文:劉建華
刊於《搞空間：後替代空間在亞洲》
「活化廳」借香港藝術發展局批出的上海街視藝空間為平臺，仿擬社區中心格局來營運這位於油麻地舊區的藝術空間，從展示環境、互動導賞等層面入手，以眾多幽默的小節處理，務求解除對藝術陌生而起的戒心，持續與市民分享生活化和富趣味的當代藝術，溶合草根街坊基調與前衛手法，作為社區藝術實驗場同時亦不避觸碰社會時事政治議題，既望能以鮮活的理念和手法，活化香港藝術的外框與內涵，亦也為當下市民社會注入活力。
活化廳於零九年註冊，為非牟利社團，成員皆為香港活躍的藝術工作者，從事創作、策展、評論、教育或營運藝術空間等崗位，包括另亦於太子開設「C&G藝術單位」的鄭怡敏(阿金)及張嘉莉，把「騎劫藝術」發揚光大的程展緯、長期撰寫評論的黎健強和劉建華、文字人俞若玫，Liveart藝術工作者魂游，概念藝術夫妻檔關尚智及黃慧妍、開闢文化新陣地和戰場的羅文樂與李俊峰，以及小職員鍾惠恩。活化廳成員也都關心社會政治、民主政制與民生政策，更多會策劃展覽（如至曾特首/騎劫遊樂場/斷估唔拉/出嚟行/十年回歸前後話/6644拆掂佢/風雨飄搖愛國時…)，通過促發藝術創作、撰文或框架建構，以藝術介入社會議題。
針對社區藝術方面，活化廳看到當代藝術的發展，培植出好些重視開放過程、參與、合作互動的手法及政治美學原則，以為這些手法對於社區藝術也別具啟發性，讓社區與藝術互促滲透，既能使藝術介入生活環境發揮作用，平民生活則帶動藝術社群社會意識的成長，更為當代藝術迎合民主化挑戰。活化廳另也會如實把些相較敏感的政治議題（如六四屠殺）寫進申請書，希望也推動政治藝術在藝圈以及資助申請過程得被平常化、正常化看待。
在0九到一0年，活化廳舉辦了多項展覽計劃，牽頭的《多多獎少少賞》透過一個頒獎禮的框架，嘗試讓人欣賞到舊區街里的生活形態和人情點滴。依據街坊提供的有趣經驗，策展人帶領著一批藝術家／藝術學生改裝各式獎座，繼而頒發到鄰近店舖，扭反公共紀念性雕塑的從上而下。而在社區導賞遊外，兩名藝術家分別以安慰獎吸引街坊互動，及將其於活化廳所遇的街坊化成為武俠小說中人物，先導不同社區藝術的創作模式。
展覽《師父贊》集中表揚民間手工藝師傅們，既有委約創作，也有與藝術家各不相同的配對關係，對象也不限於傳統手工藝，還包括一些實用類的技藝（如鎖匠、電視維修等），甚至普通百姓的一些D.I.Y.（自己做）。在發掘工藝尋求發展和生存中的特殊作業模態，反映油麻地社區的人文風景同時，也從民間吸取智慧啟迪。當中的「你敢學我敢教」工作坊系列，則上承了《出得廳堂》的技能分享計劃。
《出得廳堂》，是活化廳將附帶協助藝發局和康文署的「藝術品外借計劃」的責任，變成為凸顯該計劃資源浪費和官僚化思維的機會，並行的一個比照計劃；《藝術造假》展覽，則也從藝術品的真偽，形式內容的擬仿到核心價值的失落，跨入鏡照香港光怪政治的現實荒謬。兩個展覽同樣突出了各式非官方版「惡搞」進路所蘊藏的豐富詮釋空間。
《堪輿為體風水為用雕塑裝置》則把握了民間風俗的普及與對迷信的忌諱落差，把藝術空間、藝術創作與風水佈局多重疊合，將藝術家與觀眾也穿梭於不同的思維體系語言，既入鄉隨俗，亦挑戰一貫認知。其實活化廳以社區中心為基調，從一開始已一反現代主義白盒子式畫廊與藝術作品中心的展示模式，嘗以桌面玻璃跟電腦屏幕桌面、魚缸、雪櫃等為展出空間。除了室內物盡其用，活化廳也在櫥窗外，開闢了民主牆及塗鴉空間，更落力支援各式路邊活動及周邊公園表演等搞作。
另而，活化廳亦把原來《駐場藝術家計劃》改成邀請因市區重建而被迫遷的花牌師傅黃乃忠長期留駐，一方面讓造訪者對於這門獨特傳統行業有更近距認識，另而也形象化活化廳對於好些城市發展重大議題的立場姿態，而在文化保育運動推廣上，黃生的例子也提供了舉一反三之效。
除了每月一次的「隔窗有嘢」行為藝術表演重點利用臨街櫥窗的地利與行人互動，活化廳平常還有相當密集不按本子辦事的加插活動，既有街坊旨趣延伸或基層組織自發的，也有成員們為回應社會而籌備。譬若十月一日開幕時的國旗展輯，就勾勒出國旗、區旗、區徽等法例與言論與創作自由的緊張關係討論。至於傳統節日，活化廳也有與街坊共慶的社區活動，如中秋粵曲燈謎晚會。新春期間的《反清復明》展覽，以年畫配搭諷刺時局海報和熱烘烘的「公投」漫畫，又在揮春攤位以外，辦了政黨書法藝術選舉，讓人們對於資助藝術的社會觸覺一新耳目。
《六十四件事》展覽，在八九民運的文獻徵集展示外，加入兩代藝術家的跨代比照，還有六月四日場面浩蕩的跨區單車大軍。活化廳這類活動的出位形象，於主流媒體的報導反應一般不俗，尤其吸引了港聞版記者眼光，跳出文化藝術歸於副刊和消費指南之版頁，另闢以軟性方式探討社會時事、文化保育舊區活化政策等之繞徑。另而每月在《明報》「星期日生活」的專頁，除配合活動宣傳，也把時事話題插科打諢，讓更多公眾對活化廳搞作產生好奇。至於網上，除網站網誌Facebook外，活化廳還伙拍香港藝術搜索頻道(HKADC)網台或參與爭取開放大氣電波的FM101電台。
總括而言，活化廳展覽策劃模式，望能帶動藝圈思考和經驗落區創作的可能性，激發創新方案，給不同的社區文化團體有所啟示。而對於街坊觀眾，活化廳與庶民話語嘗試聲氣互通，相信長期持續接觸的累積感染，正是座落社區的藝術空間的特殊優勢。在香港市中心座擁難得的空間資源，活化廳也樂於力撐如八十後青年和其他不同社會運動組織，將活化廳跨出純藝術空間的狹隘形象，亦使文化界、社運界等人仕認識到活化廳的存在，持續開啟不同合作的契機。
一年下來，活化廳已逐步吸引到附近一些街坊慣性到訪，彼此互動互助，而每次活動也會盡力找尋合適街坊參與的可能性，並強化這種交往本身的創造性。通過牽動社區人仕，既為社區提供日常化的文化藝術參與，也為社區注入以文化藝術視角的連結，加深街坊對其生活空間與模式的欣賞和關顧，讓他們感覺到自己作為持份者的那份公民權利和歸屬感，作為文化參與者的自我價值──那才將是衡量活化廳作為的關鍵。
Introduction of “Woofer Ten”
By: Jaspar Lau, 2010
Originally Published in Creating Spaces: Post Alternative Spaces in Asia
As its platform, “Woofer Ten” utilizes the Shanghai Street Artspace developed by the Hong Kong Arts Development Council. Located in the Yau Ma Tei old district, this art space operates on a community center model. Adding a sense of humor to its exhibition environment and interactive guided tours, Woofer Ten seeks to lift the wariness of those who are relative strangers to art. As a result, it continues to share rich and relatable contemporary art with the public while fusing a grassroots neighborhood tone with an avant-garde approach. Woofer Ten serves as a testing ground for community arts, and does not avoid social or political issues. It hopes that fresh ideas and practices will arise as a result to energize the Hong Kong art scene and enliven the vibrancy of civil society.
Woofer Ten registered as a non-profit organization in 2009. Its members are active Hong Kong artists involved in creating, curating, reviewing, educating, or operating art spaces. Such members include Yee Man Cheng (Ah Gum) and Clara Cheung from “C&G Artpartment” located at Prince Edward; Luke Ching who brought forward, “Hijacked Art;” long time reviewers, Edwin K. Lai and Jaspar Lau; literati, Cally Yu; Liveart artist, Wen Yau; husband and wife concept artist team, Sheung Chi Kwan and Doris Wong; the pioneers who opened up a new frontier in the art and culture scene, Man-Lok Law and Chun Fung Lee, as well as staff member, Ian Chung. Woofer Ten members all pay attention to society, politics, democracy and livelihood issues. Even more, they have also planned a number of exhibitions, such as Chief Executive, Hijacked Playground, ChiE - Culture Sieges Politics, Out and Walking, Talkover/Handover, 6644 Fix it, and Feng Yu Piao Yao Ai Guo Shi. Through the priming of art creation, authors, and frame construction, Woofer Ten combines art with social issues. For community art, Woofer Ten has watched the development of contemporary art, nurturing the process of attention, participation, cooperation, and interaction in matters of political aesthetic principles.It believes that these methods provide unique inspiration for community art by setting up encounters between the community and art, and cultivating the role of art in daily life. Additionally, it hopes to develop the social awareness of community art through examples of daily life, and even more, to take on the challenge of making contemporary art more accessible. Woofer Ten will also write into their application more sensitive political issues (such as the Tiananmen massacre) in hopes to promote political art in art circles and make applications for funding such an area commonplace.
From 2009 to 2010, Woofer Ten organized many exhibition plans, the first being, “Prize! Prize! Prize!”, which modeled itself after an awards ceremony and attempted to let people enjoy the lifestyle and sensations of the old district. The exhibitors led a group of artists/art students to modify a variety of awards and trophies based on interesting experiences provided by the neighborhood, and then presented them in neighboring shops. This twisted the entire image of public commemorative sculptures. Aside from guided tours of the community, two artists used consolation prizes to attract neighborhood interaction. Through activities such as these, Woofer makes the neighborhood an object or character from a martial arts novel and begins a new type of community art model. The exhibition, “Master’s Praise,” focuses on praising arts and crafts instructors. It is comprised of both commissioned works and those created through the matching of different-styled artists. Objects are not limited to those made through traditional crafts, but also practical skills (such as locksmithing and TV repairs), and D.I.Y.(do it yourself) from the general public. It explores the special operating modes of the development and existence of crafts, reflecting the Yau Ma Tei community’s cultural landscape and drawing from much folk wisdom. The “You Dare Learn, I DareTeach” workshop series undertakes the “Household” skills sharing plan.
“Presentable” is a project undertaken by Woofer Ten for Hong Kong Arts Development Council and Leisure and Cultural Services Department‘s “Artwork on Loan” plan. Later, it became an opportunity to highlight the wastefulness and bureaucratic thinking of the project’s planning. Woofer Ten soon started a parallel plan of its own； The exhibition, “Fake It,” uses the authenticity of artworks, and imitations of their form and content to present the loss of core values and mirror the dysfunctional political reality of Hong Kong politics. Both exhibitions highlight various non-official versions of “parody” to provide a rich interpretation of space.”Geomancy and Feng Shui for Sculptural Installations” grasps the taboo gap between popular folk customs and superstitions to turn the various overlapping of art space, artworks, and Feng Shui into a multi-language system of thought for artist and viewers. While it follows tradition, it simultaneously challenges established notions. In fact, Woofer Ten uses the tone of a community center, beginning from an anti-modernist white boxed art gallery and artwork center exhibition model, and attempts to create exhibition space from such objects as glass surfaces of desks, computer screen desktops, fish tanks, and refrigerators. In addition to optimal interior usage, Woofer Ten is also active outside the window, opening up the Democracy Wall and graffiti space, as well as providing solid support for various street events, park performances, and other activities. Furthermore, Woofer Ten used its “Resident Artist Program” to provide longterm housing for flower plaque master Nai-Chung Wong, who was forced out of his home due to urban renewal. On one hand, it lets visitors approach this unique traditional industry. On the other hand, it visualizes Woofer Ten’s position on many major issues of urban development. And, in the promotion of cultural preservation activities, Huang’s example also provides a learn-by-analogy effect.
In addition to performance art’s use of location and pedestrian interaction with street windows in the monthly, “Neighboring Window Has Something,” Woofer Ten usually organizes intense extracurricular activities that do not go by the book, expanding interest in the neighborhood and spurring the natural development of grass-roots organizations. There are also some members who prepare to give back to society. For example, the National Flag Series exhibited during the October 1st opening highlighted the tense relationship amongst national and regional flag laws, freedom of speech, and creative freedom. For traditional festivals, Woofer Ten has also organized community events to celebrate the neighborhood, such as mid-autumn song and lantern festivals.
At the “Anti-Manchuism” exhibition heldduring the Chinese New Year period, New Year paintings were matched with satirical political posters and feverish “referendum” comics. Aside from New Years stalls, a
political party calligraphy art election was organized which opened up a new social awareness about the funding of the arts. The exhibition, “64 Incidents,” is not only a collection of documents regarding the June
4 Massacre Beijing, but also a juxtaposition of artists across two different generations. It also presents scenes of the vast army of crossing bicycles on June 4. These out of-image types of Woofer Ten activities receive an impressive response similar to those of mainstream media coverage, particularly attracting the attention of Hong Kong journalists. They jump out of the supplementary and consumer guide pages that culture and arts are typically confined, as well as open up soft approaches to exploring social issues, policies to revitalize and preserve old cultural districts, and other avenues. Monthly, in Ming Pao newspaper’s “Sunday plugged“ section, Woofer Ten not only announces upcoming events, but also brings a humorous twist to current events, generating general curiosity about it. As for the Internet, in addition to blogs and Facebook, Woofer Ten has also partnered up with the Hong Kong Arts Discovery Channel’s (HKADC) net platform and participated in the fight to open the radio airwaves
of the FM101 station.
All in all, Woofer Ten’s exhibition planning model hopes to spur the creative thinking of art circles and possibilities drawn from the experiences within downtrodden areas. It also aims to stimulate the creation of innovative programs to provide inspiration to different communities and cultural groups. And, for the neighborhood audience, Woofer Ten attempts to discuss life with commoner words, believing that accumulated, long term, and sustained exposure is the unique advantage of an art space situated in a downtrodden area. With the rare space resources acquired by a location in downtown Hong Kong, Woofer Ten is happy to support the post-80s generation and other different social movement organizations. Woofer Ten crosses out of the narrow space of pure art, entering cultural and social movements who acknowledge Woofer Ten’s existence and
continue undertaking different types of cooperative
opportunities.
A year later, Woofer Ten has gradually attracted momentum with visits from nearby residents through mutual interaction and assistance. And with each event, it makes every effort to involve appropriate neighborhood participation, strengthening the natural creativity from these types of exchanges. Through affecting the people of the community, it provides daily participation in culture and art for the community, as well as links the perspective of culture and art. This enhances the appreciation and care that the residents have for their living style and space, letting them feel as if they were stakeholders with a sense of civil rights and belonging. This becomes a cultural participant’ s feeling of self-worth -- this is the key measure of Woofer Ten.