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Landescape 0.2 / Round 2

At Ma Wan Abandoned Village

happening since 26 September 2020

Participating artists:
Michele Chu 
Adrian Hon 
Shirley Mok 
西 Cassia Leung
sinman 
Fok Pak Hin
Jay Lau
Tiffany Cheung


Curated by Yue Yuen Yu

Works Sharing

《唔屬於你既野點鎖都鎖唔實》
<Nothing you can really lockdown>

Jay Lau

90年代尾政府為興建青馬大橋和新機場而與新鴻基地產合作處理及安置受影響的馬灣居民,新鴻基以協助政府將居民遷到馬灣島上北部地區及負責興建馬灣公園(兩期)來換取可以在島上發展大型私人屋苑項目(珀麗灣)。馬灣村原是馬灣公園二期範圍內,但由於當時仍有原居民不接受協議而拒絕遷出,因此由新鴻基負責的馬灣公園二期項目一直拖延至今近廿年仍未有動工,原本居民已遷出的村屋亦一直廢置至今。  這些廢置多年、被鐵絲網重重包圍的村屋,部分已被扣上鎖頭而閒人勿進。同時亦有許多廢置的屋村則被「解鎖」(是誰?)而可以自由進出,已失去其功能的「廢棄鎖頭」則被棄置在附近。我收集這些鎖頭,用一張同樣被丟棄、從地上撿起並已過生效日期的地政署收回業權通知書把這些「廢棄鎖頭」重新「鎖起」,使這些已丟棄多年的屋重新「鎖上大門」,不讓人輕易進入。  


鎖作為一個權力的象徵物,在馬灣村發展事件上,由擁有業權的原居民轉移到政府,到負責發展該地的地產商、再到沒有任何土地擁有權的遊客(補充:政府當年收回這些土地時是使用公帑去補償給原居民的),其意義經過了不斷的改變。而當這些屋(土地)被擁有者棄置多年時,被丟棄的鎖重新扣上後是否還有其權力意義?還是其背後的那張「紙」才是權力所在?作為馬灣村的外來者又是否可以主動地「侵佔」這種權力?



廢棄鎖頭、地政署通知書、膠紙

《唔屬於你既野點鎖都鎖唔實》 <Nothing you can really lockdown>
《唔屬於你既野點鎖都鎖唔實》 <Nothing you can really lockdown>
《唔屬於你既野點鎖都鎖唔實》 <Nothing you can really lockdown>

《雪糕在此發售》

Tiffany Cheung & Sin Man

曾經消失的雪糕店,但未曾被遺忘,我們嘗試通過收集當地的廢物重現昔日的快樂。


Refrigerator, plastic tube and white canvas bag

《雪糕在此發售》
《雪糕在此發售》
《雪糕在此發售》

《新馬灣考古地點》
<New archaeological Site of MaWan>

Shirley Mok & 西 Cassia Leung

馬灣,現時已蓋上高樓,但蘊藏的悠久歷史遺址文明,可能永遠都不能重現在陽光下。

在沙灘中掘到無數的玻璃,在陽光下似瑰寶般閃閃生輝,如同昔日輝煌的考古成果。嘗試代入考古的過程,在沙灘中尋找相同色系的玻璃碎片,把細碎的重新拼合,似對考古珍貴文物般小心對待,立下遺址,重新延續馬灣的考古生命。

Ma Wan has been built with high-rise buildings, but the ancient civilization of historical sites may never be able to reappear under the sun.

There are countless pieces of glass dug in the beach, shining like a gem in the sun, just like the glorious archeological achievements of MaWan in the past. Piece together the glass, and treat it with care like precious archaeological relics, set up the site, and resume the archaeological life of Mawan.

尺寸不定

玻璃 鐵枝

Variable size

glass Iron stick

《新馬灣考古地點》 <New archaeological Site of MaWan>
《新馬灣考古地點》 <New archaeological Site of MaWan>
《新馬灣考古地點》 <New archaeological Site of MaWan>
《新馬灣考古地點》 <New archaeological Site of MaWan>

<Heinrich Göbel (intervention)>

Fok Pak Hin & Adrian Hon

我們把手上的合在一塊,不受控的可不止是機械,更是我們。如果發明不經過計劃,介入不是意圖,這份作品就是如此。映射的他們不在此,但意會。— Adrian Hon



I try to follow the taste of rust in the site.

In the process of assembling the abandoned materials into a non-functional device, it drags me into a conversation with the people who existed. — Fok Pak Hin

單車輪,電燈,廢料

<Heinrich Göbel (intervention)>
<Heinrich Göbel (intervention)>
<Heinrich Göbel (intervention)>
<Heinrich Göbel (intervention)>
<Heinrich Göbel (intervention)>
<Heinrich Göbel (intervention)>
<Heinrich Göbel (intervention)>
<Heinrich Göbel (intervention)>

《隨心所欲咁曬鹹碟 》
<Pornography Basking>

Shirley Mok & 西 Cassia Leung

馬灣因為近海,所以周不時有人正在曬鹹魚。


剛巧在荒廢的屋裏也找到一袋色情光碟。後來聽街坊說這屋前身說是販賣色情光碟的店舖。


將「鹹魚」及「鹹碟」來個身份轉換,就把咸碟的包裝除拆掉,把光碟拿出來曬太陽,重見天日。在開拆「鹹碟」的過程也很有趣,因為每一隻光碟的封面設計富有心思,顏色繽紛鮮艷,每張也有着獨特的個性。


後來再將紅線把每一隻光碟也連接起來,模仿平時曬鹹魚時穿着魚身的麻繩。這條紅線方便曬鹹碟的人一次過收走所有鹹碟,加速收成。


另外,在竹篩的中央,擺放着一塊「隨心所欲」的牌子,彰顯曬鹹碟之人的大器風範。


另外也將這份作品設置在沙灘的中央,隨着人們觀看這份裝置藝術留下的腳印,就顯示出鹹碟自身的吸引力,是如此無法可擋。


In MaWan, some salted-fish is drying under the sunlight and a bag of found pornographic discs in a deserted house which was formerly a shop that sold pornographic discs.


Playing on words of “salted-fish”(HaamYu) and “pornographic discs'' (HaamDip) in Cantonese pun.

All CDs had been removed from the packaging and basking in the sun just like the way to dry the salted-fish. The design of each CD is colorful and unique. Red thread was connected to each disc, imitating the hemp rope worn on the fish body when drying salted fish, convenient to people can take away all them at once, speeding up the harvest.



Besides, A sign of "Do whatever you want" is placed in the center of the bamboo sieve.

This work was set in the middle of the beach, therefore those footprints can show the attractions of Pornograhic Disc itself is so unstoppable and recall the bygone days.

曬魚竹篩 鹹碟(四仔)紅線 沙

Pornograhic Disc, Bamboo sieve, Red strings, Sand

《隨心所欲咁曬鹹碟 》 <Pornography Basking>
《隨心所欲咁曬鹹碟 》 <Pornography Basking>
《隨心所欲咁曬鹹碟 》 <Pornography Basking>
《隨心所欲咁曬鹹碟 》 <Pornography Basking>
《隨心所欲咁曬鹹碟 》 <Pornography Basking>
《隨心所欲咁曬鹹碟 》 <Pornography Basking>

<Power Play>

Inspired by the eviction story of Ma Wan’s abandoned town, the work seeks to explore the constant push and pull between entities of man, nature, and space. 

Sensing and Testing Boundaries

Captured by a decayed house where nature has mostly taken over, I cautiously entered this unfamiliar space by removing the padlock and opening the wire gates. Instinctively, I wanted to test and push its boundaries. I immediately used a broom to sweep the dirt and seeping vines on the floor into the form of a triangle, until I could feel the resistance in some spots. This reminded me of the evicted residents. I then left it alone, and yielded.


Boundary Crossing, Violations and Enforcing

I further imposed this new triangular shape by wrapping in between the columns with cling film, enforcing a barrier. This repetitive action of wrapping strenuously forced my body in a small space between the wire gate and the column. Slowly, my back was covered in cuts, dirt and rust from the wire fence gate.

The finishing touches involved using found green rope and burgundy velvet curtain from an abandoned community hall, where leaders of the abandoned village gathered to have meetings. I tied this found rope into a web like structure within this triangular space, controlling and limiting the height and body movement of any trespassing stranger. Then, I hung the deep red curtain on the far end of the wire gates, almost like a victory flag.

As a visitor, to enter this space, you must open the padlock, go through the wire gate, bend down from the cling film, and manuever your body through a web of rope before the “flag” is witnessed. It becomes a space that you, too, can test and play its boundaries further. 

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