白雙全 ~ 傘後以「藝術」療傷

白雙全的法庭旁聽手記，細數多宗社運人仕的審判。

令一眾粉絲雀躍的白雙全（Tozer Pak) 新作展，現正於Para Site 藝術空間舉行。

對於一位全職藝術家來説，創作的停頓該是無法接受的，但在佔中與雨傘運動結束後的半年，白雙全完全失去了創作的勁兒  — 直到2015年6月15日。

「我第一次進入法庭是在2015年6月15日，我把兒子帶到外母的住所後，一個人在觀塘四處閒盪，無意中走入觀塘法院聽審，從此就像著了魔一樣經常往不同的法院跑去。只有在法院內冰冷、潔白、寧靜和嚴肅的氣氛下我的心才能平靜下來。我在法院內手持墨水筆，任由它在空白的筆記簿上隨意走動⋯⋯。」白雙全憶述初次聽審那天，在混沌及悵惘中走進法庭，坐在旁聽席，細微地觀察審判的過程和作供，然後他墮入了靜止沉思的狀態，透過素描慢慢記錄庭上情境，理想幻滅後的空虛感逐漸被填滿，情緒略感紓緩。

白雙全（Tozer）在新展與友人合照。

最近期的旁聽審判：8月17日「重奪公民廣場案」刑期覆核。

白雙全其後在不同的法庭，當了無數次的旁聽者，滿滿填畫了十多本素描簿，當中遇到不少展現公義的人物和時刻，從中尋得啓迪 。在 2015年7月29日審理光復行動暴亂案中涉胸部襲警的「吳麗英」案件，他於現場素描了像血染的鷹；在同年11月8日一場佔領運動的審訊，他素描了「小菩薩」，也用了這些圖象，演變成新作《噩夢牆紙》。

「我把圖案正反並列重複製作成牆紙，不知道背後的故事，還以為它是一款典雅的家居裝飾品。」白雙全在記述中說。風格調子向來輕鬆寬容的藝術家，特將冗長的案件編號及字母，加入於作品名稱。

曾在金鐘佔領區連續絕食四十天的Benny，是白雙全潛意識中的一尊小菩薩，故此被畫成酷似的圖案，演變出牆紙概念。

小照片顯示光復行動中，以胸襲警案女被告臉上披血。

《噩夢牆紙》 2017 隱喻美麗背後的醜惡。

一直視白雙全為本地「頭號」創意藝術家高手，他的創作亦充滿策略，最深刻的舊作《與視覺無關的旅行》，僅讓兩位觀眾來到黑房，並只允許用閃燈拍照，在黑暗中摸索、觀賞藝術家全程戴著墨鏡在馬來西亞旅遊盲摸摸拍下的照片，感受身體留下的記憶印象，而非靠眼睛。另外，曾於M+展出的《等一個朋友》，是在沒預約的情況下，在某一個地方呆等一位友人的出現，把玩「時間」成為作品材料的構念，將隨機及偶發的當代藝術元素演繹得淋漓盡致。


是次全新的「聽審創作」：封印、噩夢牆紙、手稿，均為實實在在的物品，與過往靠攝影及錄像來記錄行為展演或體驗旅程，表面大相逕庭，但事實上在法庭內，白雙全默默地觀察、沉思、隨機素描，拼湊圖像，何嘗不是一種行為藝術？作品也體現了創作策略的伸延，本來是香港的政治前景問題，唯有當作自身的問題去解決。或許只有依靠自救療傷，才可以走出黑暗困局，想出答案。

《封印》由五個放大了的素描組成，此兩件作品：《九個預言》（左）《基督的新婦》 （右）

另外三件作品：《贖罪》（左）《母腹》 （中）《鏡子》（右）

《九個預言》手稿～這黑白之間，隱藏了九個圖形或角色。

才情橫溢的藝術家小檔案

白雙全是生於福建、長於香港的本地藝術家。2002年畢業於中大，讀藝術時也讀神學，是著名的二樓五仔之一（火炭工廈幾位共租宿舍的藝術系小伙子）；他愛寫作，擅於表達，常以文字、行為、觀察日常作為藝術實踐(Art Practice)。過往十年，他在藝術界發放異彩，是本地少數享譽的Conceptual Artist —2009年參加第53屆威尼斯雙年展、2012年獲中國當代藝術獎(CCAA)最佳藝術家獎、藝發局之最佳藝術家獎；歷來參與國際展、雙年展等不計其數，甚獲知名藏家及美術館青睞，包括Tate Modern、M+ Sigg Collection等。重溫近期傳媒報導可看此片。

是次在Para Site 與另一藝術家Chris Evans 聯展

白雙全Facebook／文章

https://www.facebook.com/paksheungchuen

http://oneeyeman.blogspot.hk/

展覽：Chris Evans, Pak Sheung Chuen

Two exhibitions

Chris Evans、白雙全 : 雙個展

地點：Para Site

日期：2017年9月23日 - 12月3日

documenta 14 ~ Highlights

Documenta 14, about to conclude on 17 September 2017, has set a groundbreaking benchmark - colocation in Athens and Kassel (first since documenta was founded in 1955), stretching 163 days (replacing the usual 100 days) and estimated to reach an audience of over one million. As reported, the 47 venues in the Athens exhibition  (running from 8 April to 17 July) have recorded 339,000 attendees while the 35 Kassel venues have drawn nearly 445,000 visitors at its halfway point, much exceed the previous editions. 

Titled "Learning from Athens" by artistic director Adam Szymczyk, the quinquennial mega exhibition stands in solidarity with the debt-ridden Greece and endeavors to revive the memory of its historical and cultural grandeur. Nonetheless, the Athenian overture is a point of departure and has opened up discourses on modern-day socio-political issues such as failure in democracy and neoliberalism, state of diaspora and dispossession, the rise of neofascism, problems in gender inequality and human rights, preserving indigenous culture and so on. As political art pieces seem to dominate the whole show, documenta 14 has evoked debates on the efficacy of art to offer solutions to our current world in turmoil. 

Despite some contestable viewpoints, documenta 14 is still arguably an enticing art event taken over by live performances, sound arts, screenings, and talks, in addition to the more traditional art forms.  From the life-sized replica of the Parthenon of banned books erected in the Friedrichsplatz; to the performative holistic black soap initiative that advocates circular economy. From the nostalgic Yugoslavia Borosana shoe shop that reflects socialist ideals in Neue Neue Galerie to the female art collective's fight for women's right to education in the disused underground train station.  It is not difficult to pick some top works among over 160 international artists in the Kassel venues that strike a balance between subtlety and directness.

Marta Minujín, The Parthenon of Books (2017)

Steel, books, and plastic sheeting
Friedrichsplatz, Kassel

Collecting banned books from the public in Friedrichsplatz.

Banu Cennetoğlu, BEINGSAFEISSCARY (2017)
Ten aluminum letters borrowed from the Fridericianum and six letters cast in brass after the existing ones
Fridericianum, Kassel

Daniel Knorr, Expiration Movement (2017)
Smoke and manifesto, Zwehrenturm, Kassel

Hiwa K, When We Were Exhaling Images (2017)

Vitrified clay pipes, laminated beams, furniture, and various objects, Friedrichsplatz, Kassel

Nikos Alexiou, The End (2007)
Digital animation, color, silent, looped
Collection of Kalliopi Alexiou
Fridericianum, Kassel

Vlassis Caniaris, Hopscotch (1974) Installation including six human figures (chicken wire over wooden frame, paper and plastic filling, and used clothes), nine suitcases, metal bird cage, and chalk on tarpaper. National Museum of Contemporary Art, Athens (EMST), Fridericianum, Kassel

Andreas Angelidakis, Polemos (2017)

Foam and vinyl seating modules

Fridericianum, Kassel

Janine Antoni, Slumber (1994) 
Maple loom, wool yarn, bed, EEG machine, artist’s REM reading on computer paper, seven nightgowns woven into a 126-feet blanket, Dimensions variable. National Museum of Contemporary Art, Athens (EMST), donated by the Dakis Joannou Collection in 2014
Fridericianum, Kassel

Romuald Karmakar, BYZANTION (2017)

Digital video, color, sound, 7 min., Westpavillon (Orangerie), Kassel

Otobong Nkanga, Carved to Flow (2017), Performance and installation, Neue Galerie, Neue Neue Galerie (Neue Hauptpost), and Glass Pavilions on Kurt-Schumacher-Strasse, Kassel

Máret Ánne Sara, Pile o’ Sápmi (2017)

Curtain made from reindeer skulls and metal wire, porcelain necklace made from reindeer-bone ash, two photographic lightboxes, and two vitrines containing the Reindeer Husbandry Act and excerpts of the trials of Jovsset Ante Iversen Sara versus the Norwegian Ministry of Agriculture and Food


Neue Neue Galerie (Neue Hauptpost), Kassel

Irena Haiduk, Nine Hour Delay (2012-58)
One thousand pairs of Borosana shoes worn by the female workforce of documenta 14
Procuced for Yugoexport Various locations throughout Kassel,
Photo: Introduction Poster, A1, Ad for Vertical formats.

Cecilia Vicuña, Quipu Gut (2017)
Dyed wool. Dimensions variable

documenta Halle, Kassel

Aboubakar Fofana, Fundi (Uprising, 2017
Natural fiber-based textiles, handsewn and dyed in organic indigo in Bamako and Athens: Indigoferra arrecta, Polygonum tinctorium, and Isatis tinctoria grown in collaboration with Kasseler Werkstatt (Gartenbau); Stadt Kassel, Umwelt- und Gartenamt; Universität Kassel, Gewächshaus für tropische Nutzpflanzen, Witzenhausen.  documenta Halle, Kassel

Lorenza Böttner(1959–1994), Drawings, pastels, paintings, video, and archival materials (1975–94) 

Neue Galerie, Kassel

                Vivian Suter, Nisyros (Vivian’s bed) (2016–17)

Glass Pavilions on Kurt-Schumacher-Strasse, Kassel

iQhiya, Monday (2017), Performance and installation with school desks and video projection
Former Underground Train Station  (KulturBahnhof), Kassel

Roee Rosen, The Dust Channel (2016)
Digital video, colour, sound, 23 min.

Palais Bellevue, Kassel

Regina José Galindo, La Sombra (The Shadow), 2017, 
Video, Installation View, Palais Bellevue, Kassel, documenta 14, Foto: Daniel Wimmer

 Olu Oguibe, Monument for strangers and refugees, (2017)
Concrete, 3 × 3 × 16.3 m, Königsplatz, Kassel