《這樣的房間對我來說像是異鄉》

「向也斯致意:詩遊異鄉」展覽
2018年2月26日至3月9日 / 香港大學百周年校園邵逸夫教學樓地下畫廊

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2018年,也斯(1949 – 2013)離開我們五年了。書送快樂、香港大學通識教育部、香港大學文學院及香港大學比較文學系以「詩遊異鄉」為主題,合辦一系列展覽、讀書會、研討會、活版印詩及音樂演出等活動,與喜愛周遊列國的也斯,一同蒐集異鄉的風和日麗和歷史碎屑。

 

回過頭來,喬把一些甚麼遞給我。我向她走過去,卻發覺那只是鏡中的反映,我面對一幅長鏡,真正的她在另一邊。我轉回來,左方是一個入牆長櫃,我敲敲櫃,原來那不是櫃,只是一張反上去的單人床。
在它旁邊有一扇門。我想推門出去,發覺那只是一個釘在牆上的門鈕。我沿牆角的迴旋梯走上去,走兩步便碰痛了頭,梯子通往堅硬的天花板,只是用來裝飾。

 

詩歌是陌生化的語言。也斯以詩句徜徉異鄉,書寫差異,對本地空間的描述也同樣撲朔迷離又充滿詩意。小說《剪紙》第一章裡,喬的房間是謎樣的立方體,讓「我」潛進她神秘的思想世界。我們的創作是一次錯置與僭越的實驗,也是一場與也斯的對話,以兩重陌生化的演繹,再現也斯文字裡的異鄉。我們先以文字描述自己的房間,再根據對方的文本,將空間呈現出來。作品形式是畫作,也是拼貼像,都是我們對陌生空間的想像,甚至陌生空間裡的自我投射。透過空間和媒介的轉換,我們乘着也斯的白雲,窺探了一片雙生的天空。

與Vicki Wong共同創作
混合媒介(印刷品、摺紙、電影票根),297mm x 420mm

Yasi

Vicki Wong的房間

I share the same bedroom with my sister. It is a space of infinity. I inhabit the inner-left and upper-right part of the rectangular room. Everything that falls out of this dimension automatically fades into another world beyond my interest.

I navigate my amber space by climbing up and down, up and down. I like it up there, floating and searching in a fluffy world that no one sees. Yellow plush, patches of blue, jumble of lines, warm orange light and fragrance of laundry wash... all of it weave a mellow kind of loneliness that soothes my entire being. I am trying to reconcile with some nostalgic dream on this mid-ground, but I don’t know what it is. Behind my pillow, there is a spacious rectangular hollow, which some day I will turn it into a puppet theatre. Everything up on my bed is of simple bright colours - the basic colours found in a kid’s first set of crayons. Strangely, they are colours that I never wear.

On the same level across my bed is my block of shelf holding a hundred of micro universes within. They are doses that make me feel less futile every day. Taped on the shelf doors are a few postcards, a Klimt bookmark, a packet of skeleton leaves, two origami Disney characters and a piece of hand-drawn Britto art. Below that is my working space, scattered with bank letters, receipts, earphone, unfinished readings, necklaces, stationery and personal hygiene items. In the middle sits MAC子, which connects me to the outside world. There is a thin glass panel covering my desk. Pressed between the glass and the amber wood are a photo of Fernando Pessoa, a handwritten poem of Sylvia Plath, a childhood photo of myself, a stolen childhood photo of a stranger and a piece of urban sketch. I almost do not decorate my space with any stylish or pretty objects at all.  My vision is often narrowed down to the breadth of realms MAC子 can offer me.  All my secrets are hidden there.

There is limited exchange between my sister and I. We are trying to live this shared room as if in a single room. She has the same amount of space as me. Her space holds a different universe, which probably too contains a range of other micro universes within. It is important we keep our own noises produced in our universe to ourselves, unless there is an invitation to cross the border, which is rare. The only noises allowed in the room are those trivial sounds that leaked inevitably from the hairdryer, tapping keyboards, our slippers and other common sounds produced out of pure existence. Enclosing this common existence in two distinct dimensions, is an ageing kid-like wallpaper, that has witnessed how we have grown and how much has stayed the same for the past 20 years.