Child 孩子

Child, 2016
Mirror plaques of Hong Kong Policy Address's titles from 2007 to 2016, portraits in photo paper of previous and current Hong Kong Cheif Executives, photographs in photo paper from 2007 taken in the primary alma mater of the artist, a podium, an old fan from home, school benches and two sound sources
Dimension variable

conversation: http://vimeo.com/179725720





















































They are the same, bells of Legislative Council and schools.

A podium and audiences, a standard confrontation, relationship of being on or off stage, under the law or school rules, are partitioned by a boundary between being right and wrong. Nowadays situations of political agitation have destroyed part of my trust on civilization and value, though they reversely deepen perspectives of fundamental understanding about life. Thereby tracing back to the time of my studies, there’re discoveries towards how authority and rules suppress and control people’s mind and behavior. There the official, states its integrity, actually via overwhelming methods of remaining stability and creating illusion for hope. Hope can ease negative emotions. However, while hope never emerge, again and the three, then ceaselessly applied keywords cannot become real; they become accustomed to pet phases. 

I remember that I have once returned to my primary school in 2007. At that time, the original plan of “Child” eventually hasn’t been done. That year, is the first decade after the handover. Now, 2016, another nine years, my enthusiastic pursuit for childhood memories in the past has turned into disgust at education system. Education doesn’t guide me to look at evil. Education doesn’t guide me to look at significance of being different and significance of being yourself. In the time of around ten years old, I followed my cousin to steal money. I raised my head. I saw myself in a mirror. That moment was firmly branded on my memory.

Here the mirror plaques are engraved titles of the Policy Address since 2007. How many real minds behind the words? The titles surround a podium accompanying with snapshots taken at my primary school in 2007. On the podium, I have re-written the last words of some children. The atmosphere imitates and extends a moment about a dialogue between a beloved little girl and me, as well as personal anxiety. In the dialogue, I tell and question her some keywords often used by the chief executive during media interviews which the keywords are considered in the context of family affairs. The relationship on or off stage is actually so daily and disturbed, sometimes positions swapping; sometimes without a single word.


立法會的鳴鐘,跟學校的鐘聲沒兩樣。

演講者與觀眾,是規範的對峙。台上台下的關係,是法例還是校規的框架下,都被游離對與錯促成的邊界間隔著。當今政治激盪的處境,摧毀了自身對部分文明制度及價值的信任,卻相反地加深理解生活根本構成的角度。如此回溯在學時期的自己,才發現權與法是如何壓抑及管制人的思想和行為。官方在在,陳述其健全的整體,實質透過鋪天蓋地的維隱手法及塑造的美好願景帶來希望的幻象。希望可以緩解負面情緒,但當希望一而再而三沒有出現,那麼被不斷運用的關鍵詞也不會成真,只不過淪為習以為常的口頭禪。

記得零七年曾回母校,原初的創作計劃孩子最終沒實現。那年正值回歸後第一個十年。一六年,又相隔九個年頭,當日打算追尋兒時記憶的熱忱早變成對教育制度的厭惡。教育沒有引導我該如何看待不善的自己;沒有引導我該如何正視叛逆,以及正視自己的意義。小時候,尾隨堂兄偷錢。我抬起頭,在鏡子裡看見另一個自己,面面相覷的一剎那被我牢牢的記住。

鏡匾上刻劃了自零七年至今的施政報告標題,文字背後的鏡像有多少真身?關鍵詞式的文字並置零七年攝於母校的照片環繞演講台。演講台上,重新用改錯液寫下了一些孩子的遺言。整個情景模仿並延展了我跟愛錫的一位小女孩對話的時刻,還有糾結的個人憂慮。對話中,我將現任特首曾於媒體採訪時用過的關鍵詞以家庭逸事的文本告訴她並詢問她。台上台下的關係竟如此日常而不安,偶爾位置對換;偶爾沒有對話。