『目錄 CATALOGUE』No. 4

$ 88.00

規格 SPECIFICATIONS //
– – – – – – – –
120 x 160 mm,264頁/pages
單色傳統印刷加四色插頁  B/W offset with 4/4 colour inserts
無線膠訂,軟封面  perfect bound, soft cover

語言 LANGUAGES  //  繁體中、英文  Traditional Chinese, English
出版日期 PUBLICATION DATE  //  2019年
出版社 PUBLISHER  //  展銷場 Display Distribute(香港 Hong Kong)

從印量1,000限量50本  /  Edition of 50 from initial 1,000
(其中950本將在展覽期間派送或藝術空間儲存 950 copies given away at the time of exhibition or kept by the art space)

介紹 DESCRIPTION //

『展銷場』的《目錄》是一本郵購雜誌目錄,也是一本讀者文摘和一本內容豐富的刊物,它囊括了『展銷場』支持與銷售的各類亞洲獨立出版物以及相應的特選文章。在這裡,出版物的流通串聯著出版物的內容。

第四期《目錄》將焦點放在了作為基礎設施的「後勤慢遞」上,即出版物的分銷派送部分,刻畫了截止本刊投印前所有緩件HQL-101至HQL-303的投遞全過程。其路線展示內容豐富詳盡,讀者可以看到包裹在地點更替時產生的臨時性備註,以及很多看似無關的附加信息——類似心靈地圖:一處經過的風景、一大段日記、又或是慢遞員與收件人之間萌生出的一絲情意。這些別樣的數據留痕使得《目錄》四本身成為了一部敘事詩般的概略性旅途故事集,短小精悍的篇幅非常適合路上閱讀。

第四期的後期製作——不如說後期「解構」工作,源自於一個自相矛盾的事實:内容被否定的一部分,正是使這本刊物在經濟上得以付梓的理由——《目錄》四作為參展作品參與了2019年夏香港Para Site藝術空間的群展。與展覽相關的頁碼已悉數裁掉,僅留存了藝-商共犯關係的碎片,還有由『香港藝術家工會』撰寫的暴露物流流氓G4S與Para Site之間隱晦的關係。

 

『CATALOGUE』 is part mail-order catalogue, part reader’s digest, and part variety journal, assembling independent publications supported and distributed by Display Distribute alongside complementary texts. Content conflated with its means of circulation.

The fourth edition focuses upon the LIGHT LOGISTICS distribution infrastructure for transporting publications, featuring the full run of dispatches from HQL-101 to HQL-303, en route at the time of print. Details of these routes include the exhaustive parameters of each journey such as the usual temporal and spatial markers, but very often with the addition of perhaps irrelevant, psychogeographies: a passing landscape, a diary entry, the budding affinities between a courier and a receiver. These alternative forms of metadata make『CATALOGUE』No. 4 a compendium of epic journey stories in its own right, suitable for short-form reading while in transit.

The fourth edition’s post-publishing deconstruction is the result of a paradoxical denial of the economic means which brought it into existence—participation in a group exhibition at Hong Kong’s Para Site in the summer of 2019. Related pages have been torn away, leaving a palimpsest of artistic complicity along with an implicatory essay by Hong Kong Artist Union outlining the hidden relations between the logistical bully of G4S and Para Site.

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