你过去的未来计划是什么?当我受邀完成这篇香港艺术家作品集时,我的第一个想法就是不能只是把“已完成”的作品从原来的上下文中抽离出来放到在一起,这样只会暴露读者无法亲自感受原作的缺憾。因此我开始在脑中形成一个关于“未完成”或者“进行中”作品的模糊想法,我想让那些已经存在但尚未公诸于世的作品浮出水面。为了让主题更明确,我决定借用“未实现的项目”这一概念。采访中经常听到有人问:“你未来的计划是什么?”现在我们把这个问题调过头,对准过去。没过多久,我沮丧而又欣喜地发现,类似的事情已经有人做过了,比如汉斯·尤利斯·奥布里斯特和盖伊·托托萨编辑的《未建成的道路:107个未实现的项目》(1997)以及比利安娜主编的《被拒绝的作品集:中国当代艺术家被拒绝的方案》(2007)。犹豫了一下,我还是决定将这个主题进行到底,因为上述两本书都没有收录香港艺术家的作品,研究领域还可以继续拓展。但更为重要的是,香港对于中国大陆和世界来说地位都非常复杂。截取部分香港本土艺术家,倾听他们的观点和疑惑,了解他们面临的限制和可能性,也许能从另一个颇具揭示意义的角度反映这座城市的社会文化变迁。所以,我们何乐而不为呢?本文所选艺术家并非代表了香港艺术创作的全貌。但我在选择时也刻意避免了单纯只考虑籍贯的做法,选取的作品也不一定与香港有直接联系。只要这些艺术家在香港居住或曾经居住过,他们的作品表达了对该地区的复杂性和重要问题的理解,对我来说就足够了。 What was your plan for the future? When I was invited to complete this Hong Kong artist portfolio, my first thought was not to simply pull the “finished” artwork out of the original context Together, this will only expose the reader can not personally feel the defects of the original. So I started to form a vague idea in my head about the “Incomplete” or “In Progress” work, and I wanted to make the work that already exists but was not yet made public. In order to make the subject more specific, I decided to borrow the notion of “unrealized project”. Interviews often ask someone to ask: “What is your plan for the future?” Now we turn the issue over and aim at the past. It was not long before I was discouraged and delighted to find something similar already done, such as the “unfinished road” edited by Hans Ulrich Obrist and Guy Tosa: 107 Unrealized Project "(1997) and Bianiana’s Rejected Collection: The Chinese Contemporary Artist’s Rejected Program (2007). Hesitated, I still decided to carry this theme through to the end, because neither of the above two books included the works of Hong Kong artists, research areas can continue to expand. But more importantly, Hong Kong’s status is very complicated for both mainland China and the rest of the world. Intercepting some of Hong Kong’s native artists, listening to their opinions and doubts, understanding the constraints and possibilities they face, may reflect the city’s socio-cultural changes in another rather revealing perspective. So why not? The artists selected for this article do not represent the full picture of Hong Kong’s artistic creation. However, when I chose it, I also deliberately avoided the practice of simply considering my place of origin. The selected works do not necessarily have a direct connection with Hong Kong. As long as these artists live or have lived in Hong Kong, their works express an understanding of the complexity and important issues in the area, which is enough for me.