C&G 藝術單位; openspace bae; Department of Visual Studies, Lingnan University; and MUDwork
‘In Search of the Peachland’ is an art exchange project involving many different layers of idea exchanges amongst different parties: including 6 art units from Kam Tin and Busan (5 artists and 1 artist group), 12 students from the Visual Studies Department of Lingnan University. They went to Busan for a field trip in the end of February, 2015, to visit different art organizations and art students in Busan. During the trip, it was not difficult to find out that both Hong Kong and Busan also encounter similar problems, when undergoing intensive urban development and redevelopment. After the field-trip, two artists from Busan: KIM Dae Hong and KIM Mi Young came to Hong Kong for an artist-in-residency period in Kam Tin during March. All participating artists from Kam Tin and Busan worked with students together in Kam Tin for various art projects, which were shown on-site on 21st and 22nd of March 2015. In the end, the documentation of the on-site projects was displayed at C&G Artpartment, for a month, for the public to have an overview of the whole exchange program.
Carol ARCHER (區勵志) and Kit KELEN (客遠文)
This publication is a joint project between staff and students of Lingnan University Department of Visual Studies, University of Macau Department of English Creative Writing Program and Pearl Jubilee College.
The 125-page book, is the outcome of a pedagogical, cross-disciplinary project that fostered the creativity of, and between, students of Hong Kong and Macau.
Department of Visual Studies, Lingnan University
Memory Traces is a photography book project which comprises a collection of images created by students of Jack Picone during a studio practice class at Lingnan University. The collective body of work is an exploration of a wide array of themes based on each student's own personal interests.
Visual Studies Programme, Department of Philosophy, Lingnan University
Wordings from Klaus
The word document (from Latin "docere", to teach) first describes something that holds clues or provides proof, usually as written evidence. Much of the document remained in the realm of words until the mid-19th century invention of photography. Daguerre's contemporaries' amazement over the fact that the camera would depict reality quasi automatically made photography and film the quintessential documentary media throughout the 20th and early 21 st century.
Learning to question this automatic trust the technological media have been invested with from early implementations to the time of digital manipulation was a trip the students of Lingnan University's Visual Studies program were perfectly prepared for as students with serious philosophical training.
What neither teacher nor students expected was the amount of fun, the sense of adventure and discovery that was to be had in the wake of our critical discussions of works from the last few decades. Even more surprise lay in the studio aspects of the course, in the way free use and students’ talent in producing visual material enabled us as a class to communicate beyond barriers of language, conformity, academic expectation.
The way students expanded the ideas and limits of the documentary genre was much more than anyone would expect in the first and only studio class in an otherwise theory-oriented program. I was and am endlessly impressed with how willing these fledgling practitioners were to go all out, to spend days with their subjects, to study and develop relationships with topics, people, places and question everything all over again. Their willingness to go below the surface even if it was painful and to be brave enough to discuss very personal findings in public showed their sincere interest in and talent for artistic practice.
I invite you to have a fresh look at a most impressive body of work put together by artists taking flight in a medium that seems ubiquitous to the point of its invisibility. Last but not least I would like to thank my students at Lingnan University for expanding my own vision of what is and what can be documentary art making.
Klaus Knoll, PhD
Artist in Residence, Spring 2008
Visual Studies, Lingnan University