自2011年1月起，本地藝術家黃慧妍在亞洲藝術文獻庫進行了為期半年的駐場計劃，黃慧妍的創作經常提出對主流藝術論述之質疑：體制何以支配藝術歷史？這歷史又如何決定納入或遺棄哪些藝術家？
她在文獻庫進行的工作正與這些探討息息相關，她的計劃包含多層意義，主要成果為在亞洲藝術文獻庫内建立一個專為香港藝術而設的特藏。在駐場計劃之最後一個月，黃慧妍會在文獻庫内設立一個公開的「辦公室」，作為藝術家 / 研究員 / 檔案員，她將在現場整理及編目自己的收藏，内容包括兒時文獻、她繪製的假物作品原件、遇到過各種人士之名片、沒有落實之計劃書、及大量與其他藝術工作者之書信，期間，她也會邀請藝術工作者來她的「辦公室」會談，紀錄以製作一系列口述歷史文獻。
黃慧妍同時以藝術家及檔案員的身份，在文獻庫「官方收藏」內建立這個另類香港藝術特藏，當中的文獻記載了官方論述所遺棄的事件及人物，既將成為文獻庫永久收藏的一部份，亦寄予她對香港藝術工作者的敬意。
以下內容只提供英文版。
A Statement from the Artist
My six-month artistic residency project began as follows: In the first month I researched how Asia Art Archive was established, and in the process I found out that the first organisation ever created by Claire Hsu [AAA's Co-founder and Executive Director] was a Unicorn Search Team; she collected funds for it, and during recess at school, she led her classmates on unicorn search missions. Of course, what should also be recommended to the public is the initial founding proposal for Asia Art Archive, although Hsu says she should have burned it a long time ago.
During the second month of the residency, I had many discussions with the research staff. They would always be busy at their computers while at the same time thinking about issues like: what is 'Asia'; what criteria should be used to vet materials for the Archive; what unavoidable value judgments the archive must make; the preferences of the researchers; the relative importance of research, meetings, and administrative work; and even crazy things, like whether or not the Artist-in-residence should cook lunch for the staff.
In the third month, I began to send out letters to all kinds of arts practitioners, mailing out over a hundred in total. This is something I had always wanted to do. When I was at school, though I had a lot of respect for modern ink painting, I didn't have any real communication with Wucius Wong. Even now that we are colleagues in the same field, we still don't understand each other much. Two or three years ago, I was working at Asia Art Archive, and I was responsible for archiving materials from Lü Peng's collection. I came across many letters that had been exchanged between him and artists like Zhang Peili and Zhang Xiaogang, and I found that this gave me a more human understanding of Chinese art.
In April, I continued my letter-writing project, and at the same time I began putting together the 'Wong Wai Yin Collection'. I asked my dad, if someone wanted to do research on me, would you be able to produce any documents related to me? After a week he surprised me by bringing out about a dozen thick file-folders with documents neatly separated into categories. I asked him if my primary school and middle school report cards were relevant. He said sure, because people could see the marks I got in my art classes. I took them out to look, and found that in the teachers' remarks section, they had written that 'this student is an independent thinker, but she lacks enthusiasm for school'. Maybe Dad was right.
In addition to documents that held a personal fascination for me, I added other important materials to my collection, such as business cards and proposal documents from unrealised/failed projects. My collection of business cards numbered in the hundreds: in addition to the name cards of curators, artists, etc, there were also cards from people like carpenters with high-quality craftsmanship, and of printers who wanted to collaborate with artists. To me, these people are also very important in helping to promote the development of Hong Kong art. I had written quite a number of different project proposals and applications for residencies, many of which were unsuccessful, but I have always believed that these rejected and unrealised works are more significant than the ones that were successfully realised, because from these you can see what kind of works art museums, spaces, and organisations don't appreciate. In addition to the above two types of material, I also collected flyers, artist statements/manifestos, and business cards collected by artists with whom I had corresponded.
Starting in early May, I will be focusing on the set-up of the Hong Kong Art Archive, including painting promotional posters, acquiring office furniture, and gathering the collections from other artists. From late May through June, I will work every day at the office of the Hong Kong Art Archive within Asia Art Archive. In addition to organising documents and materials, I will invite those people who didn't answer my letters to visit the Archive and collect further information from them. I hope that before my residency is over, the collection of the Hong Kong Art Archive will be even larger than that of the Asia Art Archive; then we can start thinking about looking for unicorns again.
'From Wong Wai Yin's Collection to the Hong Kong Art Archive' is a process which seeks to collect and archive documents for people who wish to do future research on Hong Kong art. The collecting process will also touch on questions such as how the value of archival materials is determined, how history is constructed by an institution, and the degree of its openness. But most important is the love and respect I feel for the people in Hong Kong who pursue art. I want to leave a record of their thoughts, and their works.
- Wong Wai Yin
Written on 29 April 2011
