《萬達寧41號》（Mandarin and Her Route 41）

《萬達寧41號》

《萬達寧41號》由陳韻芝和張希雯共同創作，此書以香港一條已停運的巴士路線41號作為核心意象與創作主軸。書中所有風景及地景照片由陳韻芝於41號巴士路線沿途徒步並以過期菲林攝影，作為路線的存證；而其中從巴士路線途中尋覓得來的舊物的照片，皆由陳韻芝在一家位於41號路線範圍中的傳統影樓拍攝。而文本為一篇連貫、共有四十一章的虛構故事，由張希雯圍繞四十一張舊物攝影作品為引所虛構而成。散敘體的虛構小說以臨海的華富邨家庭、生活與生命的視野出發，並沿41號巴士路線進發。虛構之中亦有真實；已被着墨的或也已成真。

關於作者

陳韻芝是一位以攝影為首要創作媒介的關係藝術家，透過多樣的協作方式來創作她的藝術作品。目前，她的藝術實踐不斷延展，專注於以影像創造儀式和觀看體驗，為自我關懷的一種冥想形式，同時透過對話和連結來關懷家人及社區。創作藝術成為一種深邃聆聽「家」的意義——探索我們與自己、彼此、空間以及時間流逝的聯繫——從她植根的中國信仰與哲學汲取意義和靈感。

她的作品曾在香港和國際間展出，包括2019年吳哥攝影節、2020年新加坡國際攝影節，和2021年新加坡Objectifs的女性電影和攝影展。她憑藉《蟹伯樂園》系列，在2019年國際女性攝影獎中獲得獎項殊榮。2021年，她憑藉正在進行中的企劃《舅父》，獲得Prince Claus Seed Awards。這一作品亦在 M+講座「取法微型作品？從跨尺度世界尋找消失的香港」中展示。然後，它的第二部分也在2022年香港國際攝影節以個展形式邀請公眾的參與。

除了她的個人藝術實踐以外，她致力從事與影像小誌和影像書的創作，視它們為媒介與人建立連繫及促進社區參與。她創立了《閾限谷》，一個透過攝影書及其所蘊含的各類主題以將人們匯聚、交流的平台。透過定期舉辦的交流聚會，攝影書被用作參與者之間對話和知識交流的「社交」媒介，充盈各人的知識流通與交流。2024 年，她發起了 《1:1 工作室》，一個獨立的 100 平方呎實驗空間，專注於透過展覽形式探索「聆聽影像書」這理念的實驗企劃。此外，她亦策劃影像書閱讀室，並指導兒童、青少年和成人以影像小誌或書籍作媒介講述個人故事，與他人建立關係並與其社群建立聯繫。

張希雯為居於香港的作者、撰稿人及譯者。她鍾情於從日常與瑣碎中擷取微小而神聖的觀察，將那些充滿隱喻的瞬間，凝練成雙語小說與散文。繼自出版作品《萬達寧41號》及《The Last of Us：荒原裏惟有獨木橋》，她現正開展其他寫作及出版計劃，包括《晚雲記》及《博愛之光》。其文字作品曾刊載於亞洲藝術文獻庫之《Like A Fever》及明報。除了文字創作，她亦積極參與多項創意與社區倡議，曾任「MaD 創不同」企劃節目主持，並先後獲邀為「西貢海藝術節 2023」及「deTour 2022」之委約藝術家。

Mandarin and Her Route 41

A collaborative creation by image-based artist Michelle Chan and writer Clementine Hei-man Cheung, Mandarin and her Route 41 is an artist’s book that presents a delicate dance between photography and fictional text, choreographed around an anchoring motif of Hong Kong’s bus Route 41. 

With Route 41 serving as both the muse and metaphor, Michelle’s realist documentations, including images of landscape and portraits of found artifacts along the now-defunct route are reinterpreted by Clementine. Michelle diarised her walks along the original route by photographing the landscapes with expired film, and elevated found objects into still-life portraits within a traditional studio along the route. Inspired by the 41 found objects, Clementine has threaded a 41-chapter fictional narrative that reimagines the seaside Wah Fu Estate from the 1960s to ’90s, in which Route 41 represents a perpetual and lingering vessel, bearing witness to Hong Kong and her people.

The Special Edition is limited to 41 copies. Each includes a selected English translation of the original Traditional Chinese text and features a unique darkroom-developed relic print, designed to fade over time.

About the artists

Michelle Wan-chee Chan is a relational artist whose practice centres on photography and community-engaged, collaborative methodologies. Informed by behavioural psychology, systems thinking, and relational aesthetics, she employs rituals and image-based experiences to investigate the subtleties of human behaviour, social interaction, and spiritual ecological connection that shape our sense of belonging. For her, art-making becomes a form of deep listening—an embodied inquiry into our relationships with ourselves, others, space, time, and spirit. Through these gestures, she explores how ritualised acts can negotiate and deepen our understanding of belonging within contemporary contexts, reimagining notions of home while drawing inspiration from her roots in Chinese beliefs and philosophies.

Her works have been exhibited in Hong Kong and internationally, including in Australia, Cambodia, France, Singapore, and Taiwan. In 2021, she received the Prince Claus Seed Award for her ongoing project Kaufu, whose second part invited public participation as a solo exhibition at the Hong Kong International Photo Festival 2022. Alongside her individual practice, she founded ‘Phoboko’, a community platform that connects people through photobooks and shared dialogue, and initiated ‘1:1 studio’, an independent 100 ft² experimental space dedicated to ‘listening to (a) photobooks’ through exhibition-making, pop-up reading rooms, and coaching workshops.

Clementine Hei-man Cheung is a Hong Kong-based writer, copywriter, and translator. She maintains a keen eye for the subtle, sacred observations found in the mundane, distilling these metaphorical moments into bilingual fiction and prose. Following her self-published works Mandarin and Her Route 41 and The Last of Us: Wandering on the Remaining Beams, she is currently developing new writing and publication projects including ‘Man Wan Kee’ and ‘Agape One’. Her writing has been featured in Like A Fever (Asia Art Archive) and Mingpao. Beyond the page, Clementine has contributed to various creative and community-based initiatives, notably as a facilitator for Make A Difference (MaD) programmes and as a commissioned artist for both the Sai Kung Hoi Arts Festival 2023 and deTour 2022.

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我寫中巴41號，寫華富，寫消融與誕生，寫新舊柑橘，寫冷與熱度；寫真的地方，寫假的人；寫假的波動，寫真的感情。

這是我第二次寫小說，但我總掛在嘴邊講，這是我的第一次。因為這感覺的確像極「第一次」，我就像是與「小說」談了一場邂逅與初戀。英文中的「novel」指長篇小說，也指向新穎、新鮮、新奇。但伴在身邊的朋友，最近應該都一直反覆聽我陳述，「我寫的到底有多老土、有多舊。我怎麼無法寫出『新鮮』？」我曾自以為心聲鋒利（有跡可尋地），可我深刻地發現，原來我「內心把聲」就係咁「老土」；我卻願這份陳舊、過時變得更為及時，反正「情感」一向界乎雋永和庸俗之間。它無力乘風破浪或趨向潮流，它在我心中只幾乎一動不動。到底不過是一座庇護所、一港避風塘、一個深邃而會看見螞蟻從中蜿蜓行走的樹窿。

由衷感謝Michelle的創作以及她的陪伴，使我們令《萬達寧41號》成真，感謝我們坐過的巴士令我們相遇。同時多得WMA（特別是Frank的全心協力）和Claudia，還有Alex令我們加緊腳步創作，也領着我們朝向出版所向。在此感謝珍盈、阜賢、斌、Charis給我珍貴閱後反饋、感想，不可少的還有朗熹一直在我身邊的見證和親身幫助。

希望你也會喜歡萬達寧。