後佔領﹕藝術、士紳化、內戰
After Occupy: Art, Gentrification and Civil War

為期兩天關於藝術/文化工業以及士紳化的工作坊及討論
Two days of talks and workshops on the art/culture industry and gentrification

日期﹕一月二十五至二十六日
Dates: 25-26 January 2014

Venue/地點﹕A Space,亞洲藝術文獻庫/ Asia Art Archive
香港上環荷里活道233號十樓
10/F Hollywood Centre, 233 Hollywood Road, Sheung Wan, Hong Kong

Limited capacity! RSVP: info (at) doxacollective (dot) org

Participants:
Adam Bobbette, architect/theorist, Hong Kong University
Nin Chan 陈宁, activist, Tak Cheong Lane, Montreal/ Hong Kong
Damian Cheng 小西, art critic, researcher, Hong Kong
Luke Ching Chin Wai 程展伟, artist, Hong Kong
Kenichiro Egami 江上贤一郎, activist, Japan
May Fung 馮美華, artist/pedagogist, Hong Kong
Takuro Higuchi 樋口拓郎, independent sociologist, Amateur Revolt/ Tokyo
Kao Jun Honn 高俊宏, artist, Taiwan
Yuk Hui, 許煜, philosopher/researcher, DOXA, Berlin/Hong Kong
Jaspar Lau 劉建華, art critic, Hong Kong
Lee Chun Fung 李俊峰, artist/activist, Wooferten, Hong Kong
Mai Dian 麦巅, musician, Wu Han Youth Autonomous Lab, Wuhan, China
Map Office, Laurent Gutierrez and Valérie Portefaix, artists/architects, Hong Kong
Abbas Nokhasteh, curator/researcher, Openvizor
Ou Ning 欧宁, curator/poet, Chutzpah Magazine, Beijing
AhKok Wong, 黃津鈺, musician, Hidden Agenda, HK
Ashley Wong 黃詠欣, artist/researcher, DOXA, UK


Programme/活動流程:

Day 1/第一日:

10:00 -10:30    Opening: Abbas/Ashley/Yuk: Welcome/Presentation of Book/開幕
10:30-11:30    Introduction: After Occupy, Yuk Hui (Berlin/Hong Kong)
主題: 佔領之後, 許煜(香港/柏林)
11:30-12:00    Break/小息
12:00-14:00     Panel 1: From Cities to Rural/鄉村包圍城市

  • Ou Ning (Bishan)/ 歐寧(碧山)
  • Map Office (France / Hong Kong) /(香港/法國)
  • Moderator and discussant: Jaspar Lau (Hong Kong)/ 主持與對談﹕劉建華

14:00-15:00     Lunch/午饍
15:00- 17:00    Panel 2: Engaged Withdrawal/ 介入式撤退

  • Nin Chan (Tak Cheong Lane/ Hong Kong)/ 陳寧(香港)
  • Mai Dian (Womenjia Youth Autonomy Lab/Wuhan)/ 麦巅(青年自治實驗室/武漢)
  • Moderator and discussant: Yuk Hui (DOXA, Germany/Hong Kong)/ 主持與對談﹕許煜

17:00-17:30    Break/小息
17:30-19:30    Panel 3: Gift and Community/社區與禮物

  • Lee Chun Fung (Wooferten/ Hong Kong)/ 李俊峰(活化廳/香港)
  • Kenichiro Egami (Fukuoka)/ 江上賢一郎(福崗)
  • Moderator and discussant: (May Fung/Hong Kong)/ 主持與對談﹕馮美華(香港)

19:30        Book launch and drinks

Day 2/第二日:

10:00 – 11:00    Discussion around the first day/繼續第一天的討論
11:00 – 13:00    Panel 4: Land without Communities/社區與土地發展

  • AhKok Wong(Hidden Agenda/ Hong Kong)/黃津珏(Hidden Agenda/香港港)
  • Adam Bobbette (Landscape Architect/University of Hong Kong 香港大學景觀建築師)
  • Moderator and discussant: Damian Cheng/ 主持與對談﹕鄭威鵬(小西/香港)

13:00-14:30    Lunch/午饍
14:30- 16:30 Panel 5: Ruin and Apocalypse/廢墟與啟示

  • Takuro Higuchi (Amateur Revolt/ Tokyo)/ 樋口拓朋 (東京)
  • Kao Jun Honn (Taipei)/ 高俊宏(台北)
  • Moderator and discussant: Ashley Wong (DOXA, UK/Hong Kong), 主持與對談﹕黃詠欣

16:30 -17:00    Break/小息
17:00-18:00    Roundtable Discussion/圓桌討論
18:00        Closing and drinks

 

[English below]

簡介﹕藝術只會創造城市邊緣,而不會將其消除。我們社區中不斷增長的城市邊緣是士紳化的結果。藝術家、設計師、畫廊、雙年展、地產商以及政府一起成為都市邊緣以及分隔的始作俑者。邊緣的產生不只是因為收入的差異,而且是生活方式(life style)以及品味的分別。士紳化是利用藝術、設計提高樓價,然後摧毀已存在社區。文化工業與士紳化已重壘。四十年前斐伏爾(Henri Lefebvre)在《都市革命》中國批評Le Corbusier的都市主義,指他過於規範化空間的功能性,「他突略了街道所包含的功能﹕資訊的功能,符號的功能,玩的功能。街道是一個玩耍以及學習的地方。街道本身便是失序的。」四十年之後,街道的玩樂性已被選擇性地被應用到都市化,最為人知的是Richard Florida所言的創意城市。

除了參與其中以圖改變之外,藝術家、建築師以及其他的知識份子如何去抗入這場運動?或者除了宣戰之外,我們已沒有選擇去抵抗文化工業加諸我們身上的品味和美學。只有戰爭才能消除邊緣。這些邊緣並沒有體現了社會的多元化,因為多元化在這裡的作用只是安靜劑。和諧和多元變成為了冷漠以及個人主義的代名詞。只有將社會分解成自以為是原子化個體,生活方式以及工業美學才能最有效的入侵。我們用的內戰一詞借用自法國團體Tiqqun的《內戰導論》,指的是以普遍的內戰去反應當前不斷的去政治化。它的另一個意義也來自法國(1871)以及西班牙(1936-39)內戰,當中我們可以見到建立一個嶄新的共同體的可能性。人們自我組織,互相信任,創造了一種新的生命形式(form of life),換言之,實現了由資本控制以外的另一種可能性。內戰是生命形式以及生活方式之間的戰爭; 是共同體和個人主義的戰爭。

十九世紀末期,亞洲國家為了與西方的競爭發展了拷貝(copy)的文化,包括技術、民主、權利、制度化、財政化以及藝術。拷貝成為發展的主導思想: 都市化、文化工業、保育、私有化。然而當拷貝成為了理性,隨之而來的是想像的麻木。我們正處於這樣的時刻:所有對於士紳化的反思以及抗爭都只是基於道德以及人文理由。我們認為需要重新詮釋內戰以重新發掘一種可能的共同體生活。如果我們重覆西方所有形式的抗爭,我們同樣也只是在拷貝。在東亞我們可以怎樣抵抗士紳化以及共同體的消失?生命形式以及內戰在東亞意味著甚麼?藝術家和社會運動者在這場戰爭中可以擔當甚麼角色?近年來在東亞,不同的團體正在實踐不同形式的聯結以及和社區的互動。譬如歐寧回歸鄉村的碧山計劃,以自治為生命形式的武漢我們家青年自治實驗室、香港德昌裡二號三號鋪,以藝術作為抗爭的香港活化廳、東京素人之亂等。

「後佔領﹕藝術、士紳化、內戰」是一個為期兩天工作坊,內容主要是針對在東亞藝術與士紳化結合日益嚴重的問題,以及討論東亞運動團體自治與抗爭的策略,參加者包括來自中國大陸、香港、台灣、日本、韓國的藝術家、藝評家、理論家、活動家、建築師、策展人等。這個活動也將首次推出我們的新書《創意空間﹕東亞的藝術與空間抗争》(許煜&DOXA, HongKong :Roundtable Synergy Books, 2014)。

Urban borders cannot be dissolved by art, but only be established by it. The increasing number of urban borders in our community is the consequence of gentrification. Artists and designers together with galleries, biennials, property developers and governments have become the main generators of segregation and urban borders in our contemporary society. Borders are setup not only by the difference between how much one earns, but also (or even more so) by lifestyle and taste. Gentrification employs art and design to augment the property price and destroy existing communities. Urbanisation and culture industry go hand-in-hand. It is intriguing to think of what Henri Lefebvre wrote forty years ago in Urban Revolution, where he criticised Le Corbusier,  “the street contains functions that were overlooked by Le Corbusier: the informative function, the symbolic function, the ludic function. The street is a place to play and learn. The street is disorder.” Today it is evident that this freedom and playfulness has become productive for what Richard Florida calls ‘creative cities’.

Besides participating from within and attempting to make change, what else can artists, architects and other intellectuals do to resist this enormous force? Perhaps it is only through war that we can fight against taste and aesthetics imposed on us by the cultural industry. These borders created through gentrification are by no means expressions of heterogeneity in our society, since heterogeneity in this sense, serves nothing other than to pacify. Harmony and heterogeneity are actually synonyms for indifference and individualism. By decomposing society into social atoms, lifestyle and its aesthetics can effectively affect each individual.We use the word ‘civil war’ as described by the activist group Tiqqun, who refers to the civil war in France (1871) and Spain (1936-1939) in which we see the possibility of building a totally different community. People were able to self-organise and trust each other, in other words, to realise another possibility outside the control of capitals. It is also a warfare of the production of forms of life against the imitation of lifestyle, to establish a communitarianism against individualism.

Towards the end of 19th century, Asian countries have been forced to develop a culture of copying in terms of technologies, democracy, rights, institutionalisation, financialisation, and art. Copying becomes the raison d’État of development: urbanisation, culture industry, preservation, and privatisation. But when copying becomes rationality, it produces a numbness of imagination, we arrive at the time that all reflections and resistances against gentrification only find its source in morality and humanities. We think that it is necessary to pick up again the question of civil war to serve as a means to rediscover a communal life to come. If we repeat all forms of resistance from the West, we are not exempt from copying. What could be the possible response to gentrification and the self-destruction of communities in East Asia? What would forms of life and civil war mean in East Asia, a region that shares similar cultures and sensibilities? What kind of new roles can we find for artists and activists in this repetition of civil war? In recent years in East Asia, different groups have been experimenting with different forms of organisation and engagement with communities, for example the plan of returning from urban to rural such as Ou Ning’s Bishan community project, autonomous experiments like the Youth Autonomous Lab (Wuhan), Tak Cheong Lane (Hong Kong), groups use art as weapons of resistance such as Wooferten (Hong Kong), Amateur Revolt (Tokyo), Map Office (Hong Kong), Parallel Lab (Swiss-Hong Kong), etc.

After Occupy: Art, Gentrification and Civil War is a two-day series of talks and workshops focussed on developing this line of thought and sharing different experiences in East Asia, including Mainland China, Taiwan, Hong Kong, Japan and Korea. The event also launches a new book Creative Space: Art & Spatial Resistance in East Asia,(Yuk Hui & DOXA, Hong Kong: Roundtable Synergy Books, 2014) which is the starting point for many of these discussions.

Organised by: DOXA

In partnership with: Openvizor

Venue supported by: Asia Art Archive