不知命

以藝術作為宗教
我有時總想用自己的心靈
拯救一些墮落的朋友
他們追逐不屬於自己的繁華
追求安定而努力工作
得到的只有金錢
他們追逐可能是因為要想供獻給家庭
或是令自己生活更好
但最悲哀的是有些人的才華被社會的現實淹沒
每天不知為何而生
心靈不得提升、解放，
這些不知命的人注定要完蛋

簡單的愛情被社會変成什麼模樣了

陳豪 陳慧珊

http://hk.youtube.com/watch?v=6mcjQzLq1z8

Bill Henson : Charges likely over nude kid photos

http://www.smh.com.au/interactive/2008/national/bill-henson-case/index.html

The Henson case

October 3 | Sydney Morning Herald journalist David Marr has written a book about the Bill Henson censorship debate. Marr says Australia has probably never seen such an intense and intelligent public debate about the role of art, the threat of pedophilia, and the obligations of the government.

Related: Henson photo not porn, says censor

franz-von-bayros

http://ghostroom.net/2010/11/1866-1924/

Jimmy lesson 8/9/2011

favourite artist present

-Roni Horn (born September 24, 1955) (photographer)
-Idenitial experience (同一經驗)
(-identity , 身份??)
-site specific
-minialism
-human fig

-Arcimboldo (1527 – July 11, 1593)
-錯視畫
>Duchamp
>Dail
>Chuck Close

-Mondigliani- (July 12, 1884 – January 24, 1920) 情感

-Max Beckmann (德, 1844-1950)
-表現主義
-self portrait(RPG)
-背光
-煙

-Kiki Smith - Scuplturor, print maker (b.1954)
- 童話, 小紅帽
- 宗教
- 非情色
- 人體, 人皮
- 罪

- Marilyn Leuvene - Ceramic > 皮(錯覺,錯視,錯誤認知)
<<< Margattie
<<< Arcimboldo

- 洪東祿 ( GAME )

- Akio Takamori 高森晓夫 (Ceramic)美籍日人
>container / 分隔
-西日文化

Klimt (July 14, 1862 – February 6, 1918)

- 頹廢, 分離派
- Erotic
- 原始慾望
- 浮世繪, 唐畫
>>>ME > 女中男中女中男

- Ernest J Bellocq (1873 - 1949) (photographer)
- 妓女
- MASK

- Angus Mibean (1904 - 1990) (photographer)
- 名人
- Vivian Lee

- Francesca Woodman (1958 - 1981)(photographer)
- 22歲自殺
- erotic
- nude
- 不正常女性POSE
- 神經質?

- Abelardo Morell (photographer) (born Havana, Cuba, 1948)
- 美籍 (古巴後代)
- 光影
- 童話
- Pin hole
- 投影
- 空間中的空間

________________________________________________________________




經驗<<<<>>>>>聯系性
^ ^
^ ^
^ ^
| |
| |
V V
感受<<<<<<>>>>創作

DPP DL

http://web.canon.jp/imaging/dcp/firm-e/pssx1is/index.html


SN 7816002105

點解要食飯唔吊鹽水

除了社會活動之外(唔會有人約出黎食麵包)
主要係人有神聖性
有幻想,產生內驅力
今天的消費主義社會猶什
人能夠幻想更好的
更好的食物能帶來豐富的五感享受,滿足達至愉悅
降低內驅力
吊鹽水,食麵包之最低消費成為不可能
要追求食慾(慾望)以外的
而實行最低消費是對崇高的追求

van gogh

henri cochin, "revue de deux mondes"

-(Boccace, d'apres ses oeuvres et les temoignages de ses contemporains)

>Dante_Virgil
_Giotto
_佩脫拉克
Boccace_佩脫拉克

>>van gogh_ gauguin

RMIT art history 1

Post impressionism

-Gauguin, the Vision after the Sermon, 1888
(avant garde) <- Challenge standard, ask (norm or accepted value),what we're thinking, make a statement, pose question
- " , Where do we come from? What are we? Where are we going? , 1897

Fauvism

-Matisse, Green Stripe,1905 (liberation of color)
<- Van Gogh, Eugene Boch, 1888

-" , The Red Room, 1908
( no clear perspective )
<- Gauguin, the Vision after the Sermon, 1888

Expressionism

*Munch, the scream, 1893
*Schiele, self- portrait pulling cheek, 1910
*Kokoschka(1886-1980), Bride of the wind, 1914
-Marc, Blue horse 1
*Kirchner, two women in the street,1914 (the Bridge 橋派, photo copy paint)

Steven Leung 13/8

Philosophy - 1/ physicality
2/ cultural significance
3/ spirituality

(from Prof. Kurt CHAN Yuk Keung)

1/physicality - Art = material manipulation
- mark
- interaction of energy and material
- gravitational

- base of all art and existing object

2/cultural significance - signs meet --﹁
- clash ---- context
- accumulate ---|

3/spirituality - ultimate goal
- sublimation
- can't make rational association between a certain indescribable feeling and specific knowledge
- an abstract between known and unknown.
- very fine link with our specific experience

photomontage - 1/ color
- 2/ architectual structure space

1/ color - color wheel
- grids
- theme

2/ architectual structure space - Consstent Prerspective
->collage software
->impression of our city
->not perfect
->tramsform, (re)mix up
<-david hockney

- Mareen Fischinger

-kobas lakas

-Serge Mendzhuyckogo

-Archigram (architecture group)

-Soo Kim (cut out)

other - Patrick Herrsser
- 新影視 # 77

HW - structure : A2/A1/bigger

- Color : A3/A2

carol ho 13/8/2011

Individual tutorial + studio Practice

-canvas ->cotton ------
->liner |
-----with Gesso (fount or back,primer)
-wood ->MDF |
->woodboards ------

-white spirit (oil) -> for cleaning brushes

-varnish last stage -> for protecting painting

performance art

-james lee byars
-linda montano
-carl gustav jung
-

The way for Wilson Shieh

The way for Wilson Shieh (Chan Ho Ming Bobby) 10/4/2011

While Hong Kong West Kowloon Culture District (1) is going to build, the Hong Kong art scenes is progressively access into a era of art transit trade city. Sotheby and Christie have their auction in every year, Art Walk(2)has also being held in every March. They brought a lot of tourists and benefit to the Hong Kong tourist industry, however, couldn’t the event help the artist?
Take a look around Hong Kong Island, most of commercial galleries established in Central and Sheung Wan, half of artists are Chinese who come from mainland China. Some of Chinese artists painted in a “sentiment of The Great Cultural Revolution”, did it relate to the artist? No, I do not think so, it is a trend only, let’s the artwork easier to sale. Speculation is gravely in Hong Kong art scenes. When Hong Kong artists survive hardly, money would easily influence and fluctuate their creative attitude. Ridiculously, there are some Chinese collectors innocent in art at all. We can check out an old news which occured recently, in a Sotheby auction in New York, some Chinese buyers bid insane for a clone and broken ceramic vase out of compass, pricing twenty- two thousand five hundred times higher than the amount of the hammer.

Fortunately, when artists stay in this Vanity Fair, some artists keep their sincere to do their artwork, Wilson Shieh, a renowned artist in Hong Kong, is the one of them. Recently, he temporary gave up his technique of traditional Chinese painting, which is worthful in the market, but tried to wide his creative ability, such as color pencil and acrylic. While he does not following the trend, he has one’s own way, you could find his humor in his artwork yet.

In his exhibition, “Mortal Coil”(3) in Osage Soho, he “preoccupied with pop culture and its different forms of manifestation”, his decorative style artworks gave audiences a break to think about “the paradox of contemporary culture”. reflecting society to think highly of fame and money.

He seemed to make chronicles by his figures. Each of the figure are marked with working detail, from Western and Eastern artist, to Hong Kong and Western singers, to Hong Kong actors and actresses, to Hong Kong governors. Besides, he drew some satirical picture. Wilson represented the collective memory of Hong Kong people. It seemed to travel in Hong Kong History Musuem.

In the “famous Hong Kong actor”, he drew the actor modeling in the movie exhaustive, each of modeling is represented their
representative movie, but all of them are illusion, equal to capital and fame, excluding all of these “coil”, we’re all “mortal”.
On the other hand, in the “ Tewnty eight former governor of Hong Kong”, there are lots of streets and building named by the governors’ name, reflecting the influence of the British colonize in the old days, ridiculously, Hong Kong government is continuously decolonizing, they are also destroying local culture, changing the globalize clothes, it is so lamentable.

Artist used artworks to make Hong Kong people ponder, what is important among Hong Kong people and their city. His localize style is also an important part to represent the real value of Hong Kong. His sensitive to society and honest to artwork are value to be learnt also. I am looking forward to see his unconventional works, let’s see how he will go on his own way.




(1)http://www.wkcda.hk/en/what_s_new/index.html
West Kowloon Cultural District Authority - What's New

(2)http://www.hongkongartwalk.com/2011/aboutaw.html
Hong Kong Art Walk 2011 - About Art walk
(3)http://www.osagegallery.com/
Osage Gallery > Osage Soho > past exhibition 20.01.2011 - 27.02.2011

West Kowloon Cultural District and Hong Kong culture policy

When the government has chosen the first prize winning entry to the concept plan competition foe the West Kowloon Cultural District, submitted by a team led by Norman Foster and Partners of the UK, as the basic of the masterplan, however, a
cultural district is useless and wasting money right now.

Firstly, Hong Kong cultural foundation is poor, even we have had some of museum in Hong Kong already. It is because Hong Kong traditional Education does not encourage student to try to be an artist. There are many kind of art education in Hong Kong, such as music course, dancing course or visual art course among the Hong Kong Secondary, Primary and kindergarten schools, but the students are suppressed by their homework and exam. They usually don’t have much time to develop their artwork. A lot of parents are also encourage their child to earn money rather than to develop their art.

The government does not know much culture also. Government does not have their policy and eyesight. They approach art and culture as a money tree. When West Kowloon Cultural District is going to build, government tag this project as “an
important strategic investment of the HKSAR Government to support the development of arts and culture in Hong Kong.” But the truth is they are doing a lot of thing to destroy Hong Kong local culture. For example, they decided to rebuild the
Wai Chai Market, where have strongly Bauhaus style.

Another example is Choi Yuen Village Literature Musuem . As China governement decided to build high speed railway in Hong Kong, (West Kowloon Culture District is the terminal in Hong Kong.) they destroy the agriculture in Choi
Yuen Village. As Hong Kong whiter and artist supported the resident in the village, they set up the literature museum and curate an exhibition and a music concert located in the village. This exhibition and the concert encouraged a lot of people to
support the village. It was great to experience of feeling culture in a new way in Hong Kong countryside, a lot different kind of works, such as performance, visual art, drama and concert, this event could be the Hong Kong agriculture educational
starting point, however, the government did not treasure it, they still let the brute railway worker invaded the village. Although high speed railway will not benefit the most of the Hong Kong people , “development” is the most important for them,
property develops can massive build on the railway station derivatively. Definitely but sadly, it is collusion between the government and the haves.

The ideal is renew the Hong Kong old building as new culture block including The Wai Chai Old Market, rather than giving the lands to property develops to build commercial block. If it could be success, the building could keep their old style, mass
of capital could be save also. Meanwhile, government had better develop new culture and education policy, let’s raise up people the eyesight level of the culture, as if the culture foundation is rich enough, artist, curator, whiter and all of the Hong
Kong people will really benefit, the Hong Kong art scenes could be healthy grown.

Tribute to predecessor

Tribute to predecessor ( Bobby Chan 5/4/2011 )


In the art history, we can see millions artists, but they are different with each other. They have their language and symbols. Surely, it is because they were come from different country, different educated background, different family background and different era. The grown up environment gave artist strong characteristic, we can see artist’s soul in the artworks.

Nowadays, people advances in technology, we can easily to be in touch with the whole world, artist is easier to find his self-language, artist could easier study art history though the internet , artist should have responded to his era. You can see some of the artist in the world using his old fashion style, paint his canvas in traditional way with no meaning whereas he create something new, who had never try. Era is always changing. Technology could help us to create our self-language, which is impossible to represent in the old days, such as the “Fountain”, it could not be artwork when Duchamp had not defined it before 1917.

I Before all of this, it must have been some element which you could study from the others, though studying hard and practicing, artist should have created his characteristic, which come from your soul. The reality soul attract artist to make artwork sublimer.

Traditional and originality is not totally opposite, on the contrary, originality is based on traditional. It is hard to create totally new nowadays, whereas we could use the traditional to create new. “ Lucky for me, when I went to art school we were a generation where we didn’t have any shame about stealing other people’s idea. You call it a tribute”. Daimen Hirst said.

However, why a lot of people censured on Daimen Hirst? It is because he almost did copy to the other artists concept, ridiculously, he made financial success. It is a big shame on the other artists. Based on the famous theory from Duchamp, anything and everything can be art, Daimen Hirst’s art is art sure, but he will not get any respect from the other artists. (Ironically, I believe he does not care and he respect money more than the originators.)

For those who do not know Daimen Hirst copying concept from other artists, they may shock at his representation, but when they find out the truth, would they still salute to Daimen Hirst? Would they still consider his art is great? For me, he try to repack the old art, made question to the art scenes. Cruelly to the originators, only winner is almost sly. Take a look to art history, Duchamp could choose anything to define it, Andy Warhol choose anything to copy. Both of them opened the new method of creating art, so why could not Daimen Hirst choose any artwork to copy?

Tribute, it is very common in art world. Sherrie Levine is more into me rather than Daimen Hirst. She asked question to the old art and gave the fountain a new annotation. It is more interesting and significant than Daimen Hirst. Who would really like the copycat?

Artist’s duty

Artist’s duty (Bobby Chan Ho Ming)

In my opinion, nowadays, making good artwork with meaningful message to impressive people is necessary. As some people may think, it will limit the creative of artist. But on the contrary, I think artworks are representation of soul,
as an artist touch the heart of audience, then he succeed.

An excellent artwork may have complex message, it can refer to history, literature, news, political, society, but it can also have a simple message, which can impressive people.

For example, Luke Ching Chin Wai. He had made a stand against HKSAR government and Hong Kong Art Development Council. He had made a lan pillow, which had been printed a rich legislative councilor, he had also protested when Louis Vuitton Art Exhitbition was holding in Hong Kong . He is a great model to be learnt by young artists. His artworks are easy to be understood, but they are funny and impressive, inspiring people to thinking.

Another example is Wu Shanzhuan. Almost his artworks are a lot of complex symbols and message, which refer to art history, philosophy and the society of China, they are jeer and hope of this world, people may feel confuse the message behind the artwork. However, Wu is a great artist definitely. He put a lot of message into artworks, although you may not understand what he wanted to present, you can still feel its poetry. He seems to be a storyteller, if you like his artwork (or story), then you will find the message of his artwork by yourself. It is similar to education, he educate people what happened in the world nowadays,
people have their right to find mutual information, when you look at his artwork next time, you may get difference experience.

Artists, to be a part of intellectuality on the society, they are supposed to have conscience to stand for the weak side on the society. However, artists have to face many entice and hardships. When market pay intellectuality, government give area to them to issue their work, but to a certain extent, artists are controlled by them. Artist have to scruple market or government, it will limit artists creative space and their imaginative power, money and status are easy to let artist complacent, such as Andy Warhol, his later period is more like a salesman than an artist, because he was complacence on his old working process and money, so he did not create something new, such like his “Brillo Box”, which was created in 1964, you cannot find this kind of conceptual artwork before Warhol. As Konstaintin said,” Don’t sale your work, but let people buy it.” , based on this
theory, artist should establish his strong self-language in his theory system.

But the most importance is sublimity. We can find sublimity in the works by Luke and Wu themselves. It makes more people to respect them. To understand sublimity , it is kinda of spiritual cultivation. . When sublimity exist in artwork, people are easier to be inspire and influence. If artists keep this sprit to work, the world will get better foot by foot, this is artist duty.

長柄大刀唐朝才出現 關羽呂布和張飛一樣都是使矛

http://www.stnn.cc:82/arts/200610/t20061023_369746.html





三英戰呂布”的故事，在國人大眾中家喻戶曉，耳熟能詳。藝術化的人物形象屢見於繪畫、雕塑、戲曲等作品中，甚至連其所用兵器也藝術化了，張飛的丈八蛇矛、關羽的偃月大刀、呂布的方天畫戟與使用者一起，都成為國人心目中固有的模式和形象。四位英雄走馬盤旋，馳騁縱橫，羅貫中以藝術化的筆觸，再現了當年刀光劍影、鼓角錚鳴的波瀾壯闊圖景，將我們帶回到那歷史風雲的一頁。可畢竟是三分真實、七分虛構的小說，以明人的思維去再現二千年前的戰爭場面難免帶有時代的烙印。至於現在的三國遊戲設計，為了美化藝術化，更是不著邊際了。那麼那個時代的英雄們真的是使用這些兵器麼？他們到底用什麼兵器作戰呢？有必要還歷史本來面目，揭開這些歷史人物的真實一面。
　　
　　張飛的丈八蛇矛。丈八蛇矛來源於矟，東漢劉熙《釋名·釋兵》說：“矛長丈八曰矟，馬上所持”。即張飛所用的就是一種騎兵所用的，長一丈八尺的長矛，也叫“馬矛”。按漢代一尺約23釐米計算，約長4米多一點，應是一種極為細長的矛，此種兵器自東漢晚期到魏晉南北朝時代，在軍隊中極為盛行，由於其柄很長，在馬背上運用，應有較高的技巧，而張飛應是這方面的高手。《三國志》中說“飛據水斷橋，瞋目橫矛曰：‘身是張益德也，可也共決死’!”，甚有英雄氣概。近世藝術家將丈八蛇矛的矛頭繪成如蛇扭曲的形狀，是受到所謂蛇矛的影響，實際上蛇矛只是一種形象的比喻，只表達細長之意，歷史上是不存在矛頭象蛇一樣的武器的。
　　
　　關羽的偃刀大刀。在後世的描繪中，關聖人的青龍偃月刀已與其本人完全融為一體，成為不可或缺的形象代言物。但歷史上的關羽真的是用刀作戰嗎？在漢末，騎馬用刀作戰者，均用環首刀，這種武器屬短兵器，刀直窄長，長約一米，單刃無護格，柄首均是與刀莖連鑄一起的環型。騎兵作戰時的用法類似現在的馬刀一樣左右揮舞，向下劈砍，即使關羽用刀，也只能用這種刀。長柄大刀至唐宋才出現，關羽的掩(偃)月刀之名見於北宋《武經總要》，是當時名家健鬥之人自製以標新立異來突出自己，這種刀很重，只能日常作練武之用，不能用於戰陣。實際上，關羽根本是不用刀作戰的，《三國志》上說：“曹公使張遼及關羽為先鋒，羽望見良麾蓋，策馬刺良于萬眾之中，斬其首還。”與關羽生活在同一時代的陳壽說的很明白，一個“刺”字就足以證明關羽是不用刀的。



　　劉備的雙劍。自西漢開始出現以刀作戰後，刀的優點逐漸顯露出來，騎兵作戰對敵主要以劈砍為主，由於刀背厚實，用起來比劍更有力，且不易折斷，所以騎兵以刀作戰日益盛行。至東漢末期，已完成了刀與劍的交替，劍基本脫離了實戰，成為權貴佩服和把玩的飾品。劉備作為一方首領，親自與呂布作戰純屬虛構，即使親自上陣，也絕不可能用雙劍，且馬鐙出現于兩晉，試想，一個人以雙腿夾住馬肚，雙手舉著武器，這種技巧只有雜技演員才能勝任，更不用說打仗了。
　　
　　呂布的方天畫戟。在今人的印象中，方天畫戟是直刺的一側有一個月牙形的短彎刀，這種形制也最早見於北宋的《武經總要》。在民間畫師的裝飾性偏好下，武器描繪得越華麗越古怪才能提高裝飾性和威嚴性，於是對所描繪的武器經常變形、渲染，使後世的人們自然而然地認為戟就是那些畫作上的花美之戟，稱為“畫戟”或“方天畫戟”，並用於詩詞、戲曲中的著名人物。實際上，戟就是在矛頭直刺旁再加一個橫枝而已，便於叉刺和鉤殺，象“卜”字型，長戟長約2至3米，騎兵使用稱“馬戟”(典韋所用是步兵用的短雙戟)。三國時的戟旁的橫枝一般向上彎曲，翹起，形成一個小尖。《三國志》載呂布轅門射戟的故事中，陳壽清楚地寫出呂布令門衛在營門中舉起一枝戟，是臨時借用部下的武器，非呂布自己所用。呂布到底用何種武器呢？答案是“矛”。《三國志》寫呂布刺董卓時，“肅以戟刺之，卓傷臂墮車，顧大呼曰‘呂布何在’？呂布應聲持矛刺卓，趣兵斬之”。
　　
　　通過還原歷史的本來面目，現在清楚了，除了劉備外，張、關、呂三人均是持矛作戰，而劉備也弓馬嫺熟，久不作戰即有髀肉復生之嘆，也是一打仗好手，但絕不會持雙劍作戰的。 www.stnn.cc
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來源： SRC-406 編輯：吳正翔

素描幾張