#: locale=zh
## Media
### Audio
audiores_FBDF2A73_A6F5_2654_41D0_F5B11C24F3DE.mp3Url = media/audio_E55F838A_A6F3_66B4_41D1_CD55EAB35384_zh.mp3
audiores_F8A3E666_A613_2E7C_41E0_1CB3E74D806B.mp3Url = media/audio_F0B044E6_A6F5_627C_41BA_5E26613169F3_zh.mp3
audiores_FAF7287E_A61D_224C_41E2_C4615A06F8E0.mp3Url = media/audio_FBC0610F_A617_23CC_4194_1933AF67BE74_zh.mp3
audiores_FBF6659F_A61D_E2CC_41BF_B2C19D59B5F0.mp3Url = media/audio_FC924F8E_A615_3ECC_41DA_5A61A7BAA425_zh.mp3
audiores_E7FD65EE_A613_624C_41AD_972F566BE56C.mp3Url = media/audio_FD7931BF_A617_22CC_41C2_495011C24A40_zh.mp3
audiores_E1696DCE_A61F_224C_41E4_6353CCDC2981.mp3Url = media/audio_FE18FE9E_A613_7ECC_41E3_C2515670F181_zh.mp3
audiores_E7FB15B2_A61C_E2D4_41E2_648839E272A6.mp3Url = media/audio_FE297AA7_A6F4_E6FC_41D8_210483570D0D_zh.mp3
audiores_E5BB5794_A61D_EEDC_41E0_3BA1EC42848F.mp3Url = media/audio_FFBB3A83_A60D_26B4_41C0_F8D8304B9873_zh.mp3
audiores_E4705EDE_A61F_1E4D_41BA_57B9129B6C7F.mp3Url = media/audio_FFD1DACB_A60F_E6B4_41DA_1DC7ED77E313_zh.mp3
### Audio Subtitles
### Image
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imlevel_6EEF086B_764F_A252_41BE_A00DAA2FD1B6.url = media/popup_113B635D_9352_5666_41D5_5EDB9BBC4790_zh_0_1.webp
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imlevel_20DE8BDB_0323_D2A8_4179_E0993ED56A2A.url = media/popup_1C6F5A7B_0362_5268_418A_21E0D68977FD_zh_0_3.webp
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imlevel_FC78E429_A6F5_E1F4_41D4_99AD859FA2C0.url = media/popup_26B7BD02_0326_B798_4141_79ECBF9DC3E4_zh_0_2.webp
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imlevel_277F00A6_05BA_5802_4193_B2AC57097098.url = media/popup_2BD8F38C_032F_B2A8_4179_277EFC711E2B_zh_0_0.webp
imlevel_277F30A6_05BA_5802_4141_700FDCEDEA82.url = media/popup_2BD8F38C_032F_B2A8_4179_277EFC711E2B_zh_0_1.webp
imlevel_277F40A6_05BA_5802_4186_9D4C7A62028E.url = media/popup_2BD8F38C_032F_B2A8_4179_277EFC711E2B_zh_0_2.webp
imlevel_277F60A6_05BA_5802_4145_FCA19396DC5E.url = media/popup_2BD8F38C_032F_B2A8_4179_277EFC711E2B_zh_0_3.webp
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imlevel_FDAF66FF_A6F5_EE4C_41AB_73DBE37F119E.url = media/popup_88295F86_A61D_7EBC_41E2_E847964369C2_zh_0_2.webp
imlevel_FDB9F57B_A6F5_E254_41D1_99F8E1BE4A3D.url = media/popup_89F9458A_A61D_E2B4_41D3_149B24942A26_zh_0_0.webp
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imlevel_FDB9357C_A6F5_E24C_41D3_8ABE1390B9A5.url = media/popup_89F9458A_A61D_E2B4_41D3_149B24942A26_zh_0_2.webp
imlevel_FDCBA417_A6F5_E1DC_41E1_3A9A8E488A0F.url = media/popup_89FB8917_A613_23DC_41E2_C2784C633D2D_zh_0_0.webp
imlevel_FDCBC417_A6F5_E1DC_41C2_F5F6374B32BC.url = media/popup_89FB8917_A613_23DC_41E2_C2784C633D2D_zh_0_1.webp
imlevel_FDCB0417_A6F5_E1DC_41E6_92750D542F28.url = media/popup_89FB8917_A613_23DC_41E2_C2784C633D2D_zh_0_2.webp
imlevel_FD7FEADB_A6F5_6654_41DF_D5F81761AA17.url = media/popup_8A7B64DA_A617_E254_41E1_992B98865EC6_zh_0_0.webp
imlevel_FD7F8ADB_A6F5_6654_41DE_ACD23632DA25.url = media/popup_8A7B64DA_A617_E254_41E1_992B98865EC6_zh_0_1.webp
imlevel_FD7F9ADB_A6F5_6654_41CB_06432EB004EE.url = media/popup_8A7B64DA_A617_E254_41E1_992B98865EC6_zh_0_2.webp
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imlevel_FC2EB87F_A6F5_E24C_41E1_2AA9D32B42EE.url = media/popup_F4C4FC83_A6F3_22B4_41E6_6FE05181CAE8_zh_0_3.webp
imlevel_FC2ED87F_A6F5_E24C_41D9_1867CBD6714D.url = media/popup_F4C4FC83_A6F3_22B4_41E6_6FE05181CAE8_zh_0_4.webp
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### Popup Image
### Title
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### Body
htmlText_D58AA37B_946A_079D_41DB_6D1AC604E323.html = 《一個國家，一個身體 II》
2024
數碼印花布料、刺繡、物件
200 x 300 厘米
與Henricus共同創作
A Country, A Body II
2024
Embroidery, objects and digital print on fabric
200 x 300 cm
Created in collaboration with Henricus
2025年夏季項目
今年夏季，CHAT六廠聚焦紡織跨越文化、連繫不同社群的力量。
「織浪者」匯聚了來自香港、印尼、菲律賓和台北的藝術家、策展人、機構和織匠。藝術家造訪在自己地區以外的藝術機構，與當地社群一起進行研究和創作，從獨特的當代視角活化紡織傳統。
CHAT六廠的旗艦社群計劃「種學織文」於本年度由香港藝術家謝淑婷帶領，以其現已拆除的母校和曾生長於該處的植物為引，邀請觀眾到展廳二參與刺繡活動，用植物染色的繡線，為日漸遠去的童年和城市回憶增添新色彩。
在陳廷驊基金會展廳，「忙碌的針線」透過珍貴藏品講述香港手工綴飾織品背後，中西文化碰撞、交流和融合的故事。在CHAT客廳，「流動的痕跡」則展現二十世紀下半葉香港紡織品廣泛流通的盛況。
最後，我們還準備了一系列精彩的公眾活動，包括由藝術家帶領的工作坊、榮獲國際獎項的「共融導賞之旅」，以及每天舉辦的「手作半個鐘」。希望你在CHAT 六廠享受愉快的時光！
Tidal Weavers: Islands Exchange
Tidal Weavers: Islands Exchange unfolds as a process of shared memory and interwoven knowledge, cultivated across seas, islands, rivers and the people who live among them. It is a generative space where encounters shape narratives, and companionship becomes both method and material.
Water – whether ocean, strait or stream – is not merely a connector of lands, but a living presence that moves with memory and labour, carrying traces of migrations, trade, rituals and kinship. Similarly, textile is not only a cultural artefact, but a mobile, tactile archive threaded with the everyday, the sacred and the collective.
Central to Tidal Weavers is its residency framework. We initiated an artist exchange between grassroots art and cultural organisations across Hong Kong, Indonesia, the Philippines and Hualien to cultivate mutual learning and long-term collaboration among local practitioners. Artists, weavers, researchers and community members dwell and work together in immersive settings. Through conversations, shared meals, daily routines and collaborative making, friendships grow – often quietly, but deeply. These relationships shape the artworks as much as the materials themselves.
The project does not seek to present a finished narrative. Instead, it offers an ecology of stories, motifs and rhythms that respond to the specificity of place and the generosity of human encounter. It emphasises slowness, listening and reciprocity as strategies of artistic and social engagement.
In a time marked by fragmentation and speed, Tidal Weavers holds space for the regenerative. It honours people, water, land and textile alike – as carriers of life, of memory, and of the deep ties that bind people across distance.
Artistic Director
Ade DARMAWAN
Executive Director’s Greeting
Welcome to CHAT, a unique heritage museum in Hong Kong! Housed in the former factory of Nan Fung Textiles, CHAT celebrates the admirable spirit and far-sighted entrepreneurship found in Hong Kong’s past textile industry. Contemporary artists, like entrepreneurs, have a keen antenna for today’s urgencies while creating new values in society. This winter, you will see the newest ideas and forms of textile arts from Asian artists in ANTEPRIMA x CHAT Contemporary Textile Art Prize 2024, which highlights the pioneers opening a new dimension of textile arts. The prize winner was selected by an international jury of five, but we eagerly invite you to vote for your favourite artwork for the Audience Prize during your visit.
The 2024 edition of Seed to Textile, CHAT’s flagship community programme, comes to its finale. Featuring the Guangzhou-based artist collective BOLOHO, the exhibition presents textile pieces and a video work created through community participation. The textile artworks are dyed naturally using plants lovingly grown over the past six months. In CHAT Lounge, Artefacts of Belonging bridges BOLOHO’s exhibition with CHAT’s collection of archival materials, taking a close look at the communities bonded by Hong Kong’s textile industry. Do not miss the last chance to see Misfitted: Unspoken Stories of Tailoring in The D. H. Chen Foundation Gallery. The special display explores various forms of tailoring and narrates stories of migration, friendship, resilience and progression in Hong Kong.
CHAT has also launched the Accessibility Tour in partnership with Centre for Sign Linguistics and Deaf Studies of the Chinese University of Hong Kong and SLCO Community Resources. A pair of deaf and hearing docents will introduce you to our permanent displays bilingually in signed and spoken languages. You will learn some basic Hong Kong Sign Language vocabulary while happily discovering about industrial cotton spinning processes!
We thank all the artists and community members who made the exhibitions possible. Our heartfelt appreciation goes to ANTEPRIMA and Mrs Izumi Ogino for collaborating with us to launch this significant contemporary textile art prize. The Robert H. N. Ho Family Foundation offered crucial support in the development of our Seed to Textile programme and Accessibility Tour. None of these could have happened without the generosity of our founding donor, The D. H. Chen Foundation, and our main donor, Nan Fung Group. Last but not least, we are immensely grateful for the encouraging support from donors and patrons. With you, CHAT can continue to nurture new ideas and talents!
TAKAHASHI Mizuki
Executive Director and Chief Curator
CHAT (Centre for Heritage, Arts and Textile)
Prewangan工作室
《Pesugihan Dhedhet Kemukus》 (煙霧影子儀式)
2024
聲音、影片、煤炭、甘美蘭
錄像：10’00”
祭壇：150 x 70 x 50厘米
藝術家團體Prewangan工作室活躍於印尼爪哇北部海岸的圖班。圖班有着悠久的歷史，現今卻被水泥工廠、燃煤發電廠和開採產業所包圍。當地的靈性儀式與當代工業之間亦有着令藝術家驚奇的共通之處：兩者皆以黑色物質為核心、承諾會帶來豐厚財富，並且建基於嚴謹但 多為隱密的協議之上。
《Pesugihan Dhedhet Kemukus》源於Prewangan工作室對海洋女神蘭札（Lanjar）的研究。相傳蘭札負責掌管印尼爪哇的北部海岸，而民間依然存在與她締結獻祭契約以祈求富貴的pesugihan儀式。進行此類儀式時，人們會把黑雞、水牛頭和黑糯米等黑色的供品投入海中。
這件作品把工業勞動重塑成當代形式的pesugihan。Dhedhet意指無法穿透的靈性黑暗，而Kemukus則源自kukus一詞，意為蒸氣或煙霧。裝置中央是一座由廢棄工業金屬搭建成的祭壇，配合火焰字動畫、循環播放的鑼聲節奏、隨着煤炭紋理發聲的類比音效裝置、誦唸的咒語，以及一段投影影片，顯示煤船在北部海域漂流的畫面。咒文由煤礦公司與水泥廠商的合作契約重塑而成，刻意模糊神聖禱詞與工業協議之間的界線。
Prewangan Studio
Pesugihan Dhedhet Kemukus (The Ritual of Steaming Shadow)
2024
Sound, video, coal, gamelan
Altar: 150 x 70 x 50 cm
Prewangan Studio is an artist collective based in Tuban on the north coast of Java, Indonesia. An ancient area now surrounded by cement factories, coal-fired power plants and extractive operations, Tuban inspires the collective with striking parallels between its spiritual traditions and contemporary industries – both centre around black materials, promise wealth, and depend on strict yet often invisible agreements.
Pesugihan Dhedhet Kemukus stems from Prewangan Studio’s research into Lanjar the Sea Goddess, a deity believed to rule the northern coast of Java. The spiritual practice of pesugihan – a pact trading devotion for material prosperity – dedicated to Lanjar persists today. These rituals involve casting black-coloured offerings such as black chickens, buffalo heads and black sticky rice into the sea.
This installation reimagines industrial labour as a contemporary form of pesugihan. Dhedhet refers to a state of impenetrable spiritual darkness, while Kemukus is derived from kukus, meaning steam or smoke. The central piece is a ritual altar built from discarded industrial metal, accompanied by fire-text animations, looping bonang gong rhythms, analogue sound generators using coal textures, a recited mantra, and a projected video showing coal barges drifting on the northern sea. The mantra is constructed from a reimagined contract between coal mining companies and cement producers, blurring the line between sacred invocations and industrial agreements.
Seed to Textile 2025
SARA TSE OPEN STUDIO
Since 2019, CHAT’s flagship community programme Seed to Textile has been acquainting artists and the public with the connections between nature, textiles and art, offering hands-on experiences ranging from farming to gallery practice. This year, we have invited Hong Kong artist Sara Tse to explore how nature and textiles weave into people’s memories and, during the process, unravel and reweave communal experiences by collecting oral histories and co-creating with the public.
Since 2015, Tse has been researching and documenting the history of Kwai Chung Public School. Perched atop a hill and nestled in nature on Castle Peak Road in Kwai Chung since 1952, it was once a cradle of memories for numerous alumni who call Tsuen Wan home. Based on her now-demolished alma mater, Tse led ‘Seeders’ – comprising fellow alumni across generations and members of the public – to revive the botanical heritage precious to them. At the rooftop farm of The Mills and a village school farm, they planted common Hong Kong species that had thrived at the school. These plants, native to some regions and invasive elsewhere, are powerful testaments to personal and collective memories, embodying distinct meanings and identities. Tse and Seeders produced natural dyes and fibres from the harvest for collaborative workshops with public participants, including ceramic making, textile dyeing, cyanotype photography and branch weaving. This effort has manifested the enduring link between humanity and nature, embedded in our collective experience and passed down through generations.
TAKAHASHI Mizuki, Eugenia LAW
Curators
Summer Programme 2025
This summer, CHAT highlights the bonding power of textiles across cultures.
Tidal Weavers brings together artists, curators, organisations and weavers from Hong Kong, Indonesia, the Philippines and Taipei. Hosted by organisations in regions other than their own, the artists have conducted research and created with locals to revitalise textile traditions from unique contemporary perspectives.
CHAT’s flagship community programme, Seed to Textile, features Hong Kong artist Sara Tse this year. In Gallery 2, Tse invites visitors to participate in an embroidery project based on her now-defunct alma mater and the plants there. With plant-dyed threads, you will add new colour to fading memories of childhood and the city.
In The D. H. Chen Foundation Gallery, Busy Needles tells the East-meets-West stories of the city’s hand-embellished textiles through our invaluable collections. In CHAT Lounge, Artefacts of Circulation illustrates the wide distribution of Hong Kong’s textile goods in the second half of the 20th century.
Lastly, we have an exciting line-up of public programmes, including artist-led workshops, the award-winning Accessibility Tour, and daily 30-Minute Making sessions. We hope you enjoy your time at CHAT!
《故園》
2022
單頻道錄像
14’08”
《歸途》
2022
單頻道錄像
15’17”
《故園》記錄了謝氏於2022年重回荒廢十多年的母校，透過舊照憶述校園與個人的故事，並分享對教育和學習的看法。《歸途》記錄了謝氏向一對孩子細訴在母校度過的童年歲月。這系列作品以紀錄片的形式，帶領觀眾走進校園，並從藝術家的娓娓道來之中，體會昔日校園的美好時光。
Old School / Playground
2022
Single-channel video
14’08”
On the Way Home
2022
Single-channel video
15’17”
Old School / Playground documents Tse’s 2022 return to her alma mater, which had been abandoned for over a decade. She recounts personal stories and the school’s history through old photographs while sharing her thoughts on education and learning. In On the Way Home, Tse narrates her childhood experiences at the school to her children. These documentaries invite viewers into the school environment to, through the artist’s narration, relive the school’s past.
《植物生長分佈圖》
2025
布料拼貼、植物顏料、色劑
一組 21 件，
每件 66 × 50 厘米
這21幅世界地圖由回收再用的白色襯衫拼貼而成。種子隊成員利用於紗廠耕地栽種的植物提取天然色彩, 配合藝術家加添的陶瓷色劑，標示出21種曾在葵涌公立學校茂盛生長的香港常見植物的全球分佈狀況，以及它們在各地生態系統所扮演的角色。
所用顏色源自：
黃色——萬壽菊
粉紅色——紫茉莉、大紅花
淺藍色——馬藍、鈷藍色劑
紫色——馬藍、蘇木、紫色色劑
Maps of Plant Growth and Distribution
2025
Fabric collage, plant colours, ceramic stains
Set of 21,
66 x 50 cm each
These world maps are collages of recycled white shirts, painted with colours extracted from the plants cultivated by Seeders at The Mills and ceramic stains from the artist. The 21 plants represented are common species in Hong Kong and once thrived at Kwai Chung Public School. The maps illustrate their global distribution and impact on ecosystems in different regions.
The colours are made from:
Yellow – Mexican marigold
Pink – four o’clock flower, Chinese hibiscus
Light blue – Chinese indigo, cobalt blue stain
Purple – Chinese indigo, sappanwood, purple stain
《植物記憶箱》
2025
混合媒介
尺寸不定
植物標本：炮仗花、紫茉莉、簕杜鵑、萬壽菊、粟米皮、長春花、宮粉羊蹄甲、木麻黃、槭葉牽牛葉子、側柏、木棉果實、白千層樹皮、濕地松松果、細葉榕氣根、雞蛋花、馬纓丹、大紅花、黃金葛、柱狀南洋杉
白瓷、水晶膠、照片、木箱、肥皂
謝氏搜集了《植物生長分佈圖》中多種香港常見植物的根部、莖部、葉、花或果實，透過不同方法保存，並在過程中梳理整頓個人及他人對植物的記憶。
物種的界定受歷史、生態及地緣政治因素影響，亦可隨時間變遷。此系列作品融合了藝術家對自然史、記憶與物質性的思考，邀請觀眾深思植物歷史、地緣政治與文化認同之間相互交織的關係。
Memory Box of Plants
2025
Mixed media
Dimensions variable
Plant specimens: flame vine, four o’clock flower, Brazil bougainvillea, Mexican marigold, corn husk, Madagascar periwinkle, camel’s foot tree, horsetail tree, Cairo morning glory leaves, Chinese arborvitae, fruit of cotton tree, paperbark tree, slash pine cones, Chinese banyan roots, frangipani, West Indian lantana, Chinese hibiscus, golden pothos, New Caledonia pine
Porcelain, resin, photographs, wooden box, soap
Based on Maps of Plant Growth and Distribution, Tse collected plant samples, including roots, stems, leaves, flowers and fruits. While preserving the samples with different techniques, she reflected on the personal and collective memories associated with these plants, weaving botanical heritage with human experience.
The classification of species is influenced by historical, ecological and geopolitical factors, and may change over time. By merging natural history, memory and materiality, the artist invites viewers to contemplate on the intimate relationships between botanical history, geopolitics and cultural identity.
《第七屆中國貨品展覽會畫刊》中的攤位設計，1949(複製品)
Booth design from The 7th Exhibition of Chinese Products, 1949 (Reproduction)
《第十九屆香港工業出品展覽會特刊》中的廣告，1961（複製品）
Advertisement in The 19th Exhibition of Hong Kong Products,
1961 (Reproduction)
廣告推銷是維持和擴展香港工業的要素。自1960年開始，「進口」、「出口」等詞語在工展會的場刊廣告中愈來愈常見。
Promotion through advertising was essential for maintaining and expanding Hong Kong’s industry. Since 1960, the Expo’s brochures have increasingly used terms like ‘import’ and ‘export’.
《經濟年鑑》，1957（複製品）
Hong Kong Economic Annual Report, 1957 (Reproduction)
此年鑑總結了香港紡織工業各領域的發展狀況與未來展望。由第一屆工展會起以至其後的數十年，紡織物都是場內的主要展示物品。
This annual report summarises the status and prospects of various sectors in Hong Kong’s textile industry. For decades, textiles were the main exhibits of the Hong Kong Brands and Products Expo.
由香港知專設計學院提供
Courtesy of Hong Kong Design Institute
《舊地重遊.繪畫記憶》
2022
單頻道錄像
5’41”
《犯校規》
2022
單頻道錄像
5’30”
《藍曬攝影術》
2022
單頻道錄像
9’50”
《落葉如歌》
2019
單頻道錄像
0’37”
在這一系列創作中，謝氏回到母校，嘗試以各種詩意的方法記錄校園環境。作品牽涉不同媒介，但都隱含着藝術家對逝去的人與事物的細膩觀察，以及對兒時學生時代的深切懷緬。透過各種看似徒勞的反覆練習與創作，對急速的城市發展與難以保留的人文情懷進行反思。
Re Visit·Mapping Memories
2022
Single-channel video
5’41”
Breaking School Rules
2022
Single-channel video
5’30”
Cyanotype
2022
Single-channel video
9’50”
Leaves Falling as Songs Coming to My Mind
2019
Single-channel video
0’37”
In this series of works, Tse employs various poetic media to delicately document fading memories of the school and nostalgically reflect on childhood memories. Through seemingly futile acts of repetition and creation, she meditates on the rapidity of urban transformation and the fragility of people’s memory.
《華僑晚報》的雞仔嘜廣告， 1973
Chicks’ advertisement in Overseas Chinese Evening News, 1973
七十年代電視黃金期之前，報紙是香港的主要廣告媒體。及至七十年代初，廣告多推銷基本日用品，並主要強調商品質量。
Newspapers were the main advertising channel in Hong Kong before the golden age of television in the 1970s. Until the early 1970s, advertisements mainly focused on daily necessities and placed greater emphasis on product quality.
三五牌線衫包裝盒，20世紀中期
Knitwear packaging box from 555, mid-20th century
包裝上的標語針對當時在東南亞出現的仿冒現象，帶出「香港製造」的品質保證。
The slogan on the box is a message against counterfeits in Southeast Asia, highlighting the promise of quality of products made in Hong Kong.
由陳仁好提供
Courtesy of Howard Tan
中華廠商會明信片，20世紀中期
Postcard from the Chinese Manufacturers’ Association of Hong Kong, mid-20th century
由香港知專設計學院提供
Courtesy of Hong Kong Design Institute
保良局「V54年青藝術家駐留計劃」 Po Leung Kuk Young Artist-in Residence@V54 (est.2016)
V54是一幢歷史建築，為本地與海外藝術家提供租金低廉的住宿及交流機會。它結合了創作、交流與社區，透過展覽、工作坊、公眾活動，以及植根於共享空間與日常生活的藝術創作，促進有趣的跨文化接觸。
Based in a lived-in heritage site, V54 offers low-rent residencies for local and international artists. Blending creation, exchange and community, it fosters playful, cross-cultural encounters through exhibitions, workshops, public programmes, and art making rooted in shared spaces and everyday life.
駐場藝術家：
埃德・達瑪萬（雅加達）
維迪・阿莎麗（萬隆）
Artist-in-residence:
Ade Darmawan (Jakarta)
Widi Asari (Bandung)
Susur Galur (est.2021)
Susur Galur透過充滿活力和研究導向的創作，重新想像記憶與地點。他們以坤甸為基地，將檔案、故事和日常生活轉化為展覽、節慶及工作坊，打造溫暖而批判性的空間，重新連結文化與集體想像。
Susur Galur reimagines memory and place through vibrant, research-driven works. Based in Pontianak, they turn archives, stories and everyday life into exhibitions, festivals and workshops, creating warm yet critical spaces for reconnecting culture with collective imagination.
駐場藝術家：葉啟俊（香港） Artist-in-residence: Yip Kai Chun (Hong Kong)
Prewangan Studio (est. 2020)
來自圖班的Prewangan工作室是一個好奇和主張動手製作的團體。它從最初隨意的聚會演變成一個以社區為根基的實驗性空間，培育聲音、科技和藝術方面的創作，亦提供駐場計劃、有趣的藝術裝置，以及由當地風俗和友誼所塑造的創新跨領域項目。
Prewangan Studio is a curious, DIY-driven collective from Tuban. Starting from casual gatherings, it is now an experimental and community-rooted space for sound, technology and art. It hosts residencies, playful installations, and bold cross-disciplinary projects shaped by local rhythms and friendships.\\
駐場藝術家：楊偉林（台北） Artist-in-residence: Yang Wei-Lin (Taipei)
光織屋（巴特虹岸藝術空間）(est. 2017)
PateRongan Art
光織屋紮根於新社村，由藝術家陳淑燕與杜瓦克・都耀創立，透過竹藝、植物染、紙張與天然材料，將祖先的技藝與當代的形式結合。憑藉對原住民知識的深切尊重，它培養詩意的合作和緩慢、深思熟慮的過程，以地方、記憶和 共同製造為基礎。
Rooted in Xinshe Village, Paterongan was founded by artists Chen Shu-Yen and Tuwak Tuyaw. It blends ancestral skills with contemporary forms – shaped through bamboo, plant dyes, paper and other natural materials. With a deep respect for indigenous knowledge, it cultivates poetic collaborations and slow, thoughtful processes grounded in place, memory and shared making.
駐場藝術家： 梅塔・梅莉達（雅加達）
Artist-in-residence: Meita Meilita (Jakarta)
Karma Gadjali Amilbangsa、Ruhina Rajik Muhaimer’s 工作室 (est. 2021)
The Guimba Lagasan 手工織機協會 (est. 2015)
她們是達哈塔・薩瓦比的學徒。薩瓦比是全國知名的陶蘇格族織匠，以精湛的pis syabit頭巾織造技術聞名於世，其學徒繼續將她的紡織技術和知識傳承下去。
They are apprentices of Darhata Sawabi, a nationally recognised Tausug weaver renowned for her skill with pis syabit, colourful hand-woven textiles with intricate geometric patterns. Her apprentices continue to pass on her textile techniques and knowledge.
駐場藝術家： 艾瑪・昆托（烏達內塔）
Artist-in-residence: Alma Quinto (Urdaneta)
Riwanua (est. 2018)
Riwanua以望加錫為基地，是一項由藝術家、思想家和文化工作者推動的計劃。透過研究、駐留計劃與生動的交流，他們探索南蘇拉威西的社會與政治脈絡，為貼地、批判性、連接全球趨勢的跨領域對話創造空間︒
Riwanua is a Makassar-based initiative driven by artists, thinkers and cultural practitioners. Through research, residencies and lively exchanges, they explore South Sulawesi’s social and political threads, creating space for interdisciplinary dialogue that is grounded, critical and connected to global currents.
駐場藝術家：張恩滿（台北） Artist-in-residence: Chang En-Man (Taipei)
Komunitas KAHE (est. 2015)
來自毛梅雷的Komunitas KAHE是個具反思性和網絡性的團體，他們的實踐跨越戲劇、音樂和視覺藝術的領域，植根於日常生活和共同好奇心，以有趣又貼地的方式，用合作、適應和以人為本的過程融合藝術、研究與對話。
Komunitas KAHE is a reflective, networked collective from Maumere working across theatre, music and visual arts. Playful yet grounded, they blend art, research and dialogue through collaborative, adaptive and people-centred processes rooted in everyday life and shared curiosity.
駐場藝術家： 馬穎汶（香港）
Artist-in-residence: Ma Wing Man Mandy (Hong Kong)
利工民織嘜，2017
Lee Kung Man woven labels, 2017
CHAT六廠藏品
Collection of CHAT
利工民製造廠光華牌包裝，20世紀中期
‘Kuang Hua’ brand packaging box from Lee Kung Man, mid-20th century
包裝上的宣傳語會提到品牌在工展會獲得的獎項，可見工展會的影響與地位。
The promotional text on the packaging mentions the award the brand received at the Expo, demonstrating the influence and prestige of the annual event.
由香港知專設計學院提供
Courtesy of Hong Kong Design Institute
利工民金鹿牌包裝盒，2017
‘Golden Deer’ brand packaging box from Lee Kung Man, 2017
CHAT六廠藏品
Collection of CHAT
利工民金鹿牌紙袋，20世紀中期
‘Golden Deer’ brand paper bag from Lee Kung Man, mid-20th century
棕色雞皮紙袋一度常見於香港各行各業。
Brown kraft paper bags were once commonly used in various industries.
由胡兆昌提供
Courtesy of John Wu
利工民金鹿線衫廣告，1960年代
TV commercial of Lee Kung Man’s ‘Golden Deer’ knitwear, 1960s
電視由1960年代起已逐漸普及，不但用上視覺效果，還有容易上口的宣傳短句。
Television began to gain popularity in the 1960s. TV commercials appealed to audiences with not only visual effects but also catchy slogans and jingles.
由香港利工民織造廠有限公司提供
Courtesy of Lee Kung Man Knitting Factory (HK) Ltd.
包裝設計更迭
香港的紗廠常以一系列商標來標識廠內不同類型、質素的產品。南豐紗廠以金杯、賽車、金盾、彩花球等元素為商標，向客戶表達不同棉紗的品種及質量。不少商標圖案的選擇，都與企業家的個人故事有關（如玫瑰牌）或直指產品品質（如金杯牌），另一些則較為隨意。
1960年代，印刷技術的迭代與日益國際化的商業視野，推動平面設計走向更大膽、抽象、西化與功能化的風格。這一趨勢在品牌視覺體系中得以充分體現，單一商標可應用於不同形式，以配合不同情境的需求。
Changing Packaging Designs
Spinning mills in Hong Kong often boasted a series of brand labels to indicate their ranges of product qualities. For Nan Fung Textiles, trophy cups, racing cars, shields and bouquets came to represent its yarns to customers. While some brand motifs could be explained by personal stories (roses) or as direct symbols of quality (trophies), others may appear arbitrary.
In the 1960s, shifts in printing technology and increasingly cosmopolitan business perspectives provided opportunities for graphics to become bolder, more abstract, westernised and functional. This is exemplified by visual systems where a single brand is adapted into various formats fit for different applications.
南海紗廠照片，1972（複製品）
Photo of South Sea Textile Manufacturing Company, 1972 (Reproduction)
由政府新聞處提供
Courtesy of the Information Services Department
南豐紡織本地客戶目錄，約1980年代
List of local clients of Nan Fung Textiles, about 1980s
CHAT六廠藏品
Collection of CHAT
南豐紡織的棉紗商標，約1960年代（複製品）
Yarn labels of Nan Fung Textiles, about 1960s (Reproductions)
請掃描旁邊的二維碼，聆聽南豐前員工陳焯然及袁鋭榮先生訴說更多關於這些商標的故事。
Scan the QR codes to nd out more about these brands from interviews with Alan Chan and Yuen Yui Wing, who once worked for Nan Fung Textiles.
CHAT六廠藏品
Collection of CHAT
埃德・達瑪萬
《助記符號》
2025
針織布、舊家具、舊布料、書籍、印花布、現成物
尺寸可變
達瑪萬在香港駐留期間創作了這件作品，透過舊消費品、轉化的圖案和被忽略的空間來探索城市記憶。作品取材自城市的剩餘物料，檢視都市如何像拼布般層層相疊。組合、掃描和層疊的過程產生出一個檔案庫，讓消耗過的物品和織物碎片相互交錯，從中追蹤各種非正式系統和隱形經濟。
藝術家視城市為正被挖掘的表層，記憶不是透過紀念碑浮現，而是通過被丟棄、散落周遭的物料呈現。織物成為一種幫助記憶的物件，保存着日常生活儀式的片段。透過組合與重構，作品重塑了碎片、資料與圖案，將城市轉變為有紋理的檔案庫，由流通、消除和日常言行所塑造。
Ade Darmawan
Mnemonic
2025
Knitted fabric, used furniture, books, printed fabrics, found objects
Dimensions variable
Created during Darmawan’s residency in Hong Kong, this work explores urban memory through consumed objects, transformed patterns and overlooked spaces. It draws on urban leftovers and examines how the city is layered like a patchwork cloth. The processes of assemblage, scanning and layering generate an archive where consumed items and textile fragments intersect, tracing informal systems and invisible economies.
Darmawan approaches the city as a site of surface excavation, where memory emerges not through monuments, but through discarded and peripheral materials. Textile serves as a tangible memory aid, preserving fragments of rituals of everyday life. By assembling and recontextualising, the work reframes debris, data and motif, transforming the city into a textured archive shaped by circulation, erasure and everyday gestures.
埃德・達瑪萬
《數據線程》
2025
圖班Gedog蠟染布、三發宋吉錦、毛梅雷伊卡布、印刷品、檔案
200 x 350厘米
合作單位：
Rosalinda Timu（Mama Lin）——毛梅雷
Nazifah Sub’in（Nek Wan）——三發
Lamyati、Bu Tumi、Nur Hasim——圖班
鳴謝：Prewangan Studio, Susur Galur, Komunitas KAHE, Riwanua, Gusti Enda, Ferry Rebing, Kartika Solapung, Sukardi, Sugar Nadia, Mirwan Andan
印尼藝術家埃德・達瑪萬收集整合人口流動、人口結構與環境變化的統計數據，將它們轉化為編織與蠟染圖案。在此作品中，圖表變成以網格為基礎的視覺圖像，呈現達瑪萬與印尼三發、毛梅雷的織匠及圖班的蠟染藝術家共同構想的圖案。每件紡織品都將數據結構融合於傳統形象之中──毛梅雷的山和海浪、三發的靈性象徵「東方之星」，以及圖班的大自然圖像。
經過重新繪畫和層次堆疊，作品上的圖案勾勒出連接土地、水體、人和力量的關係框架，探索着生態和社會的糾葛。織物成為資料與記憶交會的「活檔案」， 同時保存了視覺符碼和嵌入地方的層疊歷史。這些圖案在國家記錄、冷冰冰的數據與人們親身經歷的知識之間協商，映射出官方測量與集體記憶之間的張力。
Ade Darmawan
Data Threads
2025
Gedog batik from Tuban, songket from Sambas, ikat from Maumere, prints, archives
250 x 350 cm
Collaboration with:
Rosalinda Timu (Mama Lin) – Maumere
Nazifah Sub’in (Nek Wan) – Sambas
Lamyati, Bu Tumi, Nur Hasim – Tuban
With thanks to: Prewangan Studio, Susur Galur, Komunitas KAHE, Riwanua, Gusti Enda, Ferry Rebing, Kartika Solapung, Sukardi, Sugar Nadia, Mirwan Andan
Indonesian artist Ade Darmawan uses statistical data on human mobility, demographics and environmental change as woven and batik motifs. In this installation, diagrams become grid-based visuals, forming patterns developed with weavers in Sambas and Maumere, and batik artists in Tuban in Indonesia. Each textile blends data structures with traditional forms – Maumere’s mountains and waves, Sambas’s spiritual motif of the eastern star, and Tuban’s symbols of nature.
Here, motifs act as relational structure connecting land, water, people and power. Redrawn and layered, they explore ecological and social entanglements. Textiles serve as living archives where data meets memory, holding both visual codes and the layered histories embedded in place. These motifs negotiate between cold, state-recorded data and lived knowledge in human – mapping tensions between what is officially measured and what is collectively remembered.
執行董事歡迎辭
歡迎來到CHAT六廠這個香港獨一無二的紡織文化藝術館！CHAT六廠位於前南豐紡織的廠房內，以不同形式頌揚昔日香港紡織業令人敬佩的精神和高瞻遠矚的企業家本色。當代藝術家和企業家一樣，對當今社會的迫切議題具有敏銳的觸覺，也為社會創造新的價值。今個冬季，「ANTEPRIMA x CHAT六廠當代紡織藝術獎2024」呈現來自亞洲藝術家最新的紡織藝術意念和形式，表揚開拓紡織藝術新領域的先驅者。大獎得主已由五人國際評審團選出，而我們亦誠邀你在參觀期間投選「觀眾最喜愛大獎」的得獎作品。
CHAT六廠旗艦社群計劃「種學織文」的2024年項目即將迎來尾聲。來自廣州的藝術家團體「菠蘿核」展示他們與社區成員共同創作的紡織和錄像作品，展覽中的 紡織藝術品以過去六個月來精心種植的植物進行天然染色。在CHAT客廳，「歸屬的痕跡」將菠蘿核的展覽與 CHAT六廠收藏的檔案資料聯繫起來，細看透過香港紡織業形成的不同社群。千萬不要錯過欣賞「別出心裁：不 為人知的裁縫故事」的最後機會，這個在陳廷驊基金會展廳的特別展示探討不同形式的服裝剪裁，從中敘述在香港有關移民、友誼、對抗逆境和進步的故事。
CHAT六廠亦與香港中文大學手語及聾人研究中心和語橋社資合作推出「共融導賞之旅」，導賞團由一對聾人和健聽導賞員合作帶領，透過手語和口語雙語設計介紹我們的常設展覽。在輕鬆了解棉紡工序的同時，你將學習到一些基本的香港手語詞彙，一舉兩得！
我們向所有促成展覽的藝術家和社區成員表達謝意， 也衷心感謝ANTEPRIMA和荻野泉女士與我們合作設立這個重要的當代紡織藝術獎項。何鴻毅家族香港基金在「種學織文」計劃及「共融導賞之旅」的發展過程中提供了不可或缺的貢獻。倘若沒有我們的創始捐助機構陳廷驊基金會和主要捐助機構南豐集團的慷慨支持， 這一切都不可能成事。最後，我們感激捐助者和贊助人的鼓勵與支持。全賴你們，CHAT六廠才能繼續培育創意和人才！
高橋瑞木
CHAT六廠（六廠紡織文化藝術館）
執行董事及首席策展人
大興紡織的品牌商標，約1960年代（複製品）
Brand labels of Tai Hing Cotton Mill, about 1960s (Reproductions)
CHAT六廠藏品
Collection of CHAT
媒體發展
紡織廣告的發展反映着社會經濟的脈絡。戰後五十至七十年代末，香港廣告業隨着工業化及經濟起飛而興旺，帶動紡織廣告融入市民的日常生活中。
五、六十年代的紡織廣告仍以報紙的印刷廣告為主，多着重介紹織品的功能、用途、價錢，不如現在注重形塑個人形象的符號。隨着製衣業蓬勃發展，紡織商標被廣泛印刷、織入不同的成衣產品之中。到了七十年代，電視取代報紙，成為最具影響力的大眾媒體，而這邊展示的利工民廣告便是反映紡織業與時並進的經典例子。
Adaptations Across Media
Textile advertisements reflect the socio-economic context of the times. In post-war Hong Kong, from the late 1940s to the 1970s, industrialisation and economic growth led to a thriving advertising industry, integrating textile ads into the everyday lives of Hong Kong people.
In the 1950s and 1960s, textile advertisements were mainly printed in newspapers. They emphasised utility and price rather than symbols of individuality or style. As the garment industry took off, textile brands became widely printed and even woven as clothing labels. By the 1970s, television replaced newspapers as the most influential form of mass media. The iconic Lee Kung Man TV commercial on this table exemplifies the textile industry’s adaptation to social trends.
工人周報》節選，1970-1971（複製品）
Clippings from Workers Weekly, 1970-1971 (Reproductions)
© 香港基督教工業委員會 The Hong Kong Christian Industrial Committee
工展會──年度大型宣傳盛事
在物質和娛樂不及現在豐盛的年代，工展會為城市帶來了不少歡樂和驚喜。新奇的商品展示和明星表演、選美競賽等多樣的節目，使工展會既是工業製品的展覽會，也是全民參與的嘉年華。
工展會由香港中華廠商聯合會舉辦，始於1938年，是香港工業產品的重要展銷場所。它一方面吸引各地商旅前來參觀，拓展海外市場，另一方面讓市民盡覽不同品牌的最新產品，並以折扣價錢購買，支持香港工業。為了突圍而出，紡織展商的攤位設計都別具心思，將商標轉化為引人注目的裝飾。這些商標也出現在豐富多樣的商品和推廣材料上，可說是無處不在。
Promotion via Exposition
At a time when material goods and entertainment were not as abundant as today, the Hong Kong Brands and Products Expo brought much excitement to the city. With novel product displays and programmes, such as star performances and beauty contests, it was at once an industrial exhibition and a carnival for all.
Organised by the Chinese Manufacturers’ Association of Hong Kong since 1938, the Expo was crucial for the promotion of Hong Kong’s industrial products and was attended by business travellers and local citizens alike. The Expo provided opportunity for citizens to show support to local industries by purchasing products at discounted prices. To stand out, textile exhibitors designed their booths creatively, transforming logos into eye-catching decorations, with trademarks appearing on a diverse and ubiquitous array of products and promotional materials.
張恩滿
《笆札筏的大洪水》
2025
十字繡、棉布
約21 x 950厘米
鏡面展台
25 x 50 x 150厘米
《從Lima到Pulima》
2025
構樹皮、泥土染料
約28 x 785厘米
構樹皮製作：光織屋(陳淑燕、 杜瓦克・都耀)
刺繡婦女團：Kuvalen Tjuljaviya、Rawus Tjuljaviya
展台訂製：鄭安舜
具有排灣血統的張恩滿在今年1月前往印尼蘇拉威西島上的望加錫拜訪藝術團體Riwanua，除了進行語言和紡織研究，也舉辦了工作坊。位於華萊士線東面的望加錫，對於自身獨特的地區文化相當自豪。張氏認識到以布吉語寫成、具有高度文學性的史詩《La Galigo》後，發現洪水在不同文化中皆有着重要的象徵意義，於是把排灣族的洪水傳說以族語刺繡在卷軸上，再特意留白，邀請Riwanua從《La Galigo》中挑選與水體有關的故事作為對照，共同完成作品。此處展示的《笆札筏的大洪水》，是張氏和Riwanua之間持續進行中的對話。
《從Lima到Pulima》的靈感則來自張氏駐村時語言交流和拜訪史前洞穴的經驗。在許多印尼地方語言和她家鄉的原住民族語裏，數字「 五」的發音都是lima， 而望加錫的洞穴壁畫中有許多手掌攤開的圖像，也令人聯想起這個數字。此外，在故鄉原住民族語裏，pulima意指「手很巧的人」，有時更延伸指藝術家。張氏在故土的構樹樹皮布上畫了手掌的形象，紀錄兩地文化之間神秘又有趣的巧合。
Chang En-Man
The Great Deluge: Oral History from Pacavalj
2025
Cross-stitch on cotton cloth
21 x 950 cm
Mirror shelf
25 x 50 x 150 cm
From Lima to Pulima
2025
Paper mulberry bark cloth, clay pigment
28 x 785 cm
Paper mulberry bark cloth: Paterongan Art (Chen Shu-Yen, Tuwak Tuyaw) Embroidery Ladies Group: Kuvalen Tjuljaviya, Rawus Tjuljaviya Customised shelf: Zheng An-Shun
Chang En-Man, of Paiwan Indigenous heritage, travelled to Makassar, Sulawesi, Indonesia, in January 2025 for a residency with the art collective Riwanua. During her stay, Chang conducted language studies, textile research and workshops. She discovered that Makassar, east of the Wallace Line, takes pride in its distinct identity. Upon learning about the Buginese epic La Galigo, Chang mused on the cross-cultural symbolism of torrents. She embroidered a Paiwan flood myth on a scroll and left space for Riwanua to add a water-related story from La Galigo. Here, The Great Deluge: Oral History from Pacavalj is an ongoing dialogue between them.
From Lima to Pulima is inspired by Chang’s language exchange with Indonesian collaborators and the prehistoric cave paintings in Makassar. In many local Indonesian languages, the word for the number five is pronounced lima, just as in many Indigenous languages in her native land. The cave paintings feature numerous images of open palms, also reminding Chang of the number. Interestingly, in some Indigenous languages back home, pulima means ‘a person with skilful hands’, often extending to mean ‘artist’. In Chang’s piece, hand motifs are painted on bark cloth made from the paper mulberry tree native to her homeland, documenting the mysterious and fascinating linguistic and cultural coincidences between the two regions.
我們衷心感謝與我們合力實現這次展覽和展出作品的個人和團體。
We extend our heartfelt gratitude to the individuals and groups who have greatly contributed to realising this exhibition and the displayed works.
Batik Tulis Gedog Tuban H.M. Sholeh
Komunitas KAHE
Prewangan Studio
Riwanua
Susur Galur
三天伯公
Yayasan Keluarga Sosial
Sam Thian Pak Kung
西婆羅洲客家文化中心
West Borneo Hakka Association
Cristo Adang Tri Adrian Ahin
Ahien’s brother
Fajrin Ahlini
Mirwan Andan
Yulia Kristina Aron
Cong Asuan
Samuel Bagas
Muhamad Bitrul
Romualdus Fernandez Bera
鍾喜財 Tjung Hi Chai
Cuncun
Taufik Darwis
Gusti Enda
Tu Xiu Fan
張少光 Tjong Sau Gong
Halimuna Jagi
Oktoranus Jeni
Merupa Jingga
黎英英 Tjai Jin Jin
Karolina Karmadina
Dwi Sosta Kanaya
Argentin Kruwa
Maria Ludvina Koli
Phang Hien Kong
郭美英 Manda Kwee
Djap Ci Hien
Bernardus K.J. Lazar
Theofilus Leo
Dini Ramdani Lestari
Anastasia Lio
Novalia Lisa
Mama Lusia
Sugar Nadia
Antonius F. Eka Putra Nggalu
黃國雄 Budiarto Yosdi Ngatidjan
Johanes Marno Nigha
Marianus Nuwa
Buntas Pradoto
饒建平 Nyiau Kian Phin
Tito Prastio
Ferry Rebing
Regina
Jonson Robinson
Clarisa Rorensia
Heri Saja
Bapak Sariban
Susana Samadina
Garis Samasta
Bapak Sariban
吳祝升 Ucuk Sentosa
Hery Sentoso (Afen)
Ari Singkawang
Maria Apriani Kartika Solapung
Theresia Stevani
Rosalinda Timu
Sukardi Kompai Tatung
Richardus C.Wawo
Angga Wijaya
Priska Yeniriatno
The Indonesian Migrant Workers
Union (IMWU), Hong Kong
KnitLab
JikSap
新天書業
舊時代
保良局「V54年青藝術家駐留計劃」
Po Leung Kuk Young
Artist-in-Residence @ V54
Sringatin
Ade Nurmalasari
Anna
Atin
周嘉誠 Dabinlo
Dhe
Hindun
Lina
Purwanti
李太后 Rita Li
Romlah
Siti Masiroh
Kesy
Win
Sukma
Septiana
Sustari
Wana
Yati Nurhayati
張啟聰 Cheung Kai Chung
The Asia Foundation
Accelerate Bangsamoro
Australian Aid
Guimba Lagasan Handloom
Association
Pixels Photo Gallery Studio
Mohammad Akmadul
Najia Allih
Analyn Abattang Amilbangsa
Ayang Abattang Amilbangsa
Karma Gadjali Amilbangsa
Anihar Annuari
Dani Hamsain Apalla
Nathalie Dagmang
Nelly Fung
Abraham Garcia, Jr.
Murhasan Gemenzil
Nurana Moh. Hasim
Melissa Hassan
Nursima Jakaria
Ana Agid Jailani
Al-Benzar Jamalul
Juidilyn Allih Jumala
Ma. Nellie Luna
Rambie Katrina Lim
Romy Jones Mata
Chester Mato
Dhems Mudjairi
Durisa Rajik Muhaimer
Ruhina Rajik Muhaimer
Rujia Rajik Muhaimer
Maribel Ongpin
Jerryll Reyes
Ainul Salapuddin
Sam Kasim Tapsi
信源企業股份有限公司 RSI Group
雄獅鉛筆廠股份有限公司 Lion Pencil CO.
光織屋 PateRongan Art
新社文化健康站
Shin-She Culture and Health Station
潘天利 Abas
陳玉美 Abi
潘秀蘭 Angcu
陳玉梅 Ceyaco
張存能 Chang Tsun-Neng
陳淑燕 Chen Shu-Yen
姜樂靜 Chiang Le Ching
姜樂仁 Chiang Le Jen
莊士寬 Chuang Shih-Kuan
林春碧 Halu
邱繡蓮 Hsiu Lien Chiu
Merupa Jingga
李桂英 Lee Kuei-Yin
林秋玉 Lisin
朱玉珠 Meha
楊玉美 Micang
江秋英 Qaidong
古金花 Rara
何阿榮 Runing
Garis Samasta
陳秀英 Sawmah
Kuvalen Tjuljaviya
Rawus Tjuljaviya
杜瓦克・都耀 Tuwak Tuyaw
江素珍 Umus
蔡宛蓉 Wan Jung Tsai
Angga Wijaya
潘春英 Yeng
陳琦蓁 Yeng Qamiyu
鄭安舜 Zheng An-Shun
昔日工業發展圖
七十年前，如果你從身後的窗口往外看，便會在大涌道現時所處位置看到船隻往來的水路。戰後時期的紗廠大多臨海而建，以便利用能源、處理廢料和接收進口棉花。紗廠把送抵的棉花紡為紗線，再加上精美商標進行封裝，此處展示的東南紗廠商標便是一例。這些紗線主要售予本地工廠，用於織造牛仔布、針織衣物等服飾。
與批發棉紗不同，成品服裝的銷路廣泛又直達消費者手中，「雞仔嘜」、「三五牌」等隨即成為家喻戶曉的線衫品牌。它們除了流通於本地市場，也遠銷海外，特別是東南亞地區。1950年韓戰爆發，西方大國對華實施禁運，「香港製造」便成了區別本地和內地產品的重要標識。
Mapping Industrial Development
Seventy years ago, looking out the window behind you, you would see a water channel that is now Tai Chung Road. In the post-war era, many spinning factories were established near water to harness energy, manage waste and receive imported cotton bales. Cotton was spun into yarn, packaged with ornate brand labels like those from South Textiles, and sold mostly to local denim and garment factories.
Unlike wholesale yarns, finished garments directly reached consumers, allowing knitwear brands like Chicks and 555 to become household names. These brands were widely sold within and outside Hong Kong, especially in Southeast Asia. With the outbreak of the Korean War in 1950, the label of ‘Made in Hong Kong’ became essential to distinguish the city’s products from those of the mainland, which were under embargo by major Western powers.
東南紗廠20週年紀念冊，1969（複製品）
South Textiles Limited’s 20th anniversary booklet, 1969 (Reproduction)
由東南紗廠提供
Courtesy of South Textiles Limited
東南紗廠的棉紗商標，約1950年代（複製品）
Yarn label of South Textiles Limited, about 1950s (Reproduction)
此棉紗商標結合傳統吉祥元素與中西合璧的繪畫風格，可謂香港早期平面設計的典範。七十年前，這些商標貼在紗線筒上，供外國買家查看。
This label features traditional auspicious motifs and a visual style blending Chinese and Western art, exemplifying early graphic design in Hong Kong. Seventy years ago, these labels would have been put on yarn cones and viewed by overseas buyers.
CHAT六廠藏品
Collection of CHAT
梅塔・梅莉達
《Wanai Saiji:存在的形式》
2025
刺繡、棉布、檔案
裝置：尺寸可變
織物：800 x 150厘米
工作坊參加者：潘天利、江秋英、潘春英、陳玉美、古金花、朱玉珠、林春碧、江素珍、陳琦蓁、林秋玉、李桂英、張存能
梅塔・梅莉達在花蓮的噶瑪蘭族群駐留期間，透過刺繡工藝，探討文化記憶的脆弱與延續。因殖民和迫遷造成的族群同化，噶瑪蘭族曾一度從大眾的視線消失，長久以來承受着語言和土地的流失。然而，其族群文化依然留存在零星散落的歌謠、圖案、口述故事與日常言行之中。文化記憶以猶如破布的姿態，存活於這些寂靜的空間裏，而梅莉達的創作亦正源於此。
梅莉達以刺繡作為方法和隱喻，反映出文化存續的破碎本質。語言是此項目的核心——瀕臨消失的噶瑪蘭語詞彙以拉丁文字呈現，與連繫中文和噶瑪蘭語的圖象交織，象徵在殖民化與現代化過程中形成的混合身份。她也透過符號的系統來突顯噶瑪蘭族群故事的觸感和生活層面。「雨」、「眼睛」和「編織」等與日常生活相關的概念，在噶瑪蘭語和印尼語中都翻譯成相似的字詞，啟發了梅莉達的創作。這些元素就像記憶一樣， 活生生地成為了身份的一部分，不斷轉變、持續及傳承。
在為噶瑪蘭文化遺產注入動力的同時，梅莉達的刺繡提供了相遇與反思的空間。每根紗線都成為關懷、抵抗與重新連結的象徵，串聯着過去與現在、身體與土地。她的裝置作品成為了一座情感的檔案庫，讓語言、地貌與身份再次流動。
Meita Meilita
Wanai Saiji: The Shape of Being
2025
Embroidery on cotton cloth, archive
Installation: Dimensions variable
Textile: 800 x 150 cm
Workshop Participants:
Abas, Qaidong, Yeng, Abi, Rara, Meha, Halu, Umus, Yeng Qamiyu, Lisin, Lee Kuei-Yin, Chang Tsun-Neng
In her residency with the indigenous Kebalan community in Hualien, Meita Meilita explored the fragility and endurance of cultural memory through embroidery. Once invisible due to assimilation caused by colonisation and forced relocation, the Kebalan people have long endured erasure – from their language to their lands. Yet in songs, motifs, oral stories and daily gestures, their presence persists. Meilita’s work began here: in the quiet spaces where memory survives in threadbare form.
As both method and metaphor, her embroidery reflects the fragmented nature of cultural survival. Language is central to her project – in Latin script, nearly extinct Kebalan words intertwine with images that connect the Kebalan and Chinese languages, symbolising the hybrid identities shaped by colonisation and modernity. Meilita also highlights the tactile and lived dimensions of the Kebalan people’s stories through notation. She draws on everyday concepts like ‘rain’, ‘eye’ and ‘weave’, which translate into similar words in Kebalan and Indonesian languages. These elements, like memories, are embedded as living parts of identity – shifting, enduring and passed down.
While activating Kebalan heritage, Meilita’s embroidery provides space for encounter and reflection. Each thread becomes a gesture of care, resistance and reconnection between past and present, body and land. Her installation acts as an affective archive, allowing language, landscape and identity to circulate once again.
棉紗，約1970年代
Cotton yarn, about 1970s
CHAT六廠藏品
Collection of CHAT
楊偉林
《旋》
2019
布輪、藍染棉布、鏽染棉布
150 × 120 × 5 cm
150 × 120 × 5厘米
楊偉林工作生活於南投，擅長透過探索多樣性的自然纖維、工業廢棄物及現成物，製作帶有延展性和敘事性的空間裝置。作品《旋》將工業用的布輪以藍染和鏽染兩種截然不同的技法呈現：藍染為鹼性、還原性，布料在有生命的染缸裏重複浸染，讓色彩層層堆疊土；而鏽染則為酸性、腐蝕性,通過氧化，在物料 剝落、瓦解的過程中萃取轉印顏色。兩種染法的交織彷彿在藍色海洋中浮現的褐色陸地，也象徵藝術家們蜿蜒而擴張的旅程。
楊氏在2025年2月前往印尼爪哇島的圖班拜訪藝術團體Prewangan工作室，駐留期間除了造訪當地手工織布和蠟染的村落、參與小漁村的海洋祭典，也拜訪數百年來爪哇島與中華文化、阿拉伯文化和荷蘭文化交流的遺跡。本次參展的新作《在靛市》和《海岸線》也回應了交流的過程。
Yang Wei-Lin
Wing
2019
Cotton buffing wheels, indigo-dyed cloth, rust-dyed cloth
Based in Nantou, Yang Wei-Lin is known for her expressive, narrative-driven spatial installations that utilise a wide range of natural fibres, industrial waste and found objects. Her work Wing features industrial buffing wheels treated with two contrasting dyeing techniques: indigo dyeing and rust dyeing. Indigo dyeing is alkaline and reductive, involving the repeated layering of colour within a living vat. In contrast, rust dyeing is acidic and corrosive, shaped by oxidation – where colour is extracted and transferred through the decay and disintegration of materials. The interplay of these two methods reminds of brown landmasses emerging from a blue ocean, symbolising the winding and expansive journeys of artists in the exhibition.
Yang travelled to Tuban, Java, Indonesia, in February 2025 to visit the artist collective Prewangan Studio. During her residency, she explored local weaving and batik villages, took part in a sea ceremony held by a small fishing community, and visited historical sites that reflect centuries of cultural exchange between Java, China, the Arab world and the Netherlands. Her new works Indigo Market and Coastline are born from this experience.
楊偉林
《在靛市》
2025
回收蛋盒、金箔、天然漆、紙漿、紙線、藍染、塑膠蛋殼、聲音裝置
尺寸可變
《海岸線》
2025
海洋廢棄物、蠟、藍染、天然漆、其他複合媒材
尺寸可變
聲音裝置：Prewangan工作室
紙漿藍染：邱繡蓮
工作助手：蔡宛蓉
《在靛市》回應海洋交流貿易史，以染料藍靛為主題。荷蘭東印度公司在十七世紀把藍草引入印尼，當時荷蘭人也曾試圖在福爾摩沙種植藍草，但因不諳當地氣候而未能成功。楊氏參考藍靛放在木盒裏運到荷蘭拍賣市場的歷史圖片，以覆蓋金箔的回收蛋盒呈現當年被譽為「藍金」的藍靛。盒中的蛋以紙漿和藍染製成，保留了在掌中塑形的痕跡， 蛋上的紙籤書寫了《黑暗之心》、《荷蘭人在福爾摩沙》、《色度》三個文本的摘錄。靛藍色的蛋當中，亦放有蛋形的發聲器，收錄了民眾對於藍靛或藍色的 各種想像。
《海岸線》以在海灘撿拾的海洋廢棄物為素材。來自不同島嶼的漁網堆積於牆的底部，彷如被海浪沖撞上岸形成的沈積。線段沿牆面往上延伸，末端是經過藍染、上蠟與打結等技巧處理的海洋廢棄物，呈現人工與自然力量的並存，在交換吐納中產生新的價值，也象徵身份與文化的塑造過程——透過交互影響， 成為某種新的存在。
Yang Wei-Lin
Indigo Market
2025
Recycled egg cartons, gold leaf, natural lacquer, paper pulp, paper thread, indigo dye, plastic eggs, sound installation
Dimensions variable
Coastline
2025
Marine debris, wax, indigo dye, natural lacquer, mixed media
Dimensions variable
Sound Installation Collaboration: Prewangan Studio
Paper Pulp Dyeing: Chiu Hsiu-Lien
Production Assistant: Tsai Wan-Jung
Indigo Market responds to the history of trade and exchange centred around indigo dye. The Dutch East India Company introduced blue grasses to Indonesia in the 17th century; they also tried to cultivate them in Formosa but failed due to unfamiliarity with its cyclonic climate. Drawing on historical images of indigo balls packed in wooden boxes and auctioned in the Netherlands, Yang presents the ‘blue gold’ in dyed and gilded egg cartons. The eggs made from paper pulp and indigo dye retain traces of being shaped by hand. Attached to them are paper tags inscribed with excerpts from three books: Heart of Darkness, The Dutch in Formosa, and Chroma. Among the eggs, egg-shaped mini speakers play recordings from people in Yang's native land and Indonesia, sharing their imaginations around indigo.
Coastline is made from marine debris collected on beaches. Discarded fishing nets from different places are piled along the wall, resembling sediment left behind by waves crashing onto shore. Threads extend upwards along the wall, connecting to objects transformed from marine debris. Human craftsmanship and natural forces coexist in the processes of indigo dyeing, waxing and knotting. New meanings emerge in this transformation, reflecting the shaping of identity and culture, and how such interactions give rise to new forms of being.
流動的痕跡
商品包裝向來隨着潮流不斷變化，但始終發揮着保護和宣傳產品的關鍵作用。優秀的品牌視覺不僅給予良好的第一印象，也是吸引顧客回訪的重要一環。
在香港工業起飛的年代，棉紗、針織衫等紡織品大量銷售至本地及海外市場的製造商、批發商和消費者。伴隨着這些香港產品在不同市場流動的，是印上或織有標誌性圖案的盒子及標籤，各由獨特的美學、語言和經濟環境所形塑而成。如果沒有這些裝飾，素淨的棉製產品未必能充分展現香港當時工業發展和商品流動的盛況。
本次專題展示以紡織商標包裝及廣告為主題，透過CHAT六廠藏品及借展品視覺化戰後時期至1980年代香港本地和海外市場的貿易往來，同時回應季度展覽，記錄及探索交流與視覺文化。
ARTEFACTS of CIRCULATION
Although ephemeral by design, commercial packaging serves the important purposes of protection and branding. An effective visual identity provides not only a good first impression, but also an emblem for customers to confidently return to.
In the industrial era of Hong Kong, textile products ranging from cones of yarn to finely knitted shirts were sold widely within the city and abroad to manufacturers, wholesalers and individual consumers. Accompanying these Hong Kong products were boxes and labels printed or woven with iconic designs, each shaped by unique aesthetic, linguistic and economic circumstances. Without graphic adornment, the outwardly plain cotton products would present little observable evidence of the city’s industrial development and circulation.
This thematic display draws on objects of textile packaging from the CHAT Collection and other collections to visualise Hong Kong’s relationship with domestic and international markets from the post-war period to the 1980s, while conversing with the seasonal exhibition on the themes of exchange and visual culture.
種學織文2025
謝淑婷開放工作室
自2019年起CHAT六廠旗艦社群計劃「種學織文」一直為藝術家及公眾提供從種植到展廳實踐的體驗，探索自然、紡織與藝術之間的聯繫。今年我們邀請了香港藝術家謝淑婷探索自然與紡織如何交織及承載人們的記憶，並透過收集口述歷史及與公眾共同創作，解構並重塑集體經驗。
謝淑婷自2015年起着力研究葵涌公立學校的歷史，並積極蒐集及保存相關檔案與遺物。該校自1952年矗立於青山公路葵涌段上的山丘，校園被自然環抱，是撫育了無數荃灣新市鎮居民成長的搖籃，惜現已拆卸。以其母校為起點，謝氏召集多代校友及熱心公眾組成「種子隊」，一同於南豐紗廠天台耕地及一所村校的校園農圃中，栽種曾生長於昔日校舍的香港常見植物，延續學校珍貴的自然遺產。這些植物皆如時光的見證，承載着個人與集體 的身份認同及意義。謝氏與種子隊以收成製作自然染料與纖維， 用於陶瓷、紡織染色、藍曬攝影及樹枝編織等共創工作坊，並邀請公眾參與，喚醒深植於我們集體經驗之中，人類與自然之間那份生生不息、代代相傳的深刻連結。
高橋瑞木、羅璧如
策展人
維迪・阿莎麗
《Masak apa kita hari ini?》
(我們今天要煮甚麼?)
2025
絲網印刷、圍裙、棉布
200 x 400厘米
合作單位：Sringatin(香港)、Dini Ramdani Lestari(萬隆)、香港印尼外傭工會
在駐留期間，印尼藝術家維迪・阿莎麗對印尼外傭與香港家居廚房之間的關係尤感興趣，並視廚房為關懷、協商和記憶的場所。她與印尼外傭工會合作，探索食物如何成為聯繫外傭與僱主的語言，而味道又如何充當共鳴和理解的橋梁。
廚房是一個充滿張力的社會空間：在為僱主家庭準備膳食的同時，外傭也在供養身在遠處的家人，可謂同時維持着兩個廚房的運作。在一個工作坊中，阿莎麗邀請外傭以嗅覺和觸覺感受日常在廚房中使用的布料，同時回答五個關於食物回憶的問題，分享有關自己家鄉或是僱主廚房的故事。他們閉上眼睛，在廚房抹布和圍裙的觸覺提示下，把故事繪畫出來，然後轉化為紡織圖案。這些圖案刺繡在購自深水埗的剩餘工業布料上，悄悄地將移民回憶編織於這座城市的肌理之中。
透過分享故事與實驗性創作，阿莎麗將布料視為一種聆聽的形式，記錄外傭及其廚房跨越地域的情感與遷移軌跡。此藝術裝置中層層交疊的布料，好比一個距離與韌性的檔案庫，每絲每線都訴說着關懷、缺席與記憶。
Widi Asari
Masak apa kita hari ini?
(What Are We Cooking Today?)
2025
Screen printing on aprons, cotton fabric
200 x 400 cm
Collaboration with Sringatin (Hong Kong), Dini Ramdani Lestari (Bandung), Indonesian Migrant Workers Union (Hong Kong)
During her residency, Indonesian artist Widi Asari explored the relationship between Indonesian migrant workers and the domestic kitchens of Hong Kong – as sites of care, negotiation and memory. In collaboration with the Indonesian Migrant Workers Union, she uncovered how food becomes a language of connection between workers and their employers, with flavours as bridges of empathy and understanding.
The kitchen is a charged social space: while preparing meals for their employers’ families, migrant workers are also feeding families back home, essentially sustaining two kitchens at once. In a workshop, Asari invited migrant workers to touch, smell and feel everyday kitchen fabrics while responding to five questions about food memories – whether from their hometowns or their employers’ kitchens. Guided by kitchen towels and aprons as tactile prompts and with eyes closed, they translated their stories into drawings and then into textile motifs. These motifs are embroidered on industrial deadstock fabrics sourced in Sham Shui Po, quietly weaving migrant memories into the fabric of the city.
Through shared storytelling and experimentation, Asari treats fabric as a form of listening that records the emotional and migratory geographies carried by migrant workers and their kitchens. The layered fabrics here are an archive of distance and resilience, with each thread holding care, absence and memory.
織浪地圖
此地圖追溯了是次項目在多個沿海地區的駐場計劃與合作過程，它將相互連結的地點、旅途和關係形象化，展現對話、地區性及共同實踐如何塑造「織浪者」不斷演變的結構。
Weavers’ Map
This map traces the flow of residencies and collaborative processes across multiple coastal regions. It visualises the project’s interconnected sites, movements and relationships – revealing how dialogue, locality and shared practice shape the evolving fabric of Tidal Weavers.
織浪地圖
此地圖追溯了是次項目在多個沿海地區的駐場計劃與合作過程，它將相互連結的地點、旅途和關係形象化，展現對話、地區性及共同實踐如何塑造「織浪者」不斷演變的結構。
Weavers’ Map
This map traces the flow of residencies and collaborative processes across multiple coastal regions. It visualises the project’s interconnected sites, movements and relationships – revealing how dialogue, locality and shared practice shape the evolving fabric of Tidal Weavers.
艾瑪・昆托
《Darhata和Ruhina：平行織長》
2025
棉、聚酯纖維
Pis syabit頭巾及saputangan手帕由Karma Gadjali Amilbangsa、Mohammad Akmadul、Najia Allih及Juidilyn Allih Jumala織造
1〈畸變〉：200 x 150厘米
2〈要求與挑戰〉：200 x 110厘米
3〈包容性〉：220 x 130厘米
本作品獲亞洲基金會「Accelerate邦薩摩洛Women PH項目」支持製作。
艾瑪・昆托被譽為菲律賓社會參與藝術的女性先驅，她長年與經歷自然災害和性暴力等創傷的群體互動，協助他們藉藝術創作療癒傷痛。
在本次展覽中，昆托向達哈塔・薩瓦比（Darhata Sawabi，1943–2005）致敬。 薩瓦比對培育居於菲律賓西南部蘇祿省、信奉伊斯蘭教的陶蘇格族織匠作出了巨大貢獻，並因其織造傳統pis syabit頭巾的卓越工藝而獲登錄為國家活寶。代表着陶蘇格族豐富文化的pis syabit為方形織物，圖案包括各種象徵火、風、 水、土的幾何紋樣，周圍則飾以線條、三角形與鋸齒紋。多重圖案與設計融合成一個整體，代表了伊斯蘭教的團結思想。
2025年5月，昆托前往蘇祿省，探訪傳承薩瓦比編織工藝的織匠，親身了解當地圖案的意涵、織匠的訓練、生活境況與夢想。她將此行認識的女性織匠所製的pis syabit縫在黑布上，再融入自己的刺繡，描繪這些織匠的生活現況和對未來的憧憬盼望。整件作品宛如一本書，娓娓述說蘇祿省女性織匠的故事、韌性、 互助、關懷，以及對編織傳統的熱情。
Alma Quinto
Darhata and Ruhina: Parallel Weavelengths
2025
Cotton and polyester
Pis syabit and saputangan woven by Karma Gadjali Amilbangsa, Mohammad Akmadul, Najia Allih and Juidilyn Allih Jumala
1) ‘Aberration’: 200 x 150 cm
2) ‘Claim and Challenges’: 200 x 110 cm
3) ‘Inclusion’: 220 x 130 cm
This work is realised in partnership with The Asia Foundation's Accelerate Bangsamoro Women PH Program.
Alma Quinto is a female pioneer in socially engaged art in the Philippines, who has helped victims of natural disasters and sexual violence to heal through art making.
For this exhibition, Quinto honours Darhata Sawabi (1943–2005), who greatly contributed to nurturing weavers in the Muslim Tausug community of Sulu in the southwest Philippines. Sawabi received the National Living Treasure Award for her dedication to the craft of pis syabit weaving, which represents the rich cultural heritage of the Tausug people. Pis syabit is a square piece of woven cloth with intricate geometric motifs representing water, fire, air and earth surrounded by linear, triangular and zigzag patterns. The motifs and patterns fuse into a wholeness that represents the Islamic idea of unity.
In May 2025, Quinto travelled to Sulu to visit weavers continuing the legacy of Sawabi. She learnt about the meaning of each motif, the community’s way of textile training, livelihoods and dreams. She stitched the pis syabit woven by the women she met in Maimbung and Parang on black fabric, and created embroidery depicting their current living condition as well as their hopes and expectations for the future. The resulting piece is like a book narrating the story of Sulu female weavers, their resilience, mutual support, care and passion for their textile heritage.
葉啟俊
《神衫》
2025
燈箱、小冊子、單頻道影片
燈箱：一組六件，尺寸可變
小冊子：一組六件，29.7 x 21厘米錄像(13’31")
共同創作:
Cong Asuan, Manda Kwee, Novalia Lisa, Nyiau Kian Phin, Tjai Jin Jin, Tjung Hi Chai, Heri Saja, Regina, Phang Hien Kong, Clarisa Rorensia, Hery Sentoso (Afen) and Susur Galur
葉啟俊從父親承襲了客家血統，他專注透過藝術創作和活動，探索客家文化在不同地區所呈現的多樣性與複雜性。 2025年1月至3月期間，他到訪印尼的西加里曼丹地區(前稱西婆羅洲)，在坤甸獲藝術團體Susur Galur接待，並探索當地的客家歷史與文化——客家華人羅芳伯曾於1777年在該地創立蘭芳共和國。每年農曆新年的第十五天，西加里曼丹地區都會舉辦元宵節慶典，尤以婆羅洲原住民與華人的跳童遊行聞名。「跳童」一詞源自客家話，意思是通靈者，被視為受神明附身而能接收神諭。他們會在遊行期間穿上根據神明指示而特製的服飾，並展示超乎人體極限的能力。
因跳童文化缺乏正式文獻記載，葉氏與Susur Galur團隊訪問了多位跳童及為他們製作服飾的裁縫，然後安排了肖像拍攝。展覽中的六個燈箱展示了跳童穿上特製服飾的肖像，輔以神明傳達的設計指示。錄像播放着跳童於元宵節及羅芳伯287歲冥誕慶典中展現神力的片段，螢幕背後放有一些小冊子，包含跳童受神明附身前後的照片、服飾故事， 以及作為通靈者的經驗分享。
Yip Kai Chun
My Deity Wants Me to Wear This
2025
Light boxes, booklets, single-channel video
Light boxes: Set of six, dimensions variable Booklets: Set of six, 29.7 x 21 cm
Single-channel video: 13’31"
Collaboration with:
Cong Asuan, Manda Kwee, Novalia Lisa, Nyiau Kian Phin, Tjai Jin Jin, Tjung Hi Chai, Heri Saja, Regina, Phang Hien Kong, Clarisa Rorensia, Hery Sentoso (Afen) and Susur Galur
A Hakka descendant from his father’s side, Yip Kai Chun explores the diversity and complexity of Hakka culture across regions through art and events. From January to March 2025, he was hosted by the collective Susur Galur in Pontianak of West Kalimantan (formerly West Borneo), Indonesia, where a Hakka Chinese called Lo Fong Pak founded the Lanfang Republic in 1777. On the 15th day of Chinese New Year, the Cap Go Meh festival is celebrated across West Kalimantan and is known for the tatung – ‘spirit medium’ originated from the Hakka language – parade performed by the natives of Borneo and Chinese. Tatung are believed to be possessed by deities. During the parade, they wear special costumes designed based on divine instructions and demonstrate supernatural powers.
Since the tatung culture remains scarcely documented, Yip and Susur Galur interviewed tatung and their tailors about the costumes before organising a photo shoot. The six light boxes display the tatung in their costumes, accompanied by the design instructions from their deities. The video shows the tatung performing at the festival parade and during the 287th birthday celebration of Lo Fong Pak. Behind the monitor are booklets containing photos of the tatung before and after possession, stories of their outfits, and their experiences as spirit mediums.
雞仔嘜包裝盒和線衫，約1950年代
Packaging box and garment from Chicks, about 1950s
由香港知專設計學院提供
Courtesy of Hong Kong Design Institute
雞仔嘜塑膠購物袋，20世紀中期
Plastic shopping bag from Chicks, mid-20th century
震歐線衫廠有限公司在二戰後到泰國設廠。戰後經濟蕭條，震歐的「雞仔嘜」品牌以三隻活潑小雞寄寓對豐衣足食的盼望。
Chun Au Knitting Factory Limited set up factories in Thailand after the Second World War. During the post-war economic slump, their ‘Chicks’ brand, featuring three little chicks, symbolised hope for prosperity in challenging times.
由香港知專設計學院提供
Courtesy of Hong Kong Design Institute
香港紗廠執行董事王𦦵樺採訪片段，2018
Interview video with James Wong, Executive Director of Hong Kong Spinners Limited, 2018
商標選擇常與廠主個人經歷有關。這段訪談錄像便講述了香港紗廠的玫瑰牌背後，王統元家族對玫瑰的鍾情。
The design of a brand label is often related to the factory owner’s personal experiences. This video of an interview tells the story of the Wong family’s love of roses, which inspired the Rose brand of Hong Kong Spinners Limited.
CHAT六廠藏品
Collection of CHAT
馬穎汶
《一連串的剎那》
2025
絲、棉、金屬框架、喇叭
紡織品：76 × 259 厘米、76 x 264厘米
懸掛物件：90 x 70 x 49.5厘米
與毛梅雷的女性織匠和Komunitas KAHE共同創作
馬穎汶在藝術作品、參與式體驗與行為展演中融入紡織媒介，將不同世代、不同能力的人連結起來。2025年1月，她前往位於印尼弗洛雷斯島、以豐富紡織傳統而聞名的毛梅雷，在當地藝術與文化團體Komunitas KAHE展開為期八週的駐留計劃。期間，她師隨技藝精湛的當地織匠Mama Lin，學習伊卡(ikat)綁染技法中排線、造圖、染色和織造等各個步驟。其他織匠得知有香港藝術家來到社區學習紡織，也前來拜訪Mama Lin， 與馬氏分享傳統圖案的意義、色調和技術，以及當地的歷史和文化。
馬氏了解到傳統圖案背後的意涵後，創作出「飛舞的雞」及「跳舞的人」圖案，以紀錄她在駐留期間的經歷和感想。她也開設一系列小型工作坊，與當地暱稱為mama-mama的女性織匠一同設計其他圖案。她邀請這些女士反思自己的身份——不僅身為織工，更包括女性、母親與文化守護者的角色。這亦是她們人生中第一次為自己設計圖案。馬氏在駐村期間完成了兩件織物，回港後又完成了一件反映伊卡製作過程的立體作品。 伴隨着紡織作品的聲音是Komunitas KAHE成員演繹的歌曲，他們經常以音樂歌頌生活的快樂。
Ma Wing Man Mandy
Where Moments Gather
2025
Silk, cotton, metal frames, speakers
Textiles: 76 x 259 cm, 76 x 264 cm
Hanging object: 90 x 70 x 49.5 cm
Collaboration with female weavers and Komunitas KAHE in Maurere
Ma Wing Man Mandy uses textiles in her artworks, participatory projects and performances to connect people across generations and abilities. In January 2025, she travelled to the art and culture collective Komunitas KAHE in Maumere on Flores Island, Indonesia, a place noted for its rich textile traditions. During her eight-week residency, Ma was received by Mama Lin, a skilled local weaver who taught her the ikat technique of resist dyeing threads before weaving. Knowing a Hong Kong artist was learning and practising textile crafts among the community, other local weavers also visited Mama Lin and shared with Ma the meanings of their traditional textile patterns, colour palettes and techniques, as well as the region’s history and culture.
Based on the knowledge gained, Ma created the ‘flying chicken’ and ‘dancing people’ motifs to record her experience in Maumere. More new motifs were born from intimate workshops with the mama-mama (mother figures) weavers. Ma invited them to reflect on their identities, not just as weavers, but as women, mothers and cultural guardians. It was their first time designing a motif for themselves. Ma completed two woven pieces in her residency and a three-dimensional piece reflecting the ikat process after returning to Hong Kong. Accompanying the exhibited textiles are songs by the members of Komunitas KAHE, who often celebrate the joy of life with music.
CHAT六廠衷心感謝以下單位支持「種學織文 2025」
CHAT sincerely thanks the following organisations for their support for Seed to Textile 2025
支持機構 Supported by
何鴻毅家族香港基金
The Robert H. N. Ho Family Foundation Hong Kong
合作單位與種植夥伴
八鄉中心小學
香港浸會大學
創意及專業寫作課程
嘉道理農場暨植物園
香港有機生活發展基金
Collaborators and Planting Partners
Pak Heung Central Primary School
Creative and Professional Writing Programme,
Hong Kong Baptist University
Kadoorie Farm and Botanic Garden
Sustainable Ecological Ethical Development Foundation
CHAT六廠衷心感謝以下人士對本計劃的鼎力支持
CHAT sincerely thanks the following individuals for their generous support
朱金定 Chu Kam Ting
羅慧燕 Lo Wai Yin
高嘉雲 Gavin Scott Coates
約翰百德 John Batten
黃建彰 Philip KC Wong
梁經緯 Leung King Wai
吳國緯 Ng Kwok Wai
陳基 Chan Kay
謝盛業 Tse Shing Yip
余康堅 Yu Hong Kin
曾煥炎 Tsang Woon Yan, Horatio
譚貴 Tam Kwai
曾秀英 Tsang Sau Ying
黃繡真 Wong Sau Chun
陳芬 Wonnie Chan
鄭金蓮 Cheng Kam Lin Irene, Lailen
曾慶聰 Wilson Tsang
謝淑芳 Tse Suk Fong
謝淑妮 Shirley Tse
傅康德 Fu Hong Tak
黃映貞 Wendy Wong
廖朝霞 Liu Chiu Ha Anita
沈劍鳴 Shum Kim Ming
江瑞賢 Kong Sui Yin
楊英偉 Yeung Ying Wai
莊紹芳 Chong Shiu Fong
郭修文 Sam Kwok
曾偉安 Tsang Wai On
盧國樑 Lo Kwok Leung
潘月麗 Poon Yuet Lai
黃綺萍 Wong Yee Ping
史嘉茵 Sze Ka Yan
張才生 Cheung Choi Sang Samson
Fei Wong
種子隊成員 Seeders
八鄉中心小學種植組
Pat Heung Central Primary School
Planting Group
桌上陳列着紀念堂的多幅照片、石碑拓印、鷹形校訓牌匾拓印，以及瓷相藍曬紀錄冊。謝氏以自然染色的紗線將這些豐富的記錄與線索連結起來，象徵學校創建背後緊密相繫的支持網絡。
Displayed on the table are rubbings of the stone monuments and an eagle plaque with the school’s motto at the Memorial Hall, along with photographs of the space and cyanotype records of the ceramic portraits there. Tse uses naturally dyed threads to connect these archival materials and uncovers the strong network of support underpinning the school’s foundation.
植物圖案的刺繡與拼布、舊建築的拓印、古董與文物、口述歷史——它們皆與集體記憶及城市身份緊密交織。
謝氏邀請觀眾走入時光隧道，重新審視草木與人相互重疊交織的遷徙故事、思索歸屬感的構成，並探尋身邊常被忽略和逐漸消逝的種種敘述。
Tse interviewed principals, teachers and students of Kwai Chung Public School across generations, capturing intimate oral histories of the village school and its surrounding communities.
Inside the book box of each student desk here are cherished personal objects of an interviewee, which are holders of unique, treasured stories. The booklet on the desk contains the Chinese and English transcripts of the interview, a profile of the interviewee and related photographs.
此地圖根據與一位前棉紡織品銷售員的訪談內容繪製，顯示了1970年代到1980年代期間南豐紡織的棉花來源地。南豐紡織生產的棉紗主要銷售至本地的織布和針織廠。在1980年代，南豐紡織採購的棉花佔了香港總進口棉花四成。
Based on an interview with a former cotton merchandiser, this map shows where Nan Fung Textiles sourced cotton for spinning between the 1970s and 1980s. Cotton yarns produced by Nan Fung Textiles were mainly sold to local weaving and knitting mills. In the 1980s, 40% of Hong Kong’s total cotton imports went to Nan Fung Textiles.
織浪者: 浮遊相聚
「織浪者：浮遊相聚」展開共同回憶和交流知識的過程，並由不同海洋、島嶼、河流,以及居住其中的人形塑而成。在這個生成空間裏，相遇形成新的敍事，結伴既是創作方法也是素材。
無論是汪洋、海峽或河流，水不僅是連接土地的交通途徑，更是具生命力的存在。它流淌着記憶和勞動的點滴，也蘊含着遷移、貿易、儀式與血緣的痕跡。同樣地，織物也不只是文化遺物，而是一個流動的、可觸摸的資料庫，與日常、神聖和集體密不可分。
駐留計劃是「織浪者」的核心部分。我們在香港、印尼、菲律賓和花蓮的多個民間藝術及文化機構之間發起了藝術交流，促進當地文藝從業者相互學習和長期合作。藝術家、織匠、研究員和社區成員在沉浸式的環境中共同工作和生活，通過對話、一同進食、分享日常事務與創作，慢慢建立了深切長久的友誼。這些關係塑造了創作，也融入了素材本身。
這次的項目並非旨在呈現一個已完成的敍事，而是要提供一個由故事、圖像和節奏組成的生態系統，回應每個地區的獨特性和人與人之間相遇的美好。它強調平緩、 傾聽和互惠，以此作為藝術與社會互動的策略。
在這個以碎片化和速度著稱的時代，「織浪者」為再生騰出空間。它敬仰人類、水源、 土地和織物，因為它們都承載着生命、記憶，以及跨越地域和人類的深厚連結。
藝術總監
埃德.達瑪萬
藝術家將不定期於場内修復記錄了其母校地板紋理的拓印本。
此工作桌上陳列着天然染料樣本及藝術家珍藏的物品，包括在校園拆卸前夕從小食部收集到的糖果罐、小學課簿，以及她小學時期所撰寫的文章。
Tse periodically works on site to restore rubbings of the floor imprints at her alma mater.
On the worktable are natural dye samples alongside the artist’s collection, including a candy jar from the school cafeteria, exercise books, and essays penned during her primary school days.
謝氏從昔日師生收集葵涌公立學校的舊照，從村校的演變見證城市滄海桑田的發展。
圖片提供 :
羅慧燕博士、謝淑妮、張才生、郭修文、楊英偉、沈劍鳴、馮雪君老師 、Fei Wong
Tse gathered photographs from former teachers and students of Kwai Chung Public School, documenting the city’s transformation through the evolving image of the school.
Photos courtesy :
Dr Lo Wai Yin, Shirley Tse, Cheung Choi Sang Samson, Sam Kwok, Yeung Ying Wai, Shum Kim Ming, Fung Shuet Kwan, Fei Wong
謝氏訪問了葵涌公立學校不同年代的校長、老師與學生，所得的口述歷史透露了這所村校及周遭社區的點點滴滴。
此處學生桌的抽屜中，都陳列着受訪者們珍藏的個人物品，每件物件都如時間囊般承載着私密而珍貴的故事。桌上的小冊子收錄了中文及英文訪談稿、受訪者背景介紹及相關照片。
Tse interviewed principals, teachers and students of Kwai Chung Public School across generations, capturing intimate oral histories of the village school and its surrounding communities.
Inside the book box of each student desk here are cherished personal objects of an interviewee, which are holders of unique, treasured stories. The booklet on the desk contains the Chinese and English transcripts of the interview, a profile of the interviewee and related photographs.
《娛樂一週》，1974
Weekender, 1974
由胡兆昌提供
Courtesy of John Wu
利工民金鹿牌筆記本，約1960年代
‘Golden Deer’ brand notebook from Lee Kung Man, about 1960s