富邦藝術基金會

2007香港藝術小餐車《同心童心》

展覽策展人：何慶基

2006年富邦藝術基金會在香港舉辦「藝術小餐車」系列的首個展覽《同感童感》當代藝術展，以親和近人的藝術，誘發公眾對當代藝術的共鳴。展覽圓滿結束後引來公眾以及傳媒的廣泛回應。今年再接再厲，於聖誕及農曆新年期間舉辦「藝術小餐車」的2007年展覽，再為節日加添歡愉。

今年的展覽，以《同心童心》為題，延續以孩童稚趣味為題，進一步展示童真在當代藝術中作為創作內容的可能性。是次參展藝術工作者除來自台灣外，還包括韓國、日本、香港、英國、意大利及荷蘭藝術工作者。展覽的範疇和視野廣闊，但仍堅持那可愛近人的特色。

引用稚童的藝術作為創作泉源，在現代及當代藝術中有其深遠傳統。返樸歸真的創作理念，在十九世紀後期的西方前衛藝術家中已出現，第一次世界大戰後的慘痛經驗，令藝術工作者更積極追求那簡樸、未受文明污染的境界，創作靈感分別可從原始社會、深層意識如夢境等地方中尋求，而孩童的藝術，更成為重要的創作源頭。由以往如法國藝術家杜比菲 (Jean Dubuffet) 於上世紀五十年代以兒童塗鴉為題，在創作形式上追求那不經意的簡樸直接方式創作，至另一種創作模式，如八十年代的藝術家如謝夫冠 (Jeff Koon)，以及在亞洲備受歡迎的日本藝術家如草間彌生、村上隆等，明顯地就是採用兒童玩物作起點，作為一股重要的創意動力。他們大膽的利用流行文化、消費文化中的卡通或其他孩童玩物形象，用諸創作中，創作者如村上隆更是游走兩區域之間。當然，部份創作者的作品，帶有一定的批判性，但也有創作者試圖採用人們較易認識的可人形象，拉近當代藝術與公眾的距離。

《同心童心》根據這兩條路線，一方面是以流行文化中的玩具、卡通形象為題，例如李明道的機械人、許家瑜的大玩具食品、常陵的吶喊孩子、Faiyaz Jafri的「班比」以及蘇孟鴻的大花球等，都是以不同形式的變奏，套用於孩童玩物的形式上。另一方面在大會堂的戶外展覽中，展出的是以孩童式的自由發揮作品，韓國藝術家權奇秀的作品，像是小孩的單線繪畫，單純直接又親和，但其巨大的體積，卻又為作品帶來宏偉的感覺。游文富的作品，是他去年羽毛樹的伸延。羽毛落後，原地重生，一年過後，再現的是色彩繽紛的茂密草叢。製作同樣是把竹枝插在地上積聚而成，簡單得近乎原始的製作，卻又可在繁密的都市景觀中創出超現實的田園景象。

《同心童心》是個重索童心的展覽，誠邀公眾在這臨時建立的展覽空間，享受一頓視覺盛宴，共同尋回那已被磨滅得七零八落的童心。或許藝術不一定要有什麼艱澀的深度，或是什麼理念風格上的突破。只要它能在都市的繁囂的生活中，為觀眾加添點喜悅，已相當足夠了。

2007 Hong Kong Art Buffet "one more, please"

Curator : Oscar Hing-kay Ho

In 2006, Fubon Art Foundation organized the "me2" contemporary art exhibition as the first of the Art Buffet exhibition series to be held in Hong Kong. With the intention to bring art closer to people and to make art more approachable to the public, the exhibition received enthusiastic responses from the public and the media. As a continuation from last year's exhibition, this year during Christmas and Lunar New Year, 2007 Hong Kong Art Buffet will once again bring delights and joy to the public throughout this festive season.

The theme of this year's exhibition, "one more, please", is an extension on the subject of childlike ingenuousness and enjoyment. It takes a further step into demonstrating the possibility of portraying childhood innocence in contemporary art. In addition to artists from Taiwan, artists from many other regions/countries including Korea, Japan, Hong Kong, Britain, Italy, the Netherlands have also been invited to this exhibition. The context and perspectives of the exhibition are extensive, the exhibits nevertheless stay focus on the characteristics of art that are friendly and approachable.

Using children as the creative inspiration for art could be traced back to a long tradition in both modern and contemporary arts. The creative concept of a return to innocence was presented in the late 19th century by Western progressive artists. After the traumatizing World War I, artists were ever more assertive in searching for a realm that is simple and untainted by civilization. Creative inspirations were coming from the primal society or the more profound subconscious, such as in dreams. Children's art emerged as an important creative source at this time. French artist of the last century in the 50's, Jean Dubuffet for example, used children's doodles as the source of his creative works, and strived to find unpretentious and straightforward ways to create. As for other creative methods, 80's artist Jeff Koon and the popular Japanese artists such as Yayoi Kusama and Takashi Murakami, also clearly showed in their works themes based on children's playthings as an important creative force. They are audacious in utilizing popular cultures and cartoons or other icons found in consumer culture, and Takashi Murakami even works successfully between both fields. Without a doubt, aesthetic or social critiques are sometimes the agenda behind some of these childlike works; however, a certain number of the artists so choose to use these recognizable icons in an attempt to narrow the distance between contemporary art and the public.

"one more, please" is based on two directions. On the one hand, it has sprung from popular cultures with cartoon-like images as the theme; examples of such are the robot by Akibo, Hsu Chia-Yu's giant toy dessert, Chang-Ling's shouting children, Faiyaz Jafri's mobile fawn, and Su Meng-Hung's giant flower ball. These works are transformations that are based on the forms of children's playthings. On the other hand, for the outdoor exhibition, the works show a childlike freedom in their creative process. The work of Korean artist Kwon Ki-Soo is similar to that of the simple lineal drawing by a child. It is simple, direct, and friendly, yet, because of its enormous size, the work also possesses a magnificent aura. Yu Wen-Fu's work is a continuation from his feather tree installation at the City Hall last year. The feathers have fallen, and are regenerated. After a year, the colorful vivid shrub has grown plush once again. The production once again involves the planting of bamboo sticks in the ground, and the formation is so simple and almost primal; however, a surreal scenery is then created amidst the bustling urban landscape of Central Hong Kong.

"one more, please" is an exhibition that attempts to rediscover the heart of a child. We would like to invite the public to share this visual feast with us and to experience the spontaneity and joy of being young. Art does not always need to illustrate profound ideas or outrageous concepts, as long as it brings joy and energy to our busy and hectic life.

Curator 策展人	何慶基 Oscar Hing-kay Ho
Artist 參展藝術家	蘇孟鴻 Su Meng-Hung 權奇秀 Kwon Ki-Soo 李明道 Akibo 常陵 Chang Ling 游文富 Yu Wen-Fu 許家瑜 Hsu Chia-Yu 費雅．謝法利 Faiyaz Jafri 周榆茵 April Chow 夫利夫利 Furi Furi Company 史戴芬諾 Stefano Misesti 鐵人兄弟 Kenny Wong 紫狐葉 Michael Davidson