參與者能在過程中探尋公園新的意義，帶著深刻記憶與這片屬於我們的地方繼續一同成長。

有關「邂逅！市中森」的最新動態，請追蹤「我地藝術」面書專頁
( @apo.artOUR)及Instagram( @artour_insitu)。

展覽詳情：
展覽場地：香港動植物公園
地址：香港中環雅賓利道
暫定展覽日期：2021年1月16日至6月30日

溫馨提示：香港動植物公園的開放時間因應新型冠狀病毒的最新情況作出調整，請各位出行前留意 公園網頁的最新消息。

前往方法：
公共巴士：12, 12A, 12M, 13, 23, 23B, 40, 40M, 103
專線小巴：1A, 22, 22S, 28
山頂纜車：堅尼地道站/ 麥當勞道站
鄰近地鐵站：金鐘或中環

免費入場

前往項目網站 >>

Hi! Flora, Fauna

Presenter : Leisure and Cultural Services Department
Organiser : Art Promotion Office
Curatorial Partner (Image Art) : Lumenvisum
Music Collaborator : Hong Kong New Music Ensemble

Primitive sounds of wildlife linger in an urban oasis. Nicknamed as 'Bing Tau Fa Yuen' by locals ('Bing Tau' means the head of soldiers and 'Fa Yuen' means garden) and located close to the central business district of Hong Kong, the Hong Kong Zoological and Botanical Gardens is the oldest public garden in the territory. Apart from housing century-old historic monuments, old and valuable trees and other exotic flora, the Gardens is also the home to a number of endangered species of birds, mammals and reptiles. Since its founding in 1871, the refine scenery of the Gardens has appeared in different works of literature, movies and television production, and wonderfully captured by tourists and photography-lovers through camera. The provision of interactive experience with flora and fauna also marks the significance of the Gardens, where urbanites can enjoy a moment of peace and a mindful appreciation of nature.

In exploration of stories about the Gardens and the relationship between human and nature, the Art Promotion Office will launch the 'Hi! Flora, Fauna' art project in January 2021 featuring 17 artists / artist groups, including Nadim Abbas, Chan Hay-ching, Enoch Cheung, Eunice Cheung, Eunice Cheung, Deep Food, Impromptu Projects, Human Ip, Sharon Lee, Leong Ka-tai, Leung Mee-ping, Ng Hoi-chi, Gretchen So, Tung Wing-hong, Dio Wong, Morgan Wong, Wong Wo-bik, &dear, together with our Curatorial Partner (Image Art) Lumenvisum and Music Collaborator Hong Kong New Music Ensemble. Drawing inspiration from the history, collective memories, cultural imagination as well as natural attractions of the Gardens, the artists will present their creativity via a variety of art mediums and organise a series of site-specific activities, offering a one-of-a-kind experience. Throughout the artistic journey, you are invited to explore meanings and treasures of the Gardens — let's share new memories and continue to grow with this place we all love.

For project details and updates, please follow The Facebook page (@apo.artOUR) and Instagram (@artour_insitu) of “Art-OUR in situ”.

Exhibition information :
Venue : Hong Kong Zoological and Botanical Gardens
Address : Albany Road, Central, Hong Kong
Tentative Exhibition Period : From 16 January to 30 June 2021

Warm reminder : The opening hours of the Gardens will be adjusted in view of the recent development of novel coronavirus infection, please visit the Gardens' website for latest arrangement before leaving home.

Getting There :
Bus : 12, 12A, 12M, 13, 23, 23B, 40, 40M, 103
Minibus : 1A, 22, 22S, 28
Peak Tram : Kennedy Road / MacDonnell Road
Nearest MTR Stations : Admiralty or Central

Free admission

Go to project website >>

主辦 Presented by

籌劃 Organised by