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Tang Kwok-hin
Cédric Maridet
Tsang Kin-wah
Yuan Gong
BEYOND THE HORIZONBEYOND THE HORIZON
(圖片由香港遊艇會提供 Photo by cour tesy of the RHK YC)
前香港皇家遊艇會
The premises of the former Royal Hong Kong Yacht Club
1927
油街實現
Oi!
2013
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簡介
Introduction
參展藝術家
Participating Artists
原弓
Yuan Gong
曾建華
Tsang Kin-wah
鄧國騫
Tang Kwok-hin
Cédric Maridet
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10
15
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CONTENTSCONTENTS目錄
簡介Introduction
起動﹗油街實現
沒有新與舊的對立，
沒有歷史和現實的桎梏，
重視非系統性的融合經驗和異化發展。
時間與記憶互相更迭，我們對 油街藝 術空間懷抱無限的憧憬。油街藝 術空間
前身為香港皇家遊艇會，於19 0 8年迄立於北角的海岸線上，曾為物料供應處
宿舍，默 默支持着在海岸堆填土地上的物料供應處倉庫的運作。物料供應處
於19 9 9年曾以合約形式對外租用，不少設計師、藝術家及新生的藝團在此聚
落和活動，形成香 港首個 藝 術村。油街 藝 術空間正好見證這段不可磨滅的歷
史，在這個文本上出發，可以理解油街藝術空間能夠置身於 傳統的進程中，並
在過去和現在中不斷融合，從而產生獨特的視野和景觀。這個過程是包容的、
敞開的。「油街實現」不單是一個藝術空間，亦是一個實驗室、一個交換思想
的平台。我們期望與藝術工作者及 廣大群眾一同實現藝術創作及 進行各種嘗
試，營造一個共同體驗和實踐藝 術的空間，讓藝 術工作者和不同的持份者在
參與書寫「油街實現」的現在和歷史同時，亦作為超越自我的實踐過程。
「油街實現」藝 術空間自一百年前臨海而建，經 歷過各種變遷。「起動！油街
實現」是藝術空間的起動項目。「油街實現」作為一個複雜的綜合體，無論是
對話、文本還是 敘事，好 像海水的多樣形態及不定形性格一樣，將沒有主體、
沒有規範目的，而在於引證事物的變遷和藝術的無限可能。項目邀請了四位藝
術家Cédric Maridet、鄧國騫、曾建華及原弓，就這個藝術空間的獨特歷史及地
理環境，書寫對「油街實現」的歷史、現在與將來的想像，他們的作品以隱喻式
的敘述，為「油街實現」揭開序幕，並締造不同持份者對這個藝術空間的願景。
四位藝術家環繞著對海水的不同轉化為題而創作，表達他們對這個藝術空間
面向未來的無限可能。旅居香港的法籍藝術家 Cédric Maridet 以聲音和光影
重 組 油街 藝 術空間的歷 史、印象及 鄰近環境和海岸的變遷。他更將在「油街
實現」裏外 搜 集而來的聲音換化為音頻，大 家可以在不同的時空 延 續「油街
實現」的經驗。年青藝術家鄧國騫以海水換化為雨水，並將之予以收集的過程
作為「油街實現」接連世界的一個複雜的契合點，一方面以水份在不同時空進
行的性質轉化、重現的過程，將「油街實現」成為連繫海洋的接合點，同時也
將藝 術空間與敞濶的世界 接軌，使「油街 實現」在 太陽之下發揮不同層次的
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收集、昇華和散播的功用。曾建華透過海嘯的影像引進「油街實現」的室內空
間，在這幢老房子裏激發來自海洋的天然爆發力，讓 這個 藝 術空間在 激 浪和
狂傲 之中依然 迄 立；在破壞 之後得以 更生。來自內地的藝 術家原弓將水淨 化
為 純 氧、轉化 成霧氣，籠罩着整個空間，令大 家對 這個全新的藝 術空間的面
貌有不同層次的發現。霧氣的成份是一種正能量，它形成的氛圍賦予「油街實
現」一種不可多得的氧份和能量。這個空間將與持份者的基本需要接合，使空
間得以持續發展。
我們期望 結集來自各方的創意，讓 無限想像及意念能在這裡不斷實現，以擦
出意想不到的火花，並希望這股創造力可一直蔓延伸展，連結藝術家和不同的
持份者，向著無限可能的未來邁步。
噢！請與我們一起體驗油街藝術空間的歷史、現在與將來。
藝術推廣辦事處館長
連美嬌
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Embark! Beyond the Horizon
Free from conflict between the new and the oldReleased from the shackles of history and realityFocusing on integrative experience and differentiating development
Time and memory change with each other. We see a bright future for the Oil Street Art Space, Oi!. First erected on the North Point foreshore in 1908, the building that it calls home was once the Royal Hong Kong Yacht Club. It was then turned into staff quarters for the Government Supplies Department, whose warehouse on reclaimed land it silently supported until, in 1999, its work was subcontracted out. The gap was filled by designers, artists and newly founded art groups, who gathered at the site, organising activities there and establishing the first artist village in Hong Kong. Oi! now bears witness to these indispensable chapters in history, its subtext providing an insight into how this new art space has been founded in the current of tradition, ceaselessly integrating the past and present to form unique perspectives and views in a process that is open and tolerant. Oi! is a place for art, but also a laboratory and a platform for exchanging ideas. We are looking to co-operate with the different sectors of the art world and the general public to facilitate and experiment with art and to create a space where experiences are shared and artistic potential is fulfilled. Oi! will allow artists and the various stakeholders to transcend the practical process and write a new chapter in the building’s history.
‘Embark! Beyond the Horizon’ kicks off the new art space at Oi!. As a complex multifunctional entity, the art space is not physically or conceptually bound by its conversations, texts or narration, but is indeterminate, taking on as many forms, shapes and characters as water. This launch project has therefore invited four artists – Cédric Maridet, Tang Kwok-hin, Tsang Kin-wah and Yuan Gong – to envisage the past, present and future of the art space based on its unique history and geographical environment. In a metaphorical narration, their works unveil the prologue of Oi! and reflect the visions of its different stakeholders.
The four artists have drawn inspiration not only from the new art space’s individual character and environment, but also from the local community to create works for the launch exhibition. Cédric Maridet, a French artist living in Hong Kong, makes use of sound and shadow to recompose the history and impressions of the surroundings and the coastline by the Oi! as well as the changes they have undergone. Converting sound samples collected from inside and outside the art space into shadow
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projections, his work allows visitors to continue the experience in an altered time and space. Young artist Tang Kwok-hin examines the transformation of seawater into rainwater, representing the collection process as a complicated juncture where the art space connects with the world: the process by which water changes properties and reappears in different times and spaces connects Oi! to the sea; at the same time, the art space’s connection to the vast world allows it alternately to collect, condense and disperse water under the sun. Tsang Kin-wah introduces images of a tsunami into the interior of the art space, filling the old building with the natural vitality of the sea and allowing the art space to stand amid the treacherous, pounding waves and regain a new life after destruction. Mainland artist Yuan Gong purifies water into a mist that clouds the entire art space and presents visitors with multiple levels of discovery as they explore the various facets of Oi!. The composition of the mist is a kind of positive energy that combines with the vital oxygen it produces to fulfil the rudimentary needs of both the space and the stakeholders and thus enable their sustainable development.
At Oi!, we aim to bring together creativity from all sectors and to facilitate unlimited imagination and ideas that will spark unexpected juxtapositions. We are confident that this creative force will grow and flourish.
Oi! join us and discover the past, present and future of our exciting new art space.
Ivy Lin Curator of Art Promotion Office
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原弓 Yuan Gong
曾建華 Tsang Kin-wah
鄧國騫 Tang Kwok-hin
Cédric Maridet
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參展藝術家 Participating Artists
圖片Photo：馬田．施勒 Martin Zeller
在一起
Together
2013
超聲波造霧裝置
Supersonic mist installation
尺寸多變
Variable dimensions
原弓YUAN GONGYUAN GONG
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Adopting the techniques of Marcel Duchamp, this work uses ready-made products as art materials in a form that links daily life with artistic experience. What’s more, it invites the audience to join in a shared creative passion for nature by simulating the forms of clouds and fog, thus helping artist set himself free and re-embrace the vulnerability of pure art. This double introduction addresses the dilemma that occurs in all kinds of different areas.
Entitled Together, the work reflects the core idea of this exhibition: that in the misty environs of the Oil Street Art Space, historic buildings apparently disappear, and we once more recognise the aloneness of each individual while remaining alert to one other’s presence and situation.
Open to everyone, but also implying danger and uncertainty, Together represents a confused world. Through the random interaction with the viewer, the work reflects the site’s history and calls for the participation of the audience. The result is the creation of new appearances, relationships and aesthetic experiences.
作品一方面挪用自杜尚以來將現成品引入藝術系統的方法，使在藝術中
遭遇日常的突然。另一方面，由於社群的介入，讓 這種「自由」成為藝 術
家自身的解放；藉著模擬雲霧動態而產生的自然情懷，堅守日益 脆弱的
藝術「純粹」。這種雙重引入的方式回應了不同領域所面臨的困境。
作品命名為「在一起」，正是這個藝術項目的核心思想，在雲霧彌漫的油
街藝術空間，在歷史建 築的瞬間消隱中，我們回到每一個個體的獨立身
份，同時可以感知彼此的存在與處境。
《在一起》具有的開放性，也隱喻了危機與困境，作品象徵性地構建了一
個混沌的世界，通過與 觀者的互動與偶發，引入在地藝術的歷史與 社群
的概念，使現場呈現新的狀態，以此產生新的人際與美學關係。
創作理念 Artist’s Statement
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Born in Shanghai, Yuan Gong obtained a PhD degree in art at the Chinese National Academy of Arts in 2012, but has immersed himself in different aspects of contemporary Chinese culture since the 1990s. He creates his works using a variety of media that have unique connections with society, events and scenes.
Yuan Gong held his first solo exhibition at the Hong Kong Arts Centre in 1997 and has participated in more than 20 group exhibitions around the world. Major exhibitions in which he has participated in recent years include the Thematic Exhibition at the China Pavilion of the 54th Venice Biennale, the 6th Prague Contemporary Art Festival, the Chinese contemporary art exhibition Jetlag as part of Chinese Culture Year in Germany, the inaugural Beijing 798 Biennale and the fourth and the sixth China Songzhuang Culture and Art Festival. He held another solo exhibition in China entitled Reappearance, Rebirth in 2013.
Yuan Gong was awarded the Culture China: Person of the Year Award in 2007. In 2009, his work Sounding off with 512-Dong Feng was included in the book Wan Shan Hong Bian: Interview with the New Arts in China 1949-2009, edited by Chinese art theorist Shao Dazhen, and he received the ICS City Beat EDGE Artist of the Year Award the same year.
www.yuangong-art.com
原弓，生 於上海，2012年中國藝術研究院取得藝術學博士學位。他自9 0年代
以來一直涉足中國當代文化的各個層面，創作涉獵多種媒介，以獨特的方式介
入社會、事件和現場。
1997年在香港藝術中心舉行首個個展，並先後在世界各地參與20多個群展，
近年的主要展覽包括「第五十四屆威 尼斯雙年展中國國家館主題 展」展出其
作品《空香》、「第六屆布拉格當代藝術節」、「德國中國文化年當代藝術展」
《時差》、首屆「北京798雙年展」、第四屆及第六屆「中國宋莊文化藝術節」
等。於2013年在中國再次舉行個展「重現．重生」。
2 0 07年獲 頒「文化中國．年度人物大獎 」。2 0 0 9年，其作品《與聲5.12－
東風》獲中國美術理論家邵大 箴收 錄其主編的《萬山紅遍：新中國美術 6 0年
訪談錄1949 -2009》，同年亦獲頒「ICS城市節拍」年度EDGE藝術家獎。
藝術家簡歷 Artist’s Profile
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Prelude to The Seven Bowls
2013
多頻道錄像及聲音裝置
Multi-channel video and sound installation
尺寸多變
Variable dimensions
曾建華 TSANG KIN WAHTSANG KIN WAH
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Prelude to The Seven Bowls is a multi-channel video and sound installation that uses footage of the Tohoku tsunami in Japan in 2011 to create spaces and journeys that allow the audience to experience the ‘wrath’ and walk through the ‘disaster’. The work is a prelude to a forthcoming project that the artist has tentatively entitled The Seven Bowls.
Based on the seven bowls of God’s wrath from the Book of Revelation, seven plagues sent by God in judgment as the end of the world approaches, The Seven Bowls not only tries to show nature's immense power and the disastrous effects of human activity, but also to create spaces that reveal and depict the vulnerability, anxiety and fear of people when facing this wrath.
《Prelude to The Seven Bowls》是一個多頻道錄像及聲音裝置，利用2011
年日本 海 嘯的片段 建 構 出不 同空 間 和 旅 途，讓 觀 眾體 驗 這「憤 怒 」和
經 歷 這一「災 難」。本作品是 藝 術 家籌備中的創作 計劃之前奏，暫名為
「The Seven Bowls」。
概念來自《聖經》〈啟示錄〉當中預示末世將至時，盛載神怒並引來一連
串災難的七碗章節，「The Seven Bowls」意圖揭示大自然的威力及人類活
動所帶來的禍害，同時透過空間的設計來揭示和描繪人類面對「神怒」
時的無力、焦慮與恐懼。
創作理念 Artist’s Statement
曾建華生 於內地，現定 居香 港；2 0 0 0年畢業 於 香 港中文 大學 藝 術學士
及 於20 03年畢業 於 倫敦學院坎伯韋爾藝 術學院藝 術碩士。曾氏的作品
喜用文字和圖案裝置，由早期使用油彩和絲印到後來使用數碼投 射，自
2 0 0 9 年起 透 過 空間的設計，配合聲音和錄 像裝 置，為作品與 觀 眾建 立
關係。
曾舉行多 個 個 展，包括「曾建 華」(紐 約朗伯 畫 廊，2 0 07及巴黎朗伯 畫
廊，2 0 0 8）、「曾建 華：第三印－年老的．已沒存 在 之 必要」(北京 藝
門畫廊，2009)、「MAM Project 015：曾建華」(東京森美術館，2011)、
「Ecce Homo Trilogy I」(藝術門，2012)等。他亦參與超過40個聯展，主
藝術家簡歷 Artist’s Profile
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Born in mainland China and now based in Hong Kong, Tsang Kin-wah received his Bachelor of Arts (majoring in Fine Arts) from the Chinese University of Hong Kong in 2000 and his Master of Arts from the London Institute, Camberwell College of Arts, in 2003. He started out creating text and pattern installations with paint and silkscreens and later moved on to digital projection. Since 2009, Tsang has started to use space in different ways and to produce sound and video installations that create a relationship between the work and the audience.
Tsang has held several solo exhibitions, including Tsang Kin-Wah at the Yvon Lambert Gallery in New York (2007) and Paris (2008), The Third Seal at Pekin Fine Arts (2009), MAM Project 015: Tsang Kin-Wah at the Mori Art Museum (2011) and Ecce Homo Trilogy I at Pearl Lam Galleries (2012). He has taken part in a number of international group exhibitions, including the 7th Shenzhen Sculpture Biennale, the 2011 Asian Art Biennial (Taichung), the 17th Biennale of Sydney, the Aichi Triennale 2010 (Nagoya), the 10th Biennale de Lyon 2009, Memories of The Future (Leeum, Samsung Museum of Art, Seoul, 2010) and Drawn in the Clouds (KIASMA Museum of Contemporary Art, Helsinki, 2008).
He was awarded the Tokyo TDC Prize 2007 by Tokyo Type Directors Club, the 2005 Sovereign Asian Art Prize by Sovereign Art Foundation and the Prize of Excellence at the Hong Kong Art Biennial 2001.
His works can be found in key collections worldwide, including those of the Mori Art Museum (Tokyo), Deutsche Bank Collection – Hong Kong, DSL Collection, Sovereign Art Foundation, the Museum of Design Zurich (Switzerland) and others.
www.tsangkinwah.com
要包括「第七屆深圳雕塑雙年展」(深圳，2012)、「2011亞洲藝術雙年展」(台
中)、「第十七屆悉尼雙年展」(悉尼，2011)、「愛知三年展」(名古屋，2010)、
「第十屆里昂雙年展」(里昂，2009)、「Memories of The Future」(首爾，2010)
及「Drawn in the Clouds」(赫爾辛基，2008)等。
他曾獲頒「東京 TDC賞20 07」(東京字體指導協會)、「傑出亞洲藝 術獎」(傑
出藝術基金會，2005)、「香港藝術雙年展優秀獎」(香港藝術館，2001)等。
曾氏的作品獲得世界各地的藝 術館收藏，包括東京 森美術館、德意志銀行藝
術收藏(香港)、DSL Collection、傑出藝術基金會及瑞士蘇黎世海報博物館等。
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圖片Photo：馬田．施勒 Martin Zeller
未雨後
Before Rain After
2013
井、多頻道錄像、日常容器物及木窗
A well, multi-channel video, household containers and window frames
尺寸多變
Variable dimensions
鄧國騫TANG KWOK HINTANG KWOK HIN
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When people go somewhere, from point to point, our surroundings are regarded as merely a backdrop to our journeys. Who really ever notices their surroundings and experiences that they encounter along the way?
Part of the artist's plan is to film the puddles on the road from his house to the Oil Street Art Space after it has rained during the day. The images in the water on his route are constantly changing, reflecting from the countryside to the city at a low angle looking up into the sky. As if seen from the bottom of a well, they create a mirage that represents the absurd relationship between truth and illusion.
When it started to rain after a long drought, back in the time when there were no water well, people would place outside in the rain any utensil they could find to catch the life-giving liquid. When the water ran out before the rain came, they set out again on the hunt for new supplies.
每當人朝著明確的地方行進，從點到點的過程裡，周遭的相遇僅 是時間
的過渡，誰又會注視到周遭與自身共構的經歷？
整個 計劃以 錄 像記 錄 一天下 雨過後，從 居所附近的溪 澗至 油街 藝 術空
間的路途上所拍攝的水窪，並將畫面「放置」在水井裡，從井底「倒映」
由鄉郊走 進都市時如同仰望 天空的轉變。井中幻影，鏡花 水月，恰 似 是
真實與虛幻之間的荒謬劇。
古時若沒有水井供水，每逢 久旱後下 雨，人們 便拿出家裡 所有能盛水的
物件與絕活擺滿一地；當水用盡，未及下雨，人為了生存，只好又獵奇般
搜索來尋找水源。
計劃另一部分則從平日及 展場附近的街道、店鋪等搜羅盛水容器，在雨
天時放 置在藝術空間的草地上收集雨水，再把雨水加熱蒸發，並以錄像
再呈現這循環的過程。日常物品作為現代都市的反映，透過如同把 水回
贈天上的行徑，就像形成自相矛盾的敬拜以求得到心靈上的救贖。
人類包裹自然，變質的自然也包裹人類，耳聞目睹失落的雨水殘留遍地，
只能歇力捕捉土地凹陷處所懷抱的天上物，並以火焰將它燒盡。錯置與
經營的視覺效果在批判著人崇尚的病態美。
創作理念 Artist’s Statement
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Another part of the plan is to scour the streets and shops around Oil Street and collect utensils that can contain water. When it starts raining, these containers will be placed on the lawn at the Art Space to catch water. The collection of rain water and the process of boiling it until it all evaporates will be recorded on video. These household utensils are evidence of the modern city, and the act of returning the water to the atmosphere is a kind of mutually contradictory worship of nature intended as a means to salvation.
Man encompasses nature and nature, in its degraded form, encompasses man. The dislocated visual effects that are created in the installation are a criticism of man’s praise of morbid beauty.
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Born in Hong Kong, Tang Kwok-hin received his Bachelor of Arts (majoring in Fine Arts) in 2006 and his Master of Fine Arts from the Chinese University of Hong Kong in 2008. A mixed media artist, independent curator and writer, Tang focuses on the occasion, space, time and way in which images or symbols are encountered in order to explore hidden rules in living and existing context as a basis for self-expression. In his view, art is about selecting or underscoring something in a complete sentence, the removal of which emphasises what remains.
His works have been exhibited at the Hong Kong Museum of Art, the Ice Palace in Miami, Esplanade in Singapore, the Singapore Art Museum, the Venice Arsenale and the Vargas Museum in Manila, among other places.
He won the Hong Kong Contemporary Art Biennial Awards 2009 organised by the Hong Kong Museum of Art, the Special Prize for ‘Personal Exhibitions’ at the 5th International Arte Laguna Prize, the Award for Young Artist of the Hong Kong Arts Development Awards 2010 and was nominated for the Sovereign Asian Art Prize 2010 and 2011.
His works have been collected by the Hong Kong Museum of Art, Deutsche Bank, Amelia Johnson Contemporary and private collectors in the US, UK, Australia, Singapore and Hong Kong.
tangkwokhin.blogspot.com
鄧國騫生 於 香港，20 0 6年畢業 於 香港中文大學藝術系，並 於20 0 8年獲藝術
碩士學位。混合媒介藝術家，兼作獨立策展及撰稿人。其作品常以拼貼重組社
會現成的符號，並藉想像力重新建構新的閱讀方式，透露出對人、物及事的種
種情懷。
鄧氏曾於 香 港藝 術 館、美國邁 亞密冰宮、新加坡 濱 海 藝 術中心、新加坡 美術
館、意大利威尼斯兵工廠、菲律賓馬尼拉巴爾加斯博物館等地方參與展覽。
鄧氏曾獲頒「香港當代藝術雙年獎」(香港藝術館，20 09)，「第五屆國際拉古
娜藝 術獎 個人 展覽特別獎 」(2 011)、「香港藝 術發展獎 藝 術 新秀獎（視覺藝
術）」(香港藝術發展局，2011)，亦曾兩度入圍「傑出亞洲藝術獎」(傑出藝術
基金會，2010及2011年)。
作品獲香港藝術館、德意志銀行、阿美尼亞莊遜當代藝術，以及美國、英國、
澳洲、新加坡及香港等地私人收藏。
藝術家簡歷 Artist’s Profile
23
影子的力學﹕水的日子
The Mechanics of Shadows: Water Days
2013
聲音及影像裝置
Audio-visual installation
尺寸多變
Variable dimensions
CEDRIC MARIDETCEDRIC MARIDET
25
The Mechanics of Shadows: Water Days examines the history of sound practices through the phonograph, one of the devices that structured our relationship with sounds and shaped particular aesthetics and listening habits. Sounds from records and the machine itself are articulated through shadow projections of the mechanical devices. This new organology explores the dual modes of perception of a sound event, in-between the visual and the aural and in-between the tangible and the intangible.
The movements of the tonearms are controlled in real-time by an equation commonly used to model the dynamics of biological systems, and they thus compose what can be heard.
The records are created by several tracks of processed and non-processed recordings of the sea and of radio waves around Hong Kong. But as the needle touches the records again and again, the sound quality slowly decays, as these acetate dubplates have a limited life span. Over the course of the process, engraved memories are slowly altered.
Concept, recordings and programming : Cédric MaridetMechanical engineer, designer : Kenny Wong
《影子的力學：水的日子》試圖探討聲音理論的歷 史。藝 術家在器 械 裝
置中加 入留聲 機 來 建 構 我們 與 聲音的關 係，建 立一種 聆 聽的 美 學 和方
法。整個裝置的影子投射與播放聲音和器械相互呼應。這個全新的發聲
組件產生出雙 重關聯，一是視覺與聽覺的關聯，另一種 是有形與無形之
間的關聯。
留聲機的唱臂由方程式實時控制，而方程式是參照生物系統中兩者進行
互動時的動態模型，因此製造出如此特別的聲音效果。
製作唱片的聲帶來自香港不同地方的海浪聲或無線電波，部份錄音經過
處理。當裝置上的唱針不斷接觸這些由醋酸鹽製 成的唱片時，會令唱片
表面紋理改變，播放的聲音品質因而會日漸變差。聲音會隨時日慢慢 演
變。
概念、錄音及程式編寫：Cédric Maridet
器械工程及設計：黃智銓
創作理念 Artist’s Statement
26
Born in France, Cédric Maridet received his PhD in Media Art in 2009 at the School of Creative Media of the City University of Hong Kong and is now based in Hong Kong. As an artist and researcher, he contributes to Locus Sonus, a French-based laboratory researching audio art, and he is also an adviser to soundpocket, the Hong Kong charity that promotes sound art.
His solo and collaborative works have been presented internationally in New York (Art in General and Ramiken Crucible), Paris (Théâtre Paris-Villette), Vienna (Galerie IG BILDENDE KUNST), Cambridge (Kettle’s Yard), London (Turbine Hall, Tate Modern) and Hong Kong (Hong Kong Museum of Art, 2P Contemporary Art Gallery, Osage Gallery and Para/Site).
He was awarded the Prize of Excellence at the Hong Kong Art Biennial 2005. He has participated in several art residencies, including Asia Art Archive and Mamori ArtLab, and public talks on listening theories and the aesthetics of sound (Rijeka Contemporary Art Museum, EMF-EMS 2011 conference in New York University).
Several of his works have been published on his own online platform monème and released as CDs and books, and articles he has written have appeared in two books
Cédric Maridet，生於法國，現居於香港。2009年獲香港城巿大學創意媒體學
院頒發媒體藝 術 博士學 位。他是藝 術家及研究員，同時協助法國的聲音藝 術
實驗室Locus Sonus進行研究，亦為本地團體聲音掏腰包擔任顧問。
作品曾於 多 個 個 展 及聯展 展出，地 點包括 Art in General 及 Ramiken Crucible
(紐約)、維 萊 特 劇 院 ( 巴黎 )、Galerie IG BILDENDE KUNS (維也納)、Kettle's
Yard (劍橋)、泰特現代美術館渦輪廳(倫敦)、香港藝術館、2P Contemporary Art
Gallery、奧沙畫廊及Para/Site(香港)。
他 於2 0 0 5 年 獲「香 港 藝 術 雙年展優 秀獎 」，曾參 與 亞 洲 藝 術文 獻 庫、巴西
Mamori ArtLab等主辦的藝術家駐場計劃，紐約大學舉辦的EMF-EMS 2011會
議，以及里耶卡當代藝術館舉辦的有關聆聽理論及聲音美學講座。
透 過自己建 立的平台monème、唱 片和書 籍 發 表 作品。文章曾收 錄 於 關 於 聲
音的《Around》(聲音掏腰包，2011)及關於策展的《Who Cares ? 16 essays on
curating in Asia》(Para/Site，2010)。
藝術家簡歷 Artist’s Profile
27
on sound (Around, soundpocket, 2011) and on curating (Who Cares? 16 Essays on Curating in Asia, Para/Site, 2010).
www.moneme.com
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本刊物由康樂及文化事務署於二零一三年五月首次編印
油街實現編 製
版權屬香港特別行政區政府所有©2013年
版權所有，未經許可不得翻印、節錄或轉載
First published by the Leisure and Cultural Ser vices Depar tment, May 2013Produced by the Oi!Copyright©2013 The Government of the Hong Kong Special Administrative Region All r ights reser ved
鳴謝 Acknowledgement
衷心感謝尹麗娟女士、李慧嫻女士、周俊輝先生、林衍堂教 授、鄧凝姿博士
及羅淑敏博士為此計劃提供寶貴意見。
Heartfelt thanks are dedicated to Mr Chow Chun-fai, Prof Yanta Lam Hin-tong, Dr Sophia Law Suk-mun, Ms Rosanna Li Wei-han, Dr Stella Tang Ying-chi and Ms Annie Wan Lai-kuen for their valuable advice in realizing this project.
節目策劃 Programme Management
劉鳳霞 Lesley Lau Fung-ha
連美嬌 Ivy Lin Mei-kiu
朱瑞平 Jennifer Chu Shui-ping
王羡彤 Jacqueline Wong Sin-tung
何艷婷 Vicky Ho Yim-ting
設計製作 Design Production
黃燕堯 Angela Wong Yin-yiu
李嘉煒 Amy Li Ka-wai
布靄琪 Elkie Po Oi-ki
主辦 Presented by 籌劃 Organised by
