柯念璞： 浮城 香港九七後都市運動與藝術行動-以活化廳為例 Floating City-Urban movement and art activism in Hong Kong after 1997─A Case Study of Woofer Ten

摘要：

香港特殊的殖民歷史、政治主權的轉移以及地理位置塑造香港在亞洲區域的獨特角色。猶如消失的天平象徵著香港對於殖民歷史的身分認同、土地情感以及人權自由的失衡與消失。經歷過九七年的金融風暴的重擊，點醒香港人關注在近十多年來，不斷面臨新自由主義高度發展所產生的內部危機，社會失業人口增加、貧富差距擴大、都市興建計畫的暴力驅趕、居住權等問題。

香港九七後的都市運動以來對諸眾提問，青年藝術家與社會運動者經過保皇后碼頭、反西九龍文化園區、反高鐵與菜園村運動等累積能量的開始展現於都市空間。香港的近年來的藝術行動正是回應這座城市的新自由主義之極致。在此時藝術的對話、連結與參與試圖重建現代性所排除在外的邊緣地景與人物時，似乎開闢了另一條路徑。活化廳歷經兩代關心社會、政治與公共議題的藝術家們所組織的藝術團體，重新思考藝術與社會、社群以及公共生活之間關係的創造。透過香港藝術發展局所釋出的空間，管理位於油麻地的上海街視藝空間。這是一種從於抵抗現場試圖在社區的日常生活激起漣漪的實驗。無論是六四的議題、土地運動或反都市空間資本化的抵抗，活化廳有別於一般藝術空間明確且精準的在藝術實踐中表達自己的立場。每檔期的策展皆由藝術家以社會議題、國家、公共事務做為主軸而發展的藝術展覽，藝術作為一種社會運動，試圖翻轉、提醒埋沒在日常生活中習以為常的價值觀與公共討論。

本研究專於活化廳如何化廳與社會議題相結合的參與對話在社區中發芽茁壯,種下真實的果子。開啟社區藝術生產歡騰、愉悅的消費式參與之外的新途徑。本研究認為活化廳的藝術家開啟另一種別於鬥爭現場的抵抗，以藝術與展演活動搭建起日常的公共討論平台，作一種長時間與居民對話的文化運動。香港近年來的藝術行動正是回應這座城市極致的發展主義。這一群80後年輕藝術家社運者與各界關心公眾的諸眾，面對香港身分認同與政治主體的體驗，以及生活異化與社會制度將化的倦溺，化為積極的草根行動力量。

Abstract

The peculiar colonial history of Hong Kong, its political handover and geographic position have all contributed to its special position in the Asian region.As the loss of the balance is a symbol of the disappearance of balance in the city’s colonial history, land, human rights and freedom.This pursuit of liberal competition has meant that over the last decade Hong Kong is facing internal threats posed by the development of liberal capitalism, namely unemployment is increasing, the wealth gap is widening and urban planning is excluding and marginalizing the lower echelons of society.

Ever since the urban movement in Hong Kong after 1997, questions are being put. Young artists and social activists have been exploring the urban space through collective actions such as Protect Victoria Harbour, Oppose West Kowloon Cultural Park, Oppose the High-speed Rail and Defend Chai Wan Village. In this period artistic activities in Hong Kong reflect the extremes of neo-liberalism in the city. At such a time dialogue, connection and participation in art aim to re-found the places and people which modernity has rejected and marginalized, opening an alternative way forward.Woofer Ten involves a body of artists who are concerned about society, politics and public issues.They meet together to reflect on the relationship between art, society, the community and public life. They make use of space provided by the Hong Kong Art Development Office with a contact point in the art space in Shanghai St. at Yaumatei. Within the framework opened out by the artists they bring to light the hidden, yet influential, internal relationships between the life of individuals and the force of the surroundings. Woofer Ten seeks to find a way for art to be an equal platform of resources in the face of the marketization of art and the privatization of public space.Woofer Ten has provided a way to dialogue with social issues and let people participate. The movement has already shown sprouts of life and real fruit has been produced. It has provided a space for a successful and joyful new path away from that of consumerism. The artists of Woofer Ten have opened the way to a form of resistance that is not one of struggle. They have used art and performance to provide a new platform for the public airing of daily issues and created a cultural movement that engages the people in dialogue over a long period of time.

The study focus on how Woofer Ten provide a way to dialogue with social issues and let people participate.And the study concludes the artists of Woofer Ten have opened the way to a form of resistance that is not one of struggle. They have used art and performance to provide a new platform for the public airing of daily issues and created a cultural movement that engages the people in dialogue over a long period of time.And in the face of the experience of Hong Kong’s own identity and its political subjectivity, these post 80s young artists, social activists and concerned citizens have sought to change the alienation of life and the ossification of social structure into a positive grassroots movement.


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