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李继忠最新展讯 | 黄边站项目：郊外——“通向深海的狹道”系列

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黄边站项目实验室第二十五期

郊外

—— “通向深海的狹道”系列

艺术家：李继忠

项目执行：梁健华、朱建林

项目助理：李筱天、弗赖德

展期：2020年12月12日 - 2021年2月10日（看展需预约，欢迎于公众号后台留言或电邮确定来访时间）

Duration: 2020.12.12 - 2021.2.10

* The exhibition is open by appointment only. To make an appointment, please feel free to contact us via our WeChat public account or email us at huangbianzhan@vip.sina.com.

地点：黄边站（广州市白云区黄边北路向荣街338号，时代美术馆一楼全家便利店转角后）

Address: NO.338, Xiangrong Street. Huangbianbei Road, Baiyun Avenue, Guangzhou

我现在身处郊外。第一次的时候，我面对着广阔的草原，草原前有五支旗杆，三支挂了红色的旗帜，另外两支是白色的。每天看着工人剪草，和规定下午三时有旅游巴接载新一批的人进来。早上有时候会听到炮仗的声音从远方传来，因为空间广阔，所以回响特别大。

第二次就不是郊外。当时我沉浸在一批杂物、纸箱与书本中，每天埋首工作12至14小时，我只希望时间过得慢一点。

第三次，我又回到郊外，住进了城外的曾经销烟的地方。每天早上准时7时30分播放苏联红军进行曲的音乐。

当我在郊外完成隔离后，我到广州住时，要找一间住所。她推介了一套公寓，位置正正是南箕路。

——摘取自《通向深海的狭道，第七章：郊外》

艺术家于展览中重叠了他被隔离于郊外的经验，以及过去两年关于二战期间粤港两地人口迁移的研究和创作——“通向深海的狭道”（2019-20）系列。

展览由艺术家90年代中学写生课的记忆展开，揭示了学校在日占时期被征用作第四陆军医院的往事，以及香港如何成为容纳受伤日军士兵、研究应对东南亚传染病的地方。香港沦陷后，1942年始，日军占领地总督推出“归乡政策”，试图将香港人口减半，以节省管治成本及物资消耗；结果成千上万的香港人或被迫迁移至广东省各城乡，其中部分被关押于广州城南的南石头难民收容所。期间日军华南防疫及给水部队（波字第8604部队）对难民进行了各种活体测试及生物化学实验。

《第一章：佐治与游泳池》（2019）视频静帧

李继忠通过文献、田野考察及访谈等研究方法重新探索这段历史，再以影像、展演和雕塑等艺术创作回应。在惩罚与暴力的背后，创作串连个体与被遗忘的小众，当中夹杂着不同的人性、心理状态与为求生的挣扎。难民收容所成为了拘留难民的场域，进行实验和收集研究数据的地方，亦是前途未卜的境地。

“通向深海的狭道”是五部研究式创作项目系列中的第二部，皆以战争历史作为起始点、以“迁移与流徙”为核心，研究人类迁徙、物品和意识形态的传播等议题，透视当中潜藏在大亚洲脉络下的权力关系，而这些权力关系超越时空，仍延留在现代社会中。

“通向深海的狭道”作品系列

1. 第一章：佐治与游泳池（2019）

单频录像，10’26” 、彩色、16:9 、广东话、日语及英语对话、中英文字幕、双声道

2. 第二章：吸烟的女人（2019）

单频录像，9’43”、彩色、 16:9、双声道

3. 第三章：演歌歌者（2019）

单频录像，1’45”、彩色、 16:9、双声道、日语、日英文字幕

4. 第四章：挖掘工（2019）

单频录像，10’30”、黑白、 4:3、双声道

5. 第五章：长夜将尽（2020）

双频录像，21'05"、彩色、16:9、双声道、广东话、中英文字幕

6. 第七章：郊外（2020）

声音装置，49'17"

“郊外”展览现场

相关阅读

香港青年艺术家李继忠内地首展蜂巢北京

呈现五部曲史诗级录像作品

点击图片跳转阅读

The Narrow Road to the Deep Sea, Part IV: The Digger (2019). Image courtesy of the artist.

HB Station Art Project Lab No.25 OUTCAST – The Narrow Road to the Deep Sea series

Artist: Lee Kai ChungProject Executor: Liang Jianhua, Zhu JianlinProject Assistant: Li Xiaotian, Fred Lai

I am now in the fringe, an outcast.During my first quarantine, I could see a vast meadow with five flagpoles, three with red flags and two with white ones. Every day I watched the gardeners cutting the grass, and tour buses scheduled to bring in new groups of people every day at 3 p.m. In the morning, the sound of firecrackers could sometimes be heard from afar, which echoed resoundingly because of the open space.

The second time it was not the fringe.Immersed in a batch of groceries, boxes and books, I worked 12 to 14 hours a day, and just wished that time would go slower.

The third time, I was back in the fringe again, living outside the city where the opium was destructed. The music of the Soviet Red Army march would play every morning at 7:30 am sharp.

By the time I ended my outcast, I had to find a place to live in Guangzhou. She recommended a flat right on Nanji Road.

- Excerpt from The Narrow Road to the Deep Sea, Part VII: Outcast

In the entitled exhibition, OUTCAST, the artist overlaps his quarantine experience in the fringe with his two-year-long research-based project on the displacement between Hong Kong and Guangdong during the Second World War –under the series The Narrow Road to the Deep Sea (2019-20).

The exhibition starts with Lee’s memory of having his first figure drawing class in his middle school in the 90s, that alludes to the school history of being occupied and turned into the Fourth Military Hospital during the war, and how Hong Kong served as a rear front to cater injured soldiers and research new methods to counter Southeast Asia Infectious Diseases.

Part I: George and the Swimming Pool (2019). Image courtesy of the artist.

In 1942, after the downfall of Hong Kong, the new Imperial Japanese Military Government launched ‘Repatriation Policy’ so as to reduce the population of Hong Kong to half and minimise the cost of governance. Thousands of Hong Kong people were forced into the refuge to cities and suburbs in Guangdong province, many were detained in Nanshitou Refugee Campin the south of Guangzhou city. Meanwhile, Unit Nami 8604 conducted various live bacteriological and chemical experiments on the Hong Kong refugees.

Through archives, field study and interviews, the artist explores the historical event with creative impulses, including film, re-enactment and sculptures. Behind the punishment and brutality, the project interweaves oneself with voices of the minorities, that unfolds humanity, psychological states and struggles for survival that are generally not perceptible in grand historical narratives. The refugee camp served as a detention terrain, a place for experiment and collecting research data, and a limbo.

To take war history as a point of departure, The Narrow Road to the Deep Sea is the second of the pentalogy of research-based projects, which examines the notion of ‘displacement and diaspora’; through human migration, circulation of objects and ideologies, the artist scrutinizes how the above reflect underlying power relations under Greater Asia context, that transcend temporal-spatial setting and remain in modern society.

The Narrow Road to the Deep Sea artwork details:1. Part I: George and the Swimming Pool (2019)Single-channel video, 10’26”, colour, 16:9, Cantonese dialogue, Japanese and English, Chinese and English subtitle, stereo2. Part II: The Smoking Lady (2019) Single-channel video, 9’43”, colour, 16:9, stereo3. Part III:The Enka Singer (2019)Single-channel video, 1’45”, colour,16:9, Japanese dialogue, Japanese and English subtitle, stereo4. Part IV: The Digger (2019)Single-channel video, 10’30”, B&W, 4:3, stereo5. Part V: The Remains of the Night (2020) Double-channel video installation, 21'05", colour,16:9, Cantonese dialogue, Chinese and English subtitle, stereo6. Part VII: Outcast (2020)Stereo sound installation, 49'17"

关于艺术家

李继忠的创作主要关注历史事件、政治体制和意识形态。李氏的创作始于关注历史档案管理上乏善足陈，及后他发展档案实践为探索历史学的主要工作方法。因此，李氏透过一系列行为、研究、影像和装置来响应固有的历史论述。

李氏于2017年开展了五个以“迁移与流徙”作命题的相连项目系列——在泛亚洲脉络中的历史与社会意涵为基础，探索人口与物质流转，以至地缘政治论述。该系列的第一部分《复还、缮修和进退维谷》（2017-19）审视香港公共雕像的物质和意识形态转变；第二部《通往深海的狭道》（2019-20），是关于在香港日据时期，香港和广东省的居民流离失所，其后发生了臭名昭著的南石头事件。其后的项目分别是：第三部：《相思公园》(2021-22)；第四部：《无限列车》 (2020-23)；第五部：《流放地》 (2020-30)。

在李氏的长期研究项目《人人档案》，他跟不同的政府机构展开对话与协商，以探讨历史档案在社会政治架构上的状况；他于2016年正式成立独立团体“人人档案”(Archive of the People)，把历史和档案议题的创作延伸到合作企划、教育与出版。

李氏在2014年于香港城市大学，创意媒体学院完成硕士学位。李继忠于2018年获香港艺术发展局颁发“2017艺术新秀奖（视觉艺术）”。近年展览包括: 《Internationale Kurzfilmtage Winterthur》(2020) (温特图尔, 瑞士)、《进退维谷》(2020)（北京，中国）、《Landskrona Foto》(2020) (兰斯克鲁纳，瑞典)、《赤字团》(2019)（北京，中国）、《Seoul Mediacity Biennale 2018》(2018)（首尔，南韩）、《上海双年展2018：禹步——面向历史矛盾性的艺术》（上海，中国）(2018)、《造动: 2015 亚洲艺术双年展》(2015)（台中，台湾）。

About the artist

LEE Kai Chung performs artistic research on historical events, political systems, and ideology. LEE started his artistic career by addressing the lack of proper governance over the records, then he develops his archival practice as the key methodology to explore forms of historiography. Through research, social participation and engagement, Lee considers the individual gesture as a form of political and artistic transgression, which resonates with existing narratives of history.

In 2017, Lee initiated a pentalogy of projects that are under the notion of “Displacement and Diaspora” – to take departure from the socio-historical implication under the Pan-Asia context, the series examines human dispersion, material circulation and their geopolitical relations. The first in the series, The Retrieval, Restoration and Predicament (2017-19) examines the material and ideological transition of public statues in Hong Kong; the second, The Narrow Road to the Deep Sea (2019-20), scrutinizes human displacement in Hong Kong and Guangdong during the Imperial Japanese Occupation that led to the notorious Nanshitou Incident. The rest of the series are as follows: the third: The Longing Park (2021-22); the fourth: Infinite Train (2020-23); the final: Exile (2020-2030).

Lee’s ongoing research project Archive of the People addresses the political standing of documents and archives in the social setting. In 2016, Lee established collective ‘Archive of the People’, which serves as an extension of his personal research to collaborative projects, education and publications.

Lee Kai Chung was awarded Master of Fine Arts from School of Creative Media, City University of Hong Kong in 2014. Lee received The Award for Young Artist (Visual Arts) of Hong Kong Arts Development Awards 2017 from Hong Kong Arts Development Council in 2018. Recent exhibitions and projects include “Internationale Kurzfilmtage Winterthur” (2020) (Winterthur, Switzerland), “Predicament” (2020) (Beijing, China), “Landskrona Foto” (2020) (Landskrona, Sweden), “The Deficit Faction”(2019) (Beijing, China), “Seoul Mediacity Biennale 2018” (2018) (Seoul, South Korea), “12th Shanghai Biennale: Proregress – Art in an Age of Historical Ambivalence” (2018) (Shanghai, China) and “Artist Making Movement - Asian Art Biennial 2015” (2015) (Taichung, Taiwan).

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