2 3

4 5

本本教教材材套套的的內內容容沒沒有特有特定定的使用的使用次次序序；；教教師師預備預備課課堂堂時時，，可可按按課課堂堂所需所需，，

調調動動或或獨獨立立使用使用其其中中部部份份內內容容，，並並從從以以下方面探下方面探討討蕭蕭偉偉恒恒的作的作品品

《《消消失失於於未未來來幾個幾個十年十年》》::

→ 設有的三個主題

→ 為每個主題提供的為每個主題提供的討論問題

→ 以以延伸活動作為訪校體驗的延展或未來計劃的起點作為訪校體驗的延展或未來計劃的起點

關於蕭偉恒 6

《消失於未來幾個十年》 10

主題一：消失與可見 14→ 挑選過程

→ 發展與保育

→ 消失與價值 → 延伸活動：給未來的禮物、展示物件

主題二：時間與變化 20→ 時間的概念

→ 幻想變化

→ 未來與無常 → 延伸活動：「Dear Photograph」（致親愛的照片）、縮時訊息

主題三：主觀與客觀 26→ 類型學攝影

→ 語境抽離

→ 攝影與客觀

→ 延伸活動：剪下來，貼上去、不同種類的類型學

The information in this resource pack can be approached in any order; each section can be rearranged and individually used to fit your lesson plan. This resource pack explores Siu Wai Hang's work DisapDisapppearing over the Decades

through 3 themes,while providing a number of entry points for discussions of each theme, and including extended activities as ways to follow up on experiences or as starting points for future projects.

The information in this resource pack can be approached in any order; each section can be rearranged and individually used to fit your lesson plan. This resource pack explores Siu Wai Hang's work

earing

over the Decades

through ,while providing a number of entry points for of each theme, and including

as ways to follow up on experiences or as starting points for future projects.

→ → →

6ABOUT SIU WAI HANG

10 DISAPPEARING OVER THE DECADES

14

THEME 1: DISAPPEARANCE AND VISIBILITY

Selection ProcessDevelopment and PreservationDisappearance and ValueExtended Activities: Present for the Future, Presenting Objects

20THEME 2: TIME AND CHANGE

Concept of TimeImagining ChangeFuture and UncertaintyExtended Activities: ‘Dear Photograph’, Time-lapsed Message

26

→ → → →

→ → → →

→ → → →

THEME 3: SUBJECTIVITY AND OBJECTIVITY

Typology Photography Taking Things out of ContextPhotography and ObjectivityExtended Activities: Cut out of Context, Different Types of Typology

6 7

ABOUT SIU WAI HANG

Photographer Siu Wai Hang was

born in Hong Kong. He graduated with a

Bachelor of Arts in Creative Media from the

School of Creative Media, City University of

Hong Kong, and then furthered his studies

with a Master of Fine Arts at The Chinese

University of Hong Kong. Winner of the

WYNG Masters Award 2013/14 and 2015/16

and ifva Emerging Talent Award in 2016,

his works have been shown in various solo

and group shows. Siu works mainly with

photography, and his work is collected by

the Legislative Council of Hong Kong, as

well as by private collectors.

Siu taught himself photography at

the age of thirteen. Interested in the

relationship between photography and

reality, he reflects on the indexical and

documentary nature of photography,

and questions the habitual perception

of the medium as factual and objective.

He reminds us that people often forget

that ‘photography is a kind of human

activity.’ Siu regards photography as

ultimately a means for one to understand

human beings and the world; it reminds us

of the ubiquitous presence of a form of

subjectivity in the process.

For Siu, inspiration for his

photographic works is a matter

of having sensitivity towards his

surroundings. His early work X (2010)

is a series of large-scale panoramas of

Hong Kong urban scenes and landscapes,

which show life within the crowded and

constantly growing city through fine

details. Siu further delves into urban

issues close to his heart, such as the

loss of nature due to rapid urbanisation

in Metropolis Chlorophyll (2010), and

the urgent issue of air pollution in The

Roadsider (2013).

Siu’s father settled in Hong Kong

as an illegal stowaway in the 1970s. As

such, Siu became interested in exploring

notions of roots and identity in his

works. Aware of the societal changes

that handover has brought to the city,

Siu reflects on the ambivalent relationship

between Hong Kong and the Mainland

through the notions of distance, personal

and collective history in Inside Outland

(2013), and through the idea of the

obstructed view and inaccessibility in

The Elusive (2015). An ambiguous physical

and psychological distance that is neither

close nor far, the unspoken tension

across the border is visualised through

his experimentation with photography

and moving images.

關於蕭偉恒詳細資料，可瀏覽蕭偉恒的個人網頁：

www.siuwaihang.net，或上網收看

其訪問: https://www.youtube.com/

→ watch?v=OB7asAiVsv4 。

攝影師蕭偉恒生於香港，為香港城市

大學創意媒體文學士，並於香港中文大

學取得藝術碩士學位。他曾獲得2013/14

及2015/16年WYNG大師攝影獎及2016年

ifva藝術家新秀獎。他主要以攝影進行

創作，作品曾於多個個展及聯展展出，

並獲香港立法會及多位私人藏家收藏。 研究觸動自己的城市議題，例如《逐「綠」

蕭偉恒十三歲時開始自學攝影。他的 都市》（2010）中因急速城市化而消失的

創作集中探討攝影和現實之間的關係， 大自然，以及《路邊．草》（2013）中日益

反思攝影指示和記錄現實的性質，並 嚴重的空氣污染問題。

詰問一般人以為攝影總是敘述真相及 蕭偉恒的爸爸於1970年代偷渡來港，

客觀的固有看法。他以作品提醒觀者： 促使他藉由攝影探索歸屬感和身分等

我們往往忘記「攝影是一種人性化的 議題。他察覺回歸為香港帶來了社會轉變，

活動」。他將攝影視為了解人類和世界的 遂以作品反思香港與內地之間的矛盾

終極手段；而在了解兩者的過程之中， 關係，例如以《境內景外》（2013）思考

攝影提醒了我們主觀性其實是無處不在。 地域距離、個人和集體歷史的觀念，以及

對蕭偉恒而言，其攝影作品的靈感來 透過《捉不到的》（2015）闡述阻隔的

自他對周遭事物的敏銳觀察。他的早期 視野和無法觸及的界限等概念。中港

作品《X》（2010）是一系列巨型全景 兩地之間，在物理和心理上存在着含糊

相片，拍攝香港城市景觀和風景。他透過 不清、似近還遠的差距；他透過實驗性的

捕捉細節，展示在這個不斷膨脹的擠迫 攝影和流動影像，把兩地之間無法言喻的

城市中，人們如何生活。後來，他進一步 張力呈現於觀眾眼前。

Learn more about Siu Wai Hang on his

website: http://www.siuwaihang.net/

or watch his video interview: https://www.

youtube.com/watch?v=OB7asAiVsv4 .

8 9

《X》

2010年

攝影

X 2010 Photography

10 11

DISAPPEARING OVER THE DECADES

M+ Rover will traverse Hong Kong

to collect things that are at risk of

disappearing from Hong Kong in

the next fifty years. These things

could range from tangible objects,

such as clothes, consumer products

or memorabilia, to intangible things,

such as ideas or values. In the

workshop, participants will be asked

to bring several objects that could

illustrate their predictions, and that are

deemed worthy of preservation in the

archive. They will be examining these

items as ‘future artefacts’ through a

negative image of the objects, and

discuss their significance and reasons

for disappearance. The effect of a

negative image adds an element

of unfamiliarity to these otherwise

common objects. The strange encounter

with these unknown lost artefacts of

the past provides the needed distance

for the participants to re-examine

these objects. After a process of

discussion and deliberation, the group

will select the final items that deserve

to be documented and preserved in

the archive. These items will then be

photographed with Polaroid cameras in

the method of typology photography,

and documented with participants’

written predictions of the cause of their

disappearance. The developing process

of the Polaroids will be filmed, while the

resulting video clips will be presented in

a reversed version on the M+ Rover.

Reversing colour and time in

the process, Siu manipulates the

photographic and video images

to draw on the irreversibility of

disappearance. Interventions within the

process of image-capturing give Siu the

opportunity to create the experience of

time-passing and visualise the notion of

‘loss’. Siu explores essential qualities

of photography such as temporality,

visibility and subjectivity in this work,

and draws our attention to things that

are disappearing gradually and quietly in

our lives.

《消失於未來幾個十年》

→

「M+ 敢探號」將會穿梭香港各區，收集

未來五十年間在香港瀕臨消失的東西，從有

形的物件如服裝、消費品或具紀念價值的

個人物品，以至無形的事物如想法或價值

觀等。蕭偉恒將邀請參與者攜同這些他們

預計會消失、並值得保存的東西參與工作

坊。參與者將檢視這些「未來文物」的負片

影像，並討論它們的重要性及消失的原因。

負片效果把為人熟悉的日常物件變得不

尋常。這些不明來歷並已消逝的「文物」 蕭偉恒在過程中把攝影和錄像的

讓參與者感到陌生，讓他們從適當的距離 色彩和時序倒轉過來，試圖凸顯「消失」

重新審視物件。經過討論後，參與者將 是不可逆轉的。他介入了影像捕捉及

選出最終得以被存檔並保留於資料庫的 顯影的過程，令時間的流逝變得具體，

「文物」。他們會以類型學攝影方式拍攝 並以視覺元素呈現「消逝」這概念。他

物件，並撰寫物件的預計消失原因。即影 透過這件作品，探索攝影的基本特質，

即有相片的顯影過程會被錄影，其後以 如時間性、可見性及主觀性，並提醒我們

倒序方式於「M+ 敢探號」上播放。 留意生活中正無聲無息地消失的東西。

12 13

以時間審視變化，透過變化審視時間

時間與變化

TIME AND

CHANGE

細察身邊存在的主觀性，以保持客觀

O DV I

ER T

SA

PPH

E EA

R DE INC

A GD

E

S1

DISAPPEARANCE AND

VISIBILITY

Making Disappearance

Visible 2 TIME

AND CHANGE

Examining Changes through Time, and Time

through Changes

3

讓「消失」呈現眼前

消失與可見

DISAPPEARANCE AND

VISIBILITY

主觀與客觀

SUBJECTIVITY AND

OBJECTIVITY

SUBJECTIVITY AND

OBJECTIVITY

SIU

WA

I HA

NG

Be Aware of Subjectivity to Maintain Objectivity

14 15

主題一

THEME 1

消失與可見

DISAPPEARANCE AND VISIBILITY

Participants of Disappearing over

the Decades are asked to bring items

they think will disappear from Hong

Kong in the next fifty years. With a

negative image of these objects, they

will examine, discuss and explore

the story behind the items’ possible

disappearance, considering personal,

social, economic, cultural, political

or even imaginative factors. After the

discussion and deliberation process,

they will select a final list of items that

will be documented and preserved into

the archive. Each person will choose one

item from the list, create a record of it

with a Polaroid camera, and give his or

her statement elaborating the reasons

why the item is chosen and by which year

it will disappear. The developing process

of the Polaroid image will be recorded

on video, and the resulting clips will

be presented in a reversed version as

an exhibit. Giving form to the notion of

disappearance, Siu plays with visibility

with these negative and fading imageries,

and brings our attention to the loss

of unobserved habits, values and

memories over time.

Siu plays on visibility in his works

to shed light on issues that are often

neglected in our society. For Metropolis

Chlorophyll (2010), Siu made use of

infrared photography to highlight the

vanishing green spaces within the

concrete jungle that is Hong Kong. In

The Elusive (2015), he played with the

idea of an obstructed view as he created

a series of images that ‘peep’ into

military barracks occupied by Chinese

military forces. Presenting the images

in motion like a flipbook, Siu highlights

how the view through the barracks is

never complete; however, as you look

in motion through different angles, as

if you were driving by, a more complete

picture emerges. With his play on the

isolated and invisible presence of the

Chinese military force, Siu’s fleeting

images explore notions of obstruction

and clarity, visibility and distance, in

relation to complex Hong Kong–China

relations.

→

蕭偉恒的作品常以「可見性」入題，

《消失於未來幾個十年》的工作坊中， 讓人窺見今天社會常被忽略的議題。

參與者將會攜同他們認為於未來五十年 以《逐「綠」都市》（2010）為例，

將消失於香港的東西。透過這些物品的 他運用紅外線攝影手法，突出香港這座

的負片影像，他們會從個人、社會、經濟、 「石屎森林」中正逐漸消失的綠色空間。

文化、政治甚至是天馬行空的角度出發， 在《捉不到的》（2015）中，他則

跟其他參與者一起討論物件消失背後的 透過被阻隔的視野，創作了一系列透過

故事。商議過後，他們將選出值得被記錄 鐵絲網窺探解放軍軍營的照片。這些

及存檔的東西。每個參與者會挑選其中一 照片以連續翻揭的方式展示，凸顯一種

件東西，用即影即有相機將其拍攝存檔， 可見性：透過鐵絲網窺探是永遠無法

並撰寫報告，詳述物件可能消失的原因 看到完整畫面的，不過當你從不同角度

和年份。即影即有照片的顯影過程將會 察看它的動態影像（就像坐在車上途經

被攝錄下來，以倒帶的方式播放。蕭偉恒 觀看似的），就能得到一個更全面的

利用負片和漸漸褪色的影像把「消失」 畫面。蕭偉恒以這輯稍縱即逝的影像

的概念具體呈現，探索事物的可見性， 展示解放軍在香港似有還無的存在，

提醒了我們經年月的洗禮而常被忽略的 並在複雜的中港關係這個框架下，探索

習慣、價值觀和回憶。 阻隔和清晰、可見與距離等概念。

16 17

Teachers can lead student discussion or creative work with the following entry points and extended activities:

Selection Process

What was the deliberation and

debating process like? Did your views

get challenged, altered or justified?

Did your perspective on an item change

after the process? Do you think it was

important to have the conversation and

discussion before making a decision?

Why or why not?

Development and Preservation

Technology and development have

been major driving forces for societal

changes. As cities grow in the name of

progress, what gets lost along the way?

Are development and preservation

mutually exclusive? Some take the

view that change and succession are

inevitable as a result of human progress

– do you agree?

Disappearance and Value

What constitutes the value of an

item? Is this value related only to the

item’s function and use? What does

the disappearance, and at times the

resurgence, of certain items tell you

about their value, people's tastes and

habits? What factors contribute to an

item's rise and fall in popularity?

教師可以運用以下問題及延伸活動帶領學生討論或創作：

Teachers can lead student discussion or creative work with the following entry points and extended activities:

個 有 挑選過程 案分析：每件消失的東西背後都 一個

故事，訴說着人們善變的想法及偏好。請看看你覺得商議和辯論的過程如何？你的

以下例子，討論一下這些東西為何會消失於

觀點在過程中有被質疑或改變、或獲得 我們的日常生活之中。

肯定嗎？你對某件物件的立場有沒有改變？：每段消失的聲音，都有故事 「Museum of 你認為作決定前先討論重要嗎？為甚麼？

Endangered Sounds」（瀕危聲音博物館）

http://savethesounds.info/發展與保育

科技和發展一直是社會轉變的兩大 ：每件消失於人前的藝術品，都有故事

Tate s Gallery of Lost Art推動力。當城市以發展之名而擴張，當中 「 ’ 」（泰特博物館

「失落的藝術品」資料庫）必然失去甚麼？發展與保育是否必定背道

http://galleryoflostart.com/而馳？有些人認為，改變與更迭是人類

社會演進之下無可避免的結果，你同意嗎？ ：每段關係的終結，都有故事 「Museum of

Broken Relationships」（失戀博物館）

https://brokenships.com/消失與價值

如何評定一件事物的價值？事物的 ：每張被丟棄的便條背後，都有故事

價值是否僅是跟其功能和用途有關？一件 「Found Magazine」（尋物誌）

http://foundmagazine.com/事物的消失（或再度出現），如何反映其

價值，以及人們的品味和生活習慣？哪些

因素導致某件事物的興衰？

展示物件

延伸活動 試構思一份博物館展覽的計劃書，

給未來的禮物 嘗試用不同方式去看待某件物件，例如

請列出你想留給後世或後代的東西， 其文化、歷史、學術或美學方面的價值。

令他們稍微了解今天的生活：例如一張列 這個名為「社區博物館計劃」的另類民間

出購買日期與日常物品現今價格的收據， 博物館項目正是一個好例子：http://www.

或是一份今天的報紙。 hkcmp.org/cmp/c_002.html

Case study: Stories of lost items have

much to say about the shifting nature

of human perceptions and priorities.

Explore and discuss the reasons why these

things have disappeared from our lives.

Explore stories of every disappearing sound

at the Museum of Endangered Sounds:

http://savethesounds.info/

Explore the stories of every artwork at the

Tate’s Gallery of Lost Art:

http://galleryoflostart.com/

Explore stories to every relationship that

ended:

https://brokenships.com/

Explore stories of every found notes:

http://foundmagazine.com/

Extended Activities

Present for the Future

Create a list of items that you would

keep for future generations, or your

future children. Think of items that would

shed light on current-day life. How about

a receipt with a date that indicates the

price of a commodity, or a copy of today’s

newspaper?

Presenting Objects

Explore different ways of looking at

an object, such as its cultural, historical,

academic or aesthetic significance with

a museum exhibition proposal. This

example of an alternative local museum

project is a great case to start with:

Community Museum Project, http://www.

hkcmp.org/cmp/c_002.html

18 19

《逐「綠」都市》

2010年

攝影

Metropolis Chlorophyll 2010Photography

《捉不到的》

2015年

攝影及機械組件

The Elusive 2015

Photography and mechanical components

20 21

THEME 2

TIME AND CHANGE

Instead of the original items,

participants will be examining negative

images of these items. The reversed

colour creates a sense of distance that

is parallel to the strange encounter

of a foreign and unfamiliar object.

Playing with this fundamental element of

the photographic imaging process, Siu

creates the sense of time-passing and

invites the participants to look at these

objects and what they represent through

different lenses. Hong Kong seems

obsessed with speed and efficiency; as

a result, we can sometimes feel a lack of

control amidst the constantly changing

social, cultural and political landscape.

Disappearing over the Decades reflects

on speed, change and unpredictability

as it asks how drastically things might

change over the course of fifty years.

By imagining Hong Kong’s future, we

can expand our understanding of

present-day living conditions and also

envision the kind of world we want to

live in. Visually explored through these

acts of reversing colour and time in the

images and videos of these objects,

the topic of disappearance and change

points to the passing of time, the

succession of trends and historical

progression.

For Disappearing over the Decades,

Siu uses video and photography

to investigate notions of time and

disappearance. For the interactive work

Invented Dream (2012), Siu programmed

an interactive device to imitate camera’s

shutter speed and replay time and space

in real time. The work visually represents

past moments coming together to a

delayed present point. In Inside Outland

(2013), Siu explores notions of past and

present, identity and history, as he

re-enacts his father’s illegal swim across

the border in the 1970s—this time going

from Hong Kong towards Shenzhen.

Consisting of photographs and a video,

the work depicts a viewpoint floating in

the ocean, looking to the distant lights of

Shenzhen, which could be mistaken for

Hong Kong. Siu adds recollections from

other voyagers and changes the names

of the two cities to ‘here’ and ‘there’.

By blurring notions of time and place,

he encapsulates attitudes towards

progress, change and the constantly

shifting relationship between the

mainland China and Hong Kong –

economically, socially and politically.

The work invites viewers to reflect on

the roots and perceived core values of

Hong Kong people, and how the city’s

complex and shifting identity has come

into being.

主題二

時間與變化

→

參與者將觀察物件的負片影像，而

非它們的實物。倒轉的色彩令物件變得

陌生，讓人產生距離感。蕭偉恒利用這種

攝影顯影的基本元素，營造了時間的

流逝，並邀請參與者細察這些物件，思考

在不同的角度之下，這些物件可以代表

的東西。香港像是個信奉速度和效率的 捉和播放時間和空間的變化，以視覺

城市，社會、文化和政治局勢不斷轉變， 形式延遲並展示過去的瞬間如何構成

往往令人感到難以掌握身邊的事物。 當下。他在另一件作品《境內景外》

《消失於未來幾個十年》思索當下的日常 （2013）中，沿着父親1970年代偷渡

會否於未來五十年間變得面目全非，藉以 來港的路線反其道而行，由香港游向深圳，

反思世事變幻莫測，轉瞬即逝。透過想像 探索過去與現在、身分和歷史的概念。

香港的未來，我們將更了解當下的生活 這組作品包括一組照片及一段錄像，

狀況，並遙想自己心目中的理想世界。 以在海中飄浮的角度拍攝，遙看遠處

蕭偉恒把影像及錄像的色彩和時序倒轉， 萬家燈火，彼岸的深圳看起來就像香港。

以視覺形式探討「消失」和「改變」， 他亦將偷渡者的對白放進作品裏，將對話

指向了時間的流逝、潮流的更迭和歷史 中的兩個城市以「這裏」和「那裏」取代。

的演進。 蕭偉恒模糊時空地域的分界，在作品裏

涵蓋了他對發展、改變, 以及中國大陸

在《消失於未來幾個十年》裏，蕭偉恒 和香港兩地之間在經濟、社會和政治方面

運用錄像和攝影探究何謂時間和消逝。 不斷變化的關係之取態。作品邀請觀眾

在互動作品《發明了發夢》（2012）中，他 反思香港人的「根」及核心價值，以及

以電腦程式模擬相機的快門速度，實時捕 香港不斷轉變的複雜定位從何而來。

22 23

Teachers can lead student discussion or creative work with the following entry points and extended activities:

Concept of Time

What is time and what causes

time? What are we measuring when we

measure time? What is the perception

of time based on? What are other ways

to think of the concept of time?

Get some perspective on your day

with the interactive infographic ‘Here is

Today’: http://hereistoday.com/. What are

other ways we can employ to examine,

measure and present time?

Imagining Change

What was it like imagining life and

changes in the next fifty years? If you

were given the chance to actually

time-travel, when and where would you

go, and why? What are the major changes

you could imagine and differences you

would want to experience? Why is this

important and meaningful to you?

Future and Uncertainty

Do you think uncertainty is good or

bad? Do you foresee any uncertainties

in your future? How do you deal with the

excitement or fear it entails? How could

you predict or prepare for the unknown?

個案分析：縮時攝影是其中一個捕捉時間

流逝的方法。請到以下網站，看看世界在

這幾十年以來的轉變，並加以討論。

http://world.time.com/timelapse/

時間的概念

時間是甚麼？它的起源何在？當我們 延伸活動

計算時間，其實是在計算甚麼？時間的 「Dear Photograph」（致親愛的照片）

觀念基於甚麼事物？思考時間的概念時， 請瀏覽網站 http://dearphotograph.

有其他方式嗎？ com/。「Dear Photograph」是個攝影

請瀏覽以下的互動網站「Here is 項目，人們會上載特定主題的照片：他們

Today」: http://hereistoday.com/， 都手拿一張舊照片，並在同一場景把舊

用不同角度看看你身處的今天。我們還可 照片再翻拍一次。

以用甚麼方式審視、計算和展示時間呢？ 「現在請為一張過去的照片拍一張

照片」，然後寫個訊息給那張照片。討論

幻想變化 一下照片背後的故事，以及這個故事跟你

想像未來五十年的生活以及改變， 的關係。

感覺如何？如果你有機會穿越時空， 請用相同手法想像未來。找一張最近

你想去哪個年代、哪個地方？為甚麼？ 在特定地點拍攝的照片。然後，把照片

你想像那時那地會有甚麽重大的改變， 貼在一張紙上，在照片周圍繪畫出拍攝

並希望從中獲得甚麽不同的經歷？其 地點在五十年後的變化。為這張作品寫個

重要性和意義何在？ 訊息，並跟同學分享。

未來與無常 縮時訊息

你認為「世事無常」是好是壞？你預料 記錄某個特定地點一段長時間，拍成

自己未來會遇到甚麽未知的狀況嗎？無論 照片或縮時短片。地點和時間可隨意挑選，

是驚是喜，你如何面對這種隨之而來的 以突出你想強調的變化。請討論一下挑選

心情？你如何預測未知，並為此做好準備？ 的原因，以及所拍下的變化有何意義。

Case study: Time-lapse is one way to

capture the passing of time. Watch how

the world changes over decades on this

website and discuss your views on the

changes:

http://world.time.com/timelapse/

Extended Activities

‘Dear Photograph’

Explore the ‘Dear Photograph’ project

(http://dearphotograph.com/), where

people upload photographs of them

holding an older photograph, lined up to

match their original setting.

‘Take a picture of a picture from

the past in the present’, and create a

message for the image. Discuss the story

behind the picture and how it relates to

you personally.

Look ahead with the same method.

Use a current photo taken at a specific

location; on a piece of paper, draw around

the photo how the landscape might

change in fifty years. Write a message to

accompany the work and share with the

class.

Time-lapsed Message

Record a fixed location over time,

with either photographs or time-lapse

video. Pick a location and time that will

highlight the message of change that

you want to present. Discuss the subject

matter and the meaning of the captured

changes.

教師可以運用以下問題及延伸活動帶領學生討論或創作：

Teachers can lead student discussion or creative work with the following entry points and extended activities:

24 25

《發明了發夢》

2012年

單頻道互動電腦裝置

《境內景外》

2013年

攝影 (燈箱連燈片)

Inside Outland 2013 Photography (transparency with light box)

Invented Dream 2012 Single-screen computer-based interactive device

26 27

THEME 3

SUBJECTIVITY AND OBJECTIVITY

Siu wants the process of selecting

these objects to be objective and

democratic in nature; in contrast to

the more personal angle when they

first came up with the items before

the workshop. Examining these

unknown ‘future artefacts’ through

their negative images was a way

to create the distance for a more

objective observation and discussion.

After selecting the ‘future artefacts’,

participants will create a profile for

each of them with written predictions

of the cause of their disappearance.

Photographs of the objects will also

be taken, particularly in the style of

typology photography, with a Polaroid

camera. Typology is a study of types;

photographic typology refers to images

of related forms or subject matters,

often shot in a consistent and detached

manner. In using typology photography,

Siu wants to capture the essence of the

object by taking it out of its context—

similar to how a museum would take

a significant object out of its original

context and preserve it for the benefit

of future generations. The resulting

standardised and de-contextualised

images display a level of objectivity

that is often associated with

photography.

Siu often contemplates the

paradoxical relationship between the

perceived objectivity of photography

with the innate subjectivity of the

photographer. Siu adopts this approach

in The Roadsider (2013), in which he

took samples of roadside vegetation

from various districts in Hong Kong.

He photographed them as specimens

of roadside pollution in a typological

approach. Taken away from their habitat

and original context, the plants are set

against a black background; dust and

particles that cover the plants become

more visible in the detailed and blown-up

images of the fragile plants. The

objective, de-contextualised approach

is a way to shift the focus to the

essential subject matter—a reflection

on urban expansion and how it has

affected our environment.

主題三

主觀與客觀

→

蕭偉恒希望選取「未來文物」的過程

是客觀及民主的，以對照參與者在工作坊

前，以個人的角度思考甚麼物件將會消失。

透過檢視不明來歷的「未來文物」的負片

影像，讓參與者抽離於當下環境，客觀地

進行觀察及討論。選取「未來文物」後，

參與者會為每件「文物」建立專屬檔案，

綜合挑選該物件的理由。他們亦會利用

即影即有相機，以類型學攝影風格拍攝 蕭偉恒經常思考攝影和攝影師之間

物件。類型學以分組歸類為研究重心； 的弔詭關係──攝影總給人客觀的感覺，

類型學攝影則指以抽離、連貫的方式拍攝 而攝影師卻是主觀的。《路邊．草》（2013）

有着相關形像或題材的事物。蕭偉恒透過 這一組作品裏，他以類型學的角度拍攝香

使用類型學攝影，把特定的物件從本來的 港各區路邊的植物，作為路邊空氣污染的

語境中抽離，以此捕捉其本質。這種手法 樣本。這些植物被抽離於原本的環境和語

類似博物館，將某件重要物件與本來的 境，擺放在黑色背景前拍攝；植物上的

環境分隔，加以妥善保存，以流傳後世。 塵埃和微粒在放大的照片中顯得更明顯，

參與者所拍下的照片有着近似的攝影風格， 而植物本身則顯得脆弱。蕭偉恒以客觀、

物件從原有語境中被抽離，展示一種攝影 抽離的攝影角度把重點轉移到至關重要

特有的客觀性。 的主題──城市的擴展及其對環境的影響。

28 29

Teachers can lead student discussion or creative work with the following entry points and extended activities:

Typology Photography

Why do you think Siu uses typology

photography? What are the advantages

towards narrating does a volume of

images with similar qualities have

compared to a single image? How did

you approach the task and how do you

maintain objectivity?

Taking Things out of Context

What is your view on taking an object

out of its context – to be collected

for a museum or photographed for a

message? What are the pros and cons,

and why? Do you agree with Siu's view

that de-contextualisation brings forth the

essence of the item?

Photography and Objectivity

‘Picture speaks for itself.’ Do

you think photography is objective

in nature? Consider the various

types of photography: documentary,

photojournalism, portraiture, etc. How

present is the photographer in the

process? Think of the different ways

images are used, for news, social media,

textbooks, etc. How does the context

affect the style of the images? Do you

think an awareness of subjectivity (a

sense of self) is important for you as the

viewer, and as the photographer?

教師可以運用以下問題及延伸活動帶領學生討論或創作：

Teachers can lead student discussion or creative work with the following entry points and extended activities:

：個案分析 今天，社交媒體的圖片正以排山

倒海的規模轟炸我們。請瀏覽以下以圖片

為主的網上平台。平台上的圖片反映了現代

是個怎樣的世代？

https://www.flickr.com/

類型學攝影 https://www.instagram.com/

https://www.pinterest.com/你認爲蕭偉恒為甚麼要運用類型學攝

影手法？相比於單張圖片，以一批有着相似

特徵的圖片敍述有甚麼好處？你如何着手

拍攝，同時保持客觀？

語境抽離 延伸活動

把物件從原來語境中抽離，例如納入 剪下來，貼上去

博物館館藏或拍下來表達獨有的訊息， 從雜誌或其他刊物的插圖裏，剪下一

你對此有甚麼想法？當中有甚麽利弊及 件物件，然後把它貼於另一個背景或風景，

原因？蕭偉恒認為，把物件抽離於原來的 以創作一個新的畫面。解釋一下你希望以

語境有助突出其本質，你同意嗎？ 這個新語境表達的訊息。

攝影與客觀 不同種類的類型學

「有圖有真相」，你認為攝影本身是 類型學可以運用在很多不同範疇。

客觀的嗎？請考慮不同形式的攝影，例如 請運用一些常見的類型學方式訴說你

紀錄攝影、新聞攝影、人像攝影等。攝影 的故事：拍攝你的私人珍藏（http://the-

師在攝影過程中明顯存在嗎？請想想圖片 typology.com/）、模仿藝術家Michael

的不同用途，例如在報紙、社交媒體或 Wolf（http://photomichaelwolf.com/）或

教科書等。圖片的使用語境如何影響圖片 石家豪（http://www.wilsonshieh.com/）

的拍攝風格？作為觀者或攝影師，你認為 從身邊事物取得創作靈感、或觀察更廣的

意識到個人的主觀性（自我存在意識） 範疇例如建築與城市的關係（http://www.

重要嗎？ windowsofnewyork.com/）。

Case study: We are constantly bombarded

by images on social media. Explore the

following image-driven platforms. What

do these images say about the current

generation?

https://www.flickr.com/

https://www.instagram.com/

https://www.pinterest.com/

Extended Activities

Cut out of Context

From a magazine or other visual

source, cut out an object and place it

on another background or landscape to

create a new scene. Explain the message

you want to convey through this new

context.

Different Types of Typology

Typology can be applied to many

fields. Use common types to tell your

own story: photograph your personal

collection (http://thetypology.com/); or

take inspiration from your surroundings

like the artists Michael Wolf (http://

photomichaelwolf.com/) and Wilson

Shieh (http://www.wilsonshieh.com/);

or look at broader disciplines such as

architecture and cities (https://itunes.

apple.com/hk/app/hong-kong-typology/

id555344974?mt=8, http://www.

windowsofnewyork.com/)

30 31The Roadsider 2013 Photography

「M+ 敢探號」

蕭偉恒：《消失於未來幾個十年》

由M+教學及詮釋組策劃

2016 年 5 月 至 7 月

M+ Rover

Disappearing over the Decades

by Siu Wai Hang

is curated by the

M+ Learning and

Interpretation team

May–July 2016

計劃團隊

方詠甄

主策展人

胡沐雲

副策展人

林韻姿

活動統籌

莫雅宜

策展助理

楊柏匡

活動助理

Project Team

Stella Fong

Lead Curator

Athena Wu

Associate Curator

Tracy Lam

Programme Coordinator

Anne Mok

Curatorial Assistant

Dicky Yeung

Programme Assistant

《路邊．草》

2013年

攝影

教材套

撰稿

黎穎

翻譯

林嘉敏

審稿

Teacher’s Resource Pack

Contributor:

Winnie Lai

Translator:

Carmi Lam

Copy Editor:

Michael Lacoy

設計 Design

Milkxhake

www.milkxhake.org

在此感謝蕭偉恒構思《消失於未來幾個

十年》﹑ParallelLab在籌劃過程中給予寶貴

意見，及黃國才參與「M+敢探號」的設計。

Special thanks to Siu Wai Hang for

envisioning Disappearing over the

Decades, Parallel Lab for giving us

invaluable advice throughout the

planning process, and Kacey Wong for

contributing to the design of M+ Rover.

圖片由藝術家提供©蕭偉恒

Images courtesy the artist ©Siu Wai Hang

版權所有 翻印必究

All rights reserved

© 2016 M+