第一次的《西九化談實錄》之現場版，在6月10日順利完成！名為《落泥玩》。參與藝術家以裝置、寫生、行為藝術、聲音藝術等多種不同媒介，在街道上創作和展覽，各自帶點玩味地回應有關泥土的想像。陳泳因把一箱在油麻地果欄購買的鮮橙倒在一段異常寬敞的行人路邊， 並透過扮演不同的角色（如：街坊、師奶、港女等）， 為這堆貼有$58.8價錢標籤的鮮橙塑造不同的情景，把與橙有關之故事串連起來。故事包括早前在果欄附近的拾橙事件和在英國藝術館的一個用鮮橙砌出來的金字塔藝術品。最後，陳泳因扮演「藝術館工作人員」把其中一些鮮橙以氣珠膠紙包裹，和大量的鹽一起放入一個大玻璃瓶，搬上C&G 藝術單位，作為文獻展覽的一部分。另一位藝術家張才生，則事先把從多個新界泥頭山搜集回來的泥沙放進近一百個牛奶玻璃瓶內。《落泥玩》當日，他在水渠道休憩區的其中一個入口處，把眾多玻璃瓶疊起來，形成約一米高的三角形，再在頂端繫上多個彩色氦氣球。因為風勢緣故，有超過一半的玻璃瓶在藝術行動的過程中，跌破在地上，玻璃碎片與混雜的沙泥也因而成為這《輕力測試》作品的一個重要部分。

陳佩玲把休憩處當中的圓形地貌塑造成生日蛋糕，以移動感應裝置播放「生日歌」慶賀剛巧經過的市民，亦帶出「生日歌」其實在一年多前的佔領旺角是別有意義的；余榮基利用太子區一帶的地標特色：花墟及金魚，作為其行動創作的切入點，他以從花墟購買來的泥、仿休憩處矮街燈高度的樹幹、及黑色玩具小金魚，擺成一行直線，把休憩處短暫性地一分為二，測試市民對被日常見慣的物料以特殊的排列方式所阻擋的反應；文美桃曾親到新界東北，收集泥土，再經隔慮、研磨，自製一打東北泥碗，在休憩處邀請市民拿著泥碗，在收音咪的擴音下，透過耳筒，傾聽藝術家倒水到泥碗時、水溶化泥碗及現場聲音的結合，直到參與者手中的東北泥碗隨市區的繁囂聲溶掉。

現場版過後，《落泥玩》文獻展覽由2016年6月17日至2016年7月22日於C&G藝術單位舉行, 藝術家更在展覽首天分享了創作過程。除了讓未能親歷街頭創作的朋友，有機會了解《落泥玩》，藝術家們也利用了這個平台用自己的角度從新審視自己當天的游擊創作。

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文字： C&G藝術單位

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The first Decongestant's live event finished with a success on June 10th, 2016! Installations, live drawings in space, performance art, sound art and other mixed media were shown on Nullah Road for all passersby. All the works playfully responded to the theme about different imaginations from mud. Doreen Chan played different roles (such as neighbor, housewife, a typical Hong Kong woman etc.) on a street corner to create different scenes for a box of organes thrown on the ground. She specially bought the organges from Yau Ma Tei’s fruit wholesale market, and put on a price tag of “$58.8” on each one in order to connect this box of oranges with two stories: one being passersby picking up many oranges after a car accident of an old man at the wholesale market, and the other one being the art piece with fresh organes arranged in a pyramid shape in Tate Modern. In the end, Doreen Chan played the role of a museum professional to pack a number of organes with air-bubble wraps and salt in a huge glass container, and then move this preserved artwork to C&G Artpartment for the documentation exhibition. Another artist, Samson Cheung collected sand and rocks from various sites with illegal disposal of construction waste to fill up nearly a hundred of glass milk bottles. On the day of “Mud・Play, ” he piled up the glasses to build a one meter tall triangle, and then tied up a number of colorful ballons at the tip top of the glass hill. More than a half of the glass bottles were blown by the wind onto the ground in the middel of the event. The broken glass pieces mixed with sand and mud then became a very important part of this art piece titled: “Lightness Calibration.”

Peggy Chan re-appropriated the circular part of the Nullah Road sitting-out area as a huge birthday cake. She set up many speakers to be activated by passersby to play out Birthday songs around the cake and triggered one’s memory of the usage of Birthday songs in Occupy Mongkok during Umbrella Movement more than a year ago. Rik Yu’s works involved two symbolic icons of the Prince Edward district: flower market and goldfish. He used tiny toy goldfish in black color, soil bought from the flower market and tree trucks with the same height as the light poles in the park to draw out a straight line to cut across Nullah Road sitting-out area, in order to intervene pedestrians’ daily routines at the site. Man Mei-to’s art piece involved soil and sound. She made a dozen of bowls out of soil from the north-east of New Territories, and then invited each participant to hold a bowl, that has not been processed in a kiln, with water inside, until the mud bowl disolves. While holding a mud bowl, each participant also was invited to put on headphones to listen carefully to the mixture of soil’s disolving sound and the city’s noise.

The documentation exhibition took place from 17th June to 22nd July, 2016, with an artist sharing session on the first day.

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Text by : C & G Artpartment