異域同場 Parlance of Two

是概念藝術，又或是關於概念藝術的演出。不同領域的兩位創作人，以作品對談。
It is conceptual art, or it is performance about conceptual art.
Two artists, two disciplines, one subtle dialogue

黃大徽 Dick Wong – 表演藝術 - 既舞且演，亦導亦編。
許思樂 Serene Hui – 視覺藝術 - 裝置、聲音、版畫及文本。

兩位來自不同領域的創作人，分別參考視覺藝術中「概念藝術」及「達達主義」的理念，以劇場的語境與劇場的觀演形態作框架，創作出兩個同樣以英語「述說」(parlance) 作為主軸的演出。前者《This Is》，後者 《An Agreement》為題，既是兩個獨立的作品，卻又微妙地契合一起，猶如通過「作品」進行的交流。

「概念藝術」在視覺藝術界無人不曉，了知當中重視語言作為媒介，去物化 (dematerialization)、低限的，僅僅通過語言定義，作為創作實踐。透過藝術的創作和接收的過程，來批判「藝術/作品/體制」的本身，從而引起自我反思。

推進到劇場，當語言不僅是光管文字，化為具時間性的「述說」演出，觀眾「被困」在劇場坐位上，共時共感地參與其中，創作人如何承接低限的策略，同時發揮表演性，去塑造一種有別於觀賞「概念藝術」展覽的體驗，擴展評論家 Michael Fried 一直反對的「劇場性」(theatricality)，引領觀眾在感知「藝術(物)品」以外的，自身的存在與作品時空的關係。在觀看、聆聽、接收的同時，去思考。

Dick Wong – Performing Artist– performer, choreographer and director
Serene Hui – Visual Artist – installation, sound, printmaking and text

Two artists from different fields have drawn inspiration from the radical spirits  of "Conceptual Art" and "Dadaism" in visual art, to create two conceptual performances that engage with the context and spectatorship of theatre as a framework for their work. Both pieces, "This Is" and "An Agreement," primarily utilise English and explore the notion of "parlance" (the act of speaking/telling) as their primary medium. Although they are independent works, they subtly connect, facilitating a dialogue through their artistry.

"Conceptual Art" is well-known in the visual art world for its emphasis on language as a medium, dematerialization, and minimising their tools , relying on linguistic definitions as creative strategies. It critiques the essence of "art/artwork/institution" through the processes of creation and reception, sparking self-reflection.

In the context of theatre, language evolves from mere neon-light sign of text to a time-based "embodied narrative" performance. While art historian and critic Michael Fried famously dismissed "theatricality" as the enemy of art’s autonomy, both Wong and Hui embrace it. They transform the theatre into a setting where language is no longer just a sign on a wall, but an embodied experience. For the audience, this is not a passive viewing of a traditional conceptual art exhibition, it is a temporal immersion.

Two artists, two disciplines, one subtle dialogue. Come and witness the space where words become action.

THIS IS
黃大徽 Dick Wong

從杜象（Duchamp）、科蘇斯（Kosuth）到勒維特（Lewitt），《This Is》 借鑒視覺藝術，重新探究舞台上的時間、空間和身體。概念主義者最初對創作繪畫與雕塑的反思，將被轉化成現場演出，從而啟發思考而非促成觀看的愉悅。以極低限的方式交織，語言與影像組成了一張關乎意義的思維導圖，並不斷擴張對時間、空間及轉瞬即逝的身體的感知。

當看不見的變成看得見，我們看見的是更多，還是更少？

From Duchamp to Kosuth to Lewitt, This Is looks to visual art to reinvestigate time, space and the body on stage. The ethos of the conceptualists, which originated from creating and presenting paintings and sculptures, are transposed into a live performance to engage the mind rather than the eyes. An interplay between language and images, the work is like a mind map of meanings, expanding the perceptions of time, space and the ephemeral body.

When the invisible becomes visible, and answers become questions, do we see more or do we see less ?

An Agreement
許思樂 Serene Hui

這是一場以契約為骨幹的現場演繹。透過對建制語言的挪用，試圖剖析溝通、信任，以及藝術家、作品與觀眾間隱形的權力關係。當詞語被反覆咀嚼，原有的指涉功能隨之剝落，意義在碎裂中重組；文本在詩性冥想與法規邏輯之間擺盪，既是辯證，亦是對協議這一概念的評論。

作品由「條款」與「間奏」交織而成，袒露其內在的瑕疵、怪誕與誤讀的潛能。這種近乎偏執的語句堆疊，在概念上與達達主義的語言實驗產生互文共鳴。

An Agreement is a live work structured as a legal contract read aloud. By appropriating the formal language of institutional agreements, the work explores the complexities of communication, trust, and the relationship between artist, work, and audience. Repetition strips words of their specificity until meaning fractures; the script oscillates between poetic reflection and legal jargon, creating commentary on the nature of agreements, both personal and formal.

The work interrogates questions of responsibility and identity. Personal anecdote interrupts legal clause; poetic fragmentation interrupts bureaucratic certainty. The "parties" multiply. The roles blur. The person responsible remains uncertain.

Structured in articles and interludes, An Agreement exposes its own flaws, oddities, and potential for misinterpretation. Its obsessive utterances bear an affinity to the iconoclastic literary experiments of the Dada movement.

資助 Supported by

香港藝術發展局支持藝術表達自由，本計劃內容並不反映本局意見。
The Hong Kong Arts Development Council supports freedom of artistic expression. The views and opinions expressed in this project do not represent the stand of the Council.

承蒙荷蘭視覺藝術與文化遺產公共基金 Mondriaan Fund 的部分支持，計劃得以實現。
Partly made possible by Mondriaan Fund, the public fund for visual art and cultural heritage (NL)