創作計劃 Projects 2016-

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在詩的港口 2016-17

阿三x煩惱詩社．文學x街道
實驗計劃@ A Walk with A3

2016年12月至2017年2月
Shop A3（銅鑼灣霎西街1號，即南洋酒店旁）

寫在前面

實驗，是未知結果又不一定有所謂結果、邊做邊構想從實戰中修訂再修訂的過程。既然這僅是街巷旁的一面牆與櫥窗，而當下生活急迫得只剩下疑問，我們便藉文學及藝術，給此地留下一點氣息。

巷，是城市的狹縫，經濟發展的後援，人們歇息的場所。那裡不只有烏煙瘴氣，還有人們以勞力換來的生計，及不能說清是否生活的生活。我們一眾過客，原來均與巷有過一段不盡相同的故事。巷所牽動的，是記憶和情緒。

文字充斥城市角落，文學卻摒棄於生活之外。我們仍然相信，能讀懂一首詩是件美麗的事，能懂得珍惜嘴巴吐出的話，是讓人堅定走下去的原因。觀看如同閱讀，是次計劃分為六個章節，跨橫兩個年度逐一上場。　

仗義協力：徐沛之、張偉樂、Raina、LXM、Harrison Chiu及Kenneth Ip

 Alongside Poetry in an Alley 2016-17

Chan Sai-lok x Fannou Poetry Society．Literature x Street
Experimental project @ A Walk with A3　

Dec 2016 – Feb 2017
@ Shop A3, No. 1 Sharp Street West, Causeway Bay (next to South Pacific Hotel)　

Preface

Experiment, an explorative process leading to unknown outcome or nowhere sometimes, is all about contemplation, practice and revision, again and again. This exhibition space is merely a wall and a display window at the corner of an alley. While there is nothing but struggles and question marks left in today’s living, we leave a trace of flavor here with our literature and art works.

Allies are cracks in a city, nourishing its economics and accommodating its residence. There are not only untidiness and disorder, but also livelihood, if that can be called life, earned by hard working. Each of us, even as passerby, must have our personal stories with an alley which touches our memories and emotions.

Words fill every corner of the city, yet literature is an outcast of life. We still believe that reading into a poem is a beautiful thing; and cherishing the spoken words while reading provides the strength to live. As a visual/reading program, this project comprises six chapters which will be presented one after the other during the cross-year exhibition period.　

Volunteers: Chui Pui Chee, Cheung Wai Lok, Raina, LXM, Harrison Chiu, and Kenneth Ip

第一章 Chapter One / 5-16 Dec 2016

從不知道，
所有無意遺落的
氣息
早已長成小巷。

We never knew
things inadvertently left here are
traces of human activities
which have grown into an alley
　

第二章及第三章 Chapter Two & Chapter Three / 17 Dec 2016 - 7 Jan 2017,  8-24 Jan 2017

巷裡的，是手推車、紙皮、手套、地拖、膠桶及煙蒂；Shop A3裡的，則是假盆栽、布、木板、繪畫與文字，所有因藝術之名而出現的東西。在這裡的，一切都是物件；不過詩作、繪畫與生活雜物的本質有一定差距。

我們漸漸不安於白盒子的語境，走到街頭或動用既定環境或建築個性，似乎是現在展示形式的習慣。Shop A3是個大畫框及大書頁，卻不是店舖的櫥窗；框裡或版面裡的既是物料又是圖像，既是巷景一部分又與巷的個性不一樣。

它尚在流變，我們尚在試驗。

Allies are often filled with everyday sundries such as trollies, disposed carton boxes (which janitors and  elderly people collect and sell for pocket money), gloves, mops, plastic buckets and cigarette butts; Where Shop A3, on the other hand, is filled with art objects, including fake potted plants, fabrics, wooden boards, paintings and literatures. Though these are all objects in nature, there are essential differences between poetries, paintings from everyday sundries.

One of the common modes of art presentation today takes context from White Cube to on-street display or to incorporate surrounding elements or building personalities as part of exhibitions. Shop A3 is not a display window but perceived as a large picture frame or page, where it exhibits objects and images inclusively and forms an integral part of alley views, however with distinctive characters.

This experimental exhibition is evolving, and we never stop trying.

Eleven poems exhibited are written by Law Wai-yat, Ann Woo, Angus Lee, Hinghing Ho, Li Chiu-chun and Alice Fong.

第四章 Chapter Four / 25 Jan - 10 Feb 2017  

如果Shop A3是書頁，這計劃便是翻書的過程，翻到中段就得轉轉節奏及調子。那是編輯的思維，亦是策展街道計劃的策略。第一至三章以敘事為主，而文學與繪畫作品均較為平靜及溫文。第四章的文字裝置，希望離開敘事，給文學多點反詩學的力度。於是，我們選擇了鮮黃色，與狠勁的狂草。我們欲擾亂閱讀的次序，把句子重複與交錯；空間處理則是layering的延展。而那「逗號」與「假盆栽」不是角色亦非物件，那只是指示此裝置屬《在詩的港口》計劃的殘留符號。

使用原句：「從遠處你遞向我一條走來的路張開所有禁止進入」及「We are, what wee are.」

As if Shop A3 presents a book, this project represents a reading process, during which its rhythm and tone may change in line with the editor’s contemplations and his strategic planning for an exhibition on street. Chapters One to Three tell stories with relatively peaceful and gentle literature and painting works, whilst in this Chapter, literature works are less narrative and provide a sense of anti-poetic power. Accordingly, we choose bright yellow colour and wild cursive script, and we deliberately disrupt the reading sequence by repeating and overlapping some sentences. The spacing extends the concept of layering which has been developed from previous Chapters. The “commas” and “fake potted plants” are neither a role in narration nor an exhibition objects, but are merely residual symbols showing they were part of the Alongside Poetry in an Alley.     

Quote the original statements: “From far way you show me the path where is open for everything but entrance is strictly blocked.” & “We are, what wee are.”

第五章 Chapter Five / 11-28 Feb 2017

櫥窗本身是剔透的盛器，讓物件清楚地展現。可是，玻璃白天的個性，較喜歡反射周邊風景多於向內凝視。我們的目光，便給模糊了。如果櫥窗變成一面大鏡，它會否隱身於雜亂的街巷，我們反而察覺它的存在？

櫥窗本身是被觀看的街道設置，第五章迫使我們通過文字觀看。當手寫線條變成規範的電腦字形，便脫離與身體的直接關係。同時，一致的筆劃不斷重複產生節奏，而不完整的符號與塊面，放大了中文文字的圖像特質，惟我們仍能閱讀。文字，遂成為街道上的密碼，或跳躍的異獸。

The glassful display window itself is a container where exhibition objects can be presented clearly. On the other hand, glasses also tend to reflect surrounding scenes under daylight; but the lack of inward gazing blurs our vision. If this display window were a giant mirror hiding in a messy alley, would it be easier for us to spot its existence? 

The display window itself is a to-be-seen street setting. Chapter Five limits us to watch through the text. As handwritten lines turn into standardized computer glyphs, any trace of handwriting lost. At the same time, consistent yet repeating strokes bring out rhythms; any incomplete symbols and strokes magnify the graphical nature of Chinese characters yet still readable. Texts therefore transformed into either passcodes in an alley or dancing creatures.

第六章 Chapter Six / 1-7 Mar 2017

反正是開始
文字便有了形狀

From the very beginning,
Shapes then formed in words.