About Publishing (to find each other)

Publishing (to Find Each Other) , 2 March – 14 April 2021, shares a selection of materials—from zines to video essays and posters to research papers — by/via Michael Leung. The hybrid exhibition includes storytelling and zine workshops, with new materials added ad hoc during the entire month of March. Printing is generously funded with red envelopes gifted by friends and family and, if necessary, with Michael’s PhD Studentship. 因書仔而相遇協作。30天的展場進駐,梁志剛打開小誌出版,把它變為多源匯集的跨界分享,知己知彼。2021年3月2日至4月14日,由小誌到手繪海報設計圖、工作坊、錄像文章,到社會實踐的解說分析和民間在地搜集得來的創作、實物,隨時隨地變陣。

[Event post 01 — back stories] [Event post 02 – gatherings and meetings]

Michael Leung’s web/blog/archive

**post updated on 30 March 2021

On Hybrid Publishing

| Michael Leung 梁志剛

When I think of hybridity, I think of two things: my teenage years when I was listening to Linkin Park’s debut album Hybrid Theory, and last semester where many of us were in “hybrid mode”—in-class but looking at a gridded computer screen, finding new methods of creating an engaging environment.

當我思考混雜,兩件事浮現腦海:一是聆聽著聯合公園首張唱片《混合理論》的青少年時期,另一是,上學期,當我們中的許多人都處於某種「混合模式」 — 在課堂中,但注視著電腦屏幕上網格狀的畫面,尋找著新方法,為著創造某種所有人皆可參與的環境。

Towards the end of the semester, knowing more about my practice over the many weeks and the year before, Linda Lai kindly invited me to do an exhibition at Floating Projects, an experimental collective space in Shek Kip Mei. The discussion followed a Critical Theory and Socially Engaged Practices class, a BA course that I have been assisting for three consecutive years. The idea of showing individual works seemed impossible, as my practice feels always in the company of others—from those “wonder years” in Yau Ma Tei (that I really miss), to being in solidarity with villagers in the New Territories.

接近學期尾的時候,在瞭解更多我的過往實踐後,黎肖嫻慷概邀請我在「據點。句點」位於石硤尾的實驗群體空間舉辦展覽。關於展覽的初次對話發生在「批判理論於社會參與式實踐」某堂課的結尾(過去連續三年我擔任此本科生必修課的助教)。僅僅呈現個人作品對我來說似乎不可能,因為感覺到我的實踐總是少不了與眾人一起 — 從那些(我特別懷念的)油麻地「純真年代」,到在新界與各位村民砥礪同行。

Over several years I’ve been designing/self-publishing zines and small books, some of which run alongside certain ‘activist motions’ and more recently, under academic deadlines with conference/journal texts that become instantly accessible (albeit mostly in English, any translators out there?). When writing fiction and non-fiction, I think of the reader, unreconciled thoughts and find ways in how the text can contribute to different movements and support autonomous ways of living.

過去數年來,我持續設計/自行出版小誌和小書仔,當中部分出版與某些「抗爭行動」有關,而近期文章則更多寫於會議或期刊發表的學術截稿之時,我會即時開放給任何人閱讀(雖然大部分是英文,有任何譯者有興趣嗎?)。當書寫虛構和非虛構,我會想像讀者,尚未釐清的想法和為了如何以文字參與各種活動和支持自主生活而尋找各種方法。

The hybrid exhibition has been designed to have all printed matter as accessible as possible—from ZIP files to audio books, from bilingual zine making workshops to a sharing in Cantonese with Hong Kong Sign Language interpretation. I’ll keep thinking about hybridity over the next four weeks and look forward to new encounters, as expressed in the Inhabit book in the Recommended Reading section of the exhibition, on a @waresnotwarehouses sticker on a friend’s laptop, and in the exhibition title, Publishing (to Find Each Other).

這一混雜的展覽嘗試以盡可能通達的方式呈現所有出版物 — 從壓縮文件到口述讀本,從雙語小誌製作工作坊,到安排以粵語為主並有香港手語即時傳譯的分享會。接下來四周的時間,我會繼續思考混雜,並在此期待新的相遇,正如展覽內「推介閱讀」中的Inhabit書仔、朋友電腦上的 waresnotwarehouses貼紙,以及這場展覽的標題「相遇於小誌小文學」所表達的。

(2021.02.27)

 

On Hybridity: Hybrid Show … … Open Work 混合的動力:多源交集的現場展,梁志剛的開放式作品

| Linda Lai 黎肖嫻

A zine is a growingly important mode of sharing and gathering to meaningfully nourish communities, through making and publishing handy and affordable little books.

Michael Leung’s zine works in this month-long event shows his versatile practice: beyond printing, his activities have extended to multifarious participatory and activist motions, as social design, as the assemblance of other’s zines, as annotations of concrete human rights moments, transmediation to video essays and serial write-ups for serious/scholarly research.

There is no strict prescription for what a zine may look or contain; there is only the comradeship in cultivating shared spaces to articulate existential and quotidian concerns that have escaped dominant discourses and mainstream narratives.

In the light of Donna Haraway’s cyborg metaphor turned practice, the first step of hybridity is the collapse of binarism. (“A Cyborg Manifesto,” 1985) In this show, hybridity is not exactly about pluralism or ambiguity, but a proactive move between disciplines and modes of practices, a momentary challenge of hierarchies. Beyond grand categories of the inter-racial and the cross-cultural, we think of fluid trajectories and networks, and connectivity between points, lines and planes, always in search of stretched vocabularies to describe our practices. (Haraway: “Tentacular Thinking,” 2016)

This is a hybrid practice in the sense that we seek to reach out to as many communities, levels of expression and media modes as possible. Affordability. Transportability. Versatility. These ideals bring together innovations of all kinds. An open work in itself.

This month-long series is also a hybrid event as we weave moments of conversation and collaboration into the exhibition of objects. The show not only embodies the voices of many individuals and the different voices of the same individual, but it also “grows” and “evolves” in the process of the four weeks.

今時今日,小誌作為發表、分享、匯聚的活動越來越重要。出版輕巧付得起的小書的同時,我們也在滋養著群體的生長。

梁志剛一個月的「據點。句點」即場創作演繹,顯露了他多向多元多源的社會關注的實踐;小誌是個流向豐盈聚散自如的起點也是結點,貫穿連接了學術、設計、對人和地的維護、對植物與人之間的關注。小誌書仔因而並不服膺於任何一個特定的範疇。最終,是人與人的交接引來的新思維新行動。

唐娜·哈拉威早在1985年發表了「賽博格宣言」,說是人和機械早已成為結合體,其精意則在於對二元主義的全盤質疑,而且,二元論往往有明顯而隱藏在語言結構裡的高低之分,例如人在機器和植物之上、男先於女等等。到了2016發表的多觸思維論,她更進一步從知識論和本體論的座標上去重新構築如何活下去而不必以人為無上至高的中心。這樣看,後殖民和後現代論述的『混雜』就得重新翻譯:我們所指的,不再是『純』或『最初』的不可能,而是跨界、脫離人類紀霸權的必須性,重新連結世界、重整思考的維度的迫切性。

我相信、想像梁志剛的一個月活動是機動而富能量的,以做書仔起步去創出奇遇也好,為了結連而出版發表也好,覆蓋串連的,都是多向多層次,嘗試把生活和世界看成為一個充滿了流通管子的整體。

2021.03.01

 

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