Form Simultaneity 同形異位

Date: 29 September - 30 October 2016
Artist:  Ko Sin Tung 高倩彤, Stephaine Sin 冼朗兒
Venue: 100ft Park, 1/F, 220 Apliu Street, Sham Shui Po, Kowloon, Hong Kong

installation view

Stephaine Sin    冼朗兒
Apliu Outdoor Units 01    《鴨寮室外機組 01》
2016    Oil on canvas,triptych     183 x 244 x 5 cm

Ko Sin Tung    高倩彤
Standing (In The Old Ways)    《以舊方式站立》
2016    Oil on offset prints, tarpaulin, fabric adhesive tape 
Size variable

Architecture has always seen as a constructive force that creates shelter for people. Through the same force, these shelters become communities and communities become cities. Philosophers theorize this synthesizing cross-point of science and art as the way to construct a perfect world. Plato's sacred geometries stemmed from the perfect square needed to build grand structures; Chinese “Book of Rites” laid out the plans for Mingtang as a building for the emperor to receive his subjects around the world, segregating them in the order of importance. Modern philosophers tend not to prescribe a function for architecture, instead, they read meanings within them. Foucault looked for the culture of surveillance in prisons design; Lefebvre learned the rhythm of a city through his time spent in Paris. The Chinese word Jin means both physical space and mental space and thus emphasis the importance of the connection between the two. In this exhibition, Ko Sin Tung and Stephanie Sin observes architectures in everyday lives and re ect upon them through their art creation.

The education we received in Hong Kong emphasized the little land we have in Hong Kong created the unique cityscape lled with high-rises. Because of this lacking in land resources, older parts of the city is constantly under the threat of gentri cation. The process takes down the rich and multifaceted communities and create new monolithic property development projects. Ko Sin Tung abstracts the ageing city and incorporate into the two-part installation work. One part represents the patching and rejuvenation of old buildings, another part shows the supporting structures for crumbling buildings. The work symbolizes the fork in the road that the city is facing at the moment. Stephanie Sin render the air condition units, a common sight of the city, in a redesigned colour scheme that combine all the possible lights during a day. The accumulation of lights become an ambiguity that is dif cult to decipher. Form Simultaneity is a term used by urbanist to denote all the repeating manifestations of urban elements that carry different emotion values. One has to choose careful between these virtually indistinguishable choice in the city in this uncertain times.

營造人的居所、實質地組合成為社區,而再由社區 聚合成城市,是為建築的範疇。自古以來中西哲者 將這一種合成的能力,與建築本身所站在的科學與 藝術交接點,提出不同的分析與比喻:一個建構完 美世界的方法。因為要建造四正的建構方能支撐起 高廈,所以柏拉圖的理型論奠下完美的理想主義基 本輪廓,成為建築之楷模,而中國《禮記》則勾勒 了群臣諸侯朝見天子所在「明堂」的建築要點,並 提出建築物是為了「明諸侯之尊卑」,將世界分成 不同等級。近代哲學不只視建築為一套規範性的思 想,而嘗試在建築的功能上找到建造者的思想,如 哲學家福柯則在DISCIPLINE AND PUNISH 中詳細方析了 一個監獄設計與現代監視文化的關係,列斐伏爾則 閱讀自己所居住的城市,進行對空間的社會批判。

「境」有實境與心境的兩重意思,連結起我們在生 活的實體空間,與感觀刺激下的心理空間,是高倩 彤與冼朗兒兩位在每天生活中,觀察城市建築物的 各種感悟。 自小香港教科書便教育我們香港地少人多,造就城 市高樓大廈林立之姿,然而香港城市風貌備受社區 重建包裝下的仕紳化威脅,各個多元自由組合的小 社區,一一遷拆重建成面目模糊單一的新樓項目, 高倩彤將老化的城市抽象化,裝置的兩部份一枯一 榮,一為修補老化的包裝,一為失去原本支撐的垂 垂老矣的建築物,宣告城市正所身處的交叉點。冼 朗兒的繪畫作品,則將城市街頭舉目所見的冷氣機 組,以從新設定的顏色,囊括了所有可能在現實出 現的光線,其結果是一個日夜曖昧不明的時空。 FORM SIMULTANIETY 是城市學中用來表達用一件物件在 城市中以各個形態出現,而代表着不同的精神狀 態,在這極不明朗的境況下,所有人都像在一個零 和遊戲之中,選擇表面上看似一樣,但每一步都操 控着所有人的命運。