Traces of Play

Event Information

Play, for our parents’ and grandparents’ generation, was predominantly out on the streets, using the unique architecture around them as a playspace, and everyday objects as playthings. My mother would often reminisce the games she used to play with her siblings, cousins, and neighbours on the communal rooftop of the building she grew up in Hong Kong—games like Eagle Catches the Chicks (麻鷹捉雞仔), Stairs Game (猜樓梯), Chinese Jump Rope (跳橡筋繩), Red Light, Green Light (123紅綠燈), Five Stones (五粒子) and many more—and joyfully recount the simpler times of childhood. 

These conversations eventually became the seed of the idea behind Traces of Play, a participatory installation that celebrates the folk, playground, and street games we used to play. From sticks to stones, erasers to elastic bands, walnuts to wooden spoons: Traces of Play invites us to subvert these humble everyday objects into magnificent playthings of joy. We all had a ‘lucky’ marble, a favourite coin, a tattered beloved tennis ball—things we had elevated from the mundane into cherished mementos simply by playing with them.

As we interviewed family and friends from around the world on their favourite childhood pastimes, not only did we capture the rules of these treasured games, but also the special memories behind each one. We were fascinated by one’s story about their fear of getting their white canvas school shoes dirty while playing Pepsi Cola, a game that required stepping on other players’ feet. We chuckled at how the classic game of Scissors, Paper, Rock is elevated to the fast-paced Japanese game, Janken Piko Piko (じゃんけんピコピコ), with the help of a toy hammer and pot lid. And we smiled as one recalled the laughter, energy, and speed while playing Elastic Rope (Moghitta) with her sisters and friends in a school yard in Amman, Jordan.

Folk, playground, and street games can also act as a reflection of the times we lived in. Games like Territories (佔地盤), Eraser Fight (彈擦膠), Seven Stones (Soma’a) and Peaceful War (天下太平) hint at themes of colonialism and warfare, whether it is through their use of language of attacking, rebuilding, and defending, or through game mechanics and win conditions—a stark contrast to the innocence often perceived of childhood games. They provide us with a glimpse of the underlying political and social contexts of when and where these games were played, a snapshot of a time and place, and perhaps how we, as children, coped with the world.

As play continues to entangle itself with capitalism, and the mass manufacture of expensive toys and devices continues to rise, we often forget how to play without grabbing for our phones, buying a new videogame, or unboxing another toy set. We hope Traces of Play acts as an important reminder that play is inherent in all of us, and that ‘traces of play’ can be found even in the simplest of objects.

Artwork created by Helen Kwok in collaboration with Chad Toprak.
Creative development supported by the City of Melbourne Arts Grants.

 

對我們父母與祖父母那一代而言，遊戲多數在街頭進行，他們利用周圍獨特的建築作為遊戲空間，並將日常物件化作玩具。我媽媽常回憶她在香港成長的樓宇天台上，與兄弟姊妹、表親及鄰居玩過的遊戲——例如麻鷹捉雞仔、猜樓梯、跳橡筋、123紅綠燈、五粒子——並快樂地回味那單純的童年時光。

這些回憶成為《Traces of Play》的創作靈感——一件參與式裝置，向我們曾經在民間、遊樂場與街頭玩過的遊戲致敬。從樹枝到石頭、橡皮擦到橡筋、核桃到木匙，《Traces of Play》邀請大家將平凡物件轉化為充滿樂趣的奇妙玩具。我們每個人都有個「幸運」彈珠、心愛的硬幣或破舊的網球——這些平凡的物件因遊戲而成為珍貴的紀念品。

在訪問世界各地的親友，了解他們最愛的童年遊戲時，我們不單記錄到遊戲規則，更捕捉到每段遊戲背後的特殊回憶。有朋友分享玩「百事可樂」時，因要互踏在對方腳上，怕弄髒白色帆布鞋的趣事，我們聽了忍俊不禁；經典的剪刀石頭布，搭配玩具錘與鍋蓋，在日本快速版「じゃんけんピコピコ」中升級，也令人莞爾；還有朋友回憶在約旦安曼校園與姊妹及朋友玩「跳橡筋繩」時的笑聲與速度，令人會心一笑。

在民間，遊樂埸與街頭的遊戲亦反映出所處年代的社會情況。例如「佔地盤」、「彈擦膠」、「七石子」及「天下太平」等遊戲，透過攻防、重建的玩法，暗示殖民與戰爭的議題——與童年遊戲的純真形成鮮明對比。這些遊戲讓我們窺見當時的社會與政治背景，也展示了小朋友如何透過遊戲理解與應對世界。

隨著遊戲越來越與資本主義緊扣，昂貴玩具與電子設備不斷湧現，我們漸漸忘卻了：遊戲原本無須依賴手機、無須新購電玩、亦無須拆封一盒又一盒的玩具。《Traces of Play》希望提醒大家，遊戲是每個人內在的本能，即使在最簡單的物件中，也能找到「遊戲的痕跡」（traces of play）。

作品由 Helen Kwok 與 Chad Toprak 合作創作。
創作開發由 City of Melbourne Arts Grants 資助。

 

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Traces of Play – Workshop with Helen Kwok & Chad Toprak

Remember the folk, playground, and street games that we, our parents, and grandparents used to play? Think back to the laughter, the energy, and the simpler times of childhood. How did we subvert humble everyday objects into magnificent playthings of joy? How were these games passed down to us? What special memories do you hold of them? 

In this workshop, artist duo Helen Kwok & Chad Toprak will introduce participants to a selection of community-contributed games from the Traces of Play installation to play within and outside the gallery space. Participants will be invited to recollect their own favourite childhood games, share their stories, and add them to the installation as we explore themes of play, community, and identity. 

Helen Kwok & Chad Toprak are an artist duo who creates playful installations, experimental games, and public art activations. They promote play amongst adults and children, often in provocative and unexpected ways. The duo have showcased their work in outdoor plazas, laneways, street corners, riverside terraces, empty warehouses, libraries, galleries, museums, and festivals across Australia and around the world. 

 

與藝術家同樂《Traces of Play》：郭希珉與 Chad Toprak

還記得我們、父母、甚至祖父母曾經在民間、遊樂場與街頭玩過的遊戲嗎？回想那些笑聲、活力，以及童年時光的單純美好。我們是如何將日常中不起眼的物品，化作令人歡欣的奇妙玩具？這些遊戲又是如何一代代傳承下來的？你對它們懷有什麼特別的回憶？

在本工作坊中，藝術家雙人組 Helen Kwok 與 Chad Toprak 將帶領參與者體驗《Traces of Play》作品中由社區參觀者提供的一系列遊戲，並在展覽館內外的空間中試玩。參與者亦將被邀請回憶自己最喜愛的童年遊戲、分享相關故事，並將其加入作品之中，一同探索遊戲、社群與身份等主題。

Helen Kwok 與 Chad Toprak 是一對創作藝術裝置、實驗遊戲與公共藝術行動的藝術家組合。他們致力於促進成人與兒童之間的遊戲互動，且方式常常出人意料、充滿啟發性。他們的作品曾在全澳與世界各地的戶外廣場、小巷、街角、河畔露台、閒置倉庫、圖書館、美術館、博物館與藝術節中展出。