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Academy of Visual Arts視覺藝術院  |  Faculty學院  |  2012
Light boxes, TV, DVD player, Recycled readymade objects, Wall paper燈箱, 電視, 錄播機, 回收現成物, 牆紙  |  00:15:0000:15:00  |  Artwork藝術作品
An integral part of the Macau’s urban landscape for the past 50 years, the three iconic neon signs - of Coca-Cola, Sprite and Fanta - displayed outdoor along the city’s main shopping artery, Avenida de Almeida Ribeiro, are featured in countless photographies. Despite their recent “demobilization”, they still hold strong in the collective memory of Macanese. While the Fanta signboard can still be seen hanging among a group of Hong Kong signboards, as Leung recently found out, the Coca-Cola and Sprite signage have disappeared. In an attempt to discover what had happened to them, Leung delved into their past before moving them to a Yau Ma Tei park adjacent to a recycling shop where they were hung back - in a similar fashion as they were found on an outdoor platform in Macau's Coca-Cola bottling factory – and set alight anew.

As a video documents the process of their renaissance, a light box projects images of the May 21st, 1967 protests in Macau (the earliest visual records known so far), which drew thousands into the streets, and to which the neon two neon signs were prime witnesses. The other light box shows the Fanta signage in its current location, on the Avenida de Almeida Ribeiro. The Coca Cola and Sprite are located in a park, yet the light boxes and video display images of the recycling shop with the same instability that characterizes the way the shopkeeper Mr. Wong moves the debris. As people from the neighborhood and visitors tend to blend together, watching the show and manipulating the forsaken objects all at once, the Coca Cola and Sprite signboards in the park nearby are illuminated again.

In the process, those visual objects fraught with collective memories turned into sculptural installations become instrumental in exploring the meaning and significance of cultural exploration and inheritance within the framework set by the imperatives of urban revitalization.
三個已經「退役」,但在過去近五十年曾經佇立於澳門傳統購物中心地帶新馬路的地標戶外霓虹招牌,是澳門人集體回憶的一部份。當我發現三個招牌之中的可口可樂和雪碧已消失不見,僅餘芬達招牌在一遍香港品牌間掛著。我追蹤可口可樂和雪碧的身世,並以在澳門可口可樂廠發現那些招牌時的近似擺放方式把它們移植到油麻地一個毗鄰回收店的公園裡,重新亮起來。同時,一部創作過程紀錄錄像,和一個大燈箱展示可口可樂和雪碧霓虹燈廣告牌見證了1967年5月21日澳門萬人上街聲援香港的歷影像,那是現存最早的影像。另一個燈箱是現在僅餘芬達的新馬路影像。

可口可樂和雪碧的舊燈招牌本來置於公園,燈箱和創作的過程紀錄則混合於回收店和店內的舊物一起擺放,展示的方式一直隨回收店老板黃生的平常擺放舊物的習慣不斷的更變。在現場的街坊和專程來的觀眾混合,同時觀看和翻弄回收店內的作品和舊物,隔幾步的公園就重新亮起可口可樂和雪碧的舊燈招牌。

將這些盛載著集體回憶的視覺物件,轉化成為具雕塑感的裝置,在都市發展的框架中探索文化流動和傳承的意義。

APA: LEUNG, Mee-ping梁美萍. (2012). I Miss Fanta好掛住芬達. Retrieved from HKBU Heritage: https://heritage.lib.hkbu.edu.hk/routes/view/owners/Faculty/ids/HER-010798
MLA: LEUNG, Mee-ping梁美萍. "I Miss Fanta好掛住芬達". HKBU Heritage. HKBU Library, 2012. Web. 20 Jan. 2021. <https://heritage.lib.hkbu.edu.hk/routes/view/owners/Faculty/ids/HER-010798>.

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