Interview 採訪：Law Yuk-mui/ 羅玉梅
Editing 編輯、整理：Law Yuk-mui/ 羅玉梅
English Translation 英譯 : Winnie Chau/ 周潁榆
Transcription 謄錄: Janie Chan Tsang/ 陳錚
Hong Kong/ 香港
Wong Fuk-kuen believes that there is a vibrant place beyond the world he knows. He wishes that this place would guide and inspire his creations with sound and space.
The Library: Why would Granny Yee Woo (Evelyna Liang-Kan Yee Woo) ask you to make the recording?
Wong Fuk-kuen: It was in fact a 20th anniversary activity by the Leisure and Cultural Services Department. All participating artists received a sponsored piano. Their original intention was only to decorate the pianos, e.g. with drawing, by sticking something on it. Yet, Granny Erhu would like to do something related to sound. Hence, she contacted me.
The Library: But why was it the sound of the Umbrella Movement?
Wong Fuk-kuen: Before the Umbrella Movement took place, she said she wanted to record some street sounds. A month later, this unforeseen event took place and we adopted a new direction right away. Actually, every participating artist had a theme. Granny Erhu’s theme was ‘contemporary music’. It is a very broad theme, which means anything goes. Contemporary sounds in the midst of the Umbrella Movement, using this as an entry point, this is in fact contemporary music already.
The Library: If Granny Erhu didn’t ask you to make the recording, would you have taken part in this movement?
Wong Fuk-kuen: Certainly. But instead, if you asked me: would I make recordings if there had not been Granny Yee Woo’s project? I would, but probably not this much.
At that time, I went to the occupied areas in Mong Kok and Admiralty intermittently for five to six days. I wandered around without specific purposes. I am fond of things that subvert the ordinary and the Umbrella Movement was precisely subverting the ordinary. For instance, I like it most when typhoon signal no. 8 is hoisted. Everyone on the street walks towards the same direction. I find it amazing. Everyone stops working and packs up spontaneously. On a normal day, people invariably walk in all directions: right and left, forwards and backwards; once typhoon signal no. 8 is hoisted, everyone returns home in the same direction, changing the whole scenery.
The Library: What have you recorded eventually?
Wong Fuk-kuen: It’s mainly conversations of some people. Apart from the contents, I am interested in the identity and the grouping of the speakers, as well as the entire atmosphere. For instance, there is a clip that was recorded on a bridge in Admiralty at night. There were people singing on the slope across the road afar; at a distance below the slope, people made a circle and shouted every 30 seconds. Afterwards, they roared, quieted down for 10 seconds and roared again. I stood on the bridge to listen. Such experience, combinations and distance are very special.
10:00PM, 10/19/2014, Admiralty
Besides, there were ambient sounds that would only appear at that time. For instance, there is a kerb between the two main roads in Admiralty. Some people had built some stairs for others to go past in the middle. The design or installation was very special, as it only appeared for the Occupy Movement. People walked up and down there and generated some sound. I found that very special so I sat there to record the sound of people crossing.
08:30PM, 10/19/2014, Admiralty
The Library: Was it the first time you took part in a social movement? Have you had any similar experience previously?
Wong Fuk-kuen: How could I not have? When I was interning at Inmedia, I was always in touch with these things.
The Library: Right. I remember that you passed me a leaflet during the July 1st protest in 2014. Why did you intern there?
Wong Fuk-kuen: Perhaps because I wouldn’t want to live in an ivory tower or create behind closed doors. In the past, I seldom concerned myself with politics. I wasn’t interested in it; I just wanted to learn about it. After learning about it, I would know if I like it or not, but I must get to understand it first.
The Library: What influence has your internship at Inmedia brought to you?
Wong Fuk-kuen: There I came across and paid attention to many social issues. Working directly with these people helps me realize, first and foremost, there is such a group of enthusiastic people. Even if I wouldn’t spend much time here, I would know there is such a group of people and what they do is influencing me and the society.
 Evelyna Liang-Kan Yee Woo, known as Granny Yee Woo, is an artist, community art advocate and founder of Art for All, dedicated to helping the disadvantaged in society through art.
10:00PM, 10/19/2014, 金鐘
08:30PM, 10/19/2014, 金鐘
梁以瑚，人稱二胡婆婆，藝術家及社區藝術推動者，「全人藝動」（Art for All）創辨人，致力以藝術去幫助社會的弱勢社群。
Happy Birthday/ 生日快樂
09:00PM, 10/04/2014, Admiralty /金鐘
The Drama/ 街頭話劇
09:30PM, 10/18/2014, Admiralty /金鐘
The Circle/ 圍圈