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Rolling Stone (Happy Sisyphus), 許思樂, 2017

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Rolling Stone (Happy Sisyphus), 許思樂, 2017

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The artist used the myth of Sisyphus to explore the concept of time and the meaning of life, which allied with our theme of time.

The artist sees Sisyphus as the ‘happiest’ man as he understands life as repetitive and effortless but still enjoys his life thoroughly, even though he is physically suffering.

Time is the unit of life trajectory. Under the New Normal, people feel that they have nothing to do and waste time because we live day-to-day and year-to-year lives every day, affecting our perception of subjective time.

Like the artist’s said ‘the stone has been slowly abraded and eventually demolished through the repetitive action, defeating the saying of a never-ending torture.’ Still, when people recognize time clearly, even if its essence is to repeat endlessly, it also means that we can get along well with time and build a meaningful life for ourselves.

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Rolling Stone (Happy Sisyphus), 許思樂, 2017

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Rolling Stone (Happy Sisyphus), 許思樂, 2017

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Narrative/ Interface:

In this section, sound will be the main media to concertize the nothingness element of time. Apart from the ordinary sense of sight and smell, we believe that the sense of hearing, sound in other words, can evoke emotionally charged memories. With the memories in head, it helps people construct their own perception of time (subjective time). Under such a risky society, a packed schedule and time perception seems to be viewed as an efficient use of time by many people, but is it really the truth? Artworks selected in this part create a journey for the audience to explore their own sense of time and significance of time, where they will first be exposed to Pak’s work, followed by our sound project work and an interactive activity.

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觀眾可以上載記錄予他們快樂的一刻的聲音並給予相關描述予我們，及後我們將上載到展覽中；同時觀眾錄音會轉化成聲紋圖片，觀眾可選擇保存圖片將聲紋列印出來作書籤或其他用途（如紋身、雕刻飾品）

聲紋等同屬於音頻的指紋，視為一種獨一無二的記號，將聲音轉化成視覺可見的圖像，科技進步下更可識辨圖像再轉為聲音

將錄音具象化，觀眾能得到一個實質的紀念，令短暫的快樂回憶能以另一形式，甚至是永久保存

快樂的感覺雖然強烈，但轉瞬即逝。在現今充滿不安與焦慮下的社會，我們希望觀眾可主動將自身快樂的一刻記錄下來，與其他人分享，同時亦通過聲紋圖片將無論瑣碎或是重要的快樂銘記，在這晦暗未明的時化留下一絲曙光

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Pak Sheung Chuen’s artwork showcased that time is no longer objective, instead of using the subjective side to feel the flow of time and create meaningful moments. The artist is constructing his significant time even through meaningless acts.

This section wants to show what it means to be meaningful. Everyone has a different interpretation of it; it can be eating a delicious dinner or wandering aimlessly. There is no rule or a particular set of actions for sensing time. Especially like the present, the world is full of uncertainty and insecurity. Rather than being insecure and fearful all the time, how can we negotiate with those unpleasant moments? Maybe we can learn from Sisphyus, even if the daily struggle of our lives sometimes seem equally repetitive and absurd, we still give themsignificance and value by embracing them as our own.

What can show the flow of time and represent a particular moment? Audio. Audio records the sound of the surroundings and represents the instant of time. Unlike video or photos, we want the audience to have room for imagination through listening to the audio. The curatorial team (11people) will be the donor of the audio, each of us will provide short audio (20-40s) that can showcase the moment of happiness or meaningful time from our own perspective.

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《呼吸一間屋的空氣》白雙全，2006

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《呼吸一間屋的空氣》白雙全，2006

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人們在感受時間的過程中無法而客觀的標準感受，如每人對一分鐘的想像及體驗都有所不同。時間的流動實則上依照我們的經驗所測量，我們需要一些經歷或事件去察覺時間的過去，否則時間像是停頓了般。
在現今人們必須要留在一個封閉的空間之中，難以創造一些經歷與回憶，怎樣才能善用時間？

白雙全作品中不斷吹膠袋佔用空間，藉由呼出的氣體把房子填滿，顯示出一種無所事事、自娛自樂的態度。這種是否算是一種經歷的創造及有意義地渡過時間？

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this works present a set of photo for a specific place with description in the tone of selling these places as a “new traveling destination”

This activity/ work attempts to show the misuse of spaces in the city how people create a new meaning and interpretation of specific spaces

In the past, parks and open spaces were meant to be recreational facilities. However, when it comes to the “risk society”, some places were not only used by its original function. For instance, parks become where people sleep and eat.

Through exploring the new  function of these spaces, it offers us a chance to review how people use a range of tactic to adapt to such a new normal

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Time in Risk Society

在risk society 中科技的進步擴大了風險的不可預測，災難頻生令意外成為日常（normal accidents）

人生命有限，在風險社會中人有更大風險面對傷亡，令人盡可能追求生命活得有意義和充實

「尋找快樂」Happiness as the theme of Time
Time is passing while everyday risk of dying increases so people try to make meaning out of our life, time could be defined by the meaning of satisfaction but not the subjective time.

客觀時間，也稱鐘表時間，是由日歷和鐘表來衡量，定義了一個社會的紀律和規則。人們會主觀認為時間過得充實才算渡過了這些時間，而非依靠客觀時間的測量，所以有時人們會產生，疫情期間的這些年好像甚麼都沒做到或時間好像過得太快，不知不覺便消失掉。

儘管人們對主觀時間的意義認知一直在隨著社會進步而改變，但所有人從小就被教育「把握時間」的概念，因為人生無常、我們不想一輩子的時間過得毫無意義。

隨著近幾年疫情爆發，我們每日與死亡的距離不斷拉近，在風險增加的現在，人人居家隔離，減去交通和各種社交、在家時間變多了。

因此，如果每日只按照過往的活動量計算，我們將有一段時間會空出來變得「無所事事」，而其實活動量跟以往是一樣的。如果我們不去強行為每一段時間加上目標，以西西弗斯式以主觀快樂而非客觀時間來量度生活，這樣的生活還算充實嗎？這樣的生活未必為充實，卻能找出自己的快樂，為自己活出生活的意義。

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Space in Risk Society+ Tactics

the use of space is defined by the society, the land use keep changing over time

current policy makes the spaces in Hong Kong keep emerging and disappearing

risk or loosing our space emerges

in order to continue daily activity, a ‘misuse’ of land is needed as an adaptation to the environment

the strange feeling of misusing land will be created, uncertainty and therefore risk emerges

「旅行」Traveling as the theme of Space

「空間實踐」就是在特定的空間裡的人的行為和活動，掌握及佔用空間，從而塑造不同的社會關係、結構、 形態及面貌，為空間賦予意義及特質，「聯繫著人的感知和行動力」空間的建成基於人們的定義，如公園是嬉戲的空間，餐廳是用膳的空間等。在風險社會之中，社會充滿不確定性，危機潛伏，分秒都充滿變化，令人混亂焦慮不安，加上危機的程度與範圍越來越廣，所以令人們不能在原有的空間上實踐原有的行為，如餐廳不能用膳

制度的改變使人們運用空間的實踐改變，如公園成為用膳的空間，並產生了違和感。違和感經常出現，無論我們是接受還是拒絕這樣的轉變，也應學會如何與其共存，於是人們運用戰略 （tatics）

「旅行」成為了人們運用創意去重新定義空間與意義的主題，亦是這個部分想探索的主題。如何在虛擬的空間體驗旅行及人們有哪些方法去詮釋？

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《請假裝我們也曾去過很多地方》, 何倩彤, 2011

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《請假裝我們也曾去過很多地方》, 何倩彤, 2011

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Concept/ Narrative/ Interface:  線上旅行團
To concretize the idea of “traveling” and “moving in space”, this section will be designed into virtual tour-like. Meaning that the audience will first be exposed to a question asking them if they want to join a zoom tour. However, with the choices given (是/我有得揀咩), they will be redirected to another page asking them if they would like to join local tour or overseas tour no matter they choose (是/我有得揀咩). This creates an illusion,  sense of irony and resignation that people seem to have the right to choose, yet they don’t.   After being redirected to either a local tour or overseas tour, audiences will get in touch with the selected artworks respectively and be exposed to other artworks at the end of the “tour” as a conclusion of this part.

Generally, such a display method not only aims at creating a journey for the audiences, but also creates a sense and atmosphere of incongruity.

Artworks selected in this part show how artists reflect on the phenomenon of the misuse of space (can be interpreted as tactics) under this risk society, and how artists deal with such “risk”. Thus, this virtual tour-like attempts to provoke audiences’ reflection on daily lifes and  themselves and allow them to explore the new possibility of a space.

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Interactive Activity 1:                                       Collecting audio from audiences

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Interactive Activity 1:                                       Collecting audio from audiences

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《呼吸一間屋的空氣》白雙全，2006

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《呼吸一間屋的空氣》白雙全，2006

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《孤高的旅程》, 黃進曦

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《孤高的旅程》, 黃進曦

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It has been the third year since we first faced COVID-19. The term ‘New Normal’ has been familiarized and is used to describe how people are adapting to changes like isolation and lockdown. In fact, our routines are changing as our lives are upheaved by the changes brought by the pandemic, for instance wearing masks, keeping social distance, holding online meetings, etc. As the ‘normal’ before the pandemic is distorted, we are starting to search for new ways of life and, hence, some sense of normality is returning. People are falling into a pattern, albeit a new normal.

The new normal, in other words, corrects the flaws of the old one while maintaining what was right of it. But, if the old normal was incorrect, why did we refer to it as normal? Similarly, how can we pretend we're still dealing with "normal" if the new normal isn't the same as the old one?

Yet, things do not just happen to change since the pandemic. Changes can be anywhere, anytime, in any way. Changes can be noticeable and they can be not. There seems to be nothing permanent except change. Hence, if changes are the normality, is there really a ‘new normal’ under the pandemic?

When things that have been changed become part of our normal life, can we still call it “new”?

What does “normal” really mean, anyway?

In this exhibition, we would like to explore and redefine the term - “new normal”.

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《新地標》系列是《地標》系列的延伸。這個人口密集的城市中，建築物只好向高空發展。曾氏在這些向上發展的土地面積中找到這城市隱藏著的新地標。出現新地標後。開始關注這些地標在不同時間裡的狀態以及當中發生的事情。

仰望城市中的高樓大廈，就如船隻停泊在海港的，石屋建於荒蕪之地

給人到外地旅行的錯覺

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一段固定拍攝天空的鏡頭，記錄了6分55秒雲的緩慢漂動。座標的地理定位依賴於參照物，而凝視的畫面，雲朵微弱但卻顯著的移動、和半透明的窗簾，共同讓空間的準確性不再唯一，或者不再是必須。

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風景畫家黃進曦向來喜歡外遊寫生，疫情把人們困在家中，卻未有壓止他繪畫風景的慾望。於是，他在疫症初期已萌起借助Google Earth坐標定位系統，及地圖資料庫，足不出戶展開一段段「孤高的旅程」。其中特別的地方，是他利用 360 度全景功能，以致畫作能呈現現實世界未能到達的位置及視角。

主題上能夠回應”travelling”及”moving in space”

而藝術家創作的形式描繪疫情下眾人不能隨意外出的孤單卻要自得其樂的

這正正是作品所帶出的違和之處

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《請假裝我們也曾去過很多地方》, 何倩彤, 2011

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《請假裝我們也曾去過很多地方》, 何倩彤, 2011

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Traveling has become a luxury activity. The mode of traveling has been changed to different methods and forms.

Traveling is no longer our physical experience but through various pictures and technology to construct our space and perception when we are trapped at home.

At the same time, because there is no physical experience, it produces a state of incompatibility between physics and mental experience, which highlights the absurdity of space.

In Ho’s artworks, the artist found the absurdity of the city, local motels named in global places, for example, Roma, Spain, and Kyoto.

As the artist said, ‘Big lies exposed naked in the city. You have to be an accomplice to play this game.’ Aren’t we all just like the artist drowning ourselves in spatial absurdity?

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Joy @wellcome collection