展期：2014年1月10日至2月15日，時間下午1時至7時 （1/30-2/3/2014、 星期日、公眾假期休息）
對談 : 2014年1月11日 3:00-500pm
講者 : 李志芳、李家昇、劉清平、謝明莊
開幕 : 2014年1月11日 5:00-700pm
查詢 : 陳小姐 23720681
MOBILE POETRY LAB
Photo-based work by Lee Ka-sing
Date : 10 January to 15 February 2014 1:00pm-7:00pmClosed on 1/30-2/3, Sunday, Public Holidays
Venue : Gallery Z (L522 JCCAC, 30 Pak Tin Street, Shek Kip Mei, Kowloon)
Artists Talk : 1/11/2014 3:00-5:00pm
Speakers : Patrick Lee, Lee Ka-sing, Lau Ching-ping, Tse Ming-chong
Location : Lumenvisum L2-10 JCCAC
Opening Reception : 1/11/2014 5:00-7:00pm
Lee Ka-sing will be present in the opening
Enquiry : Ms Chan 23720681
瓜葛是感情的問題。我原是一個文字人，後來開始了攝影，漸漸也較少使用文字作為創作媒體。我的攝影，不少都在觀念上採用了拼疊的方式，我答來問的人說 - 我的攝影是受過往的文字生活影響。所說的影響大抵都是說寫詩的方面，意象的重疊，非定點透視等等。
游動詩寫室展覽在香港舉行的時候，剛是也斯逝世一周年，在中央圖書館有一較大規模的藝術品展覽，展出百多件來自不同藝術家以也斯的詩而成的創作。我應邀做了兩件新的圖像詩放在該展覽：「回家途中。在航機艙中窗外遠眺。其一及其二 （重讀也斯25年前寫的兩首詩 -"家破"，"家具"）」。香港藝穗會同時期也舉辦了一項紀念也斯的活動，朋友及藝術工作者紀念也斯而發的創作。也斯離世後我做了一首圖像詩：「念也斯」（文字版本曾發表在「香港文學」）。是個作品也會在藝穗會展出。這些不同碎片片斷組合起來，算是游動詩寫室這回在港互相串連著幾個空間的交談對答。也是瓜葛罷。2014年二月我打算在多倫多Gallery50，把「游動詩寫室」系列做一個較全面的展覽，這回算是一個熱身。
I wanted to talk about the exploration of images and words, or, more directly, the complicated relation among the two.
Complicated relation is a matter of emotion. I was, basically, a writer, but then I started to use words less to create since I began to do photography. My photography usually employs different overlapping concepts, thus I answered those who asked, my photography is influenced by the way I lived with words in the past. Such influence is mostly brought by poem-writing, overlapping imagery and multipoint perspective etc.
In recent years, the way of reading has changed. This probably affected my emotion about images and words indirectly. The two major photography series that I have done in these few years both have a more direct relation with words. "Z FICTION" is one of the two; it is a series of photographs which is fictionally narrative. The story was constructed during the process of creating the images, and a short paragraph was then appended. The text is an extension and also a part of the image. Each photograph is an independent entity. "MOBILE POETRY LAB" is the other one of the two, it is now on exhibition.
The "MOBILE POETRY LAB" series was put into progress since 2011. Haven't been writing poems for many years and one day this idea suddenly came into my mind – why not replace words with images but retain the way of arrangement of words? Such “photo-poem” is also arranged line by line, verse by verse, like the traditional poem. The first work is "In January, 2011 passed by Tokyo to visit an old friend. He was away". If substituting words with images is hardly intelligible, then try to imagine a composer writing a poem with music. Every piece of music can indeed be understood as a creation of poem. Because of the difference of the media used, the messages conveyed are thus different in dimension. Words are concrete and precise, musical notes are abstract, and images are probably between these two.
In 2012, another idea came into my mind – why not translate these photo-poems into words? This means to write poems with words within a planned area, for example planned number of lines, and unchangeable topic etc. After all, I am a writer again.
What if the image version of the text did not come first? The direction must be different; the mental state during the process of creating would also be altered.
In this series, not every photo-poem has its textual counterpart. Besides, try to imagine that the two media have their own characteristics – words are precise while images are representational and they provide different rooms for imagination. With the two media in hands, how much is emancipated depends on the environment. "MOBILE POETRY LAB" has opened a new branch later on. I made some three-jointed style "imagery Haiku". They were mainly my notes from reading, and records of gathering with friends etc.
“Z FICTION” is a narrative of a fictional story, while “MOBILE POETRY LAB” is more of a record of events. This is perhaps the more obvious distinction between the two. When you hear a piece of music and a friend coming from afar to visit you, you may find a straight photograph insufficient to capture that complicated and overlapping moment. This is also the birth of this series.
I would rather call this tiny exhibition a conversation with my Hong Kong friends. I have brought a few works with me and you can see what I had mentioned about the so-called “record of events” from the titles. Such as “Listening to one of the two CDs by Forbidden City Chamber Orchestra, purchased in a short trip to Guangzhou early this year”, “Tse Chi Tak visited on June 2nd. He gave us his book "KING HEAVEN AND EARTH QUEEN". Here is somehow, a poem on Hong Kong photography”, “A love poem for Holly, after her new work - CLAW SCRIPT”, “The Psychological Journey while Taking a Colour Photograph of a Dinosaur”.
“MOBILE POETRY LAB” was originally composed of scattered small wooden blocks with pictures on them. I tried to connect the pictures and made a larger version for some. There are some changes on the way of presenting.
Patrick Lee knew that I was exhibiting at the gallery planned by Lau Ching-ping, and he wanted to respond. Located in the same building, Lumenvisum, where Tse Ming-chong is the curator. A conversation with one more voice from a friend became more 3-dimensional with one more perspective. I have also put a work in his exhibition even though that could not be counted as a conversation. “Listening to Wu Zhaoji's Qin music at Patrick Lee's exhibition in Toronto” – this was written in May 2013 when Patrick Lee was having an exhibition in my gallery in Toronto. It also revealed another dimension.
It was exactly one year after the death of Leung Ping-kwan when “MOBILE POETRY LAB” was exhibiting in Hong Kong. In Hong Kong Central Library, there was a rather large-scale art exhibition which exhibited more than a hundred artworks created by different artists in accordance with Leung's poems. I, on invitation, created two photo-poems for that exhibition. They were “On the way home. Staring far through the window of an air cabin. One and Two (rereading the two poems – ‘Home-break’ and ‘Home-furniture’ – written by Leung 25 years ago)”. Meanwhile, the Hong Kong Fringe Club was also holding a commemoration for Leung in the same period of time. It exhibited the works by Leung’s friends and arts practitioners who missed him. I wrote a photo-poem after Leung’s death, it is called “In Memory of PK” (the text version was published in “Hong Kong Literary”). It was also exhibited at the Fringe Club. All these bits and pieces of “MOBILE POETRY LAB” altogether constructed the dialogue which connects different spaces in Hong Kong. It is also a complicated relation. I have planned to hold a larger exhibition of the “MOBILE POETRY LAB” series at Gallery50 in Toronto in February 2014. This time can be considered a warm-up for it.
Translated by Man Hoi Yin