凝望著窗外的大樹，好像不曾看過它的葉子一片一片地落下。在風吹來的時候，一堆樹葉就會隨風散落——那一些還沒有準備死去的葉子會是怎樣的心情？那不是一場自然的死亡，或許它們還仍然想要活下去。窗上的光點在樹葉的葉脈上爬行，然後在破曉的時候如朝露般滑落。四位藝術家李昭⾠、梁凱喬、何明苡及何濼聰在SC Gallery帶來群展「瀚瀚」，以一系列取材於⽣態系統的作品，探討了存在主義、記憶及轉變等的主題。

　在作品《The days》的畫面中，李昭⾠結合三個不同的回憶片段：瑞典留學時的湖邊風景、從博物館俯望的積雪及香港大館的聖誕樹，以此重塑著在畢業作品中所運用的技法：「第一次呈現雪的質感，是在畢業時候繪畫的作品《From window》之中，然後就再也沒有用過這一個技法，所以我想要在這件作品裏重新演繹。」她的作品總是呈現著夢境和回憶交織的氛圍：「此次作品是想要運用自身的幻想，以連繫觀眾的想像，就像是在不同空間遊走的感覺。」

作品《The Golden Spider Lily》為梁凱喬在路邊的發現：「早前在嘉道理農場的路邊，看見了一朵金色的彼岸花；雖然已經是半枯萎的狀態，但還仍然很美，所以我就把它畫了下來。」她在亞⿇畫布上刻畫朦朧的線條，透過在郊外遠足時的細膩觀察，勾勒出大自然的印記。糅合了陶藝與⽊⼯的何濼聰，在作品如《Wind Distortion》及《Sleeping Tree》等，探索⽊材與陶⼟的關係：「我的作品是在展示大自然的原始狀態，不去改變它是最好的。」

何明苡則結合了現代⽔墨畫和混合媒介，以不同⽣物的形態反思⽣命的重覆性。在作品《聖甲蟲》中，她描繪了主要以草食動物和雜食動物的糞便為食物的糞金龜，以呈現就如悲劇英雄西西弗斯所承受的殘酷命運：「動物一直都在尋找適宜居住的地方，為了找到那一個地方，牠們都是擁有很大能耐的。如果自己不離開而留在這裏，我可以做些甚麼呢？日常雖然都是枯燥的，但是我很相信這句話：『我希望我的希望是有希望的。』所以我就在這一些生物中，找到有趣的地方。」

來到洗手盆的位置，鏡子裏是一棵正在落葉的枯樹。霧氣還仍然籠罩於鏡前，有時候也會享受看著自己朦朧不清的輪廓，彷彿沒有樣子的感覺也不錯。看著鏡前霧化的身影，是否在印證其實每一個人也不斷在認識自己？在人造的鏡子裏，展覽標題逐漸由「瀚瀚」蛻變為「看看」。

群展「瀚瀚」
藝術家：李昭⾠、梁凱喬、何明苡及何濼聰
日期：2025年4月26日至5月30日
時間：周二至周六（11:30—18:30）
地點：SC Gallery 黃竹坑道53號英基工業中心1902室
查詢：https://scgallery.art/exhibition-list/group-exhibition-hon6-hon6/

文：林靖風 Cyrus Lamprecht

原文網址: https://www.etnet.com.hk/www/tc/diva/art/cyruslamprecht/46295

The post etnet經濟通 | 本地新晉藝術家群展「瀚瀚」：探討存在主義、記憶及轉變 | 20250508 appeared first on SC Gallery.

By KANIS LEUNG. Published on March 28, 2025, 10:25 AM

HONG KONG — At Hong Kong’s Art Basel, painter Chow Chun-fai’s new works transport viewers back to the night in 1997 when the former British colony returned to Chinese rule, displayed in the very exhibition center where one era ended and another began.

That transformation in the city’s post-colonial era has taken a drastic turn since 2020, when China imposed a national security law that virtually wiped out dissent. The law drove many middle-class families and young professionals, including artists, to emigrate to democracies like Britain, Canada, Taiwan and the U.S. from what was once a haven for free expression in Asia.

But others, like Chow, chose to stay and continue to document their home city despite unclear red lines. His works at Art Basel, which opens to the public on Friday, revisit Hong Kongers’ collective memories of the late 1990s and early 2000s, a time many were proud of the Chinese financial hub’s vibrancy and openness.

“While studying art, we’ve learned many artists faced momentous times. Since we are living through such a momentous time ourselves now, I will continue to learn from it,” he said in an interview ahead of the exhibition. 

Chow is perhaps best known to those outside art circles for his witty recreations of classic movie scenes with bilingual subtitles that lead audiences to reflect on Hong Kong’s history and identity. He was also in the news when he ran against pro-establishment candidates in the 2012 legislative election and the 2016 election committee race, though he ultimately lost both contests.

At Art Basel, Chow’s paintings revisit significant news events, from the 1997 handover and overseas trips made by former top Chinese leaders to the celebration of China becoming the host of the 2008 Olympic Games. 

His works center on some of the biggest news stories covered by Sharon Cheung, a former journalist and now local gallery director. 

In 2000, late former Chinese President Jiang Zemin berated Cheung for asking what he called “too simple, sometimes naive” questions. She’d asked Jiang if his support for then-Hong Kong leader Tung Chee-hwa gave the impression of an imperial-style appointment. One of Chow’s paintings illustrates that scene.

Another set of Chow’s paintings that will be shown, titled “Panda,” captures Jiang’s personality from another side, documenting his light-hearted response to a question about pandas during a 2002 U.S. trip. He replied in English with a laugh: “I’m sorry, I am an electrical power engineer.” Zhang said he was not a panda expert and quoted a Confucian saying about the virtue of acknowledging what one doesn’t know.

Chow said he included the work in the exhibition because pandas have become a trending topic in Hong Kong, where twins born last year sparked a bear craze. Jiang’s response shows the characteristics of Chinese leaders back then, he said.

Some 20 years later, Chinese leaders no longer have such open exchanges with Hong Kong journalists. Last year, China’s government even eliminated an annual news conference by the premier, one of the rare times a top Chinese leader took questions from journalists.

In Hong Kong, Beijing has doubled down on its control following 2019 anti-government protests. Many leading pro-democracy activists were prosecuted and jailed under the security law. Apple Daily and Stand News, news outlets known for their critical reports of the government, were shut down in 2021 after their top editors were arrested. 

The cultural sector has felt the chilling effect.

In 2021, the government introduced amendments to its film censorship law on national security grounds. Some filmmakers have stopped screening their work in the city. Cultural works that diverge from government positions have lost funding. Booksellers practice self-censorship at the city’s book fair, and local libraries in 2023 pulled titlesrelated to the 1989 Tiananmen Square crackdown in Beijing and some political figures.

Cheung, director of SC Gallery, said people have become more cautious about expressing their thoughts, but that she and Chow will not let fear stop them. Art’s sense of distance allows room for interpretation, Cheung said.

“We’re not trying to tell people something. It’s more about what people take away when they look at these images,” she said.

Chow said he never planned to leave Hong Kong despite the city’s drastic changes, noting that artists who lived through major changes in the past produced great work.

“Today, finding ourselves in this moment of transformation, how could I, as a creative professional, not be here to witness it personally?” he said.

The post abc News | Hong Kong painter draws inspiration from city’s recent history in works at Art Basel | 20250328 appeared first on SC Gallery.

今年Art Basel HK，一如往年，參展藝術家星光熠熠，展出的藝術品百花齊看。在令人眼花瞭亂的作品之中，只見SC Gallery展出周俊輝《Interview the Interviewer II》個展，其中一幅4米長的巨畫，繪畫1997年香港回歸祖國典禮的場面，最為矚目。
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一年半前，他先在SC Gallery舉辦《Interview the Interviewer》展覽，訪問了畫廊老闆張寶華。張寶華曾是新聞記者，早在上世紀九十年代尾至千禧後採訪眾多政治事件。1997年香港回歸時她出道不久，正在有線電視新聞部工作。為何周俊輝今次以回歸典禮創作？他說其實在藝博會展出與在畫廊展出不同，它與新聞有相似之處，「逛Art Basel，觀眾走過只有兩秒的時間，在兩秒內我怎樣可以講到故事？所以畫幅大小一定是一件事，然後還有場面，我特地在會展展出繪畫會展的畫作，這幅作品是今次展覽中的重點，觀眾見到這個畫面，才會再走進去來，看看發生什麼事。」
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這幅《1997年的香港會議展覽中心》擁有相當多的細節，畫中人物，包括站在畫中央的董建華、陳方安生五官幾乎都清晰可見。
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展覽《Interview the Interviewer II》以訪問張寶華為題，翻開一段段回歸後的歷史，來回看當年的中港及中美關係，與今天作出對比。另一幅巨作，他畫出江澤民對香港記者的名句”Too Simple, Sometimes Naive！”，事緣當年江澤民被問到下屆特首選舉是否支持董建華，是的話會否給人一個欽點的印象，結果他大發脾氣，教訓香港記者。另外還有朱鎔基當年訪美，說出I love American People（我愛美國人民），這些畫面，與今天的國情相比尤其具有趣味。
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「當年的領導人會突然間講一句不需要翻譯的話，大家都聽到他講我喜歡美國人，那個不但有個人特色，而且令到美國人對於中國領導人的印象馬上不同了。我聽到Sharon（張寶華）說，那次中國的外訪得到很多他們想要的成果。不過，我覺得領導人講話除了是人性，其實也是他一種表演的時刻，我覺得很厲害。」
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注意周俊輝近年的作品，都會發現，他一直透過香港電影畫面，電影中不同場景等等題材，來紀錄香港的變化。展覽中他找回張寶華採訪北京申辦奧運成功，找回《無間道III》的畫面中韓琛說：「黑社會談的是生死，生意談的是生財。」（張寶華曾在寰亞電影公司工作）。這次周俊輝「訪問前記者」，不過過是再一次借題發揮，以藝術手法來紀錄這座城市，「從前的新聞很直接地記錄那一刻，發生的事，但現在我在說我周圍的事情，我卻需要借舊聞來說這些事了！」

周俊輝《Interview the Interviewer II》SC Gallery
展期：3月28-30日
地點：Art Basel HK 3C45
香港灣仔港灣道1號 香港會議展覽中心
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撰文、拍攝：FM2
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The post theculturist.hk | 【Art Basel現場】周俊輝的香港回憶| 20250328 appeared first on SC Gallery.

SC GALLERY ——周俊輝

本地畫廊SC Gallery在ART BASEL展出香港藝術家周俊輝在Insights單元展出的特別項目「Interview the Interviewer II」，作品由周俊輝對香港知名前新聞記者張寶華的採訪中展開，並結合對千禧年前後香港新聞史料的研究，通過整合私人檔案、報紙剪報、電視影像、網絡迷因及香港電影片段等，構建了一個多層次、整體性的繪畫語言實驗，探討媒體、歷史與個人記憶的交匯及其在藝術表達中的轉譯。

會中展示了周俊輝描繪的一些香港重要片段，《1997年的香港會議展覽中心》描繪了香港主權交接儀式，中英兩國旗幟懸掛在會場中間，兩國都派出了儀仗隊和軍樂隊，江澤民和查理斯王子分別致辭，香港的發展從此進入一個嶄新的時代。另一畫面聚焦江澤民，當時是2000年10月，江澤民不滿當時仍任職記者的張寶華的問題用詞，而斥責對方「too simple（太簡單），sometimes naive（有時幼稚）」，畫面後來成為經典迷因。另外也有一些小尺寸的作品，紀錄下一些之於香港重要時刻的新聞片段。

周俊輝透過這些畫作，去討論個體化的去歷史化和再歷史化探索過程中的種種可能，討論藝術如何可以回應個人回憶、集體記憶與當下現實的某種幽靈般共存狀態。 他之前接受《美紙》訪問時解釋：「其實有趣的地方是以前的一些新聞都變成了舊聞，譬如她（張寶華）分享當年在北京把影像帶回來香港，所謂的即時都已經相隔四、五個小時，而當這個『即時』的影像現在成為我的素材時，都肯定已不再是新聞的故事；不僅是那個故事，而是背後的意義，當我們在今天回看時，又有甚麼變得不一樣？或者，有些甚麼是當日教會了我們而是大家都沒有留意呢？甚至，我畫了一些電影畫面，當電影拍成之後去到今時今日，那個影像、那段歷史裡面產生了甚麼意義，這些都是我平常創作時都會想的東西，也是我一向對『影像如何說故事』很感興趣的事情。」

The post 美紙 | 在ART BASEL 2025 尋找舊時代香港 | 20250328 appeared first on SC Gallery.

【明報專訊】藝術三月，城中各大藝術盛事爭相綻放之際，遠在南區一角的SC Gallery卻選擇悄然展開一場以日常為題的展覽，透過兩位資深藝術家黃慧妍及王浩然的作品，嘗試詮釋「日常即神聖」。

策展人容穎怡指出，香港本土藝術在疫情後迎來新一波興盛，新一代藝術家備受矚目。回溯近年香港藝術發展脈絡，2009年本地藝術開始為大眾關注時舉辦的「路易威登：創意情感」展便邀請了7位當年的新進本地藝術家參展，王浩然、黃慧妍赫然在列。容穎怡說，這群一直堅持耕耘至今的藝術家，實值得在藝術三月被重新討論。留意到近年藝壇熱中探討「有意義」的議題，她認為面對大事件、大時代，保持日常更重要，如戰亂時期的藝術創作也不一定關乎宏大敘事。她想起本地藝術家陳育強曾評論謂香港藝術家的作品多關注日常，便特意邀請兩位在圈內「出名重視家庭」的藝術家參展——「神聖一直都存在，作為一個照顧者本身已好神聖」。

黃慧妍——報班學藝 畫中「層層疊」找秩序

成名多年的黃慧妍，於這次展覽展示了以和諧粉彩為媒介的作品。她說去年完成中大藝術史博士學位後，曾在網上搜尋「藝術」的關鍵字，被大量藝術興趣班廣告轟炸，笑言「當下睇到好㷫，我堂堂一個藝術博士」，但又反思「覺得自己嗰啲係藝術、人哋唔係」的偏見「好唔啱」。於是她便報名參加不同藝術班，甚至幾乎把市面所有用於和諧粉彩的消字板都買下，以課上學到的手法完成一系列創作。不過，對比坊間採用簡單、不會出錯的方法完成固定圖畫，黃慧妍則打破原有指引與「對錯」構築作品——如《The World》便以不同色彩構成了畫面內的幾組場景，層層重疊，「好似要喺一個所有嘢都太多嘅世界裏面搵到秩序」。於她而言，系列畫作所呈現的，是「當刻我嘅世界需要有嘅嘢」。

除了圓形的星球、長方形的地板外，還有畫布長得像「天國之門」——光線穿透教堂的七彩玻璃時彷彿是通往天國的大門，而狀若一道道窗的畫布也成為了穿梭不同場景的大門。容穎怡眼中，這種特性使黃慧妍的創作展現一種精神的包容性——養育小孩、藝術創作、與世界的調和，有一種共時性的神聖。

王浩然——情感化作符號 記與子女相處

王浩然作品則相對直觀，卻又顯現出一種「錯位」的日常——作為三孩之父，又是美國頂尖學府教授，卻因為子女定居英國，須長期穿梭兩地爭取與孩子相處的每分每秒。如《Packed Lunch》系列作品源自他在女兒2至4歲時每天在其午餐內放入的畫作；《January Hug Log》則在日曆上中「正」字記錄與孩子擁抱的次數，將情感轉化為可見的符號，容穎怡認為，這種用盡所有方式令自己每天都見到小朋友、維持日常與關係所付出的努力，很有力量。

同場的另外數幅作品，則展現了王浩然為飲食失調的孩子扭盡六壬，將類似的食物變成不同形態：為熬煮高湯而切成的精美蔬菜粒、中產飲食的蔬菜組合，甚至是「劣化版」的三色豆，這些不同切割食物的場景、為他人準備飲食的狀態，療癒自己與他人的同時，對容穎怡而言同樣訴說着一種為他人努力付出的神聖。

在喧囂的藝術季，容穎怡特意選擇了較少被談論的日常面向策劃展覽，透過作品所貫穿着對世界與身邊親友關心的姿態，開啟思考生活本質的窗口：「日常與神聖，講到尾就是一種關係和狀態，願意給另外一個人進入自己生活，或願意為他人付出時間和心力，已經係一種神聖。」

王浩然黃慧妍雙個展： 「日常即神聖」

日期：即日至4月12日

時間：中午11:30至晚上6:30 （周二至六）

地點：黃竹坑道53號英基工業大廈1902室SC Gallery

詳情：bit.ly/41CVBrG

文：鍾卓言

[開眼 藝述速遞]

相關字詞﹕日常即神聖 容穎怡 王浩然 SC Gallery 黃慧妍 開眼

原文網址：https://news.mingpao.com/pns/%E5%89%AF%E5%88%8A/article/20250328/s00005/1743092673173

The post 明報副刊 | 粉彩畫、三色豆也有意義 「愛家號」雙人展透視神聖日常 | 20250328 appeared first on SC Gallery.

By  KANIS LEUNG. Updated 10:25 AM GMT+8, March 28, 2025

HONG KONG (AP) — At Hong Kong’s Art Basel, painter Chow Chun-fai’s new works transport viewers back to the night in 1997 when the former British colony returned to Chinese rule, displayed in the very exhibition center where one era ended and another began.

That transformation in the city’s post-colonial era has taken a drastic turn since 2020, when China imposed a national security law that virtually wiped out dissent. The law drove many middle-class families and young professionals, including artists, to emigrate to democracies like Britain, Canada, Taiwan and the U.S. from what was once a haven for free expression in Asia.

But others, like Chow, chose to stay and continue to document their home city despite unclear red lines. His works at Art Basel, which opens to the public on Friday, revisit Hong Kongers’ collective memories of the late 1990s and early 2000s, a time many were proud of the Chinese financial hub’s vibrancy and openness.

“While studying art, we’ve learned many artists faced momentous times. Since we are living through such a momentous time ourselves now, I will continue to learn from it,” he said in an interview ahead of the exhibition.

Chow is perhaps best known to those outside art circles for his witty recreations of classic movie scenes with bilingual subtitles that lead audiences to reflect on Hong Kong’s history and identity. He was also in the news when he ran against pro-establishment candidates in the 2012 legislative election and the 2016 election committee race, though he ultimately lost both contests.

At Art Basel, Chow’s paintings revisit significant news events, from the 1997 handover and overseas trips made by former top Chinese leaders to the celebration of China becoming the host of the 2008 Olympic Games.

His works center on some of the biggest news stories covered by Sharon Cheung, a former journalist and now local gallery director.

In 2000, late former Chinese President Jiang Zemin berated Cheung for asking what he called “too simple, sometimes naive” questions. She’d asked Jiang if his support for then-Hong Kong leader Tung Chee-hwa gave the impression of an imperial-style appointment. One of Chow’s paintings illustrates that scene.

Another set of Chow’s paintings that will be shown, titled “Panda,” captures Jiang’s personality from another side, documenting his light-hearted response to a question about pandas during a 2002 U.S. trip. He replied in English with a laugh: “I’m sorry, I am an electrical power engineer.” Zhang said he was not a panda expert and quoted a Confucian saying about the virtue of acknowledging what one doesn’t know.

Chow said he included the work in the exhibition because pandas have become a trending topic in Hong Kong, where twins born last year sparked a bear craze. Jiang’s response shows the characteristics of Chinese leaders back then, he said.

Some 20 years later, Chinese leaders no longer have such open exchanges with Hong Kong journalists. Last year, China’s government even eliminated an annual news conference by the premier, one of the rare times a top Chinese leader took questions from journalists.

In Hong Kong, Beijing has doubled down on its control following 2019 anti-government protests. Many leading pro-democracy activists were prosecuted and jailed under the security law. Apple Daily and Stand News, news outlets known for their critical reports of the government, were shut down in 2021 after their top editors were arrested.

The cultural sector has felt the chilling effect.

In 2021, the government introduced amendments to its film censorship law on national security grounds. Some filmmakers have stopped screening their work in the city. Cultural works that diverge from government positions have lost funding. Booksellers practice self-censorship at the city’s book fair, and local libraries in 2023 pulled titles related to the 1989 Tiananmen Square crackdown in Beijing and some political figures.

Cheung, director of SC Gallery, said people have become more cautious about expressing their thoughts, but that she and Chow will not let fear stop them. Art’s sense of distance allows room for interpretation, Cheung said.

“We’re not trying to tell people something. It’s more about what people take away when they look at these images,” she said.

Chow said he never planned to leave Hong Kong despite the city’s drastic changes, noting that artists who lived through major changes in the past produced great work.

“Today, finding ourselves in this moment of transformation, how could I, as a creative professional, not be here to witness it personally?” he said.

KANIS LEUNG

Leung covers Hong Kong, Macao and mainland China for The Associated Press. She is based in Hong Kong.

Website: https://apnews.com/article/hong-kong-artist-chow-chun-fai-206806fd16b56a7c396a0d1c8e474905

The post AP | Hong Kong painter draws inspiration from city’s recent history in works at Art Basel| 20250328 appeared first on SC Gallery.

【明報專訊】藝術3月重頭項目臨近月尾陸續展開，巴塞爾藝術展香港展會（Art Basel HK）昨日接力揭幕，全球240間藝廊一連5天展出精選藝術品，供收藏家及公眾選購。昨首天預展吸引不少收藏家進場，有本地畫廊說，近年經濟不景拖累藝術品交易市場，而每年Art Basel均為畫廊帶來龐大商機，形容首天銷情不俗。有台灣攝影藝廊表示首天人潮少於去年同期，盼為作品覓得知音。

明公眾開放 港畫家二創新聞圖像

Art Basel HK昨在灣仔會展開鑼，首兩天只設優先及貴賓預展時段，明起對公眾開放。參展藝廊來自42個國家及地區，逾半扎根亞洲，23間首次參展。Art Basel HK總監樂思洋說，今年目標是重新定位（repurpose），期望從過往的藝術品交易平台，轉型為「創意機會的交匯處（an intersection of creative opportunities）」。被問到參展藝術家及展品曾否經政府審查，她說全球遴選委員會歷時3個月審視所有參展申請，強調「是唯一的篩選程序，由委員會決定展廳內容」。

展場分設不同展區，偶見香港元素（見表），其中「亞洲視野」展出本地藝術家周俊輝個人畫展《Interview the Interviewer II》，此系列將新聞圖像二次創作為繪畫，其中一幕是已故前國家主席江澤民訓斥香港記者「too simple, sometimes naive（（想法）太簡單，有時幼稚）」。另一展區「藝聚空間」展示本地藝術家何恩懷創作的30件黃銅系列雕塑《Return to Order》。

德收藏家：港能呈亞洲藝術新趨勢

展會內商業氣息濃厚，時有推銷、問價場面。本地收藏家區小姐與朋友結伴進場，她形容展會頗商業化，相信進場者均希望買得心水作品。德國收藏家Roland亦入場選畫，形容香港有別於其他城市，較能呈現亞洲藝術新趨勢。

參展多年的本地畫廊季豐軒，今年展示近30件藝術品。創辦人及總監季玉年形容昨銷情不俗，收藏家出手爽快，「5分鐘、10分鐘（就決定買）」。她指近兩年經濟不景拖累藝術品交易市場，Art Basel卻能繼續帶來「最好成績」，相信今年藏品亦能銷售一空。季玉年留意到Art Basel HK能吸引較多亞太地區收藏家或旅客，內地客尤其鍾情帶中國藝術元素、東方精神的作品，「例如水墨畫，他們一看就明白，也不用特別介紹」。

台畫廊稱人潮減 盼攝影作獲青睞

台灣的亞紀畫廊第二年參展，今年展示日本攝影師包括中平卓馬等的系列照片。策展人藍仲軒說今年人潮少於去年同期，而攝影作品性質與其他藝術品較不一樣，需再觀望參觀者購買意欲；他期望今次展出的系列攝影作品能獲機構、博物館青睞，「願意收一整套」。

原文網址：https://news.mingpao.com/pns/%e8%a6%81%e8%81%9e/article/20250327/s00001/1743011549615

The post 明報 | Art Basel揭幕 冀定位轉型「創意機會交匯處」 畫廊：近年經濟不景拖累市場 展會帶來「最好成績」| 20250327 appeared first on SC Gallery.

2025 年的香港巴塞尔开幕的前三个小时，似乎显得有些冷清。这也侧面反应了展方在控制VIP分流上做的很成功：“First Choice”显然只发给了数量有限的藏家，并在入场后将观众直接引导到通常访客较少的三楼作为看展的起点。

本地画廊SC Gallery的香港艺术家周俊辉的特别项目“Interview the Interviewer II”, 描述了1997年回归（正是在香港巴塞尔举办场地：香港会展中心此处发生）及一系列根植于香港及内地人记忆中的事件，在此情境下显得既应景又荒诞。该系列作品在展前已售出部分，而三点后展位已经挤的水泄不通，楼下的巴塞尔总展会入口也开始大排长龙。谈到今年的香港巴塞尔感受如何，项目的策划人本地策展人万丰表示：“放轻松”——这也是历经疫情的压抑、前两年的“报复性”反弹之后的“自然而然”，也是今年香港巴塞尔在极度两极分化的愿景与期待下最需要的“情绪”。

Website: https://mp.weixin.qq.com/s/016E6rQk32DLTfn2zm7MOg

The post ARTNET | 香港巴塞尔首日：安全、松弛、回春！| 20250327 appeared first on SC Gallery.

TEXT & PHOTOGRAPHY：何兆彬 （部分圖片由SC GALLERY及被訪者提供）

一年半前，周俊輝個展《Interview the Interviewer》中，以「記者」身份訪問畫廊老闆張寶華，要她談過去，談記者生涯的經歷。今年張的SC Gallery參展Art Basel，周俊輝將展出《Interview the Interviewer II》，再次在張的記者身份上，挖掘香港的過去。看着他的新作，裡面充滿香港九十年代至千禧年代的新聞，有的用他簽名式的電影手法呈現，以此對照今天境況。

這是借題發揮嗎？周俊輝承認，近年一直在做的，就是在記錄周遭的事情，香港的變化。

四米長回歸典禮

走進周俊輝的工作室，牆上掛着兩張巨畫，一張橫幅差不多有四米，畫的是九七年在會展中心舉行的回歸典禮，另一邊畫的是前領導人江澤民在罵人，罵的正是張寶華。2000年10月27日，張寶華仍是有線電視新聞部記者，在記者會上問江，公開支持董建華兩年後連任特首，「不會給人印象是內定、是欽點？」江不滿說法，發火說了三分鐘，中英文並用，說了以下經典金句：「你們有一個好，全世界跑到什麼地方，你們比其他的西方記者跑得還快。但是問來問去的問題呀，都too simple（太簡單）， sometimes naive（有時幼稚）。」在周俊輝的畫中，自然也有too simple，sometimes naive這一句的對白。

展覽中最大的畫作，畫的是回歸典禮，採訪時輝只完成了約四成，但看得出它的龐大野心，畫作刻意用上一種舊報紙般的褪米白色調，富有一種時代感，「張寶華的記者生涯就從這個時間開始的。她畢業之後加入《南華早報》工作，經歷了回歸的，她還保存着回歸7月日的那張報紙，就是這個畫面，但構圖稍有不同。」他說，繪畫時自己一直想起藝術史上的名畫，譬如《拿破崙加冕》，畫作相當細緻，細緻到每個人的臉容都很清晰，「回歸典禮在會展舉辦，我這畫作回到會展展出，對我來說也是很有意思的。」

兩幅大畫以外，小畫很多。他畫2000年江澤民訪美，接受訪問，說I love American People（我愛美國人民）。他從網上找當年張寶華的訪問片段，又從她的相簿去找她的過去。同系列還有幾張電影《無間道》畫面，是韓琛（曾志偉）在片中說到：「黑社會談的是生死，生意談的是生財。」輝說，《無間道》由寰亞電影出品，而張寶華其實在寰亞工作過（雖然並非《無間道》的推出品時間）。

他承認自己很少同一系列做兩次，這次破例，是由於感覺上次仍沒有做完，而且第一次做《Interview the Interviewer》在畫廊展出，這次在藝博會，「藝術和新聞，或者藝術和政治有一個很微妙的一個點，你做新聞，要很快就要表達到訊息，Art Fair的場景是一樣的。上次在畫廊展出，觀眾起碼停留十多分鐘，甚至一個小時，張逐畫看。如果在Art Fair講一個故事，就好像報導新聞一樣，你是要很準確，一句兩句你就要講出重點。但藝術創作有時候會太直接，對我而言，最大的難題就在這裡，到底怎樣幾秒之間用藝術來表達一些像新聞上的訊息，但又不會說過度直接，過度簡單膚淺？」

他參與過很多次Art Basel，但以個展方式參展，卻是頭一次。「香港在國際藝術圈仍然被注意，也是因為 Art Basel。大家都知道它是一個商業場合。但因為香港現在這個情況，我們反而更加覺得香港需要它，我的意思是，藝術和商業運作以往經常被認為有衝突，我們現在看到有這麼多壓力的時候，這兩樣東西如果可以在香港好好發揮的話，似乎仍是大家想要的。若有一天Art Basel說我們要搬到新加坡了，你才會覺得我想它在香港發生。」

時空穿梭

輝說，年半前舉行的上一個展覽是個開始，當時他畫的是張寶華這麼多年做記者中，不同階段的情節，「這次結構有點不同這次，就好像新聞報道一樣，有本地新聞、有中國新聞，有國際新聞。」

一年半前，輝與張寶華坐下來，在繪畫前真的先去訪問了她，了解當年的新聞及背景，也了解被訪者（例如領導人）的性格等等。「我們談起來是時空穿梭的，會把她當日見到的東西和今天比較，這個她自己也會比較。我覺得有趣的地方是，看她的舊照片、舊片段的時候，會看到一些她自己都不知道的東西，有些很細節。」細節包括，朱鎔基訪美，領帶上是印着大象花紋的，而在美國，共和黨的徽章就是大象。又或是另一幅作品，張寶華到了北京天安門廣場，訪問中國宣布獲得2008年奧運主辦權，採訪片段顯示當時已是凌晨四點了，今天她自己已忘記了，只記得當時要馬上趕回去，將片段傳回香港。「傾談之間換了很多角度，譬如她個人感受，她親身接觸到的領導人，和我們在電視影像是怎樣不同，又或人是她到美國白宮採訪，她究竟站在白宮的草皮什麼位置。」

看到他將too simple，sometimes naive繪成了巨畫，有點喜劇效果。這張相片，由當初新聞圖片，到後來被網民改對白，成了迷因圖，多年來一直有所變化。張自己的 YouTube頻道都以它做名字，為何不是第一次就畫，要等到2025年？「上次展覽在畫廊，所以我選擇一些詮釋過的畫面，例如網絡改圖，改圖是有個別原因，有些是純粹搞笑，放一個髒話進去。也有些是誤傳，例如誤報了江澤民死訊。因為是畫廊，大家會花10-20分鐘去看，這次在Art Fair，經過的人可能只有兩秒三秒，我寧願有一個直接的畫面，去做多一些關於繪畫的東西。

委婉地講故事

周俊輝的電影系列已創作多年，去年的「失憶地圖」，重現港產片《雞同鴨講》、《天若有情》、《甜蜜蜜》、《義膽紅唇》、《無間道》、《行運一條龍》等一個個場景，加以變化。這次說是訪問記者，但筆下畫出的包括美國與北京，都與香港歷史有關這些香港的舊新聞，其實一直是不同的藝術手法，去記錄這座城市吧？

「對，就算我不是在畫這個題材的時候，每畫一個畫面，畫一條街道我都會想，那條街道其實有多少人講過這個故事，背後發生過什麼。」談電影繪畫系列，他說自己問的問題，都是那些問題，但是過程中得到答案或思考的模式，轉變頗大，「譬如有什麽沒有改變呢？在藝術上面，我對於繪畫的問題，繪畫和其他媒介譬如和電影、電視新聞或者和攝影的關係，都是很核心的問題，我一直在問，這麽多年來在思考。內容上，繪畫作品可以表達到多少東西？今次這些新聞片段要很直接表達，但是藝術偏偏就是要很婉轉，很內在地表達的時候，兩樣東西怎樣混合一起？」他苦笑：「事實上，答案或者我要表達的方法是有改變的，譬如我現在不得不婉轉，有些問題或者答法不可以那麼直接了。」

他說，今天選擇創作的材料，其實都經歷了時間，它們是舊聞，「也是所謂不是那麼直接。當然，這次我訪問張寶華，但是其實我訪問她的動機，一樣是想拿回昔日的一些我理解的東西，昔日出現過的畫面他某程度上我都在說今天的（事）。但是，我只是委婉地去講這個故事罷了。」

所以，近年你的畫作，由2020年畫社運現場個展「背影」，到去年的「失憶地圖」，都在記錄香港的變化？「對。但有一點很明顯是不同，當時可能很直接地記錄那一刻，但現在我在說我周圍的事情，但現在的我需要借舊聞來說這些事了。」

若不是因為創作，已經過不去談到藝術界的朋友，周俊輝談起有一位這幾年旅居各國，很少回到香港。他給了自己的任務，就是用繪畫去繼續觀察和記錄這座城市，「我想，無論方法如何不同，其實我都在記錄着今天的事，就好像這次展覽，即使我在講一些舊聞，但其實我也在講今天這個香港是怎樣形成的。也是因為過去的新聞，它才會變成今天，我有這個意識去記錄。未來，觀眾是會看到這些畫的！我也有期盼，將來觀眾自然會透過這些作品去理解今天的我們，又或者我這個創作人怎樣看今天。我相信藝術有這個威力，去到適當的時候，作品就會釋放出來。」

他感嘆，年輕時還在讀藝術，總想起很多藝術家，經歷了大時代，做出偉大作品，「很多創作人都會覺得，如果有一刻經歷大時代，會令到自己的作品很豐富，那我們現在就是身處在那個大時代！只不過原來有很多副作用，我們也不知道自己是否承受得了。」

你用什麼心情去做這些創作？「我會說，如果我不是因為做創作，應該有很多事我已經過不去了，或者甚至是崩潰了。偏偏就是因為我正在做創作，所以我好像能夠承受得更多，但我又不是說這是一個藝術治療，寄託下去，可以讓我的情緒上會好一點。而是我想很具體地說，因為有創作，所以我會多了另一個眼光，另一個角度來看這件事。我不停提醒自己，有時要很投入，有時要抽離觀察，然後再表達。」

The post Lifestyle Journal | 周俊輝︰用舊新聞記住今天的香港 | 20250326 appeared first on SC Gallery.

Karen Cheung

Published: 6:15pm, 26 Mar 2025

Artist Chow Chun-fai first became aware of journalist Sharon Cheung Po-wah from her 2000 interaction with the then Chinese president Jiang Zemin. During a press conference in Beijing, when Cheung quizzed Jiang over the endorsement of Hong Kong chief executive Tung Chee-hwa for a second term, the Chinese leader famously berated her, calling her questioning, as a journalist, “too simple, sometimes naive”. It is a moment that has since achieved meme status with the Hong Kong public, both in journalism circles and beyond.

“It’s not just how Cheung was bold enough to ask the question, but also that the leaders revealed their true emotions,” says Chow. “I don’t know if that was my first encounter with her, but it definitely was the most memorable.”

Over the past two decades, Chow, 45, has built a reputation as a quintessentially Hong Kong artist. A graduate of Chinese University’s Department of Fine Arts, he is best known for his ongoing series “Painting on Movies”, depicting scenes from films that often uncannily reflect public sentiment. One of his most recognised works, from 2007, features a still from Infernal Affairs (2002), with Tony Leung Chiu-wai’s character stating, “I want my identity back” – an allusion to the then nascent struggles of Hongkongers’ relationship with their hometown.

Chow has also drawn on his experience as a taxi driver, having inherited his father’s taxi licence when he was still in school. In recent years, he’s been taking inspiration from the political upheaval of 2019 for his series “Portraits from Behind”, and has depicted lost street corners and cultural landmarks in his “Map of Amnesia” exhibition.

Cheung, formerly of the South China Morning Post and Cable TV, left her trade during the pandemic and studied for an arts degree, initially seeing it as a way to indulge her interest in drawing. But when artist and educator Kurt Chan Yuk-keung complimented her on her curatorial skills, she parlayed her passion into promoting local artists who could benefit from her background in marketing and journalism. In 2022, she founded SC Gallery, in Wong Chuk Hang, and has since put on a slew of group and solo exhibitions, working with artists such as Gum Cheng Yee-man, Oscar Chan Yik-long and Cheng Ting Ting.

For “Interview the Interviewer II”, a series of paintings that will be on display at Art Basel Hong Kong’s Insights sector, Chow assumes the role of the interviewer, drawing from materials accumulated by Cheung during her time as a political reporter, to interpret and re-present recent Hong Kong history through the lens of someone on the front lines of important moments in the city.

Among the works is a still from news footage that shows a 1999 meeting between former United States president Bill Clinton and former Chinese premier Zhu Rongji, subtitled I love American people, thank you. Given where Sino-US relations stand today, it recalls a simpler geopolitical era, one near-unimaginable today.

Chow’s interest in Cheung’s archive lies in not just the content, but the presentation. Her materials provide a behind-the-scenes look at events the public has become aware of through news reels and articles. So much of our recollection of certain historical moments, Chow says, is depicted in analogue modes such as film, which visually dictates the textures and colours of our memories. In the generation before us, perhaps those episodes were shown in the black-and-white images that were available at the time.

“As someone who paints, these are the things I think about,” he says. “And when I’m making this series of works, I deliberately consider these elements of memory, history and aesthetics that mark a particular era in my art.”

Searching through photographs taken throughout Cheung’s career, something that caught Chow’s eye was the way that the journalist’s many press passes contained variations of her name in Cantonese and Mandarin transliterations.

“A lot of this material, in the world of journalism, expires within a week,” he says, “but in my interviews with her, they instead become nutrients of art.”

The thread that ties these paintings together, through journalist and artist, is the need to find and tell a story, whether seek­ing to resonate with the reader of a news article or the viewer of a piece of art. But there is also the challenge of staging the show at an international art fair versus a gallery.

“When we did the first iteration at SC Gallery [in 2023], no matter how uninterested the viewers were, they’d at least spend maybe 10 or so minutes to look at the story we’re trying to convey with the exhibition,” says Chow. “This show is at Art Basel Hong Kong, which means everyone will have even shorter attention spans. You’ll only get seconds with each booth, and if I’m drawn to what’s happening I may come back for more.

“I think this is similar to how reporting works: you need to be loud and clear, to let people know immediately what it is that they should be paying attention to.”

The unlikely match of painter and journalist also saw them question what it means to be a Hong Kong artist.

“When I was at [film production company] Media Asia, I worked with many directors, one of whom was Johnnie To,” says Cheung. “He often said that when you’re making art and telling a story, you need to start with what’s most familiar to you, so when I started working with Hong Kong artists, whether younger ones or more seasoned artists like Chow, I realised what was great about them, aside from technique, is that they have the background of growing up between Chinese and Western cultures.”

Chow had to come to terms with his own identity as a Hong Kong artist.

“I had my own rebellious times, not that I’m not rebellious now,” he says, “but when people started labelling me, I rejected those labels.”

However, he soon realised there was no escape from a certain Hong Kong-ness in his works. If he painted what he ate that day, it would be instant noodles, if he drew nature, it would be the bauhinia or cotton tree.

“I’d have to deliberately avoid these Hong Kong images, but then I thought, ‘If it takes so much effort to do that, then why avoid it in the first place?’,” he says. “You can paint milk tea or egg tarts, but if you’re presenting them as if for the Tourism Board, then, of course, that wouldn’t be good art.”

“It’s not good art when it’s too obvious, too direct,” says Cheung. “But in news, you need to be direct, the more direct and concise the better.”

Chow’s works, then, become a way for the pair to seek out the appropriate level of artistic distance to material that appears at first glance so straightforward and overt.

“I think that’s an interesting convergence between the two modes of representation,” says Cheung.

And even being in Hong Kong during more politically and artistically sensitive times, Chow remains optimistic.

“To be able to learn a new language when I’m already at a mid-career stage – that is a surprise … many great artists are able to speak the language of the era they’re in,” he says. “It’s more than just a painting – it’s a way for artists to survive.

“I’m very conscious of the way I’m continuing to learn how to express myself. We all know now that we’re living in unprecedented times, and in the past many artists have craved to live within such circumstances. Of course, there’s a kind of pressure in the reality we live in, but if we continue to be in this space, I’ll keep making art.”

“Interview the Interviewer II”, Art Basel Hong Kong, Hong Kong Convention Exhibition Centre, 1 Harbour Road, Wan Chai, from March 26 to 30

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