M+是嶄新的博物館，致力於收藏、展示與詮釋二十及二十一世紀的視覺藝術、設計及建築、流動影像，以及香港視覺文化。位於香港西九文化區的 M+正在興建，建成後其規模可媲美世界知名的現當代視覺文化博物館，矢志於躋身世界頂尖文化機構之列。我們冀以香港中西薈萃的歷史特色為基礎，從身處的斯時此地出發，為二十一世紀亞洲創立一座別樹一幟的新型博物館。

西九文化區是全球規模最大的文化項目之一，願景是為香港在濱臨維多利亞港、佔地40公頃的填海土 地上，創造一個多姿多彩的新文化地帶。文化區內設有製作及舉辦世界級展覽、表演節目和文化藝術活動的各類劇場、演出空間和博物館；並有佔地23公頃的公共空間，包括長達兩公里的海濱長廊。

關於西九文化區關於 M+

About M+

M+ is a museum dedicated to collecting, exhibiting, and interpreting visual art, design and architecture, moving image, and Hong Kong visual culture of the twentieth and twenty -first centuries. In Hong Kong ’s West Kowloon Cultural District, we are building one of the largest museums of modern and contemporary visual culture in the world, with a bold ambition to establish ourselves as one of the world ’s leading cultural institutions. Our aim is to create a new kind of museum that reflects our unique time and place, a museum that builds on Hong Kong ’s historic balance of the local and international to define a distinctive and innovative voice for Asia’ s twenty- first century.

About West Kowloon Cultural District

The West Kowloon Cultural District is one of the largest and most ambitious cultural projects in the world. Its vision is to create a vibrant new cultural quarter for Hong Kong on forty hectares of reclaimed land located alongside Victoria Harbour. With a varied mix of theatres, performance spaces, and museums, the West Kowloon Cultural District will produce and host world -class exhibitions, performances, and cultural events, providing twenty -three hectares of public open space, including a two -kilometre waterfront promenade.

mplusmuseum mplusmuseum mplusmuseum

www.mplus.org.hk/sitesencountered

前言

「境遇——五個人」是於 M+展亭舉辦的第九個展覽， 會聚一群風格不同、背景迥異的二十至二十一世紀國際藝術家。此展覽逾越文化樊籬，當中所見的五位藝術家分別來自亞洲、歐洲及北美，我們趁此良機向世人顯示

M+放眼全球的胸襟與格局，這是M+ 發展的關鍵一步。這五位藝術家均為女性，足見 M+一直致力展示女性藝術家的才華，呈現她們對當代藝術的貢獻。她們的作品創作於不同年代和地區，涵蓋了多種獨特的藝術手法，展現出對「境」的不同理解。這些作品展示出藝術與 地方之間饒富意義的連繫，鼓勵觀眾思忖自己與場域的獨特關係和體驗。

在此刻 M+大樓逐步邁向落成之際，我們也尋思M+ 館址所在地的意義，而這個展覽就扣合了這一思索。 隨着興建工程將近竣工，整個西九文化區也大體 成形，此展覽猶如博物館開幕的序曲。尤其是 Lara Almarcegui列出博物館工程建築用料的明細， 以條理分明的方式展現建築面貌在當下的變化。 此展覽與M+ 大樓的建築過程對話，藉此促使我們在 此一重要發展階段，審視自己在西九龍現址和香港 所處的位置，為我們指引方向，走上成為國際化視覺 文化博物館之路。

我謹此鳴謝參展藝術家 Lara Almarcegui、馮美華、 李昢，以及 Ana Mendieta和Charlotte Posenenske 的遺產管理組織之大力支持。五位藝術家的作品深富 洞見與啟發，是展覽不可或缺的要素。展覽中為數不少 的作品由李昢工作室、B urkhard Brunn博士／E state of Charlotte Posenenske、紐約 Lelong & Co.畫廊，以及林偉而／香港 Living Collection借出，這些主要 作品能安全運抵展場，全賴以上人士及機構配合和 協助，我在此致以誠摯謝忱。另外，平面設計和攝製團隊Fellow、Ocean Pine及Liipstiik Limited為此項目付出不少時間與心力，也一併致謝。

最後感謝 M+策展團隊的一眾同事：策劃和籌辦這次 展覽的視覺藝術主策展人姚嘉善、視覺藝術助理 策展人鄭懿行、策展助理林鈴、實習生王敬瑜，以及為展覽提供意見和幫助的 M+副總監及總策展人鄭道鍊；亦感謝教學及詮釋策展人K eri Ryan、教學及詮釋助理策展人王道顯、教學及詮釋項目助理周曉妍，以及 藏品及展覽、編輯、博物館拓展及會籍服務、博物館 零售及商務、訪客服務等團隊，另外還有西九文化區 管理局的市場推廣及訪客體驗、傳訊及公共事務同仁，以及為L ara Almarcegui的研究給予幫助的人士， 包括西九工程項目部高級項目經理區家輝、金門建築有限公司的龍樂天和 M+前博物館項目統籌呂瑪琳。全賴諸位憑藉各自的專業知識群策群力、熱誠投入，始終鼎力相助，方能成就本次展覽。

華安雅 M+博物館館長

FOREWORD Five Artists: Sites Encountered is the ninth exhibition at the M+ Pavilion, and brings together a diverse group of international twentieth- and twenty-first-century artists. Representing a vital step in our growth, this cross-cultural project assembles practitioners from Asia, Europe, and North America, and provides an important opportunity for us to further articulate the voice of M+, one that is global. Five featured artists are women, demonstrating our ongoing commitment to showcase the talents and contributions of women artists in contemporary art. Hailing from multiple generations and geographies, their work encompasses a wide range of distinctive approaches, providing perspectives on the idea of site. The works display meaningful connections between art and place, prompting viewers to reflect on specific relationships and experiences with site.

As we prepare for the delivery of the M+ building, this exhibition resonates deeply with our contemplation of the M+ site. It serves as a prelude to the opening of the museum, as construction concludes and the West Kowloon Cultural District comes into being. In particular, by creating an inventory of materials involved in the museum’s construction, Lara Almarcegui offers a systematic expression of the transformation currently underway. In dialogue with the building of M+, the exhibition prompts us, at this important stage of our evolution, to examine our position on the West Kowloon site and in Hong Kong, helping to point our way forward as a global museum of visual culture.

I would like to acknowledge the gracious support of participating artists Lara Almarcegui, May Fung, and Lee Bul, as well as the Estates of Ana Mendieta and Charlotte Posenenske. The insightful and stimulating work of the five artists is an integral part of the exhibition.

A considerable number of these works were loaned, and we thank Studio Lee Bul; Dr. Burkhard Brunn/Estate of Charlotte Posenenske; Galerie Lelong & Co., New York; and William Lim/Living Collection, Hong Kong for their assistance in helping to secure the key works in this exhibition. I also thank the team behind the graphic design and videography —Fellow, Ocean Pine, and Liipstiik Limited— for their time and effort on this project.

I wish to extend my special note of thanks to the curatorial team at M+: Pauline J. Yao, Lead Curator, Visual Art; Ethan Cheng, Assistant Curator, Visual Art; Vera Lam, Curatorial Assistant; Jenny Wang, Intern, as well as Doryun Chong, Deputy Director, Curatorial, and Chief Curator in recognition of his guidance on this project. Thanks also go to Keri Ryan, Curator, Learning and Interpretation; Nixon Wong, Assistant Curator, Learning and Interpretation; Christy Chow, Project Assistant, Learning and Interpretation; and the teams from Collection and Exhibition, Editorial, Museum Development and Membership, Museum Retail and Commerce, and Visitor Services. Additionally, I would like to thank our West Kowloon colleagues in the Marketing and Customer Experience, Communications and Public Affairs, and those who offered their kind assistance for Lara Almarcegui’s research, including Au Ka Fai, Senior Project Manager, Construction Projects, at West Kowloon, Dior Lung Lok Tin of Gammon Construction Limited, and Marlene Lieu, former Museum Project Coordinator of M+. The shared expertise, enthusiasm, and ongoing dedication are indispensable to the realisation of this exhibition.

Suhanya Raffel Museum Director, M+

Charlotte Posenenske. Series D Vierkantrohre (Series D Square Tubes). Frankfurt Airport, 1967. Photo by Burkhard Brunn. Courtesy of Mehdi Chouakri, Berlin, and Take Ninagawa, Tokyo. © Estate of Charlotte Posenenske

Charlotte Posenenske，《 D系列方管》，位於法蘭克福機場， 1967年，攝影： Burkhard Brunn， 圖片由柏林 Mehdi Chouakri畫廊與東京 Take Ninagawa畫廊提供，© E state of Charlotte Posenenske

場域脈絡，境地所在 視覺藝術主策展人姚嘉善

「境遇——五個人」發源於一個念頭：藝術與場域、 場所及其周遭環境，是恆常在交流對話。然而，「境」的涵義豐富複雜，可引發的藝術迴響紛繁多樣。此展覽中的藝術家來自不同世代和地區，各自從不同角度詮釋「境」——不論是無形還是有形之境，是想像 還是真實之境。精選展出的作品既有詩般意韻的 身體展演，也有針對建築環境的深入調查，還有直接以M+大樓館址為對象的回應。這群藝術家的作品 提醒我們，藝術的獨到之處在於能呈露人類心靈， 並揭示我們身邊的社會現實。

M+大樓落成在即，令我們能以博物館的館址為切入點來思索這些意念，並探討我們所處的地點，其實 我們早在六年前已着手進行這一實踐。2013年， 博物館舉辦「M+ 進行：充氣！」展覽，在西九文化區填海所得的大片草地上展示巨型充氣雕塑，邀請公眾踏足大興木土前的M+館址，參與討論把藝術設置於公共空間的話題。如今同一片土地已從原來曖昧不明的空間，蛻變成定位明確的地方，並將隨着西九文化區的發展而不斷變化。

本次展覽以M+展亭及M+大樓的轉變為起點，會聚 一群國際藝術家，探索和延伸有關場域、地方的對話。展出的作品展現藝術與自然環境、建築空間、都市 脈絡及論述框架之間的深厚連繫。早在1960至 1970年代，藝術擺脱工作室的樊籬，開始介入現實的處所及語境，諸如行為展演與身體藝術，以及極簡 主義雕塑和裝置等藝術實踐，已成為藝術家令藝術更貼近人類經驗及社會的創作手法，同時也用於縮短

藝術與生產和傳播之間的距離。在此展覽中，五位 藝術家以多元的方式，鼓勵我們重新思考自身與地方、腳下土地、棲身之社會的關係。比如，兩位藝術先鋒Ana Mendieta和Charlotte Posenenske的 創作方式——身體展演和把藝術作品設置於公共 空間，均反映出當時意欲擺脫藝術家或藝術品自主 地位的反形式主義風潮。李昢和Lara Almarcegui 通過雕塑和裝置來回應都市環境，對城市急速擴張 提出細膩微妙的批評。馮美華則以攝影鏡頭探索 集體回憶和經驗，回應自己所處環境的不斷變化。 幾位藝術家所詮釋的「境」不必然是其字面之意， 還指可隨時間和地點不斷演化的運作網絡，以及 各種條件的集合。

若論在創作中着重以場域、地方及土地為核心的 藝術家，則非古巴裔美籍藝術家Ana Mendieta莫屬。 Mendieta在1970年代於愛荷華大學修讀藝術期間與同學遊歷墨西哥，這是她自13歲以難民身分從 古巴移居美國後首次出國。她在墨西哥瓦哈卡參觀了亞古爾古墓遺址，對這個修建於前哥倫布時期的薩波特克文明的考古遺跡留下深刻印象，並以此地為她 早期影像作品《迷宮的輪廓》（1974年）的背景。 該作品呈現了一趟令人為之神往的穿越廢墟之旅， 最終於某個舉行儀式的遺址上留下以血勾勒的身體 輪廓。自此，Mendieta開始連串的展演活動，把身體印在泥土、沙石和泥濘上，並以水、煙及火將這些物質予以轉化。《輪廓》系列（1974至1981年）由此誕生，這是Mendieta與自然景觀展開了近十年的對話， 橫跨美國、墨西哥與古巴等地，製作了逾50部影片。

她的行為展演記錄在照片及流動影像之中，捕捉了 藝術家的在場，然而更多時候是她的「缺席」—— 隨着她的身體緩緩退出鏡頭，留下了一道輪廓，猶如大地上的傷口。與Mendieta同代的美國藝術家在 美國西部的自然景觀中進行規模宏大、半永久性的 介入，Mendieta則憑《輪廓》系列與這些以男性為主的藝術家分庭抗禮。《輪廓》系列非但不追求宏大和不朽，而且強調以人的尺度出發，甚至着意於體現 脆弱和短暫。Mendieta躺在地上，或在其上灼燒出其身體輪廓時，非為挑戰或支配自然，而是與之和諧共生，尤其是在精神層面。源自非洲、盛行於古巴的薩泰里阿教視土地為「生物」，認為它有生命力， 人可從中獲得特殊力量。Mendieta是該教信徒， 作品也與祭祀和儀式有着緊密關聯。

《輪廓》系列包含某些令人難以忽視的自傳元素。 Mendieta小時候被迫離鄉別井，離開祖國古巴， 被丟入以中產階級為主的美國社會中，這一痛苦經歷令她一再要面對文化認同和差異的問題。由此觀之，她將身體「壓印」在愛荷華河岸上的舉動就更富深意。這道她以身體在大地上留下的傷痕，暗喻Mendieta身為移民女性的身體／自我的缺席及喪失，而彼時她正試圖於1970年代的美國藝術圈嶄露頭角， 佔一席之地。

與Mendieta關於失落和主體性的主題遙相呼應， 馮美華的《她說為何是我》（1989年）以其家鄉香港為背景，描述一個探索與再發現的過程。影片中一位年輕女子，以觸覺代替視覺，在這個城市穿梭遊走，

挖掘歷史和集體回憶的概念。作品呈現的不僅是 藝術家的個人經驗，也反映香港人的集體經歷， 當中充滿表達迷失、不穏定和女性經歷的象徵手法 和主題。1984年《中英聯合聲明》簽署，香港主權交還中國成為定局，而五年後面世的《她說為何是我》， 正表現了當時香港人如何以另一個角度重新審視自己的城市。香港在1980年代末至1990年代初所面臨的歷史局面可謂前所未見，夾在兩個大國（英國和 中國）之間左右為難，原本熟悉的家園行將消失。 而這段時期，香港特有的圖像與符號重新出現在 電影、文學和藝術中。學者亞巴斯在其1997年出版的著作《Hong Kong: Culture and the Politics of Disappearance》中，借用佛洛伊德消極幻覺的 概念，作為香港當時所處獨特時刻的寫照，「假如幻覺意味看到鬼魂及幻影等並不真實存在的東西，那麼，逆向幻覺就表示對真實存在之事物視而不見。」影片中蒙着眼睛的女主角幾乎是此一概念的完美再現 ——某個地方的歷史和記憶，僅能靠身體才能部分地尋回和重新認識。

Lara Almarcegui的最新委約作品同樣關注人與土地的關係，但表現方式與馮美華及Mendieta的主觀式創作手法迥然不同。Almarcegui把我們的注意力 引向建築環境的物料與狀態，從而提醒我們，當場域、土地和地方的概念發揮作用時，經濟增長與都市發展之問題亦會隨之而來。過去15年裏，Almarcegui把大地藝術與體制批判特有的研究策略糅合，精煉出 一套藝術實踐手法。她以沉着冷靜而疏離的目光， 審視土地和建築之間的關係，竭力令我們察看腳下的

長久以來人們都有種誤解，以為藝術是在孤立隔絕的狀態中產生，而藝術家則與社會當下的關注脫節。 展覽「境遇——五個人」就正破除這種誤解，清晰表明藝術亦源於與創作場域和地點之間的對話，以及與其所處時代的社會脈絡之間的互動。在這次展覽中所見的策略，顯示藝術家不僅是物件的創作者，更是社會行動者，他們有助將隱秘的體制權力運作大白於天下，並把當今時代各種社會經濟力量暴露於人前，因而 成為當代視覺文化構成中的重要聲音。藝術家大膽 創新和具前瞻性的思考打開我們視界，令我們以 新眼光看待物件、圖像乃至周遭環境。這五位藝術家幫助我們以全新視角看待身邊事物，尤其是探索和 審視個體與文化身分、地方歸屬感及建築環境， 使棲居於這個世界並摸索前行的我們，更能認清 自己的面目。

由於Posenenske始終不渝地偏好統一性、標準化 與模組化，她採納多種破格的創作方法。比如，她的雕塑部件沒有固定的結構，但她巧妙地設計了一個 系統，令組成某件雕塑的部件數量沒有限定，即它們可以因應展覽空間的佈局來組裝，或無盡地延伸

下去。最重要的是，Posenenske讓作品擁有者或 「最終用家」決定作品該如何組裝，讓策展人或收藏者

根據個人喜好來組裝及更改結構，從而消除了藝術家在創作上的自主權。Posenenske以這一富於民主精神的手法，把變異、參與及自主抉擇的概念帶到藝術創作中，傳統上藝術這範疇是創作者至上，不容許對創作者的原意有絲毫偏離。再者，她對場域的回應 不限於展覽或畫廊空間，而廣及她把作品擺放於其中的公共空間，如火車站、機場、工廠及其他工業環境。 她樂於接受作品上的塗鴉、指紋或材料的天然風化，視之為時間流逝的痕跡，並且是此物件存在於現實 世界的明證。Posenenske的作品沒有那種令人覺得珍罕的性質，它們所蘊含的參與精神，正反映了 1960年代要求社會變革的呼聲。

Posenenke的作品猶如現成物般的外觀，不難在 概念藝術中尋到根源。《方管》常被人誤以為是金屬板製成的通風管，而之所以有此混淆，部分原因可說是藝術家刻意為之。「藝術品」一旦被認為是日常 物件，便不再是「藝術品」，換言之，它們已徹底融入日常世界，並切切實實地消失。殊不知，此系列的雕塑作品成為了Posenenske藝術生涯的終章，也是 她為藝術界留下影響最深遠的貢獻。她於1968年停止創作，退出藝壇，不再相信藝術有助解決當代社會的弊端與不公。她那些隱入於四周環境的雕塑作品， 就如她絶跡於藝術圈的舉動般，兩者有耐人尋味的相似。

大地，它與興建建築物所用的混凝土和木材沒有 兩樣。我們的生活由所處的地方和位置來定義， 而愈來愈多人生活在都市環境中，建築便成為我們 接觸土地的載體。以建造和拆除建築物的循環過程 為例，在施工興建的時候，原材料聚集成建造 建築物的必要元素；而建築物拆除時，那些組件便會分解，並回歸到其原始狀態。像Mendieta一樣， Almarcegui希望融合人類和地質年代這兩個領域，只是在Almarcegui眼中，大地與其說是精神力量的來源，不如說是有機資源的出處，而這些資源轉化為各式各樣的商品，用於建造建築物。Almarcegui 追溯這些建材的歷史，亦即是追蹤這些物料持續運動和流通的狀況。部分是為批判現代主義太過汲汲於 追求發展，她反思這些用料如何變成各種為人熟悉的建築物。 在這一委約作品中，Almarcegui精確地計算出M+大樓施工過程中的建築材料用量，並以文字列表的形式呈現，簡單直接地安裝在空白的牆上。 她把建築物的複雜結構簡化為原材料列表，促使 我們思考身邊的建築物與大地之間各種無形的關係。

其餘兩位藝術家所提出的「境」更為複雜，既不真實，亦非存在於特定時空。對李昢而言，現代主義建築是一個重要起點。她以工業材料與機械零件製作雕塑，喚起一種獨特的技術未來主義之想像。李昢的父母 皆為異見人士，她成長於前南韓總統朴正熙的軍事 獨裁時代，朴正熙掌權後着手將南韓改造成發展 主導的資本主義國家。但這位獨裁者的理想主義 願景落空，國家受高壓專制統治。李昢受此啟發， 創作了以朴正熙的日語名字命名的《融解（高木 正雄）》（2007年），它是藝術家眾多圍繞烏托邦 這一母題創作的作品之一。

李昢小時候經常搬家，不斷遇到新環境，清楚察覺到自身情況異於旁人，為此甚感不安。她成長於韓戰後的歲月，那是南韓社會日益富裕、消費主義盛行和

科技突飛猛進的時代。李昢在創作生涯最初數十年間，專注於身體及突破常規的行為展演，之後藉着 以動植物及機器拼湊成非人類生物，創作出《怪物》系列雕塑。隨後又完成了《改造人》系列，顛覆 傳統的女性氣質，探討技術完美的迷思。

近年，李昢的創作重心從身體轉向建築環境。她素來對人類追求恢宏理想的傾向深感興趣，並從十九至 二十世紀追求烏托邦理想的思想家及建築家對都市 的想像中汲取靈感。她認為那些烏托邦理想流露出 人類對完美的不懈追求，可惜一再失敗。場域和地方的概念是李昢小模型作品的創作核心，它們是真實存在或虛構建築物的模型，涵蓋俄國構成主義的意念，以至藝術家對實物大小的雕塑裝置之研究。小模型是以縮微形式代表規模巨大的建築，所以在這裏尺寸比例是箇中關鍵。李昢以小巧精緻的形態表現雄心萬丈的抱負，從而凸顯現實與想像之間的關係，指出借古鑑今之道。

Charlotte Posenenske作品散發一種謎樣的氣息，趣味盎然。她的藝術生涯正值進步主義風起雲湧的1960年代，她追隨極簡主義藝術運動中還原物件 原貌的潮流。她的作品體現了這兩個面向，但除此 以外，她還是其他藝術領域的先驅，包括概念主義和參與式實踐。從藝術史的角度而言，Posenenske的

《方管》系列（1967年）帶有極簡主義雕塑的各項核心原則。其組件是以嚴格遵循工業製造的方法生產， 全都一模一樣，可無限複製，無須假手於藝術家本人

（除了機械繪圖原件須由藝術家繪製外）。此外，作品的佈置方式顧及展覽空間的實際情況，如場地大小、牆壁和房間的紋理及形狀、內部結構的比例，以及 觀眾參觀的位置。作品完全以極簡形態呈現，旨在把意義從藝術品之內轉移到周邊環境中，而它們價值的基礎，是觀眾的在場並以身體真切感受的經驗。

ON SITE, IN CONTEXT, WITH PLACEPauline J. Yao, Lead Curator, Visual Art

Five Artists: Sites Encountered departs from a simple conceit: art is in regular conversation with site, place, and its surroundings. The notion of site, however, can signal a multitude of meanings and trigger a wide array of artistic responses. Here, the exhibiting artists from different generations and geographies offer various interpretations of site—from intangible to tangible and imagined to real. The selected works include poetic expressions of the body, intense investigations into the built environment, and in one instance, a direct response to the M+ site. Together, the artists' work reminds us of the unique ability of art to illuminate the human psyche and the social realities around us.

As the construction of the M+ building nears completion, the museum’s site becomes a potential gateway to thinking through these ideas and addressing our own locale—a process that M+ began six years ago. By mounting Mobile M+: Inflation!—a 2013 exhibition featuring inflatable sculptures installed on the grassy expanse of reclaimed land at the West Kowloon Cultural District—the museum invited members of the public to set foot on the yet-to-be-developed M+ site and join the conversation around art sited in public spaces. Today, the same expanse has evolved from a non-distinct space to a defined place, and it is continually altered as the district expands.

Taking these transformations occurring around the M+ Pavilion and the M+ building as a departure point, Five Artists: Sites Encountered brings together an international group of artists to explore and extend the dialogue around site and place. The exhibited works display powerful connections between art and the natural environment, architectural space, urban contexts, and discursive frameworks. Since art left the confines of studio spaces and began to intervene with actual places and contexts —during the 1960s and 1970s—particular practices, such as performance and body art, and Minimalist sculpture and installation, have been some modes by which artists seek to bring art closer to human experience, society, and the conditions of production and distribution. In this exhibition, the five artists employ a variety of strategies that encourage us to rethink our relationships to place, the earth beneath us, and the societies we inhabit. For instance, the expression of body and the siting of artworks in public spaces—measures adopted by pioneering artists Ana Mendieta and Charlotte Posenenske—speak to anti-formalist tendencies of their time that move away from the sovereign autonomy of the artist or work of art. Lee Bul and Lara Almarcegui respond to urban surroundings via sculptures and installations, building subtle critiques around the accelerating pace of urban expansion in our cities. For May Fung, the camera

provides a way to explore collective memory and experience, addressing the changing circumstances of her home environment. The site that these artists engage with is not necessarily a literal one, but a network of operations and a constellation of conditions that evolve over time and across place.

It would be difficult to find another artist with a practice more centred on ideas of site, place, and land than Cuban-born American artist Ana Mendieta. As a young art student at the University of Iowa during the 1970s, Mendieta travelled with her fellow classmates on a trip to Mexico, which marked her first journey outside the United States since she arrived from Cuba as a refugee at age thirteen. While there, she encountered ancient burial sites in Yagul, Oaxaca built by the pre-Columbian culture known as the Zapotec civilisation. The grounds of the archaeological monuments left a lasting impression upon her and became the backdrop to one of her earliest films, Silueta del Laberinto (Labyrinth Blood Imprint) (1974), a haunting journey through the ruins that settles on a bloodstained body outline in one of the ceremonial sites. From that moment on, Mendieta began carrying out performative actions whereby she impressed her body into dirt, sand, and mud and transformed the materials with water, smoke, and fire.

So began the Silueta series (Silhouette series) (1974–1981), a conversation between Mendieta and the natural landscape that lasted nearly ten years, stretched across multiple locales in the United States, Mexico, and Cuba, and yielded over fifty films. Her actions, documented by still photographs and moving images, capture her presence but more often her absence —as her own body slowly recedes, a silhouette form is left behind as a wound in the landscape. With the Silueta series, Mendieta stands in opposition to her American contemporaries —mostly male—who were undertaking monumental, semi-permanent interventions in the natural landscape in the Western parts of the United States. Not only is the Silueta series unmonumental and emphatically human-scaled, but it also personifies fragility and ephemerality. In placing, or in some cases, attempting to sear her body into the ground, Mendieta was not concerned with challenging or dominating nature, but instead being in harmony with it, particularly in the spiritual sense. A believer in the Afro-Cuban religion of Santeria that views the earth as a living thing and a life force from which one can derive special powers, Mendieta demonstrates in her work the strong connection with forms of ritual and ceremony.

The Silueta series contains certain autobiographical elements that are hard to

ignore. Having experienced the trauma of being uprooted from her Cuban homeland as a young girl and dropped into middle America, Mendieta was continually confronted with issues of cultural identity and difference. In this sense, her gesture of inscribing her body into the Iowa riverbanks takes on additional layers of meaning. The wound that she leaves behind with her body can be seen as an allusion to the absence and loss of her body/self as an immigrant woman, who tried to make an appearance on the American art scene during the 1970s.

Echoing Mendieta’s themes of loss and subjectivity, May Fung’s She Said Why Me (1989) depicts a process of searching and recovery. Set in Fung’s home town of Hong Kong, the film features a young woman using touch instead of eyesight to move through the city, tapping into concepts of history and collective memory. The journey of the main character represents not only the experience of the artist but also of the Hong Kong people at large. The film is rife with symbolism and motifs that speak to loss, precarity, and the female experience. Produced just five years after the 1984 signing of the Sino-British Joint Declaration that sealed Hong Kong’s fate of returning to Chinese sovereignty, She Said Why Me is a powerful statement about how citizens of that time began to re-examine their city in a different light. The historical situation in which Hong Kong found itself during the late 1980s and early 1990s—being caught between two powers (Britain and China) and facing imminent disappearance of one’s home as they know it—was unprecedented. The period

witnessed a resurfacing of Hong Kong–specific images and symbols in film, literature, and art. In his 1997 book, Hong Kong: Culture and the Politics of Disappearance, critic Ackbar Abbas borrows Freud’s idea of negative hallucination to articulate the unique moment in Hong Kong: ‘If hallucination means seeing ghosts and apparitions, that is, something that is not there, reverse hallucination means not seeing what is there.’ Fung’s blindfolded heroine is a nearly perfect representation of this concept—the histories and memories of a place are things that can only be partially reclaimed by the body.

Equally concerned with our relationships to land and earth, Lara Almarcegui’s newly commissioned project presents a radical turn away from the subjective approaches that define Fung’s and Mendieta’s work. Instead, Almarcegui redirects our attention to the materials and conditions of the built environment, reminding us that when notions of site, land, and place come into play, issues of economic growth and the attendant processes of urban development are never far behind. Over the past fifteen years, Almarcegui has crafted an artistic practice that merges land art with research strategies characteristic of institutional critique. Using a cool and detached lens, she investigates the relationship between land and architecture and goes to extreme lengths to help us see that what lies under our feet—namely, the earth— is not all that different from the concrete and wood used to erect the buildings we inhabit. Our lives are defined by our place and position, and yet we increasingly live in urban settings and

our encounters with land adopt the form of architecture. Take, for example, the cyclical process of building and demolition. In construction, raw materials come together to form the constituent elements necessary to assemble architecture, but if and when the structure is demolished, these components are broken down and returned to their raw state. Parallel to Mendieta, Almarcegui seeks to fuse the realms of human and geological time, though for Almarcegui the earth is less a giver of spiritual power and more a giver of organic resources that are transformed into commodities used in construction. By tracing the histories of these constituent elements, Almarcegui is also tracing the ongoing movement and circulation of materials. Motivated in part to critique the modernist impulse towards progress, she reflects on how these elements mutate to become recognisable architecture. In her commissioned piece, Almarcegui presents an exact calculation of all the materials used in the construction of the M+ building in the form of a textual list mounted plainly on a blank wall. By reducing the complex mechanisms of a built structure into a list of raw ingredients, she prompts us to think about unseen relationships between what lies in the earth and the buildings that surround us.

The two remaining artists posit more complex understandings of site that are neither actual nor fixed in time or place. For Lee Bul, modernist architecture is an important point of departure. Her sculptures, crafted from industrial materials and machine-made parts, speak to a singular techno-futuristic imagination. Born to dissident

parents, the artist was raised under the military dictatorship of former South Korean president Park Chung-hee, who came to power and set about turning the country into a development-driven capitalist state. The dictator’s idealistic vision did not materialise and the nation suffered under a repressive and autocratic regime. This later inspired the work Thaw (Takaki Masao) (2007)—a nod to Park’s Japanese name—one of many sculptures Lee has produced around the subject of utopia.

Moving frequently during her childhood, Lee constantly encountered new places and lived with the uncomfortable awareness that her circumstances were different from those around her. She came of age during the post–Korean War era—a period defined by increasing affluence, consumerism, and technological advancements, and in the early decades of her career, she focused on the body and boundary-breaking performances that gave way to the series of Monster sculptures based on non-human beings that conflate plant, animal, and machine. Soon after came her Cyborg series, which upends traditional representations of femininity and addresses myths of technological perfection.

In recent years, Lee’s focus has shifted from the body to the built environment. Ever interested in our human tendencies towards capacious idealism, she draws heavily on the urban imaginations of nineteenth- and twentieth-century utopian thinkers and architects. For the artist, their utopian visions divulge the ways in which humans continually strive

to achieve perfection but fail repeatedly. Ideas of site and place are at the centre of Lee’s group of maquettes—models of real and fictional buildings that include Russian Constructivism and studies for Lee’s own life-sized sculptural installations. Scale plays an important role here, since the maquettes show in miniature what we know to be of epic scale. By representing the outsized ambitions in small and intimate forms, Lee underscores the relationships between actual reality and projected imagination and points to the ways in which we look into the past to inform the present.

The work of Charlotte Posenenske poses an interesting enigma. Her artistic career coincided with the progressive era of the 1960s and embraced the reductive tendencies of the Minimalist art movement. Her work embodies aspects of both of these moments, but she herself was a forerunner to much more, including conceptualism and participatory practices. From an art historical perspective, Posenenske’s Vierkantrohre series (Square Tubes series) (1967) embraces all of the core principles found in Minimalist sculpture. Produced in a method that rigorously adheres to industrial manufacturing, the unit parts are identical and can be reproduced endlessly without the hand of the artist (aside from original mechanical drawings). Moreover, installations of the works take into account the physical elements of an exhibition space, such as its dimensions, the texture and shape of walls and rooms, the scale and proportion of interior structures, and the presence and positions of viewers. In true Minimalist form,

the works aim to relocate meaning from within the art object to its surrounding context, and they are predicated on the presence of a viewer and lived bodily experience.

Due to Posenenske’s unwavering attachment to uniformity, standardisation, and modularity, she embraced a variety of unconventional approaches. For instance, the unit parts she designed have no fixed configurations. Instead, she devised a system whereby the number of unit parts used in a given sculpture are not set, meaning that they can be arranged to fit a space or continued indefinitely. Most importantly, Posenenske left each configuration to be decided by the owner or ‘end user’, thus allowing a curator or collector to assemble and change the installation according to their own wishes, and thereby eradicating the artist’s creative autonomy. With this democratic approach, Posenenske contributed to ideas of variability, participation, and a genre of art-making that had traditionally rejected even the slightest deviation from the authorised original. Furthermore, her site-responsiveness was not limited to the exhibition or gallery space, but extended to public spaces such as train stations, airports, factories, and other industrial settings, where she placed her works. She welcomed graffiti, fingerprints, or natural weathering that signal the passage of time and become indicative of the object’s existence in the real world. Her work’s lack of preciousness and its spirit of participation mirrored the calls for social change dominating the 1960s.

The ready-made appearance of Posenenske’s work can easily find roots in Conceptual art. The Vierkantrohre series is quite often mistaken for sheet-metal ventilation shafts—a confusion that one can view as partially intentional. In being interpreted as everyday objects, they cease to be ‘art objects’ per se, in other words, they become fully integrated in the world and effectively disappear. Oddly, this series of sculptures is Posenenske’s final and most lasting contribution to art. She stopped working as an artist in 1968 and withdrew from the art world, no longer believing that art could contribute to the ills and inequalities in contemporary society. The disappearance of her sculptures into their surroundings offers an uncanny parallel to the artist’s disappearance from the art scene.

From Five Artists: Sites Encountered, it is clear that art can emerge from dialogues with the site and place of its creation and the social context of its time. This overturns the long-standing misperception that art is produced in isolation, and that artists are cut off from the concerns of the day. The strategies presented in this exhibition demonstrate that artists are not just makers of objects, but rather social agents, who help to make visible the hidden operations of institutional power and socioeconomic forces of our time, and thus serve as important voices in the formation of contemporary visual culture. The adventurous and forward-thinking contributions of artists open up our readings of objects, images, and situations around us. Specifically, in exploring and examining individual and cultural identities, sense of rootedness,

as well as the built environment, these five artists help us see our surroundings in a new light and draw more awareness to who we are as beings living and navigating the world.

李昢，小模型（ W2）， 2010年

Lee Bul. Maquette (W2), 2010. © 李昢 Lee Bul

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LARA ALMARCEGUI CHARLOTTE POSENENSKE李昢 LEE BUL馮美華 MAY FUNG ANA MENDIETA

LARA ALMARCEGUI西班牙籍，生於 1972 年，現於鹿特丹工作

Spanish, born 1972, based in Rotterdam

1 Construction Materials, M+, Hong Kong 2019 Oil-based paint on wall Dimensions variable

This precise breakdown of the materials involved in the construction of the M+ building is the result of a long, painstaking effort to portray architecture in a different light. Lara Almarcegui’s investigations into land, site, and urban space centre on materiality and tend to yield scientific rather than instinctive expressions. By reducing the complex mechanisms of a built structure into a list of raw ingredients, the artist prompts us to think about unseen relationships between what lies in the earth and the buildings that surround us.

Commissioned by M+, Hong Kong

1 香港M+的建築用料

2019年 油性漆、牆面尺寸不定

經過漫長和勞心勞力的研究後製成的這份列表，準確記錄了 M+大樓的建築用料，從另一角度描繪建築的面貌。 Lara Almarcegui對 土地、場域與都市空間的研究，以物質性為 重心，多以科學方式而非直覺表達。她把建築物的複雜結構簡化為原材料列表，促使我們思考周遭的建築物與大地之間各種無形的關係。

由香港M+委約創作

CONSTRUCTION MATERIALS M+, HONG KONG

Gravel 168 938 tons Sand 85 876 tons Cement 85 178 tons Steel 50 360 tons Gypsum 2 048 tons Aluminum 1 847 tons Glass 1 137 tons Clay 1 117 tons Wood 961 tons Sealer 341 tons Bitumen 156 tons Paint 48 tons Plastic 42 tons

Total 398 049 tons

《香港M+的建築用料》圖示，2019年 Illustration of Construction Materials, M+, Hong Kong, 2019.

© Lara Almarcegui

CHARLOTTE POSENENSKE德國籍，19 30 至 1985 年

German, 1930–1985

2-1 D系列方管

1967 年 / 2014 年 熱浸鋅鋼板、螺絲尺寸不定

2-2 DW系列方管

1967 年 / 2007 年1967 年 / 2013 年瓦楞紙板尺寸不定

這些常被人誤以為是通風管道的淨色雕塑， 是由鋼材和硬紙板製成，其組成部件可按照 個人喜好或因應空間特性而組裝成不同形狀。 這種創作手法別開生面，把可變、靈活與 平等視為藝術的根基，而非獨特性與個性， 在Charlotte Posenenske的年代可謂一反 傳統。這兩件組合式作品因應周遭環境而擺放，並以日常物品的外觀呈現，完全融入我們身處的 環境之中。

M+，香港 尚待完成收藏程序

Estate of Charlotte Posenenske、柏林 Mehdi Chouakri 畫廊與東京Take Ninagawa畫廊借出

2-1 Series D Vierkantrohre (Series D Square Tubes)

1967/2014 Hot-dip galvanised sheet steel and screws Dimensions variable

2-2 Series DW Vierkantrohre (Series DW Square Tubes)

1967/2007 1967/2013 Corrugated cardboard Dimensions variable

Often mistaken for ventilation ducts, these plain sculptures in steel and cardboard were conceived as modular parts that can be assembled in various shapes according to the space and desires of the owner. This unusual approach—radical for Charlotte Posenenske’s time—positioned art as something based on ideas of variability, flexibility, and egalitarianism rather than uniqueness and individuality. Arranged in response to their surroundings and with the appearance of everyday objects, these modular units become fully integrated into our environment.

M+, Hong Kong Acquisition in progress

Courtesy of the Estate of Charlotte Posenenske, Mehdi Chouakri, Berlin, and Take Ninagawa, Tokyo

攝影： Charlotte Posenenske | Photo by Charlotte Posenenske © Estate of Charlotte Posenenske

李昢 LEE BUL南韓籍，生於 1964 年

Korean, born 1964

3-1 無題雕塑 W6-2

2010 年 不鏽鋼管、鋁、鏡子、木、 聚氨酯薄膜、亞加力鏡子170 x 120 x 115厘米

有別於其他放置於底座上的小模型，這件懸掛式雕塑垂吊於與人眼視線相若的高度，讓觀眾得以從不同角度觀賞。作品由做工精巧的金屬片、不鏽鋼條、鏡片組成，呈不對稱的形態，外觀猶如太空船。縱橫交錯的各種物料，以及從遙遠理想過渡到複雜現實的涵義，象徵了李昢視烏托邦為曲折迂迴、看來難以達成的目標。

香港Living Collection借出

3-1 Untitled Sculpture W6-2 2010 Stainless steel, aluminium, mirror, wood, polyurethane sheet, and acrylic mirror 170 x 120 x 115 cm

Unlike her maquettes placed on plinths, this hanging sculpture is suspended at around eye level, allowing viewers to see it from different angles. Featuring asymmetrical forms and a spaceship-like appearance, it is a jumble of intricately crafted sheet metal, steel rods, and mirrored panels. The criss-crossing of different materials and the transition from a distant ideal to a complex reality represent Lee Bul’s take on utopia—a convoluted and seemingly unreachable goal.

Courtesy of Living Collection, Hong Kong

3-2 小模型

2005至2016年

這些閃亮的小型雕塑是為製作大型建築或

裝置作品而準備的。李昢這組30多件的小模

型，其形態稜角分明和呈幾何狀，結合金屬和

反光的表面，靈感來自對烏托邦的渴望與

理想破滅。李昢雙親皆為異見人士，她成長於

南韓軍政府獨裁的時代，親身目睹為建立

烏托邦國度而作的奮鬥及其崩壞，因此人類

野心和完美無缺就成為她藝術實踐中一再

出現的主題。

李昢工作室與立木畫廊（紐約、香港、首爾）借出

3-2 Maquettes

2005–2016

These small glittering sculptures are models made in preparation for larger architectural or installation pieces. Combining angular and geometric forms with metallic and reflective surfaces, this group of over thirty maquettes is inspired by aspirational and failed visions of utopia. Born to dissident parents, Lee Bul grew up during a period of military dictatorship in Korea. She witnessed first-hand the struggle to build a utopian state and its resulting breakdown, making ideas of human ambition and perfection a recurring theme in her artistic practice.

Courtesy of Studio Lee Bul and Lehmann Maupin, New York, Hong Kong, and Seoul

3-2 小模型 2005至2016年

研習俄國構成主義 #1 約2005年 發泡樹脂、塑膠彩噴漆 13 x 12 x 9厘米

研習俄國構成主義 #2 約2005年 發泡樹脂、塑膠彩噴漆 10 x 9 x 3厘米

研習俄國構成主義 #3 約2005年 發泡樹脂、塑膠彩噴漆 10.5 x 10 x 6.8厘米

研習俄國構成主義 #4 約2005年 發泡樹脂、塑膠彩噴漆 3 x 13 x 8.2 cm厘米

研習俄國構成主義 #5 約2005年 發泡樹脂、塑膠彩噴漆 7 x 11.2 x 6厘米

研習俄國構成主義 #6 約2005年 發泡樹脂、塑膠彩噴漆 9.5 x 7 x 5厘米

研習俄國構成主義 #7 約2005年 發泡樹脂、塑膠彩噴漆 9 x 15.2 x 15.5厘米

研習俄國構成主義 #8 約2005年 發泡樹脂、塑膠彩噴漆 11 x 10.5 x 5.5厘米

研習俄國構成主義 #9 約2005年 發泡樹脂、塑膠彩噴漆 8.4 x 13.5 x 5厘米

研習俄國構成主義 #10 約2005年 發泡樹脂、塑膠彩噴漆 6.5 x 13.5 x 12.5厘米

研習俄國構成主義 #11 約2005年 發泡樹脂、塑膠彩噴漆 7.3 x 12.5 x 2厘米 研習俄國構成主義（物件 #24） 約2005年 / 2016年 鑄造不鏽鋼 1.9 x 0.7 x 0.7厘米

塔之研習 約2005年 發泡樹脂、鋁絲網 50 x 12 x 11厘米

破曉歌小模型 2007年 聚苯乙烯、玻璃珠、塑膠彩噴漆 40 x 30 x 30厘米

地堡（M. Bakhtin）小模型 2007年 發泡樹脂、高密度隔熱板、 絲黏土、塑膠彩顏料 26.5 x 39 x 28厘米

挖掘小模型 2007年發泡樹脂、鏡面薄膜、水晶、 仿石漆、塑膠彩顏料、人造頭髮、 棉線、硬紙板 33 x 15.5 x 12厘米

天與地小模型 2007年發泡樹脂、環氧樹脂、絲黏土、 仿石漆、塑膠彩顏料 6 x 40 x 40厘米

融解（高木正雄）小模型 2007年 環氧樹脂、玻璃珠、塑膠彩顏料 12 x 28 x 17厘米

融解（高木正雄）小模型 2007年 / 2016年 鑄造不鏽鋼 10.4 x 26.1 x 15.7厘米

無限系列物件 #12007年 / 2016年鑄造不鏽鋼17 x 29.3 x 8厘米無限系列物件 #22007年 / 2016年鑄造不鏽鋼8.3 x 24.3 x 12.3厘米無限系列物件 #32007年 / 2016年鑄造不鏽鋼5.3 x 32.7 x 27.8厘米無限系列物件 #42007年 / 2016年鑄造不鏽鋼6 x 29.7 x 14.3厘米無限系列物件 #52007年 / 2016年鑄造不鏽鋼7.3 x 16.3 x 15.6厘米無限系列物件 #62007年 / 2016年鑄造不鏽鋼3.5 x 13.6 x 9厘米

研習破曉歌2007年 / 2016年焊接不鏽鋼、水晶43 x 40 x 34厘米

無題（埋葬的記憶畫面）2008年木、亞加力鏡子、聚氨酯、 玻璃珠、塑膠彩顏料138.4 x 99.7 x 99.7厘米

為Yu-un項目所作的無題小模型2009年硬紙板14 x 48 x 36厘米

小模型（W1） 2010年 聚氨酯板、塑膠彩顏料 43 x 26 x 23厘米 小模型（W2） 2010年 聚氨酯板、塑膠彩顏料 22.8 x 28.5 x 32.4厘米

否定神學小模型 2012年 發泡樹脂、塑膠彩鏡子、 鏡面薄膜、紙 35 x 60 x 60厘米 否定神學小模型 2012年 / 2016年 鑄造不鏽鋼 10 x 20 x 19.5厘米

破曉歌小模型II 2013年 發泡樹脂、不鏽鋼絲、 聚碳酸酯鏡子、鋁絲網 40.5 x 42 x 42 厘米

研習紀念碑 2014年 發泡樹脂、不鏽鋼絲、聚碳酸酯鏡子 45.5 x 45 x 45厘米（含底座）

研習在水晶太陽下——新雕塑 2015年 水晶、發泡樹脂、聚碳酸酯鏡子、 不鏽鋼管、鋁管 54.5 x 29.5 x 29.5 厘米

研習太陽城之四（物件 #16） 2016年 鑄造不鏽鋼 21.2 x 17.5 x 14.7厘米 研習太陽城之四（物件 #17） 2016年 鑄造不鏽鋼 10 x 14.6 x 9.8厘米研習太陽城之四（物件 #18） 2016年 鑄造不鏽鋼 18.5 x 19.5 x 19.5厘米

3-2 Maquettes 2005–2016

Study for Russian Constructivism #1 ca.2005 Foamex and acrylic spray paint 13 x 12 x 9 cm Study for Russian Constructivism #2 ca.2005 Foamex and acrylic spray paint 10 x 9 x 3 cm Study for Russian Constructivism #3 ca.2005 Foamex and acrylic spray paint 10.5 x 10 x 6.8 cm Study for Russian Constructivism #4 ca.2005 Foamex and acrylic spray paint 3 x 13 x 8.2 cm Study for Russian Constructivism #5 ca.2005 Foamex and acrylic spray paint 7 x 11.2 x 6 cm Study for Russian Constructivism #6 ca.2005 Foamex and acrylic spray paint 9.5 x 7 x 5 cm Study for Russian Constructivism #7 ca.2005 Foamex and acrylic spray paint 9 x 15.2 x 15.5 cm Study for Russian Constructivism #8 ca.2005 Foamex and acrylic spray paint 11 x 10.5 x 5.5 cm

Study for Russian Constructivism #9 ca.2005 Foamex and acrylic spray paint 8.4 x 13.5 x 5 cm Study for Russian Constructivism #10 ca.2005 Foamex and acrylic spray paint 6.5 x 13.5 x 12.5 cm Study for Russian Constructivism #11 ca.2005 Foamex and acrylic spray paint 7.3 x 12.5 x 2 cm Study for Russian Constructivism (Object #24) ca.2005/2016 Cast stainless steel 1.9 x 0.7 x 0.7 cm

Tower Study ca.2005 Foamex and aluminium mesh 50 x 12 x 11 cm

Maquette for Aubade 2007 Polystyrene, glass beads, and acrylic spray paint 40 x 30 x 30 cm

Maquette for Bunker (M. Bakhtin) 2007 Foamex, isopink, silk clay, and acrylic paint 26.5 x 39 x 28 cm

Maquette for Excavation 2007 Foamex, mirrored film, crystal, stone paint, acrylic paint, synthetic hair, cotton thread, and cardboard 33 x 15.5 x 12 cm

Maquette for Heaven and Earth 2007 Foamex, epoxy, silk clay, stone paint, and acrylic paint 6 x 40 x 40 cm

Maquette for Thaw (Takaki Masao) 2007 Epoxy, glass beads, and acrylic paint 12 x 28 x 17 cm Maquette for Thaw (Takaki Masao) 2007/2016 Cast stainless steel 10.4 x 26.1 x 15.7 cm

Infnity Series Object #1 2007/2016 Cast stainless steel 17 x 29.3 x 8 cm Infnity Series Object #2 2007/2016 Cast stainless steel 8.3 x 24.3 x 12.3 cm Infnity Series Object #3 2007/2016 Cast stainless steel 5.3 x 32.7 x 27.8 cm Infnity Series Object #4 2007/2016 Cast stainless steel 6 x 29.7 x 14.3 cm Infnity Series Object #5 2007/2016 Cast stainless steel 7.3 x 16.3 x 15.6 cm Infnity Series Object #6 2007/2016 Cast stainless steel 3.5 x 13.6 x 9 cm

Study for Aubade 2007/2016 Welded stainless steel and crystal 43 x 40 x 34 cm

Untitled (Buried Memory Tableau) 2008 Wood, acrylic mirror, polyurethane, glass beads, and acrylic paint 138.4 x 99.7 x 99.7 cm

Untitled maquette for a project for Yu-un 2009 Cardboard 14 x 48 x 36 cm

Maquette (W1) 2010 Polyurethane panels and acrylic paint 43 x 26 x 23 cm Maquette (W2) 2010 Polyurethane panels and acrylic paint 22.8 x 28.5 x 32.4 cm

Maquette for Via Negativa 2012 Foamex, acrylic mirror, mirrored film, paper 35 x 60 x 60 cm Maquette for Via Negativa 2012/2016 Cast stainless steel 10 x 20 x 19.5 cm

Maquette for Aubade II 2013 Foamex, stainless-steel wire, polycarbonate mirror, and aluminium mesh 40.5 x 42 x 42 cm

Study for Monument 2014 Foamex, stainless-steel wire, and polycarbonate mirror 45.5 x 45 x 45 cm (including the base)

Study for Into Lattice Sun —New Sculpture 2015 Crystal, foamex, polycarbonate mirror, stainless-steel pipe, and aluminium pipe 53.5 x 30.2 cm

Study for Civitas Solis IV (Object #16) 2016 Cast stainless steel 21.2 x 17.5 x 14.7cm Study for Civitas Solis IV (Object #17) 2016 Cast stainless steel 10 x 14.6 x 9.8 cm Study for Civitas Solis IV (Object #18) 2016 Cast stainless steel 18.5 x 19.5 x 19.5 cm

馮美華 MAY FUNG香港，生於 1952 年

Hong Kong, born 1952

4 她說為何是我

1989年 VHS錄影帶轉至數碼

（彩色、單聲道）

8分鐘

本片以香港為背景，鏡頭下一位蒙眼女子在 城中穿街過巷，摸索漫遊。藝術家馮美華是 實驗錄像的先鋒，她以這趟籠罩着曖昧朦朧 氣氛的探索之旅，隱喻對身分的追尋。老舊的 殖民地建築、擾人心神的音樂，以及穿插其中的黑白檔案片段，暗示了這座城市的過去種種。影片攝於香港回歸之前，那時此城交還中國 已成定局，正值政局飄搖與內省自察的時刻， 片中表現的不單是藝術家的個人體悟，更是 香港人的集體經歷。

M+ ，香港

4 She Said Why Me

1989 VHS transferred to digital (colour, mono sound) 8 min

This film, set in Hong Kong, features a blindfolded woman feeling her way through the city’s streets. Alluding to a search for identity, this work by May Fung—a pioneering experimental video artist—presents the quest with an air of ambiguity. Ageing colonial architecture, unsettling music, and interspersed black-and-white archival clips suggest the city’s layered past. Filmed at a time of political uncertainty and soul-searching—after Hong Kong’s fated return to China was announced but before handover—the work speaks not only to the artist’s own experience, but also to Hong Kong citizens at large.

M+, Hong Kong

ANA MENDIETA 美國籍，生於古巴，19 48 至 1985 年

American, born Cuba, 1948–1985

5 Silueta series (Silhouette series)

1974–1981 Super-8mm film transferred to high-definition digital media (colour, silent)

5 輪廓系列1974至1981年超八毫米菲林轉至高清數碼媒介

（彩色、無聲）

是次精選的無聲短片記錄了A na Mendieta的個人行為展演。當中她以人體輪廓或自己的身體，展開自身與土地的對話。這些展演和拍攝主要在美國、墨西哥及她的家鄉古巴進行，歷時近十年，完成了超過50 部 影片。 Mendieta在12歲時離開夏灣拿的家園，被送到美國愛荷華州的孤兒院，這種被迫離鄉別井的創傷，一直迴盪在她的藝術創作中。M endieta通過在塵垢、沙地和泥土上留下身體的痕跡，並以火、水或煙轉化這些物料，把與家人和祖國分離的經驗，變成了以尖銳的表達方式表現缺席與在場、生命與死亡、過去與現在。

This selection of short silent films documents Ana Mendieta’s private performances, in which she used human silhouettes or her own body to forge a dialogue between herself and the land. Spanning nearly ten years and yielding over fifty films, these actions were carried out predominantly in the United States, Mexico, and the artist’s native Cuba. Mendieta was sent from Havana to an orphanage in Iowa at the age of twelve and the trauma of this uprooting resonates throughout her practice. By leaving traces of her body in dirt, sand, and mud, and converting these materials with fire, water, and smoke, Mendieta transformed her separation from family and homeland into poignant expressions of absence and presence, life and death, and past and present.

5-1 Esculturas Rupestres (Rupestrian Sculptures)

1981 Super-8mm film transferred to high-definition

digital media (black and white, silent) 9 min 17 sec

A series of engravings depicting the female body are etched into the stone walls of an ancient cave outside Havana, Cuba. The low-relief sculptures were made by Mendieta but resemble prehistoric carvings and fertility figures intended for ritual worship.

Courtesy of the Estate of Ana Mendieta Collection, LLC and Galerie Lelong & Co., New York

5-1 石雕

1981年 超八毫米菲林轉至高清數碼媒介（黑白、無聲）9分17秒

在古巴夏灣拿郊外古代洞窟的石牆上，鑿有 一系列描繪女性身體形象的雕刻。這些淺浮雕由Mendieta創作，但形象與史前雕刻和 供人膜拜的生育之神相似。

The Estate of Ana Mendieta Collection, LLC與紐約Lelong & Co.畫廊借出

5-2 Silueta del Laberinto (Labyrinth Blood Imprint) 1974 Super-8mm film transferred to high-definition digital media (colour, silent) 3 min 19 sec

The camera moves through architectural ruins in Yagul, Mexico, eventually settling on a bloodstained body silhouette on the ground and then zooming out to reveal more of the surrounding landscape. Blood is a recurring symbol in Mendieta’s work, suggesting ritual, brutality, and loss.

M+, Hong Kong Acquisition in progress

5-2 迷宮的輪廓1974年超八毫米菲林轉至高清數碼媒介

（彩色、無聲）3分19秒

鏡頭在墨西哥亞古爾的建築遺跡中遊走，然後停留於空地上那血跡染成的身體輪廓之處，隨後鏡頭拉遠，展示周遭景貌。血是Mendieta的作品中經常出現的符號，暗示儀式、暴行與喪失。

M+，香港尚待完成收藏程序

5-3 Silueta Sangrienta (Bloody Silhouette) 1975 Super-8mm film transferred to high-definition digital media (colour, silent) 1 min 51 sec

Mendieta’s nude body is shown filling an impression in the ground. She disappears from view, and the hollow left by her body is filled with red liquid. The artist then appears again, this time facing downward. The sequence evokes a sense of loss and alludes to blood and violence, two characteristic themes in her work.

M+, Hong Kong Acquisition in progress

5-3 血腥的輪廓1975年超八毫米菲林轉至高清數碼媒介

（彩色、無聲）1分51秒

Mendieta赤身躺在與其身體輪廓相合的凹坑上，然後從畫面消失，留下被紅色液體灌滿的 凹坑。藝術家再次出現，這次臉朝下方，俯臥在凹坑中。這一連串的行為營造失落之感，並暗指血與暴力，而兩者皆是其作品的典型主題。

M+，香港尚待完成收藏程序

5-4 Alma, Silueta en Fuego (Soul, Silhouette on Fire)

1975 Super-8mm film transferred to high-definition digital media (colour, silent) 3 min 7 sec

The outline of a body is filled with white material, which is set aflame and burns slowly, leaving a haunting residue of ashes on the ground. The use of fire and the image of a burning body evoke a religious ritual and signal a process of cleansing and renewal.

Courtesy of the Estate of Ana Mendieta Collection, LLC and Galerie Lelong & Co., New York

5-4 靈魂之火的輪廓1975年超八毫米菲林轉至高清數碼媒介

（彩色、無聲）3分7秒

勾勒出身體輪廓的白色物質，被點燃後緩慢 焚燒，在地上留下灰燼，使人感到不安。火與 軀體燃燒的影像令人聯想到宗教儀式，也代表 洗滌與重生的過程。

The Estate of Ana Mendieta Collection, LLC與紐約Lelong & Co.畫廊借出

5-5 Untitled: Silueta Series (Untitled: Silhouette Series)

1978 Super-8mm film transferred to high-definition digital media (colour, silent) 3 min 14 sec

An outline of a body is formed on the ground using gunpowder, and the figure slowly burns and disappears, leaving only a charred remnant. As the fire goes out and time wears on, the burnt ashes return to the soil, affirming the presence of the artist.

Courtesy of the Estate of Ana Mendieta Collection, LLC and Galerie Lelong & Co., New York

5-5 無題：輪廓系列1978年超八毫米菲林轉至高清數碼媒介

（彩色、無聲）3分14秒

地上的火藥勾勒出人體輪廓，人形慢慢燃燒 殆盡，只留下焦黑的殘餘物。隨着火焰熄滅與 時間流逝，灰燼回歸泥土，申明了藝術家的 在場。

The Estate of Ana Mendieta Collection, LLC與紐約Lelong & Co.畫廊借出

5-6 Volcán (Volcano)

1979 Super-8mm film transferred to high-definition digital media (colour, silent) 3 min 11 sec

Instead of a depression in the ground, we see a raised mound of earth with an opening in the shape of a human figure. Filled with gunpowder, it is set on fire and is soon engulfed in flames and smoke. The scene evokes the eruption of a volcano, signifying the explosive power of both land and the human body.

M+, Hong Kong Acquisition in progress

5-6 火山

1979年超八毫米菲林轉至高清數碼媒介

（彩色、無聲）3分11秒

我們看見的不再是凹陷的地面，而是凸起的土堆，上面有人形的缺口。缺口內放滿火藥，點燃後瞬即被火焰和煙霧吞沒。這個畫面令人想到火山爆發，象徵土地與人體的爆發力。

M+，香港尚待完成收藏程序

5-7 Untitled

1981 Super-8mm film transferred to high-definition digital media (black and white, silent) 1 min 26 sec

The camera fixes on the outline of a body drawn in the sand and moves methodically up and down to reveal the sea and the imprint on the beach. This work marks Mendieta’s return to her homeland of Cuba for the first time in over thirty years.

M+, Hong Kong Acquisition in progress

5-7 無題1981 年 超八毫米菲林轉至高清數碼媒介

（黑白、無聲）1分26秒

鏡頭對準沙灘上的身體輪廓，徐疾有致地上下來回移動，展現海洋與沙灘上的印記。這個作品標誌了Mendieta離鄉30多年後首次回到故國古巴。

M+，香港尚待完成收藏程序

關於藝術家

Lara Almarcegui（西班牙籍，生於1972年）是世界知名的視覺藝術家，其創作探討土地和都市 空間的物質層面，過去20多年來，這位駐居荷蘭鹿特丹的藝術家踏足過不同城市，造訪各地被棄置、荒廢或遺忘的土地，探索由社會、政治及經濟變化所帶來的當代轉型過程。她研究這些土地， 並通過攝影、出版物和裝置將它們展露於人前。近年，Almarcegui將焦點轉為集中在建築工地， 特別關注用於建造新建築的複合材料，以及土地和建築之間的循環關係。Almarcegui曾獲多個 國際雙年展委約創作，並代表西班牙參與2013年第55屆威尼斯雙年展，於西班牙館展出作品。

LARA ALMARCEGUI

馮美華（香港，生於1952年）是當今香港舉足輕重的流動影像藝術家。過去30多年來，她都是本地實驗電影創作的翹楚，影響力深遠，其作品緊扣歷史和政治。她在1985年與鮑藹倫、黃志輝和 毛文羽共同創立「錄映太奇」，致力支持實驗錄像及新媒體藝術創作。她的流動影像創作涵蓋 戲劇及裝置，反映了她與實驗藝術團體「進念．二十面體」的長期合作及相互影響。除了藝術創作， 馮美華亦積極推動藝術教育。

馮美華

李昢（南韓籍，生於1964年）是國際知名的藝術家，對當代藝術貢獻良多。李昢現於首爾居住 和工作，以展演、雕塑及裝置探討性別和性取向等議題，揭示滲透到我們文化和政治領域的意識 形態，藉此質疑父權制度。李昢在大學修讀雕塑，1980年末以行為藝術於藝壇嶄露頭角，1990年代中期開始轉為專注於雕塑。她近年的雕塑作品經常運用金屬、矽膠及水晶珠為材料，並從十九世紀和二十世紀烏托邦思想家和建築師對未來的構想中汲取靈感。近期東京森美術館和倫敦Hayward Gallery分別於2012年和2018年為她舉辦藝術生涯中期的回顧展。

李昢

Ana Mendieta（美國籍，生於古巴，1948至1985年）曾於古巴、墨西哥、意大利及美國進行創作，是在國際上備受推崇的藝術家。她自小離開祖國古巴，流落異國，而其作品也深受這一流離經歷所影響。Mendieta的創作跨越多個藝術領域，包括展演、攝影、雕塑、繪畫和電影，講述女性主義、人性、身分、死亡、地域和歸屬等主題。她於1978年遷到紐約，並加入A.I.R.畫廊，這是美國首個 全由女性藝術家組成的合作式畫廊。Mendieta的作品以挑戰兩性、宗教及政治的界限而著稱， 並將藝術與她所處時代的社會現實更緊密聯繫起來，至今仍影響深遠。Mendieta逝世後， 新當代藝術博物館（1987年）、Hirshhorn Museum and Sculpture Garden（2004年）及 Art Institute of Chicago（2011年）都曾為她舉辦回顧展，而近期明尼蘇達大學的Katherine E. Nash Gallery和巴黎的Jeu de Paume也放映了她的電影作品。

ANA MENDIETA

Charlotte Posenenske（德國籍，1930 至1985年）是富開創精神的雕塑家，對藝壇貢獻良多， 影響深遠。Posenenske於1960年代初數度造訪紐約，受到美國極簡主義啟發，並培養出對工業 材料和製作程序的喜好。她展示作品的方式極富民主精神，任由自己的雕塑被重新佈置，以適應 不同的空間環境。如此別開生面的手法為作品引入了「可變」和「合作」的概念，在極簡主義藝術和參與實踐之間締建了一種獨特的聯繫。Posenenske在1968年離開藝術界，成為了社會學家，終其餘生致力於研究勞工關係。Posenenske逝世後有數個關於其創作生涯的展覽舉辦，包括目前正在紐約Dia：Beacon舉行的重要巡迴回顧展。

CHARLOTTE POSENENSKE

ARTISTS' BIOGRAPHIES

LARA ALMARCEGUI Lara Almarcegui (Spanish, born 1972) is a widely acclaimed visual artist who has built a practice around investigating the material aspects of land and urban space. For over twenty years, the Rotterdam-based artist has been visiting different cities to identify abandoned, unused, or forgotten plots of land, examining the processes of contemporary transformations brought by social, political, and economic changes. She conducted relevant research on these lands and brought them to light through photography, publications, and installations. In recent years, Almarcegui’s attention has turned towards construction sites, in particular the composite materials used to construct new buildings and the cyclical relationship between land and architecture. Almarcegui has completed commissions for numerous international biennials and represented Spain in the Spanish Pavilion of the 55th Venice Biennale (2013).

MAY FUNG May Fung (Hong Kong, born 1952) is one of the most important moving image artists working in Hong Kong today. She has been an influential voice in experimental practice in the city for over three decades, with a body of work that is interwoven with history and politics. In 1985, with Ellen Pau, Wong Chi-fai, and Comyn Mo, Fung co-founded Videotage, a Hong Kong collective that supports experimental video and new media work. Her moving image practice encompasses theatre and installations, reflecting the influence of her long-standing relationship with Hong Kong experimental theatre company Zuni Icosahedron. In addition to her art practice, she is active as an art educator.

LEE BUL Lee Bul (Korean, born 1964) is an internationally renowned artist who has made versatile contributions to contemporary art. Living and working in Seoul, she creates performances, sculptures, and installations to explore issues of gender and sexuality, questioning patriarchal authority by revealing ideologies that permeate our cultural and political spheres. Academically trained in sculpture, Lee appeared on the art scene in the late 1980s as a performance artist and turned her attention to sculptures by the mid-1990s. Crafted from materials such as metal, silicone, and crystal beads, her recent sculptural works often draw inspiration from the futuristic visions of nineteenth-and twentieth-century utopian thinkers and architects. Mid-career retrospectives of her work have been mounted by the Mori Art Museum, Tokyo (2012) and the Hayward Gallery, London (2018).

ANA MENDIETA Ana Mendieta (American, born Cuba, 1948–1985) is a globally celebrated artist who created work in Cuba, Mexico, Italy, and the United States. Drawing largely from her history of being displaced from her native Cuba, her wide-ranging works—including performances, photographs, sculptures, paintings, and films—speak uniquely to themes such as feminism, humanity, identity, mortality, place, and belonging. In 1978, Mendieta relocated to New York and joined the A.I.R. Gallery, the first all-female artists’ cooperative gallery in the US. Known for pushing sexual, religious, and political boundaries, Mendieta’s works brought art into closer contact with the social realities of her time and remain profoundly influential. Mendieta has been the subject of several posthumous career survey exhibitions organised by the New Museum of Contemporary Art (1987), the Hirshhorn Museum and Sculpture Garden (2004), and the Art Institute of Chicago (2011). More recently, her films have been showcased at the Katherine E. Nash Gallery of the University of Minnesota and the Jeu de Paume, Paris.

CHARLOTTE POSENENSKE Charlotte Posenenske (German, 1930–1985) is a pioneering sculptor whose artistic contributions have been lasting and far-reaching. Posenenske became inspired by the American Minimalism movement during visits to New York in the early 1960s and developed a penchant for industrial materials and processes. She displayed her works in highly democratic ways, allowing her sculptures to be rearranged to fit different spaces. This revolutionary approach introduces ideas of variability and cooperation, forging an exceptional connection between Minimalist art and participatory practices. In 1968, Posenenske left the art world and worked as a sociologist specialising in labour relations until her death. Several posthumous exhibitions of Posenenske’s career have been mounted, including a major touring retrospective currently on view at Dia:Beacon, New York.

展覽期間將舉辦一系列免費導賞及公眾活動。如非特別註明，所有活動皆於西九文化區藝術公園 M+展亭進行。名額有限，先到先得。

所有活動及導賞團均可預約即時口述影像及手語傳譯服務。有需要的觀眾請於活動日期至少 14天前聯絡 learn@mplus.org.hk 或 +852 2200 0041預約所需服務。

活動

策展人現場導賞英語 10月5日 (星期六) 下午3時 講者：視覺藝術主策展人姚嘉善

粵語 7月6日 (星期六) 下午3時 講者：策展助理林鈴

普通話 9月7日 (星期六) 下午3時講者：視覺藝術主策展人姚嘉善、策展助理林鈴

學校或團體導賞團導賞需時約1小時。歡迎學校、註冊慈善團體 或非牟利機構參加，並請於擬進行活動日期至少 14天前經網上預約。

名額：一般學校或團體導賞團：15至30人通達導賞團：10至25人 (包括陪同者)

預約請瀏覽：www.westkowloon.hk/tc/mplus/teacher-programmes

教師特別導覽活動專為教師而設，安排了策展人現場導賞及 問答環節。

6月18日（星期二）下午3時至4時30分講者：視覺藝術主策展人姚嘉善英語 (設粵語即時傳譯)

報名請瀏覽：www.westkowloon.hk/tc/mplus/teacher-programmes

#「策展人現場導賞」和「雕塑組裝」舉辦當日，週末導賞團將暫停。

* 15/6、10/8、14/9及12/10，下午12時正提供普通話導賞團，其餘日子以粵語或英語進行。

週末導賞團

導賞團請於導賞團開始前15分鐘到M+展亭地下接待處 登記。

週六# 下午12時正 下午3時正

6月 英語／普通話* 粵語

7月 粵語 粵語

8月 英語／普通話* 粵語

9月 粵語／普通話* 粵語

10月 英語／普通話* 粵語

週日# 下午12時正 下午3時正

6月 粵語 粵語

7月 英語 粵語

8月 粵語 粵語

9月 英語 粵語

10月 英語 粵語

與Lara Almarcegui漫遊地質公園Lara Almarcegui藉着作品及研究，為我們提供理解建築用料的獨特視野。藝術家將與參加者同遊「香港聯合國教科文組織世界地質公園」的萬宜地質步道，一起探索自然地景，並就物料、場景和處所與我們的關係與參與者對談。

6月8日 (星期六)，下午1時至4時30分英語

雕塑組裝Charlotte Posenenske相信其作品可以按空間需要自由安排如何組合。三位藝術工作者將在展覽現場 重新組裝她的作品，以展示其創作可變的特點，之後更會與觀眾講述他們的組裝意念。

第一節7月20日 (星期六)，上午11時30分至下午1時講者：藝術家及園境設計師黃志恆粵語

第二節8月17日 (星期六)，上午11時30分至下午1時講者：西九文化區管理局高級屋宇裝備工程師李聰敏英語

第三節9月24日 (星期二)，晚上7時至8時30分講者：藝術家及舞台設計師曾文通粵語

有關詳情及登記方法，請留意本館網站。

與馮美華對話在這次小組討論中，香港藝術家馮美華會就古巴裔 美國籍藝術家Ana Mendieta的流動影像作品，提出自己的見解及詮釋，並探討二人作品的關聯之處。

7月25日 (星期四)，下午7時至8時30分英語

與李昢對話啟發自十九及二十世紀烏托邦思想家對未來的 憧憬，李昢的作品體現了她對環境和地方發展 的想像。在這個對話環節中，藝術家李昢將與 建築歷史學者羅坤共同探討其作品小模型中的 烏托邦及思辯式建築的意念。對談前由展覽策展人姚嘉善作簡介。

10月3日 (星期四)，下午7時至8時15分

講者：藝術家李昢香港大學建築系副教授羅坤M+視覺藝術主策展人姚嘉善

英語 (設粵語即時傳譯)

場地待定。敬請預先網上留座。詳情請瀏覽官方網頁。

公眾活動及與藝術家對話所有活動名額有限，先到先得。請預先於網上 查看活動的最新消息及登記預約。 預約請瀏覽：www.westkowloon.hk/tc/sitesencountered-programmes

PROGRAMMES In conjunction with the exhibition, M+ presents a series of free tours and public programmes. They are all held at the M+ Pavilion, Art Park, West Kowloon Cultural District unless otherwise specified.

Live audio description and sign-language interpretation are available for all types of tours upon request, with at least two weeks’ notice. For requests, please contact learn@mplus.org.hk or +852 2200 0041.

Tours Please register on-site fifteen minutes before the tour begins.

Weekend Tours

Saturday# 12pm 3pm

June English / Mandarin* Cantonese

July Cantonese Cantonese

August English / Mandarin* Cantonese

September Cantonese / Mandarin* Cantonese

October English / Mandarin* Cantonese

Sunday# 12pm 3pm

June Cantonese Cantonese

July English Cantonese

August Cantonese Cantonese

September English Cantonese

October English Cantonese

# No tours will be held on the days on which curator-led tours and sculpture reconfigurations take place.

* Mandarin tours will be conducted on 15 June, 10 August, 14 September, and 12 October, at 12pm. Cantonese or English tours will be conducted on the other days.

Curator-led tours

English Saturday 5 October, 3pm Led by Pauline J. Yao, Lead Curator, Visual Art

Cantonese Saturday 6 July, 3pm Led by Vera Lam, Curatorial Assistant

Mandarin Saturday 7 September, 3pm Led by Pauline J. Yao, Lead Curator, Visual Art and Vera Lam, Curatorial Assistant

School and group tours

Each tour lasts around one hour. Schools, registered charities, and non-profit organisations are welcome to book the tours. Please schedule your tour online at least two weeks in advance.

Number of participants: 15 to 30 participants are needed to reserve a school or group tour.

10 to 25 participants (including support persons) are needed to reserve a tour with access services. To schedule a tour, please visit www.westkowloon.hk/en/ mplus/teacher-programmes

Teachers' private viewing Designed to offer teachers a deeper understanding of the exhibition, this private viewing includes a curator-led tour and a Q&Asession.

Tuesday 18 June, 3-4:30pm Speaker: Pauline J. Yao, Lead Curator, Visual Art Conducted in English with simultaneous interpretation in Cantonese

To apply, please visit www.westkowloon.hk/en/mplus/ teacher-programmes

Public programmes and conversations with artists

All programmes have limited capacity and seats are offered on a first-come, first-served basis.

Please check the latest details online and register in advance. To register, please visit www.westkowloon.hk/en/ sitesencountered_programmes

Geological tour with Lara Almarcegui

Through her artwork and research, Lara Almarcegui offers a distinctive lens for understanding the materials of the built environment. The artist leads participants on a tour of the Highland Geo Trail of the Hong Kong UNESCO Global Geopark, exploring the natural landscape and initiating a dialogue around our relationships with material, site, and place.

Saturday 8 June, 1–4:30pm Conducted in English

Sculpture reconfgurations

Charlotte Posenenske intended for her work to be freely assembled to fit different spaces. To demonstrate the variations within her creation, her sculptural installations are rearranged in the exhibition space by three creative practitioners, who share their concepts with the audience after the reconfigurations.

Session 1

Saturday 20 July, 11:30am–1pm Led by Sara Wong, artist and landscape designer Conducted in Cantonese

Session 2

Saturday 17 August, 11:30am–1pm Led by Lydia Li, Senior Building Services Engineer, West Kowloon Cultural District Authority Conducted in English

Session 3

Tuesday 24 September, 7–8:30pm Led by Tsang Man-tung, artist and stage designer Conducted in Cantonese

To register and learn more, please visit our website.

In conversation with May Fung

In this group discussion, Hong Kong artist May Fung offers insights into and interpretations of moving image works by Cuban-born American artist Ana Mendieta, drawing connections between their practices.

Thursday 25 July, 7–8:30pm Conducted in English

In conversation with Lee Bul

Drawing inspiration from the futuristic vision of nineteenth- and twentieth-century utopian thinkers, Lee Bul’s works offer imaginative views on the development of site and place. In this session, following an introduction by exhibition curator Pauline J. Yao, Lee Bul and architectural historian Cole Roskam discuss ideas of utopia and speculative architecture through the artist’s maquettes.

Thursday 3 October, 7–8:15pm

Speakers: Lee Bul, artist Cole Roskam, Associate Professor, Department of Architecture, The University of Hong Kong Pauline J. Yao, Lead Curator, Visual Art, M+

Conducted in English with simultaneous interpretation in Cantonese

Venue is to be confirmed. To register and learn more, please visit our website.

策劃 Curated by

姚嘉善視覺藝術主策展人

Pauline J. Yao

Lead Curator, Visual Art

與 with

鄭懿行視覺藝術助理策展人

Ethan Cheng

Assistant Curator, Visual Art

林鈴策展助理

Vera Lam

Curatorial Assistant

及 and

王敬瑜 實習生

Jenny Wang

Intern

協力 Supported by

教學及詮釋 Learning and Interpretation

Keri Ryan教學及詮釋策展人 Curator, Learning and Interpretation

王道顯 教學及詮釋助理策展人

Nixon Wong

Assistant Curator, Learning and Interpretation

周曉妍 教學及詮釋項目助理

Christy Chow

Project Assistant, Learning and Interpretation

周珮君 教學及詮釋策展助理

Quinnie Chau

Curatorial Assistant, Learning and Interpretation

陳映亘 實習生

Harmony ChanIntern

藏品及展覽 Collection and Exhibition

Veronica Castillo副總監　藏品及展覽 Deputy Director, Collection and Exhibition

Diarne Wiercinski資深展覽經理 Senior Manager, Exhibitions

周衍亨展覽經理

Kyle Chau

Exhibition Manager

董萍萍 展覽設計師

Ping Ping Tung

Exhibition Designer

Kieran Champion資深佈展及陳列展示經理 Senior Manager, Installations and Displays

黃厚霖 展覽製作技術員

Howard Wong

Exhibitions Production Technician

盧遨川 藝術品技術員

Adrian Lo

Art Technician

徐樂生 藝術品技術員

Nelson Tsui

Art Technician

翁嘉熙 助理展覽製作技術員

Stanley Yung

Assistant Exhibition Technician

Olatz Irijalba 藏品管理專員　借展及展覧 Registrar, Loans and Exhibitions

吳煒彤副藏品管理專員

Phoebe Ng

Associate Registrar

Christel Pesme 資深藏品修復員 Senior Conservator

Alessandra Guarascio藏品修復員　裝置藝術 Conservator, Installation Art

Karina Jagudina藏品修復員　繪畫 Conservator, Paintings

Albrecht Gumlich藏品修復員　物件 Conservator, Objects

Tom Morgan版權事務經理 Manager, Rights and Reproductions

博物館拓展及會籍服務 Museum Development and Membership

Anca Coman -Bal拓展主管 Head, Development

黃潁淇 拓展經理

Victoria Wong

Manager, Development

楊晨 拓展經理

Freda Yang

關允恒 助理活動策劃經理

Ronna Kwan

Assistant Manager, Event Management

Manager, Development

蘇小欣 拓展主任

Connie So

Development Officer

黃思穎拓展主任

Elaine Wong

Development Officer

編輯Editorial

林立偉 資深編輯

Lam Lap Wai

Senior Editor

鍾芳霖 編輯

Flora Chung

Editor

鍾玉玲編輯

Zhong Yuling

Editor

梁雅婷 副編輯

Winny Leung

Associate Editor

平面設計 Graphic Design Fellow

展覽影片製作 Exhibition Video Producers Ocean Pine Studio LimitedLiipstiik Limited

承建商 Construction Contractor里程展覽服務有限公司Link Exhibition and Event Ltd.

翻譯 Translators 羅妙妍 吳楚雯 林嘉敏

Miu Law Aster NgCarmi Lam

對於促成是次展覽的參展藝術家 Lara Almarcegui、馮美華與李昢，以及 The Estate of Ana Mendieta Collection, LLC和Burkhard Brunn博士／E state of Charlotte Posenenske，M+謹此申致謝忱；亦感謝李昢工作室，立木畫廊 (紐約、香港、首爾) 的慕德偉、樂睿昕、E mma Son和Kyoungeun Hwang，紐約 Lelong & Co.畫廊的 Mary Sabbatino和Sarah Landry，東京 Take Ninagawa畫廊的蜷川敦子、Kei Ono、 Rie Kuichi和 Miho Tanabe等的大力協助及支持，以及慷慨借出李昢作品《無題雕塑 W6-2》的林偉而／香港 Living Collection。還要感謝 M+的博物館零售及商務、訪客服務、數碼項目團隊，西九文化區管理局全體同仁，以及其他撥冗協助的人士。特別鳴謝區家輝、 黃俊、呂瑪琳及龍樂天對 Lara Almarcegui的委約項目之鼎力襄助。

M+ would like to express our sincere gratitude to the participating artists Lara Almarcegui, May Fung, and Lee Bul, as well as the Estate of Ana Mendieta Collection, LLC and Dr. Burkhard Brunn/Estate of Charlotte Posenenske for making this project possible. Additionally, we would like to thank Studio Lee Bul; David Maupin, Rachel Lehmann, Emma Son, and Kyoungeun Hwang of Lehmann Maupin, New York, Hong Kong, and Seoul; Mary Sabbatino and Sarah Landry of Galerie Lelong & Co., New York; and Atsuko Ninagawa, Kei Ono, Rie Kiuchi, and Miho Tanabe of Take Ninagawa Gallery, Tokyo for their generous assistance and support. We are grateful to William Lim/Living Collection, Hong Kong for lending Lee Bul ’s Untitled Sculpture W6 -2 to the exhibition. Thanks also go to the staff of M+, especially the teams of Museum Retail and Commerce, Visitor Services, and the Digital Programme; the staff of the West Kowloon Cultural District Authority; and all other individuals who offered extra time and support. Special thanks to Au Ka Fai, Wong Chun, Marlene Lieu, and Dior Lok Tin Lung for their kind assistance with Lara Almarcegui ’s commissioned project.

圖片 Images

2-1 © Take Ninagawa, Tokyo and Estate of Charlotte Posenenske

2-2 Courtesy of Mehdi Chouakri, Berlin, and Take Ninagawa, Tokyo

圖片由柏林 Mehdi Chouakri 畫廊與東京 Take Ninagawa 畫廊提供

3-1 © Lee Bul李昢

3-2

Courtesy of Studio Lee Bul; Lehmann Maupin, New York, Hong Kong, and Seoul; Galerie Thaddaeus Ropac, London, Paris, and Salzburg; and PKM Gallery, Seoul

圖片由李昢工作室、立木畫廊（紐約、香港、首爾）、Thaddaeus Ropac 畫廊 （倫敦、巴黎、薩爾斯堡）及PKM 畫廊（首爾）提供

4 © May Fung馮美華

5 © The Estate of Ana Mendieta Collection, LLC

Courtesy of Galerie Lelong & Co.圖片由 Lelong & Co. 畫廊提供

K&tlffi1'I fflllED~~ M+, All rights reserved © 2019 Hong Kong