Dis-place (2022)
位移 (2022)
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「位移」座落於北角海旁的一塊公共空間,位於電照街末端,現被新式私人住宅包圍。
裝置以竹棚作為建築語言,回應電照街原址曾舉辦的盂蘭盛會,戲棚在北角邨遷出後未有每年舉行,近年因社會運動及疫情籠罩下停擺。棚架裝置展示三件作品,講述北角邨、神壇、獅子山下城市風景的遷移。
1 棲居
2003年,為配合城市發展,政府清拆46樓齡的北角邨,受影響的住戶可選擇遷往愛秩序灣的愛東邨等新建單位。「位移」棚架底播放一段以當年政府發佈宣傳影片為素材的錄像作品,紀錄有關居民在清拆北角邨及移往愛東邨後的反應,觀者需躺於板車上觀看。
2 神壇
神靈在城市巨輪下亦要搬家。同樣座落在電照街的一座民眾自發建成的神壇在東區走廊下行人板道的工程中亦需配合遷移至另一處,離開樹蔭、背向海邊,甚至面臨清拆的命運。作品短暫重置觀音像於原址的大樹之上。
3 精神
在電照街向海方向抬頭就會看到獅子山,爬上竹棚裝置的階梯,觀看專門設計的潛望鏡,整個城市風景在前望鏡下被消失,只會看到獅子山和維港。
「位移」不是一個實體的展品,它僅在城市空間中經歷了快速興建與拆卸,在城市裡不留一點痕跡。我們紀錄了當時的即建即拆的過程,以短片形式置放於會場中。當日項目樓梯的木板被壓縮成平面的桌子,陳列從電照街抽離到展場的作品。
Dis-place took place at a public space between the sea and the end of Tin Chiu Street next to a massive new residential development.
The bamboo scaffold installation embodies the construction method of the Ghost Festival bamboo theater. Displacement seeks to engage in the tradition that used to occupy the very site at Tin Chiu Street temporarily every year. The festival went on and off since North Point Estate was demolished and dwindled to a pause due to political events and the pandemic. The site-specific framework holds and points to works outlining traces of displacement of 3 elements in the locale: the habitat, the altar and the spirit.
1 the habitat
North Point Estate, located next to the site, was demolished in 2003 at her 46 years old. Residents had the choice to be relocated to Oi Tung Estate in Aldrich Bay. Displacement showcases a video work which is a remix of government footage of the relocation, documenting the process and residents' thoughts at the time. Participants need to lie on a trolley cart to view the work installed under the bamboo platform.
2 the altar
After North Point Estate is demolished, an altar set up by the residents remained, shielded by a verdant tree at the waterfront. However with the construction of a pedestrian broadwalk, the altar also has to be relocated, uprooted from the tree with its back to the sea. The work reenacts how the statue of the goddess once nestled in the branches.
3 the spirit
A preiscope is installed on the scaffold, to be looked through as one ascends the flight of stairs. The split image shows merely the Lion Rock floating on the sea with the city vanished.
Dis-place is an installation that is built and dismantled within a day and the process video documentation is on display. The timber deckings used for the project were flattened and compressed into a table surface to showcase the series of drawings, model and a collection of artifacts.
-「位移」座落於北角海旁的一塊公共空間,位於電照街末端,現被新式私人住宅包圍。
裝置以竹棚作為建築語言,回應電照街原址曾舉辦的盂蘭盛會,戲棚在北角邨遷出後未有每年舉行,近年因社會運動及疫情籠罩下停擺。棚架裝置展示三件作品,講述北角邨、神壇、獅子山下城市風景的遷移。
1 棲居
2003年,為配合城市發展,政府清拆46樓齡的北角邨,受影響的住戶可選擇遷往愛秩序灣的愛東邨等新建單位。「位移」棚架底播放一段以當年政府發佈宣傳影片為素材的錄像作品,紀錄有關居民在清拆北角邨及移往愛東邨後的反應,觀者需躺於板車上觀看。
2 神壇
神靈在城市巨輪下亦要搬家。同樣座落在電照街的一座民眾自發建成的神壇在東區走廊下行人板道的工程中亦需配合遷移至另一處,離開樹蔭、背向海邊,甚至面臨清拆的命運。作品短暫重置觀音像於原址的大樹之上。
3 精神
在電照街向海方向抬頭就會看到獅子山,爬上竹棚裝置的階梯,觀看專門設計的潛望鏡,整個城市風景在前望鏡下被消失,只會看到獅子山和維港。
「位移」不是一個實體的展品,它僅在城市空間中經歷了快速興建與拆卸,在城市裡不留一點痕跡。我們紀錄了當時的即建即拆的過程,以短片形式置放於會場中。當日項目樓梯的木板被壓縮成平面的桌子,陳列從電照街抽離到展場的作品。
Dis-place took place at a public space between the sea and the end of Tin Chiu Street next to a massive new residential development.
The bamboo scaffold installation embodies the construction method of the Ghost Festival bamboo theater. Displacement seeks to engage in the tradition that used to occupy the very site at Tin Chiu Street temporarily every year. The festival went on and off since North Point Estate was demolished and dwindled to a pause due to political events and the pandemic. The site-specific framework holds and points to works outlining traces of displacement of 3 elements in the locale: the habitat, the altar and the spirit.
1 the habitat
North Point Estate, located next to the site, was demolished in 2003 at her 46 years old. Residents had the choice to be relocated to Oi Tung Estate in Aldrich Bay. Displacement showcases a video work which is a remix of government footage of the relocation, documenting the process and residents' thoughts at the time. Participants need to lie on a trolley cart to view the work installed under the bamboo platform.
2 the altar
After North Point Estate is demolished, an altar set up by the residents remained, shielded by a verdant tree at the waterfront. However with the construction of a pedestrian broadwalk, the altar also has to be relocated, uprooted from the tree with its back to the sea. The work reenacts how the statue of the goddess once nestled in the branches.
3 the spirit
A preiscope is installed on the scaffold, to be looked through as one ascends the flight of stairs. The split image shows merely the Lion Rock floating on the sea with the city vanished.
Dis-place is an installation that is built and dismantled within a day and the process video documentation is on display. The timber deckings used for the project were flattened and compressed into a table surface to showcase the series of drawings, model and a collection of artifacts.
概念及創作 蕭敏、陳偉洛
Concept and Creation Siu Man, Chan Wai Lok
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2022 港深建築雙城雙年展
2022 Hong Kong Biennale of UrbanismArchitecture
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位移
日期 11.8.2022
地點 電照街
展期 10.9.2022 - 26.11.2022
展覽場地 北角(東)渡輪碼頭
Dis-place
Built Date 11.8.2022
Venue Tin Chiu St
Exhibition Date 10.9.2022 - 26.11.2022
Venue North Point (East) Ferry Pier
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位移 Dis-Place
Performances
In the Cloud
朵室 (2022)
Reverie
愛若有如果 (2022)
Drink and Dance (2021)
{POV [TWINK / COUPLE (ASIAN) / EXPERIMENTAL]} (2021)
An Auction without Bass
派對底價(2021)
Click (2021)
Everyone knows what it means to think (2019)
Dear Deer (2019)
/bɪˈtwiːn/ (2019)
Avenue Van Volxem 175, Etg 3 (2018)
Unidentified creature getting lost in unknown forest: Not found in the MISSING PERSON (2017)
Video works
POV (2021)
Heiwa Wong and Wai Lok Chan
Asaka Namba 難波沙香 (2020)
Nga Yan Cheng and Wai Lok Chan
Architectural Works
Dis-place 位移 (2022)
Siu Man and Wai Lok Chan
Collaborations
Hack the Moment 《合如是》(2023)
Etienne Leung
Six Mouths《品品》(2022)
Unlock Dancing Plaza
We Are Spectacle
《回聲二:人為景觀》 (2021)
Joseph Lee
Mountains, Seas, Panorama
山海流 (2020)
Wilfred WONG
Switch (2020)
Cherry Leung
Action (2020)
Ka Hei Yau
Mise-en-Scène (2019)
Heiwa Wong
Somnia (2019)
Anne Teresa De Keersmaeker
Jolente De Keersmaeker
We were the future (2019)
Meytel Blanaru