Landescape1823

成立於2020年8月。

受到明斯特的Skulptur Projekte啟發，Landescape 1823是自2020年9月起在香港開展大地藝術 / 場域藝術的一個藝術項目。

我們的未來取決於歷史的種種。在現時的艱難之中，香港人掙扎著想要離開這片曾經擁有的土地。我們看到墻間裂縫，而後從中逃離。然而終究，我們放棄了一切，回到自然與本質之中。我們離開自己的土地，去創造一個新的地景。換言之，我們的目標即是創作大地藝術 / 場域藝術。

我們以公開招募藝術家的形式，召集城市中背景各異的參與者。參與藝術家被邀請到被廢置的地點，用本地材料進行藝術實驗或集體創作。如此創作的大地藝術或場域藝術貼近我們的土地，同時引申到社會歷史議題。

Founded in August 2020

<Landescape 1823> is an art project, inspired by Skulptur Projekte in Münster, has been doing land art/ site-specific art in Hong Kong since September 2020.

Our future is due to layers of history. In current moment of hardship, Hong Kong people are striving to escape from the land we once owned. We discover the cracks between walls and we escape. But after all, we give away all, come to the nature and return to the basics. We escape from our land to create a new landscape. In other words, we aim at creating land art/ site-specific art.

In the form of open recruitment of artists, we gather urbanites from all backgrounds to join. Participating artists are invited to abandoned sites, experimented with and explored forms of collaborative production out of local materials. The land art/ site-specific arts were closely connected to our land while addressing socio-historical issues at the same time.

大地逃逸

沒有地方；很多限制
沒有時間；很多空隙
沒有文字；很多記錄
沒有材料；很多痕跡
沒有準備；很多意外
沒有主題；很多討論
沒有關係；很多辦法

香港的反覆天氣（令我無法進行藝術創作）。

Land Escape

No Site, lots of limitations
No time, lots of interstice
No word, lots of recordings
No media, lots of vestiges
No preps, lots of incidents
No theme, lots of discussions
No problem, lots of solutions

(We cannot make art in) The fickle weather in
Hong Kong.

Landescape1823 由余沅榆策展，在2020年舉行了三次活動，分別在鯉魚門石礦場(Lei Yue Mun old Quarry)和馬灣廢村 (Ma Wan abandoned village)。 Landescape1823 通過公開招募的形式，歡迎來自各個背景的人以藝術家身份加入，邀請他們到廢棄的地方，不帶任何物料，嘗試並探索利用當地材料進行土地藝術。當中藝術家暫時包括以下十三位：Adrian Hon, Cassia Leung , Fok Pak Hin , Grace Leung Hiu Ling , iv tsz man chan , Jay Lau , Martha Hatch (S.A.) , Mui Hoi Ying , Kaviengcheng , Rose Wei , Ringo Lo , Shirley Mok , Sin Man, Tiffany Cheung, Natalie Fung, Natalie Chu, Michele Chu, Michelle Tam Man Ching , Vunkwan, Wing Sze Ng。

2020年是怎樣的一個年份? 2020年活在過去無法修補的陰影下，面對政治對城市的撕裂，我們無能為力。還未等到惡夢在夢中散去，一輪始料不及的疫情禁閉了我們的肉體，折磨我們的靈魂。面對龐大的壓迫，一個又一個的藝術群體如皮球在城市的夾縫反彈而出。在眾多皮球當中，我們就如一個還未完成充氣就滾到海邊的小皮球，不停被海浪沖洗拍打。

周遭的世界愈來愈陌生，是我們整個時代正在面對的事。城市的快生快滅，令人喘息追趕。我們還未趕及體驗及哀悼所失去的；老街的拆卸、舊樓的收購、大海的封鎖，霎眼就改頭換面，建成了新簇的高樓大廈。廢墟的存在提供了一個「現場」，讓我們冷卻時間，把城市缺乏的「失去經驗」追回來。

廢墟是一面能反映歷史及現實的鏡子，而空間的想像總是走在時間的前面。我們以時間換取空間，賦予生命給佈滿灰塵的物件，重新定義廢墟。Landescape1823的創作是某一時空的文化產物，不僅是形式技巧的呈現，更在乎藝術家如何回應其所身處的社會境況，以至作品與其展示場域的互動。

後記:猶記得一切都是在2020年8月一夕間產生，由開設社交網站帳號到公開招募以至決定地點的過程都非常倉猝。

計劃名字是因為突然想起政府一站通的熱線，於是便有了Landescape1823 (地逸一八二三）這個名字（歡迎各位致電1823 查詢香港土地問題）。

Landescape1823 is curated by Yue Yuen Yu, has been held thrice so far, in Old Lei Yue Mun Quarry and Ma Wan abandoned village respectively. In the form of open recruitment of artists, we gather urbanites from all backgrounds to join. Participating artists are invited to abandoned sites, experimented with and explored forms of collaborative production out of local materials. The land art/ site-specific arts were closely connected to our land while addressing socio-historical issues at the same time. At this moment, participating artists include, Adrian Hon, Cassia Leung , Fok Pak Hin , Grace Leung Hiu Ling , iv tsz man chan , Jay Lau , Martha Hatch (S.A.) , Mui Hoi Ying , Kaviengcheng , Rose Wei , Ringo Lo , Shirley Mok , Sin Man, Tiffany Cheung, Natalie Fung, Natalie Chu, Michele Chu, Michelle Tam Man Ching , Vunkwan, Wing Sze Ng.

How was the year 2020? In 2020, we lived in the shadow of the past that could not be mended. Facing the city rift, there is nothing we can do. Before the nightmare dissipated in the dream, an unexpected surge of epidemic confined our bodies and tortured our souls. The huge oppression forcing artist commune, like a ball, one after another, bounced out of the cracks in the city. Among the many balls, we are like a small ball that rolls to the beach before it is fully inflated, constantly being washed and beaten by the waves.

The world around us is getting more and more unfamiliar, that our entire epoch is encountering. The fast pace of birth and death of this city is a respite to catch up. While we have not been in time to experience and mourn what we have lost; the demolition of old streets, the acquisition of old buildings, and the blockade of the sea, all instantly turned into new clusters of high-rise buildings. The existence of the ruins provides a “site” for us to freeze time and evokes the “lost experience” that the city lacks.

Ruin is a mirror that can reflect history and reality, but the imagination of space is always ahead of time. We trade time for space, give life to dusty objects, and redefine the ruins. The creation of Landescape1823 is a cultural product of a certain time and space, not only the presentation of formal skills, but also how the artists respond to the social situation in which they are in, and showcase the interaction between the work and the exhibition field.

Afterword: I remember that all happened within one night in August 2020, from social platform registration to location decision.

The name Landescape1823, come from the Govt hotline 1823 (you are welcome to call 1823 for inquiries for Hong Kong land issues).