Macau Closer sep oct 2024 : simplebooklet.com

8MC MC SEP /OCT - 2024SEP /OCT - 20249PUBLISHER & DIRECTOR 出版人與總監Ricardo Pinto EDITOR-IN-CHIEF 總編輯 Ricardo Pinto EDITOR 編輯Mark Phillips SENIOR WRITER 資深作者Mark PhillipsBILINGUAL WRITER 雙語作者Daisy Wong DESIGNER 設計Catarina Lopes AlvesCARTOON & ILLUSTRATIONS 卡通及插畫Rui Rasquinho PHOTOGRAPHY 攝影Eloi Scarva, Mark Phillips, Pedro André Santos CONTRIBUTORS 投稿人André Vinagre, Annya Lai, Catarina Chan, G!NN!EJuliana Kung, Joe Tang, Paul French, Pedro André Santos, Suzanne WatkinsonTRANSLATIONS & PROOFREADING 翻譯與校對Daisy Wong & Mark Phillips MARKETING & ADVERTISING 廣告及市場推廣macaucloser@gmail.com MACAU CLOSER EVENTS 特寫項目籌劃events@macaucloser.com OFFICE 辦公室澳門主教巷 1-C 永順閣 6樓Travessa do Bispo, n.º 1C, 6 Floor, Macau +853 2872 3880  +853 2833 9563enquiries@macaucloser.com> 澳門華輝印刷廠印刷 | PRINTED IN MACAU BY WELFARE LTD. > PUBLISHED BY 發行 | PRAIA GRANDE EDIÇÕES> GCS REGISTER NO. 311. ISSN 1994-4470. > 版權所有 | ALL RIGHTS RESERVEDMACAUCLOSER󳠙󰻃󱆃󰽳Seasonal Masterpieces󱿑󲨍󷰆󸞃Master Blend󷮹󲺩󶪆󴕣󸠂Seduction and Sobriety󶩟󳚤󽦶󳟥Tribute to an Icon󲳲󰷔󹈓󸑝Close to the Heart󰷔󸻧󵒹󷌂󷝰Art From In-Between 󲨚󵺈󱾬󵒹󹘜󳄢Circus Nights󰵨󲯺󶨂󲒱󽴺󰵨󵸞󳙧󰸳A Story in Every Face󵂱󴒘󴂞󴛺Auspicious Sushi󲼯󲔾󵕀󲕷A Talented Lineup󽤤󴉘󵂯󰽅Yoga for Everyone󲣪󳜟󵒭󱸦Fresh New LookJOE TANGJOE’S READING LIFE OPINION | | 評論66WELLBEING | | 86健康GOURMET | | 美食68GOURMET | | 美食74FASHION | | 時裝54CLOSER CELLAR | | 特寫酒窖 80CLOSER CELLAR | | 特寫酒窖 80 | HOME AFFAIRS | |102家居CLOSING STORY | | 特寫故事90PAUL FRENCH󵕢󵒹󱲓󴡎󸻍DESTINATION MACAO󺁠󱦦󴂈JULIANA KUNG󴐟 󶽾 󵲯 󶽾 󲼧 󶽾LIVE • LAUGH •LOVEOPINION | | 評論28 ARTS | | 藝術36 ARTS | | 藝術38 ARTS | | 藝術42 | ARTS | | 藝術46 PUBLISHER’S DESK | | 編輯筆錄11WHAT’S ON | | 12城中熱事DISCOVER MACAO | | 14城中節慶CLOSER LOOK | | 18特寫焦點52OPINION | | 評論󳥣󰹯󰵴󵒹󰺄MAN ON THE MOON| ARTS | | 藝術30 ARTS | | 藝術44󷪺󳁋󴻕󳜟Founding Memories󲔟󸕡󰺄󵈱A Contented Life

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10MC MC SEP /OCT - 2024SEP /OCT - 202411We love to hear from our readers so feel free to contact us at: macaucloser@gmail.com編輯筆錄 FROM THE PUBLISHER’S DESK | 11As we head into the lovely cooler Autumn months, it’s easy to think that life is pretty great, and indeed it is! But we all still face challenges in our day to day lives, and for sure we all know someone who is having a tough time. It may seem like a simple notion, but American artist Jason Naylor hopes to sprinkle a little bit of joy and wonderment into our daily routines through his vibrant multicoloured artworks, and this month he his sharing that happiness with audiences in Macau with his Fly Me to the Moon Immersive Art Exhibition, a collaboration with One Central Macau as part of the 7th Macau Lantern Festival. In this issue, we speak with Jason about his career and work and his desire to spread a message of love and hope through art.We also pop over to Hong Kong to meet Puerto Rican artist Enoc Perez who is presenting his rst exhibition in Asia, Chances are You’ll Like it All Ways. We chat with him about his journey to sobriety and the relationship between art, consumerism and the deceptive appeal of advertising.Still in Hong Kong, we check out the latest collections of ten Macau fashion designers as they presented their latest creations at CENTRESTAGE Hong Kong 2024 in September. Internationally, we explore the work of a number of Macau artists who are presenting their art pieces in Lisbon. Co-organized by the Art for All Society (AFA) the collective exhibition entitled Here and Now marks the 25th anniversary of the return of the Macau SAR to China.Our Gourmet section this issue features two renowned Michelin starred chefs - sushi master Chef Masaaki Miyakawa, and connoisseur of Jiangsu and Zhejiang cuisine, Chef Wang Yong. Chef Miyakawa recently opened his rst restaurant outside of Japan, Sushi Kissho by Miyakawa at Raes at Galaxy Macau, oering a truly exquisite Japanese dining experience. And we meet Chef Wang Yong at Four Seasons Hotel Hangzhou at West Lake where he is the Senior Executive Chinese Chef of the elegant Jin Sha Restaurant, and recently hosted his much-anticipated annual Chef’s Table event. We recently also had the pleasure of sitting down with eighth-generation Hennessy Master Blender Renaud Fillioux de Gironde to talk with him about his latest limited edition Master Blender’s Selection No. 5.In Wellbeing, we speak with yoga instructor Margarida Luz about her mission to make yoga more inclusive and accessible to people of all ages, and in particular her specialization in pre and postnatal yoga. And we visit the charming home of John and Tammy Lou, as John introduces us to his fascinating collections and passion for Japanese martial arts. Enjoy these beautiful Autumn days and as always, Happy Reading!󵨨󱿕󵒹󴓝󴵋󲕇󰺄󷷋󰺄󲳲󲺕󶪟󳢲󼵼󳏀󸠁󳃯󱂜󵈱󴐟󵒹󶕡󲁪󼵼󱉾󵷘󴇧󱂑󰺄󸛫󹈘󶩇󳊌󳄟󱠥󱰯󹄉󶕡󱱝󷌁󷝯󲕼 󸓴󸖕󶮁󲱚󹦬󷺵󵒹󰽳󱡸󼵼󴩁󲪃󱏞󵒹󳞉󲒪󱻟󴕒󰵨󶆤󱧑󲸤󱠥󹝇󱿽󰺛󱂑󳥣󼵼󰺮󶪅󴡍󸻍󱽹󷐫󲭞󱸦󳘟󳅜󳅨󸔤󱋔󸩶󵒭󳥣󴌐󴑶󲮮󷌁󷝯󲚞󷨔󼵼󰹡󳟾󵳧󰵬󲚃󴡍󸻍󶰅󴱚󵸏󵒹󰵨󸛉󱐕󳃯󱂜󳥤󲪌󶪅󳢲󷰓󰸬󰺮󵒹󶜷󳵠󵈱󴓇󱠥󰽳󱡸󼵼󴕀󱌇󳍳󷪤󰺮󲁶󰽧󸓴󸖕󷌁󷝯󱇅󳕅󲼦󶪅󲧟󳦆󶙝󱲉󹗻󴖧󼵼󳃯󱂜󳈻󷫟󰸬󴎛󱾵󹺬󱝑󷌁󷝯󲕼 󼵼󰺮󱲉󰹐󴐎󵒹󹗸󴂄󱂑󰺄󲚞󲳲󹂑󲼒󱕜󼵼󳍳󷪤󰺮󲁶󰽧󱲉󳃰󸞋󸖕󵪑󰶦󸡿󳜞󲗤󷧖󷌁󷝯󼵼󰶜󱒇󳩁󰸬󵊺󰺛󴒋󷽦󳛓󱗋󱠥󲭞󱟈󵒹󷮹󲺩󲶎󸒵󲵽󹗻󴖧󳠘󲙀󵉳󰹡󰵷󲖃󸬬󸖕󼵼󴶶󱐾󳟾󱘨󰽚󴡍󸻍󷫥󷪚󲨍󱲉 󹗻󴖧󱱝󹁹󳠘󲙀󱗾󲚞󶀶󲱚󰹮󵕲󼵼󰻅󱒾󳜞󷫥󷪚󲚞󵀎󴡍󸻍󵒹󴼭󴶶󶕡󲓹󵕢󱋖󸍳󱝣󱱝󹁹󼵼󱾵󰽚󴡍󸻍󷌁󷝯󲕼󱲉󸡾󳜜󳦦󶪊󸏶󰽳󱡸󶜢󷨔󼵼󸔏󳟾󴩁󶃂󲵂󴡍󸻍󱰑󴄟󸕋󲪄󶙝󶪊󷝥󵒹󴶶󱐾󴐟󱕜󼵼󸓴󸖕󵊺󰻀󷌁󷝯󸔮󶅢󸖕󱛢󶪅󳦣󰾶󶕡󹑺󸛉󱐕󼵼󳃯󱂜󴕀󱌇󰺞󶄳󰸬󱌏󰽚󵾜󶯐󷃒󱝝󲭊󽴼󱽾󱝁󱿑󲨍󲕩󲦜󳙠󳟉󱲉󴡍󸻍󸧔󴍏󶻛󰽲󱽧󸻛󷫥󰸬󹗸󸻧󴑴󱾫󹓭󲭼󹦢󱝘󵥭 󲕩󲦜󼵼󲨟󰾶󳵲󶩞󳞉󲮮󹖨󲕶󽴽󳨇󲦝󷦰󲒪󴗪󱰌󲓎󸞋󲫆󵒹󴋑󴑅󶹳󱿑󲨍󴽭󱕅󰹡󱲉󳥓󳜞󰵨󴂄󰶻󲭊󵨚󲕶󴐟󱕜󰶦󲚞󵤚󰸬󶀶󴗴󲭊󷌁󴃽󱾫󼵼󳃯󱂜󸘩󶪅󸊰󲙳󷭘󵳧󱌔󰻀󷰅󸞂󶍏󷌁󲨍󳢲󷰓󼵼󰸬󷩓󸑜󳦎󳎁󱐁󵒹󸿴󸢁󴵝󷰅󸞋󱿑󲨍󶀶󸘇󷐫󶟝󲲕󵒹󹇙󲼮󱄵󲬁󳜱󹈘󼵼󳃯󱂜󶛹󴬌󵂮󰽅󳚆󶊼 󵒹󳚆󲓹󵀛󲵂󼵼󲁠󶩞󱔃󳜵󲘟󵂮󰽅󷶷󲲥󳥀󱖬󲖃󼵼󲙎󱌧󳟾󸓴󸖕󵈵󱑹󵂮󰽅󷯮󵪑󷷋󳥀󱾵󲁏󲶎󱜍󵔥󳥓󲲕󼵼󳃯󱂜󱛯󷨚󰸬󶪅 󵒹󲕼󼵼󸓴󸖕󵒹󳙑󷋢󱡸󰵨󵚊󰺮󲘪󳞉󳦦󴄁󷝯󵒹󴕀󱚪󴰨󲺕󱲉󸔏󱂑󶕡󲁪󵒹󵨨󳞉󼵼󵥞󲹡󲁶󲨣󰹨󱜍󸼗󷶢󵒹󳹿󸂱󼵼󲼮󱜍󸔏󰻨󶕡󲁪󶪅󹇙󲼮󽴹Pink cats jumping and 󼴪ying in an yellow ocean, image generated in Leonardo.AI󴃺󸑕󷪏󸼘FOLLOW US ON INSTAGRAMMACAUCLOSER 󱱯 GONÇALO LOBO PINHEIRO

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盛宴 EVENT 購物 RETAIL美食 DINING󶕡󹠟󳯇󴡍󸻍󲳟󱱝󱥸󸞋󵸏OKTOBERFEST MACAU AT MGM 2024@󶕡󴻳󶕡󹠟󳯇󴡍󸻍󱌔󷐫M8@󷵿󰸳󰹬󱑹󱲒SENADO SQUARE 󱱽󵈱󴡍󶾖󰷔󱾺MACANESE NIGHTS@󴡍󸻍󹃉󸐇󸞋󲫆󳨡󰹂󽶴󴸅󽶵󹗸󴂄󴑴󱾫󱂑󰺄󰽳󱡸󲚞MATSUI ‘THE DOG’ 1ST OVERSEAS SOLO EXHIBITION IN MACAU󲍙󸼀󱹧󴵚󱘦󴡍󸻍󳥓󴃼󲔻󵒹󲳟󱱝󱥸󸞋󵸏󵕀󲕶󱙱󲘟󱍅󲫟󵒭󹀷󶕡󴻳󶕡󹠟󳯇󽴹󰺛󲪄󰿝󶪍󳥤󰾶󶩉󲳟󱱝󵒹󶽽󱝝󳹿󹁚󼵼󴩁󱿑󲕼󴜶󲀊󱇅󶆡󲦽󰼅󱑅󰹐󴉘󴃑󼵼󱖬󳉎󶇥󱌪󱚳󱒾󰶻󹎘󳤽󰽺󲁪󼵼󽴹󼵼󲨟󲹡󹀳󸟰󳜵󵸏󳞉󵊺󰶦󹀒󰸬󹌊󳹿󵕲󰼷󼵼󸘩󳥤󱝑󵫐󴶶󶮁󳘲󰽚󴐟󱕜󶇥󱌪󹐐󳭕󲨚󵺇󱾵󴂵󱇅󶆡󵒹󲳟󱱝󶕡󹑺󱛻󱥸󸞋󼵼󷷋󲹡󸞩󳢲󴓶󴜳󳜵󱌧󰶦󳥣󳞉󳥣󳞉󼵼󸘝󷰞󲹡󰵨󱝛󰸞󳨊󼵼󴃹󳹿󶪅󴎚󴍂󰹝󶍾󶈾󳙟󽴹Macau’s most authentic German Oktoberfest returns to MGM COTAI! This year, Högl Fun Band, the beloved band from Germany, will again delight the audience with traditional Bavarian folk music, and the original theme song “Nei Hou, Macau!” Alongside live music, experience a range of festivities, including exciting game booths, quintessential Oktoberfest marquee, authentic German delicacies and of course, beer! Come along from October 25 to November 5 to toast with joy and bubbles󴡍󸻍󱰑󴄟󰻅󰾶󹗸󱂑󱥂󳵠󸛫󲧒󳥀󳜞󸡿󲮋󹌫󵕢󴡍󸻍󱌔󷐫󳜵󲪄󳥣󳞉󴃼󲮮󷭒󳵠󰽚󳜵󰶇󵉳󳛓󱗋󸘍󵈵󴡍󸻍󴄜󱜸󱵺󱘦󳭎󲳲󱘦󷵿󰸳󰹬󱑹󱲒󴍡󶕐󶅢󱲒󲧁󵾜󷐖󸔏󰵨󱝝󵫗󷍪󱞏󴕀󱑡󲖲󲼒󱌧󰶦󽶴󽶵󰻀󷞎󴡍󸻍󶙝󽶴󽶵󱑲󷻍󲳜󱟰󱱡󱾵󵾜󵸕󱱡󱌋󵅈󶎖󶽽󷐖󰶇󵉳󳛓󱗋󸘍󵈵󳡟󹻋󱱽󱲒󳆭󸋻󶽽󷺯󲖣󵒹󴄜󱜸󱠥󳛓󱗋󲫁󷍪󱑹󸉨󴩁󸛟󹄶󲭼󶜷󲦩󲖌󶪔󱿑󲬠󶇥󸖕󴐟󱗋󲲕󴎥󱌇󰸬󳜞󴐟󱔃󸔒󸖕󶀶󴗴󵒹󲦩󷌁󱠥󱸦󳡟󴲊󸔤󷘒󱝗󰸬󳛓󱗋󲫁󷍪󶪅󱥂󳵠󴉵󲸃󶩞󱔃󳜵󳃮󴩁󰵨󱂑󳜞󵒹󳛓󱗋󱥂󳵠󱲒󳺦󲮹󹍆󷵿󰸳󰹬󱥂󱱖󳜞󳭕󲙸The rst urban renewal project in Macau since its return to China, M8, ofcially commenced its soft opening on September 10. The project is located just 50 meters from Senado Square along Travessa Do Roquete. The name “M8” carries deep signicance, with “M” representing Macau and “8” symbolizing the eight UNESCO World Heritage sites located within a nearby area of approximately a 100-meter radius. The land on which M8 stands is rich in historical and cultural stories, formerly serving as a postal workers’ dormitory. After revitalization, it has been infused with new vitality. Through exquisite craftsmanship and scene design, M8 blends cultural heritage with commercial atmosphere, striving to become a new cultural and commercial landmark in the business district near Senado Square.󳞉󳦦󰺄󴉵󵐿󲼂󶂺󳏄󵊦󲕼󳨡󰹂󰵨󲘟󹗸󱂑󴑴󱾫󲚞󷨔󵒭󹀷󲍙󸼀󱹧󴵚󱘦󽴹󵉌󶕡󹠟󳯇󱛻󳦦󴡍󴟑󴐩󳠘󷡥󹄫󱤓󱡸󴵦󶜢󳅜󱝗󸏶󳨡󰹂󽶴󴸅󽶵󹗸󴂄󴑴󱾫󱂑󰺄󰽳󱡸󲚞󼵸󴡍󸻍󼵹󼵼󴑴󰸳󲦩󳄼󰵨󷐫󹃌󶅢󴼭󰵨󴬂󰸴󵒹󳨡󰹂󰵨󲘟󳅜󶎮󰽳󱡸󱿑󱴘󳅨󱙔󹻋󳦎󸻧󸿴󲕂󱥂󱡸󲫆󱛻󵀎󱸦󲦩󰽳󱲸󵴞󼵼󱾵󵫐󱾵󳺻󵒹󴐟󱕜󲨟󹍆󱿑󰺄󲘮󳥧󱛽󱛻󴈂󲘮󲓜󰵨󱝛󲼮󱜍󴕢󴵋󱛷󳢜󲳲󵒹󵈱󴐟󲘮󵠸󲪌Acclaimed Japanese Illustrator Matsui, renowned for his heartwarming portrayals, presents his rst overseas solo exhibition in the Barra District. Co-organized by MGM and local trendy retail brand THE BIG APPLE, “Matsui ‘The Dog’1st Overseas Solo Exhibition in Macau” is taking place at Navy Yard No.1, featuring hand drawn works by Matsui, large-scale photo spots, limited edition merchandise, and DIY workshops at one stop. The diverse range of activities will guide adults, children and furkids through a refreshing and delightful experience, nding joy in life’s little moments.24/1031/1025/1010/09從 FROM從 FROM至 UNTIL 至 UNTIL󴩁󲿔󵥞󰶦󶺠󰺄󴉘󱌠󱠥󱱝󳃮󵰩󱟰󲪄󱛻󴡍󸻍󱰑󴄟󵥐󱱝󱟰󲪄󰶜󸑔󳍺󰶦󵨨󰾖󵸏󴡍󲇨󶇸󱝗󱍅󲫟󳘟󳅜󴡍󸻍󶕡󷝯󱙀󳥛󵉌󱙱󳞉󸁱󶩜󳥣󳞉󱲉󴡍󸻍󰵴󶾖󰹪󱛻󲬁󱌗󲭕󱑹󱲒󱟄󴽐󱰌󴑴󹛵󺁌󶙇󴢛󴋑󶰅󴱚󷌁󷝯󲚞󴱚󷌁󲚞󱗾󶛹󱿑󴦔󱘦󰵳󱲒󱊛󵨗󷌁󷝯󲕼󱛻󰶦󱱝󹌦󲘻󱋖󶎮󱿑󲨍󲘟󱇅󶆡󶰅󴱚󶄠󰽳󲦩󷌁󱹤󹮪󷫥󷪚󲦩󵴘󱱝󵊦󱛻󱋖󶎮󷌁󷝯󲦬󲂫󷘒󱝗󱒾󰽳󱐁󱰌󰻞󰻅󰺛󲪄󴐩󲪄󵈱󶝱󺁌󴩁󰶻󹎘󵒹󱿑󱴘󶰅󴱚󷌁󷝯󷡥󶔩󴩁󰶇󵉳󳝈󸖉󰼆󸻦󰶦󲳲󱻟󴕒󵃯󵄸󱋖󲱚Marking a triple celebration - the 75th Anniversary of the People’s Republic of China, the 25th Anniversary of Macao’s return to the Motherland, and the Mid-Autumn Festival - SJM proudly unveils the“Dragons of the Four Seas Tribute to Macau” Lantern Art Exhibition, joining hands with the Macau Artist Society for the third year in a row. This dazzling display is open until November 30 gracing the Grand Lisboa Palace and Hong Kung Temple Square, heralding one of SJM’s premier cultural spectacles of the year.󱰌󴑴󹛵󺁌󶙇󴢛󴋑“DRAGONS OF THE FOUR SEAS TRIBUTE TO MACAU” @ 󰵴󶾖󰹪󲬁󱌗󲭕󱑹󱲒GRAND LISBOA PALACE/ HONG KUNG TEMPLE SQUARE展覽 EXHIBITION展覽 EXHIBITION30/11至 UNTILWHAT’S ONWHATSON.MACAUCLOSER.COM󴊖󱑅󴡍󸻍󱌍󳜞󳅨󸔤󵒹󴑴󹦬󳶌󲵂󹓭󲭼󰷱󹧼󲘟󳜵󳥣󳞉󹁒󸡿󸻛󲩌󵉌󱆔󱜍󵛨󵕢󵒹󲭊󷌁󵉳󳜞󳟥󷝥󳙠󶍏󲭊󲯺󲴌󳃮󹍆󸨋󰶻󵀛󹓭󲭼󱗾󶛹󵅈󵀖󹌦󶃹󴑴󹦬󷘒󱝗󰶦󱱝󱝑󱲒󶪅󳨍󱙃󰹐󵒹󶇥󱌪󴪲󷰅󳅜󴎂󴩁󷾒󲕑󱟄󴽐󱑹󳄿󳦣󳥤󵒹󱠃󷨐󹠓󹝀󸻛󱒾󶰅󲮮󱮂󹦬󳜞󱺰󵉳󸞂󰻅󴡍󸻍󱤕󰵨󳕪󳥤󲁶󴃽󷺯󲖣󶲺󱜶󳙑󷋢󵒹󶲺󱜶󰶻󹎘󸞋󱞆󴩁󸓆󴊡󳵲󶩞󱠃󷨐󰹨󱜍󵒹󹖣󲕑󱟄󴽐󴬂󶪅󱃎󴇲󵒹󲼮󲔾󹖨󲕶Wynn’s latest restaurant concept ‘Drunken Fish’ is set to surprise diners with the world’s best seafood and the nest wines in a vibrant atmosphere. Overseeing the new seafood restaurant is Executive Chef Henry Zhang Zhicheng, a well-known rising star in the culinary industry. The restaurant brings the world’s rarest and most premium seafood to the table. Each dish is made with diverse cooking techniques from China and Southeast Asia to create exciting new dining experiences which encourage guests to try something new. Home to the only Moutai Bar in Macau to offer an impressive collection of Moutai liquor, Drunken Fish is an exciting new dining venue where the avors of the sea truly come alive.28/09從 FROM󰷱󹧼DRUNKEN FISH 󴡍󸻍󴊖󱑅美食 DINING󶆡󱝗󵒱󲪄󱅬󳆭󴿈󹍜󼵼󳜵󸔏󱂑󱘨󳥣󶪅󲕑󲨐󰶻󲭊󱛻󰶻󲭊󱲉󷈹󳡟󸼀󹓭󲭼󱝛󳆭󲚞󸻛󴃼󲔻󱱽󵈱󴡍󶾖󶕡󸞋󰾖󹔊󰷔󳝈󱡸󱠃󱱽󵈱󴡍󶾖󶕡󹖋󰷔󱇅󶆡󹐐󱠃󼵼󳜵󷈹󳡟󸼀󹓭󲭼󱝛󳆭󱌠󲿔󸔏󳛓󱗋󵃕󲘃Café Bela Vista presents a special series of evenings, featuring renowned guest Chef Neta and Chef Pedro. Discover the authentic avours of Macanese cuisine, highlighting centuries of rich culinary tradition in every dish. Celebrate the rich heritage of Macanese cuisine this October at Café Bela Vista, where each night showcases timeless avours crafted with tradition and expertise.

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14MC MC SEP /OCT - 2024SEP /OCT - 202415DISCOVER MACAOWWW.MACAOTOURISM.GOV.MOWWW.MACAOTOURISM.GOV.MO吉金耀華—中國國家博物館藏青銅器精品展2024年的銀娛葡韻嘉年華將於10月25至27日及11月1至3日舉行，今年嘉年華與往年不同，將連續兩個週末舉行。嘉年華展示來自10個居澳葡語社群的特色文化攤位，包括安哥拉、巴西、佛得角、幾內亞比紹、果阿．達曼和第烏、莫桑比克、葡萄牙、聖多美和普林西比、東帝汶和本澳土生葡人。活動期間將有來自葡語國家和本澳的歌舞藝團連場表演，現場會售賣葡語國家的特色美食，並設有葡萄牙傳統遊戲、手動足球比賽及兒童遊戲等。2024 GEG Lusofonia Festival will be held from October 25 to 27 and November 1 to 3. Unlike previous years, this year’s festival will take place over two consecutive weekends. The festival will feature cultural booths from 10 Portuguese-speaking communities in Macao, including Angola, Brazil, Cape Verde, Guinea-Bissau, Goa, Daman and Diu, Mozambique, Portugal, São Tomé and Príncipe, East Timor, and the Macanese.The festival is celebrated with continuous performances by music and dance groups from Portuguese-speaking countries and Macao. There will also be stalls selling specialty foods, as well as traditional Portuguese games, table football competitions, and children’s games.「吉金耀華中國國家博物館藏青銅器精品展」目前正在澳門藝術博物館展出超過150件珍貴的青銅器。展覽分為五個單元，涵蓋了青銅器的造型藝術、裝飾紋樣、銘文書法、工藝技術和鏽蝕表現。這些展品展示了中國青銅時代的輝煌成就，部分展品更是首次出境展出。這次展覽還設有互動教育區和多媒體展示，讓觀眾更深入地了解青銅器的歷史和文化。“The Splendour of Chinese Bronzes: Masterpieces from the National Museum of China” is currently on display at the Macao Museum of Art, showcasing over 150 precious bronze artefacts.The exhibition is divided into ve sections, covering visual artistry, decoration and pattern, inscriptions and calligraphy, technical skill, and corrosion representation. These exhibits highlight the splendid achievements of the Chinese Bronze Age, with some items being displayed abroad for the rst time.This exhibition also features interactive educational areas and multimedia displays, viewers guiding though the history and culture of bronze artefacts.日期：現在至11月10日時間：上午10時至晚上7時（下午6時30分停止入場)逢週一休館，公眾假期照常開放地點：澳門藝術博物館四樓票價：免費入場Date: From now till November 10, 2024Time: 10am to 7pm (last admission at 6:30pm)Closed on Mondays and open on public holidaysVenue: 4/F at Macao Museum of ArtAdmission: Free admission日期：2024年10月25日-27日及 11月1日至3 日地點：氹仔龍環葡韻票價：免費入場Date: October 25-27; November 1-3, 2024Venue: Taipa House Admission: Free admission GEG LUSOFONIA FESTIVAL2024銀娛葡韻嘉年華The Splendour of Chinese Bronzes: MASTERPIECES FROM THE NATIONAL MUSEUM OF CHINA地點 VENUE: 南灣大馬路131號No.131, Avenida da Praia Grande時間 TIME： 9:00 - 6:00openday.dsasg.gov.mo查詢電話 ENQUIRIES： (853) 2872 6886免費入場 Free admissionThe Macao Government Headquarters will hold a two-day open day event on October 26 and 27, inviting citizens and tourists to visit. The pink exterior of the Government Headquarters is striking, showcasing its Southern European style. During the open days, beyond the chance to tour the government headquarters, there will be wonderful performances by the Public Security Police Force Music Band and students from School of Music and School of Dance of the Macao Conservatory of the Cultural Affairs Bureau, adding to the festive atmosphere.澳門政府總部開放日MACAO GOVERNMENT HEADQUARTERS OPEN DAYThis year marks the 75th anniversary of the founding of the People’s Republic of China and the 25th anniversary of Macao’s return to the motherland. To celebrate, a large oral display themed around these anniversaries will be showcased on the lawn for visitors to enjoy.Meanwhile, three activity booths will be set up by Nam Van Lake; Macao Post and Telecommunications Bureau will issue commemorative envelopes and postcards, date-stamped with a special postmark; Macao Government Tourism Ofce will distribute promotional items; and the Municipal Affairs Bureau will have booth games to interact with residents and tourists.澳門政府總部將於10月26日及27日舉辦為期兩天的開放日活動，邀請市民和遊客參觀。澳門政府總部的粉紅色外觀非常引人注目，並展現了其南歐建築風格。在開放日期間，除了能觀賞政府總部禮賓樓，警察銀樂隊演奏、文化局演藝學院音樂學校和舞蹈學校學生的樂器演奏及舞蹈表也帶來精彩的表演，增添節日氣氛。適逢本年為中華人民共和國成立75周年、澳門回歸祖國25周年的雙慶年，園內草坪展示區將展出以此為主題的大型花藝作品以供民和遊客欣賞。與此同時，居民和遊客可到南灣湖畔。當天將設置三個互動攤位，包括郵電局將發售開放日紀念封、明信片，並加蓋當日紀念郵戳；旅遊局將派發旅遊宣傳品；以及市政署將設置攤位遊戲。

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16MC MC SEP /OCT - 2024SEP /OCT - 20241736TH MACAO INTERNATIONAL MUSIC FESTIVALThemed “And the Stars Shine”, this edition of the MIMF will feature 12 spectacular programmes from October 4 to November 4, 2024, gathering maestros and rising stars from the global music scene to present a star-studded musical feast with timeless melodies. Highlights include performances by the Jazz at Lincoln Center Orchestra with Wynton Marsalis, a concert by Herbie Hancock, and the closing performance featuring Mariza with the Macao Chinese Orchestra. Additionally, the festival will feature 16 outreach activities, allowing residents and visitors to experience the charm of music.本屆音樂節以「星光燦爛」為主題，10月4日至11月4日期間盛邀來自世界各地的頂尖音樂家和樂團聚集一堂，呈獻多場精彩絕倫的音樂會。亮點演出包括林肯中心爵士樂團與溫頓·馬薩利斯的演出、賀比·漢考克的音樂會，以及閉幕演出的瑪麗莎與澳門中樂團。此外，音樂節還設有16項豐富多彩的延伸活動，為市民和遊客提供深入體驗音樂魅力的機會。這些活動將使音樂節更加貼近生活，讓更多的人感受音樂的藝術魅力和文化氛圍。澳門售票網購票熱線及網址 Macau Ticketing Hotlines and Websites電話 Tel: (853) 2855 5555 / (853) 2840 0555www.macauticket.com節目查詢 Enquiries電話 Tel: (853) 8399 6699 (during o󼴫ce hours)電郵 Email: 󼴩mm@icm.gov.mowww.icm.gov.mo/󼴩mm林肯中心爵士樂團與溫頓．馬薩利斯Jazz at Lincoln Center Orchestra with Wynton Marsalis19/10 │ 星期六/ SAT │ 20:00澳門文化中心綜合劇院Grand Auditorium, Macao Cultural Centre票價 / Tickets：澳門元/ MOP: 650, 500, 400, 300, 200伊沃．波哥雷利奇Ivo Pogorelich20/10 │ 星期日 /Sun │ 20:00澳門文化中心綜合劇院Grand Auditorium, Macao Cultural Centre票價 / Tickets：澳門元/ MOP: 400, 300, 200, 150馬林斯基交響樂團Mariinsky Orchestra26-27/10 │ 星期六、日 / Sat, Sun │ 20:00澳門文化中心綜合劇院Grand Auditorium, Macao Cultural Centre票價 / Tickets：澳門元/ MOP: 750, 600, 500, 400, 300林肯中心室內樂協會Chamber Music Society of Lincoln Center27/10 │ 星期日/Sun │ 15:0028/10 │ 星期一/Mon │ 20:00澳門文化中心小劇院Small Auditorium, Macao Cultural Centre票價 / Tickets：澳門元/ MOP: 300, 250胡桃夾子與我亞歷山德拉．德雷斯庫The Nutcracker and IAlexandra Dariescu2-3/11 │ 星期六、日 / Sat, Sun │ 15:00, 20:00澳門文化中心黑盒IIBox II, Macao Cultural Centre票價 / Tickets：澳門元/ MOP: 250賀比．漢考克Herbie Hancock3/11 │ 星期日 │ 20:00澳門文化中心綜合劇院Grand Auditorium, Macao Cultural Centre票價 / Tickets：澳門元/ MOP: 650, 500, 400, 300, 200閉幕呈獻CLOSING PERFORMANCE瑪麗莎與澳門中樂團Mariza and the Macao Chinese Orchestra4/11 │ 星期一/SUN │ 20:00倫敦人劇場The Londoner Theatre票價 / Tickets：澳門元/ MOP: 400, 300, 200, 150󵳨󰵳󱘨󱌚󴡎󸻍󱱝󹁺󹌊󳺀󵸐

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20MC MC SEP /OCT - 2024SEP /OCT - 202421We can all probably agree that life in Macau is pretty great, but of course it’s not without its chal-lenges and we all go through tough times. And watching the news from around the world, it’s easy to feel a bit bleak some days. In present-ing his vibrantly coloured artworks, award-winning Brooklyn artist and designer Jason Naylor hopes to bring some joy and positivity to our lives and leave us with a feeling of hope and love to brighten up our days. “Most of us live life one day at a time, and that means that there’s a routine, which can be mundane, and there’s going to be points in every single day that are not fun or exciting,” Jason Naylor observes. “So, I believe we have to sprinkle excitement and positivity into our daily lives as much as we can, to balance out the regular aspects of life. And if I can play a role in that through my art, that matters to me.” We sat down to chat with the artist when he was in Macau in September to unveil his most recent art project Fly Me to the Moon Immersive Art Exhibition, a collaboration with One Central Macau as part of the 7th Macau Lantern Festival. The exhibition features a number of large-scale pieces that bring Naylor’s colourful creations off the usual walls and canvasses that he paints on, and into a very tangible and interactive 3D reality. The centrepiece of the exhibition is located in the Atrium of the One Central shopping mall, the giant full moon installation, Fly Me to the Moon. This artwork features touch-sensing and AI scanning technology, allowing visitors to press gently on the soft white clouds causing them to rise up and reveal a full moon, as well as creating a unique handprint that merges with Naylor’s design.Further along, OPN Heart Wishes features Naylor’s iconic ‘Heart’ motif. When touched, this installation activates a voice message with warm festive blessings, extending heartfelt wishes to guests. And outside on the promenade, overlooking Nam Van Lake, stands Chasing the Moon, a boldly colourful moon that complements the beautiful sunset hues over Hengqin Island and the neon lights of Macau’s skyline at night. As an American artist, Jason admits that he wasn’t all that familiar with the traditions of Mid-Autumn Festival when rst approached by One Central, but in the process of doing his research for the exhibition, he found that the themes of the celebration matched perfectly with his approach to his art. “One Central are very passionate about art and they were looking for an artist who would represent the values of this festival. I’m very interested in promoting family values with my work, and Mid-Autumn Festival is a time for families to be together,” Jason says. “This festival is such a special thing in the local culture, and as I developed a deeper understanding of it, it was exciting for me because it all culminates in this idea of family values and that’s very important to me in my work, so it was perfect.” 澳門的生活相當美好，這點也許毋庸置疑，但當然也不乏挑戰，會有艱難時刻。瀏覽世界新聞時，難免會感到憂慮不安。今年，屢獲殊榮的紐約布魯克林藝術家兼設計師Jason Naylor希望能夠透過色彩繽紛的藝術作品，為生活帶來一些快樂和正能量，讓觀者感受希望與愛。「我們大多數人都是按部就班的生活，有時可能會顯得平淡，每一天都有一些時刻不是那麼有趣或令人興奮，」Jason Naylor觀察道。「因此，我覺得要盡可能地在日常生活中加入一些興奮和積極的元素，來抵消日復日的瑣碎。透過藝術達成這一點，對我而言非常重要。」九月，Jason Naylor來到澳門為最新藝術項目「先鋒登月」沉浸式藝術展覽揭幕時，接受了我們的採訪。是次展覽是澳門壹號廣場主辦的第七屆澳門花燈節的一部分。展出的大型互動藝術裝置將Naylor的色彩創作由平時的牆面及畫布中帶入3D互動現實中。主展品是巨型滿月裝置「飛上月球」，位於澳門壹號廣場的中庭。作品採用觸摸感應及人工智能技術（AI），參觀者只需伸手輕輕觸摸純白綿軟的雲朵氣球，即可觸發感應裝置升起璀璨滿月，再將手掌覆於巨大的彩色「月球」之上，便可生成專屬「個人掌印」，與藝術家極具個性的多彩圖樣共生於「月球」表面。另一件互動藝術裝置是「心」之問候，當訪客觸摸彩色的雲朵氣球，即可見到藝術家標誌性的OPN HEART圖樣浮現並伴隨語音節日祝福。另外，由巨大的超級月球和雲朵組成的「彩雲追月」立於南灣湖畔，與橫琴島的美麗日落及澳門夜空中的霓虹燈光交相輝映。

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22MC MC SEP /OCT - 2024SEP /OCT - 202423Mid-Autumn Festival is traditionally a harvest festival held around the time of the Autumn equinox on the 15th day of the 8th month of the Chinese Lunar calendar when the moon is at its fullest and brightest. Families gather outside at night to look at the moon, while children play with paper lanterns, and of course everyone eats the famous mooncakes with their deliciously dense pastry and various llings. “I love that there’s so much symbolism with the moon, in astrology and traditional cultures. I feel that my art can take people away to other destinations, and for me, the moon is the most exciting and extreme place we can go to,” notes the artist. “So how do we get there? For me ‘the how’, is always love. The answer is always love. When we focus on the emotional side of things - kindness, love, positivity - that’s how we get to where we want to go.”While the eye-catching kaleidoscopic colours of Jason’s artwork are what obviously draw audiences in, Fly Me to the Moon also features an added level of engagement that is a rst for the artist.“I’ve done a lot of interactive art but is the rst time that AI has been involved in that interactivity and an actual part of the installation,” Jason explains. “I think the technology always enhances the experience. It can add a layer of magic and intrigue.”“But the important thing to remember is that the technology does not make the art. The art always stems from creativity, and the technology can only make it that much better. I use AI a lot in the exploration and development of my work. It’s a fun way to research ideas or even visuals that represent certain things that I want to include in my work,” he adds.作為美國藝術家，Jason坦言在剛收到澳門壹號廣場的合作邀約時，他對中秋節的傳統並不熟悉。但在隨後的研究過程中，他發現這個活動的主題與他的藝術風格完全契合。「澳門壹號廣場的團隊對藝術充滿熱情，希望能夠找到真正表達中秋情感的藝術家。中秋節正是闔家團圓的時候，而我對於透過作品來推廣家庭價值非常感興趣，」Jason說。「我喜歡這個節日在本地文化中的特殊意義，隨著我對它的理解加深，我愈發感到興奮。一切都匯聚在家庭價值的理念上，正正是我作品中的重要主題，因此這次合作是一個完美的契機。」中秋節是秋分前後的一個傳統節日，通常在農曆八月十五，月亮最圓、最亮的時候。一家大細會在中秋之夜團圓賞月，孩童則提紙燈籠玩耍。當然，大家也會品嚐月餅，餅皮香濃，內餡風味各異。「我喜歡月亮的象徵意義，無論是在占星學還是傳統文化中。我覺得我的藝術可以帶領人們去往其他目的地，而對我而言，月亮是我們可以去的最令人興奮、最極致的地方，」藝術家表示。「那麼，我們該如何到達月球呢？對我來說，永遠是愛。答案始終是愛。專注於事物的情感方面——善良、愛、積極——這就是我們抵達目標的方式。」儘管Jason的作品常以引人矚目的繽紛色彩吸引觀眾，但「飛上月球」也包含了之前未曾涉獵過的技術。「我創作過很多互動藝術，但這是第一次融入AI技術，成為裝置的一部分，」Jason解釋道。「我始終認為技術能增強觀看體驗，增加一層魔力和神秘感。」「但必須謹記，技術並不創造藝術。藝術始終源於創意，技術只能讓它變得更好。我在探索和開發作品的階段經常使用AI。這是一種有趣的方式，用來研究我想在作品中呈現的某些概念或視覺效果，」他補充道。儘管這是Jason首次過中秋，但並不是他的首次澳門之行。去年，他受邀參加「藝文薈澳：澳門國際藝術雙年展2023」，作品於澳門威尼斯人展出。Naylor和英國當代新普普藝術家Philip Colbert合作，在迪士尼百年慶典之際，以經典角色米奇為藍本，呈獻《奇妙之約——藝術致敬迪士尼奇妙一百年》展覽。Naylor的作品包括位於威尼斯人大堂的標誌性OPN HEART雕塑，以及位於巴黎人花園的巨型彩色米奇，與背景中的巴黎鐵塔相映成趣。作為來自紐約的塗鴉藝術家，Naylor的藝術顯然受到都市氛圍的啟發。他是否從訪問澳門的經歷中汲取了靈感？

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24MC MC SEP /OCT - 2024SEP /OCT - 202425sculpture of his iconic OPN HEART located in the main lobby of The Venetian, and a giant rainbow-coloured Mickey Mouse in the gardens opposite The Parisian, with Macau’s Eiffel Tower in the background. As a grafti artist based in New York city, Naylor’s art is obviously inspired by a big city vibe, so has he taken any inspiration from his visits to Macau?“Big city energy is always magnetic to me, and Macau has this energy about it. There’s a hustle and bustle and a passion that I really like. And even though it’s not a huge city, it has that big city energy,” he responds. “I also love the whole neon light energy. The skyline is a very neon lit scene which is very magical to me. The view from my hotel window is neon lights and fountains, so yes, visually, there’s something very inspiring about Macau.”“Of course, New York is one of the biggest cities in the world, and that’s what drew me there in the rst place. I love the energy and I also love diversity. Even here in Macau, everywhere you go you meet people from all over the world.”Jason has been living in New York for 20 years, but he hails from a much smaller hometown, Salt Lake City, Utah. After earning a BFA in Graphic Design from Brigham Young University, he moved to the Big Apple and began his professional career working in the Creative Department of M·A·C Cosmetics. Six years later he made the bold decision to pursue his career as a full-time artist. He admits that it wasn’t easy in the beginning, but fairly quickly his work became more widely recognised. He has received the Golden Novum Design Award and two CLIO Bronze medals, and in 2018 he was named by BUMBLE as one of the ‘100 Most Inspiring New Yorkers’. Through his creations he has partnered with a number of brands such as Coach, Pepsi, Fanta, Jo Malone, Guess, XBOX and Maybelline. In 2019, he was commissioned by French makeup brand Sephora to create an illustration for their Belong to Something Beautiful campaign, which appeared at the grand opening of their Times Square agship store. 「大都市的能量總是吸引著我，澳門就有這種能量。這裡的喧囂和熱情，我都喜歡。它雖不是一個超大城市，卻有著大城市的能量，」他回應道。「我也喜歡霓虹亮起的氛圍。澳門夜空的天際線霓虹閃爍，特別神奇。我的酒店窗外就是霓虹燈和噴泉。所以答案是肯定的，在視覺上，澳門給了我很多靈感。」「當然，紐約是世界上最大的城市之一，這也是我最初被吸引的原因。我喜歡澎湃的能量，也喜歡多元化。即使在澳門，也能遇到來自世界各地的人。」While this was Jason’s rst experience of Mid-Autumn Festival, it was not his rst time to visit Macau. Last year, he was invited to participate in Art Macao: Macao International Art Biennale, when his artwork was presented at The Venetian Macao. The Meet the Magic exhibition featured a collaboration between Naylor and British contemporary pop artist Philip Colbert, with each presenting their unique artistic interpretations of Mickey Mouse in celebration of Disney’s 100th anniversary. Naylor’s works included a large-scale Jason已在紐約生活了20年，但他來自一個更小的家鄉——猶他州鹽湖城。在布里格姆楊大學獲得平面設計學士學位後，他搬到紐約，並在M·A·C化妝品的創意部門開啟了職業生涯。六年後，他做出了全職從事藝術創作的大膽決定。他承認，最初並不容易，但他的作品很快便得到了認可。他曾獲得Golden Novum Design Award 法國創新設計大賽金牌和兩枚 CLIO Award 克里奧廣告獎銅牌，更在2018 年被 BUMBLE 交友平台評為 100 位最鼓舞人心的紐約人之一。他與多個世界知名品牌創出精彩合作：如 Coach、Pepsi、Fanta、Jo Malone、Guess、XBOX 及Maybelline。2019年，他受法國美妝品牌Sephora委託，為「Belong to Something Beautiful」活動創作插圖，於Sephora時代廣場旗艦店開幕時亮相。Jason的首次個人畫廊展覽「Reading Between the Lines」（字裡行間）於2021年舉行，展示了一系列大型丙烯和噴漆畫作。但他坦言，仍與街頭藝術關係甚密，並依然喜愛為公共空間創作大型作品。

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26MC MC SEP /OCT - 2024SEP /OCT - 202427The 7th Macau Lantern Festival – ‘Fly Me to the Moon’ Immersive Art ExperienceDate: From now till 31 October, 2024Admission: Free entryLocation: Promenade, G/F of ONE CENTRAL MacauAddress: Avenida de Sagres, Nape, MacauJason’s rst solo gallery exhibition, Reading Between the Lines was held in 2021, featuring an expansive range of paintings in acrylic and spray paint on canvas, but he acknowledges that he remains close to his street art origins and still loves creating large scale works for public spaces.“I think it comes from my personality. I love to be around people and I like to be in the spotlight. I want to display my work in a setting where everyone can enjoy it. If the point of the work is to spark joy and bring some positivity and make people feel love or motivation, why limit that to an exclusive group of people?” Jason comments.“I do show in galleries sometimes, but I like putting the work where everyone can enjoy it and experience it. It seems to resonate with people, and we all need some positivity. And I do it for myself too. I love making the work because it makes me feel good. I’m generally pretty happy and positive, but I also have my dark side and I make the work because it balances out 第七屆澳門花燈節暨「先鋒登月」沉浸式藝術展日期：從現在至10月31日入場：免費入場地點：澳門壹號廣塲海濱長廊、澳門壹號廣塲地面層地址：澳門外港新填海區沙格斯大馬路my dark side. I love painting with spray paint, because there’s like a catharsis to it, it’s sort of my therapy,” he admits.So far, most of Naylor’s work has been based in the US, but with projects like Fly Me to the Moon, the artist is starting to get more international exposure.“I do want to grow more internationally, and I’m trying to do as much as I can each year overseas. It’s not so much about getting global recognition, which of course I enjoy, but it’s more about getting my message out there as much as I can,” he explains.“The convenient thing for me is that the message in my work is universal. The basis of the work is love and kindness and joy and positivity, and these are all human things. The better I understand another culture, the better I understand how I can present these concepts visually, but it doesn’t change the message. At the end of the day, the theme of the work will t because it’s all about people.”「我認為這源於我的個性。我喜歡與人相處，也喜歡處於聚光燈下。我希望在每個人都能欣賞的環境中展示我的作品。如果作品的目的在於激發快樂、帶來積極能量，讓人感受到愛或動力，那為什麼要只給一小部分人欣賞呢？」Jason 表示。「我有時會在畫廊辦展，但也喜歡把作品陳列在每個人都能欣賞和體驗的地方。這能引起共鳴，散發積極的能量。我創作也是為了自己。我喜歡創作，這讓我感到快樂。我通常都很積極，但也有陰暗面，而我創作的原因就是為了對抗這些陰暗面。我喜歡用噴漆塗鴉，對我來說就像一種宣洩，這是我的心理治療，」他坦言。Naylor的大部分作品都在美國，但隨著「先鋒登月」等項目的推進，他開始獲得更多國際關注。「我確實希望能在國際舞台上更進一步，每年都在盡可能多地參與國際項目。這不僅僅是為了獲得世界的認可——當然我也很享受這一點，但更重要的是讓作品中的訊息被更多人知曉，」他解釋道。「對我而言，優勢是我作品中的訊息是普世的。基礎是愛、善良、快樂與積極，這些都是人類共通的情感。越了解其他文化，我就越能理解如何在視覺上呈現這些概念，但這並不會改變訊息的本質。最終，作品的主題圍繞的都是人類本身。」

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28MC MC SEP /OCT - 2024SEP /OCT - 202429歷經近三百年的穩定與繁榮後，大明帝國終於在1644年滅亡，後世研究者將明朝滅亡原因歸咎於內亂（李自成、張獻忠等造反）外患（關外滿人入侵），但全球史學家卜正民（Timothy Brook）卻用這本小書《價崩：氣候危機與大明王朝的終結》（The Price of Collapse: The Little Ice Age and the Fall of Ming China）帶讀者重返大明帝國崩潰覆滅的現場，並提出一個全新觀點：明朝滅亡的真正主因，是氣候變化導致的物價崩潰。因太陽黑子數量減少造成的“小冰期”（Little Ice Age，約1300至1850年），17世紀中至18世紀初（約1645至1745年）被稱為“蒙德極小期” （ Maunder Minimum）是小冰期最寒冷的階段，氣候變化──氣溫與雨量驟降──導致社會經濟陷入崩潰。《價崩》用“氣候史”฀฀“物價史”฀฀฀，整理出令人驚嘆的無比豐富的細節價格，透過日記、地方志、官方文書、民間記錄及外國傳教士留下的文獻，展現出當時平民百姓如何掙扎於糧食短缺與饑荒災變。直到1640年代初，明朝政府才終於意識到國家已陷入難以挽回的致命災難，在所有改革嘗試都徒勞無功之後，大明政權連帶物價和人心的崩潰，終致土崩瓦解。我在書裡讀到一個令人印象深刻的小細節：1639年4 月，出身泉州縉紳之家的傅元初向崇禎皇帝上書。泉州港是宋明之際福建對外貿易的重要港口，傅家又是當地大戶，深諳貿易致富訣竅，傅元初向皇帝提出的主張是：開放海禁，大力發展對外商貿，讓泉州商人盤活國內的資源──江南的絲綢、江西的瓷器……都是海外市場的搶手貨。當時在中國大部分地區，寒冷乾燥的天氣從1637年一直持續到1644年，極度乾旱與低溫的氣候，導致糧食產量下降，糧價因此不斷攀升。1639年，福建遭遇嚴重饑荒，接著又於1640年爆發疫情，接二連三的災害，導致朝廷也不太確定應採取哪種政策來應付危機，當時的主流意見認為應“維穩至上”：一方面閉關鎖國，同時嚴控民情，才是有效應對之策。但傅認為，這時政府最不應該做的就是關閉國門，他指出，百姓生計困頓，政府稅基乾涸，北方邊疆又急需龐大軍費開支，此時應大力發展海外貿易，才有可能打破財政困境……數百年後回望，今天的我們很難想像，如果當時朝廷採納了傅元初這個有機會扭轉國運的建議，接下來的中國歷史將會走出一條怎樣的軌跡？當然，歷史沒有“如果”，中國政治傳統講“天命觀”──所謂“฀฀฀昌，逆天者亡”，但何謂“天命”？後世卻有各種不同解讀，大至氣候變化、農漁林耕，小到政府管治、民眾日常，在歷史的洪流中，不論手握大權如明朝皇帝或卑微渺小如蟻民百姓，所有人都被“฀฀”฀雙無形之手向前推行，身在局中者往往不知將會去向何方。今天我們回望雖覺唏噓，但反觀自身不也一樣？或許，這正是我們應努力觀史研史，並不斷領悟學習的原因所在吧？JOE’S READING LIFE󰽳󲕼󱛼󱓝󰽳󲕼AUTHOR AND PLAYWRIGHT Joe Tang After nearly three centuries of stability and prosperity, the Ming Dynasty ultimately fell in 1644. Scholars attribute the fall to internal strife (rebellions by figures such as Li Zicheng and Zhang Xianzhong) and external threats (invasions by the Manchus). However, global historian Timothy Brook presents a different perspective in his book The Price of Collapse: The Little Ice Age and the Fall of Ming China. He invites readers to rethink the collapse of the Ming Empire and suggests that the real cause of its demise was the price collapse triggered by climate change.The ‘Little Ice Age’ (approximately 1300 to 1850), caused by a decrease in solar sunspots, reached its coldest phase during the Maunder Minimum (roughly 1645 to 1745), leading to signicant drops in temperature and rainfall. This climate change resulted in a socioeconomic collapse. The Price of Collapse combines “climate history” with “price history” to reveal astonishingly rich details through diaries, local gazettes, ocial documents, folk records, and the writings of foreign missionaries, showcasing how common people struggled with food shortages and famine.It wasn’t until the early 1640s that the Ming government recognised it was facing an irreparable catastrophe. After numerous failed reform attempts, the Ming regime collapsed with the breakdown of both prices and public support.One striking detail I came across in the book is from April 1639, when Fu Yuanchu, born into a gentry family in Quanzhou, petitioned Emperor Chongzhen. Quanzhou port was a vital foreign trade hub in Fujian during the Song and Ming dynasties, and Fu, as a prominent local gure, understood the signicance and secrets of trade. He proposed to the emperor that the government should lift maritime restrictions and vigorously develop foreign trade to revitalise domestic resources – such as silk from Jiangnan and ceramics from Jiangxi, all in high demand overseas.At that time, much of China was experiencing cold, dry weather from 1637 to 1644. The extreme drought and low temperatures led to decreased grain production, causing prices to soar. In 1639, Fujian faced severe famine, followed by an epidemic in 1640. With disasters piling up, the imperial court was uncertain about which policies to adopt. The prevailing opinion suggested a focus on “stability above all”: to seal o the country and tightly control public sentiment. However, Fu argued that the government should not close its doors to the outside world. He pointed out that the people were struggling to make a living, the government’s tax base was drying up, and the northern border urgently needed military funding. Developing overseas trade was essential to break the nancial deadlock.Looking back hundreds of years later, it’s hard for us to imagine how Chinese history might have unfolded if the court had heeded Fu’s proposal, which had the potential to reverse the dynasty’s fortunes.Of course, history has no “what ifs”. Chinese political tradition speaks of the “Mandate of Heaven” – the idea that “those who follow the will of heaven will prosper, while those who go against it will perish”. But what does “Mandate of Heaven” truly mean? People have oered various interpretations, ranging from climate change and agriculture to governance and daily life. Throughout the tides of history, whether one holds power like a Ming emperor or is as humble as an ordinary citizen, all are pushed forward by the invisible hand of “Mandate of Heaven”, often unaware of where they are headed.While we may look back today with a sense of regret, isn’t it the same for ourselves? Perhaps this is why we should strive to study history and continuously learn from it.評論OPINIONAmbiente Properties - Macau specialists in leasing and sales of residential, commercial and industrial propertiesContact:Suzanne Watkinson / Ryan ChoiT: 6622-8541 / 6276-2219E: enquiries@ambiente.moW: www.ambiente.mo樓宇物業仲介. 租賃. 買賣. 管理房地產專業顧問《價崩》：重返大明帝國崩潰之現場The Price of Collapse: Revisiting the Fall of the Ming Empire

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32MC MC SEP /OCT - 2024SEP /OCT - 202433The objects in this series are related to your own very personal journey to sobriety. What made you decide to focus on this topic at this time in your career? I’ve been sober for 17 years now. When I rst started these paintings, around 2002, I chose images that felt personal. At the time, I considered them self-portraits because I was drowning in alcohol, heartbroken and drunk. Eventually, I found love, and with the birth of my rst son, I found the motivation to stop drinking - so I did.After I became sober, I couldn’t make the paintings anymore because the images made me want to drink, and they no longer felt like me. But after turning 50, I began to reassess my work and realised these pieces were some of my favourites in my journey. I could now approach them intellectually, as the desire for alcohol no longer controlled me. These paintings are still lifes, much like a Morandi painting, and also Pop images that I still see as mine. The point now is to make them even better, because after working for many years, the biggest challenge as an artist is improving your own work. The images represent false promises - the men in the ads are handsome, wealthy, and have beautiful women by their side. For some, that’s possible, but for me, it just led to years of alcoholism. Yet I still love the images. Maybe that’s just me.You have included two paintings of a Moutai bottle in this exhibition. Can you talk about why you decided to also include an image of this very famous Chinese liquor?Yes, I did. One of the main reasons for including the Moutai bottles was to foster a sense of cross-cultural dialogue. By bringing such a well-known symbol of Chinese culture into my work, I hope to connect with the local audience in a way that goes beyond visual appreciation - it’s about creating a shared understanding. Moutai is deeply embedded in Chinese culture, much like rum is in Puerto Rican culture, and I wanted to explore how these objects can evoke similar feelings of nostalgia, identity, and even false promises, no matter where you are in the world.At the same time, I appreciate the Moutai bottle as an aesthet-ic object. The bold, recognisable design - the colours, the label, the shape - carries its own visual language that speaks to both tradi-tion and modernity. There’s a certain beauty in the way everyday objects like this can become iconic, transcending their practical use and entering the realm of art. That duality, where something is both a cultural symbol and a visually compelling object, fascinates me.Perhaps someone in Hong Kong can look at the Moutai bottle the way I look at the rum bottles in my work - symbols that carry weight, promise, and memory, while also being beautiful in their own right. These objects allow us to have a conversation across cultures, connecting through shared experiences even if our specic stories are different. The beauty and cultural relevance of the Moutai bottle provide layers of meaning to the piece, making it not just an object to be admired, but a point of connection between my world and theirs.Can you tell us a bit about your creative process, and your use of drawings and oil paint on canvas? What effect does this technique create in the nal paintings?I developed the technique I use to create my paintings because, as a young artist, I felt the need to paint in a way that made sense within the context of the city I had just moved to: New York. I adopted the methods of the painters who were important to me and whose work had motivated me to move there. These artists include Andy Warhol, Robert Rauschenberg, Jean-Michel Basquiat, Richard Prince, and Christopher Wool. What they have in common is the use of printmaking techniques in their painting process.In response, I came up with my own handmade printmaking method to apply paint to canvas. It’s similar to carbon paper - I apply oil paint on the back of a sheet of paper, then place it on the canvas and draw images onto the paper, transferring the drawing onto the canvas one colour at a time. The result is a detailed transfer monotype, which becomes the painting itself, following in the tradition of those artists. It produces a at surface and allows me to speak the visual language rooted in those progressive New York painters, helping me tell my story in a sort of NYC painting dialect.能否向我們介紹一下你的創作過程，以及你對布面素描及油彩的運用？這種技法在最終畫作中產生了什麼效果？之所以發展出這種繪畫技巧，是因為當時作為年青藝術家，我覺得有必要在我剛剛搬到的城市背景下進行繪畫：紐約。我採用了對我很重要的一些畫家的繪畫方法，包括安迪沃荷、勞生柏、尚·米榭·巴斯奇亞、理查德·普林斯和克里斯托弗·伍爾等。正是他們的作品吸引我搬到紐約。他們的共同點是在繪畫過程中使用版畫技法。我想出了一種將顏料轉移到畫布上的手工版畫製作法。這種方法類似於碳粉複寫本，首先創作彩色素描，然後以油畫棒在背面塗上油彩，再逐色轉移到畫布上，由此形成了細節豐富的轉印單版畫，成為繪畫本身，繼承了我所欣賞的那些藝術家的創作傳統。它產生了一個平面，讓我可以用那些紐約畫家的視覺語言來進行表達，似乎可以透過一種獨屬於紐約的繪畫方言來講述我的故事。這個系列中的物品與你的戒酒經歷有關。是什麼讓你決定在職業生涯的這個階段關注戒酒主題？我已經戒酒17年了。 2002年左右，剛開始創作這些畫作時，我選擇的都是與我個人密切相關的圖像。我視作品為自畫像，因為我當時沉溺於酒精之中，傷心欲絕，日日酩酊大醉。但還好，我找到了愛情，隨著大兒子的出生，我找到了戒酒的動力——於是，我戒酒了。戒酒後，我再也不能畫畫了，因為這些畫面讓我想飲酒，也不再像我自己的寫照。但在50歲之後，我開始重新評估自己的作品，意識到這是我人生中最喜歡的一些作品。現在，我可以從理智的角度來看待它們，對酒精的渴望不再能夠控制我。這些畫作是靜物畫，很像莫蘭迪的作品，也是我仍然認為屬於我的普普圖像。現在的重點是讓它們變得更好。在習藝多年之後，作為藝術家最大的挑戰就是改進自己的作品。這些圖像代表著虛假的承諾——廣告中的男人英俊、富有，身邊總有美女相伴。對有些人來說，這是可能的，但對我來說，只導致了酗酒多年的痛苦經歷。但我仍然喜歡這些作品。也許這就是我。ARTS藝術

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34MC MC SEP /OCT - 2024SEP /OCT - 202435You’ve never been to Macau and yet you have painted the Grand Lisboa Hotel. How did that come about and what do you think of it?I painted it in 2017. I did it because I think the building is a masterpiece, perhaps not for architectural scholars, but I think it’s such a beautiful building. For me, more is more, and that’s part of the aesthetic of this architecture. I haven’t been to Macau, but I study architecture and I have a lot of books and I’d had my eye on that building for years. It’s an Asian masterpiece, but it has a lot of Las Vegas about it. It took me about two months to paint it. It has so many windows which activated the obsessive-compulsive in me, and it was also an opportunity to throw this feast of colours on the canvas. Next time I come to Hong Kong, I will denitely visit Macau to come and see it in person.Could you share with us a little about your journey to sobriety and what inuenced you to choose this path?Of course. I’m from Puerto Rico, a beautiful island that was originally a Spanish colony and is now part of the USA. Drinking rum is almost like a national sport - we drink a lot. I drank heavily, ruining friendships and making a fool of myself. I didn’t mind all of that until one day, while changing my eldest son Leo’s diaper, I nearly dropped him because I was so drunk. The next day, I called a psychiatrist. It turned out I had been self-medicating for a severe case of Obsessive-Compulsive Disorder. Once I got the right treatment, everything changed for the better.Advertising and pop art have long had a close relationship, and both can leave a strong impression. How do you feel about how art is often used to promote commercialism and consumerism and manipulate people’s behavior?I think advertising exists solely to promote commercialism and consumerism - that’s its purpose. It’s a form of manipulation that has become ingrained in our identities as people. It works because the images themselves are seductive, and that’s where art plays a role. There’s no better way to capture attention than through seduction, and once you have people’s attention, you have a voice. That can be a powerful force for good - it’s a form of power. Advertising is everywhere, even when it seems like it’s not. Personally, I’ve become numb to it, but I appreciate it when it’s something beautiful. Poetry can emerge from the most unexpected places. That being said, I’d prefer life to resemble a Wong Kar Wai lm - sublime.What message or lasting impression do you hope visitors to this exhibition will take away with them? I want people to realise that we all have more in common than we think. My goal is to seduce people with my paintings so they can experience the wonder of the everyday. I want them to see the beauty in the ordinary and understand that not everything is black and white - some things are grey, and that’s life.Enoc Perez - Chances are You’ll Like it All WaysExhibition dates: Until November 9Venue: Ben Brown Fine Arts, 201, The Factory, 1 Yip Fat Street, Wong Chuk Hang, Hong Kong這次展覽中展出了兩幅茅台酒瓶的畫作。能談談為什麼決定描繪這一中國名酒嗎？確實有。將茅台酒瓶納入展覽的主要原因之一是為了促進跨文化對話。希望透過把這樣一個中國文化的知名符號帶入我的作品，以一種超越視覺欣賞的方式與當地觀眾建立聯繫——創造一種共同的理解。茅台酒在中國文化中源遠流長，就像朗姆酒在波多黎各文化中一樣。我想探索這些物品如何喚起類似的懷舊、身份認同甚至虛假承諾的感覺，無論你身處世界何處。同時，我在審美意義上亦欣賞茅台酒瓶。瓶身設計大膽、辨識度高，無論是顏色、標籤還是形狀，都有自己的視覺語言，既傳統又現代。像這樣的日常物品能夠超越實際用途而進入藝術領域，成為標誌，當中蘊含著某種美感。這種二元性——既是文化符號又是極具視覺衝擊力的物品，令我著迷。也許香港的某位觀展者可以像我看待作品中的朗姆酒瓶一樣看待茅台酒瓶——這些符號承載著重量、承諾和記憶，同時本身也很美。這些物品讓我們可以進行跨文化對話，透過共同的經歷心意相通。茅台酒瓶的美感和文化意義為這件作品提供了更豐富的層次，令它不僅是一個值得欣賞的物件，而是我和他們的世界之間的連接點。可否和我們分享一下你的戒酒歷程，是什麼影響了你的選擇？當然可以。我來自波多黎各，一個美麗的島嶼，最初是西班牙殖民地，現在是美國的一部分。飲朗姆酒幾乎是一項全民運動——我們飲得很多。我因為酗酒毀掉了友誼，經常出醜。但我並不介意。直到有一天，我給大兒子利奧換尿布時，因為喝得太醉，差點失手把他摔落地面。第二天，我給心理醫生打了電話。結果發現，酗酒其實是我自發應對嚴重強迫症的結果。一旦我得到了正確的治療，一切都變好了。廣告和流行藝術長期以來關係密切，都給人留下深刻印象。你如何看待藝術經常被用於宣傳商業主義和消費主義，操縱人們的行為？我認為廣告的存在完全是為了促進商業主義和消費主義——這就是它的目的。這是一種操縱形式，已經根深蒂固地融入了我們作為人的身份認同。它之所以有效，是因為圖像本身具有誘惑力，而這正是藝術發揮作用的地方。沒有比誘惑更能吸引注意力的方式了，而一旦你吸引了注意力，就擁有了話語權。這可以成為一種強大的力量，它是一種權力。廣告無處不在，無孔不入。就我個人而言，我已經對廣告麻木了，但當看到好的廣告時，我還是很欣賞。詩意可以產生於最意想不到之處。儘管如此，我更希望生活能夠更像王家衛的電影一樣——妙不可言。你希望這次展覽能給觀者留下傳遞什麼資訊或留下什麼印象？我希望人們意識到，我們的共同點比想像的要多得多。我的目標是用畫作吸引人們，讓他們體驗日常的奇妙。我希望他們看到平凡事物中的美麗，明白並非所有事情都是黑白分明的——有些事情處於灰色地帶，這就是生活。你從未去過澳門，但畫過新葡京。能否展開講講？我是在2017年畫的新葡京，因為我認為這座建築是一件傑作。也許對建築學者來說不是，但我認為非常美麗，對我來說，「More is more」，這也是這座建築美學的一部分。我沒有去過澳門，但我研究建築，看過很多書，多年來我一直關注著新葡京這座建築。它是亞洲的傑作，但又有很多拉斯維加斯的影子。這幅畫我用了大約兩個月的時間完成。新葡京有很多窗，這激起了我的強迫傾向，同時也是我在畫布上揮灑色彩的好機會。下次再來香港的話，我一定會順路親自去澳門看看。艾諾克·佩雷斯「心隨意動」展期：2024 年 9 月 28 日至 11 月 9 日地點：布朗畫廊香港黃竹坑業發街 1 號The Factory 201 室

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36MC MC SEP /OCT - 2024SEP /OCT - 202437A tribute to legendary icon Jean-Michel Basquiat’s artistic journey Crowning Journey of Jean-Michel Basquiat, is making its debut in Macau, co-organized by City of Dreams and Artelli. Jean-Michel Basquiat is one of the best-known artists of his gen-eration, widely regarded for his bold use of color and composition, with a style that is both avant-garde and raw. In 2017, Basquiat’s painting Untitled from 1982 sold for a record US$110.5 million, setting a new high for American artists at auction at that time. Today, Basquiat’s work continues to set new records in the art market, captivating art enthusiasts and collectors worldwide with his unique charm.Crowning Journey of Jean-Michel Basquiat is presented across four areas at City of Dreams, with large-scale art installations, multimedia, and immersive and interactive multi-dimensional experiences inviting audiences to explore the thoughts and ideas of this fascinating artist. At the Main Portal, a cluster of art installations transports visitors into the vibrant cityscape of 1980s New York to discover the evolution of Basquiat’s world, featuring a massive 7-meter-tall dinosaur, a cre-ative installation inspired by one of Basquiat’s most recognizable art-works from 1984, Pez Dispenser (also known as Dinosaur with Crown).Moving to the Southwest Entrance outdoor area, Jean-Michel Basquiat’s Brown Spots (Portraits of Andy Warhol as a Banana) (1984) stands as a 10-meter-tall giant outdoor installation. And on the façade of The Showroom at City of Dreams, Jean-Michel Basquiat’s Grillo (1984) is showcased as a massive canvas spanning 10 meters wide, with a 6-meter-tall crown perched proudly atop. The showcase of Basquiat’s bold and innovative spirit, charting his rise from street artist to celebrated art icon, will be on display until November 24.Crowning Journey of Jean-Michel BasquiatSeptember 26 – November 24, 2024City of Dreams: The Main Portal, Southwest Entrance (outdoor area), The Showroom | 24 Hours Open Artelli – The Pioneering Multi-dimensional Art Space | Daily 11:00 – 20:00TRIBUTE TO AN ICON向傳奇藝術巨星尚．米榭．巴斯奇亞（Jean-Michel Basquiat）致敬的「加冕之旅」首度駕臨澳門，由新濠天地及Artelli聯合主辦。即日起至11月24日，藝術文化愛好者可體驗巴斯奇亞前衛創新的藝術精神，並見證這位傳奇藝術家從街頭作畫到登上殿堂成為藝術界耀眼明星的旅程。尚．米榭．巴斯奇亞被廣泛認為是20世紀最重要的藝術家之一，作品以大膽的色彩和構圖為標誌，風格前衛又充滿率真氣息。2017年，巴斯奇亞於1982年創作的油畫《無題》以高達1.1億美元拍賣成交，創下當時美國藝術家作品在拍賣會上的最高價紀錄。時至今日，巴斯奇亞的作品仍在藝術市場上屢創新高，這位藝術家的獨特魅力至今仍令全球藝術界及收藏家著迷。「加冕之旅」於新濠天地的四大區域精彩呈現，以大型藝術裝置、多媒體裝置、沉浸式多維體驗及互動元素等，將巴斯奇亞的經典作品突破畫布界限，帶來一場前所未有的藝術旅程，讓觀眾一起探索這位藝術巨星的所思所想。坐落於新濠天地主入口的大型藝術裝置群彷彿是時空旅行的起點，帶領觀眾穿梭至二十世紀八十年代的紐約街頭，沉浸於巴斯奇亞的時代與其創作。主入口中央展示了一座取材自巴斯奇亞於1984年創作的經典作品《戴王冠的小恐龍》，約7米高的大型恐龍裝置。移步至西南門戶外空間，即可探索巴斯奇亞著名作品《棕點（安迪·沃荷作為香蕉的肖像畫）（1984）》的大型裝置，並以10米高的巨型藝術裝置矚目登場，帶來耳目一新的體驗；新濠天地The Showroom外牆更化作巨型藝術畫布展示《Grillo（1984）》作品，頂層以直徑約10米、高6米的王冠「加冕」，將藝術元素融入城市建築面貌。致敬巨星尚．米榭．巴斯奇亞（Jean-Michel Basquiat）「加冕之旅」日期：2024年9月26日至11月24日地點：新濠天地主入口、西南門（戶外空間）、The Showroom | 24小時開放多維體驗藝術空間Artelli | 週一至日 11:00 – 20:00ARTS藝術

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40MC MC SEP /OCT - 2024SEP /OCT - 202441Portuguese photojournalist Gonçalo Lobo Pinheiro, based in Macau for 14 years, recently launched his new book Close to Me.The edition is a work carried out for his Masters in New Documentary Photography at LABASAD - School of Arts & Design (Barcelona, Spain) and made for the 2021 edition of 24HourProject - Photographers for Social Change. It is published in an unusual and special wallet format (10.3cm x 7.7cm) and in a limited number of just 150 copies, all numbered and signed by the photographer. “The initial idea for this project was to capture the morning madness with my children who wake up every day between 6 and 7am, refreshed and ready for another day full of energy. The fact is that, even at bedtime, things are very similar in some aspects, so I ended up mixing the two times of the day, starting at night,” Gonçalo says.Close to Me was not scheduled to be released this year, but ended up being a “beautiful surprise”, as it is a “very personal” and “very specic” work. “That’s my family pictured there. My children, my wife. The edition, with black and white photographs, ends up being an author’s work, a niche edition, something very special, starting with the surprising format, in the form of a wallet,” says the photographer.The choice of the wallet format is easily explained by the photographer. “This wallet format serves precisely to keep the photos close to me, close to you who buy the book, as well as almost all of us, who carry photos of our dear family members with us in our wallets,” he explains. Gonçalo also announced that he will have another new book coming out in December, which will be about street photography in Macau and will be published in a style more familiar to those who follow his projects or buy his photographic works.Close to Me is Gonçalo’s sixth published book and is on sale for MOP150 both on his ofcial website at www.goncalolobopinheiro.com and at the Portuguese Bookshop in Macau.旅居澳門14年的葡萄牙攝影記者Gonçalo Lobo Pinheiro最近發佈了全新攝影集《靠近我》。這本書收錄了他在巴塞隆拿藝術設計學院（ LABASAD）攻讀新紀實攝影碩士學位期間的作品，亦是「2021年 24小時計劃——攝影師促進社會變革」（24HourProject - Photographers for Social Change）的一部分，採用獨特且特別的銀包尺寸（10.3cm x 7.7cm），限量150本發售，每一本都有獨立編號及藝術家簽名。「這個項目的初衷是定格孩子們的瘋狂早晨，他們每天早晨6點到7點之間醒來，神清氣爽，準備迎接充滿活力的一天。不過其實睡前的時光在某些方面並沒有太大不同，所以最終我捕捉了這兩個時間段的場景，從夜晚開始，」Gonçalo表示。《靠近我》原本不打算在今年發行，但最終成為一個「美麗的驚喜」，因為這是一部「非常個人化」和「非常之特殊」的作品。「書中描繪的是我的家人，我的孩子，我的太太。這本書以黑白格式呈現，作者性很強，小眾版本，極其特別，包括異於常規的版式——銀包尺寸，」攝影師說。 Gonçalo Lobo Pinheiro選擇銀包尺寸的理由很簡單。「這個特別的尺寸正是為了將相片與我貼近，與購買這本書的讀者貼近，因為幾乎所有人都會在銀包裡攜帶摯愛家人的相片。」他補充道，還有一本新攝影集即將於12月推出，以澳門街頭攝影為主題，版式更符合那些關注他的攝影項目或影集讀者的習慣。《靠近我》是Gonçalo出版的第六本攝影集，售價為澳門幣150元，可於攝影家官方網站www.goncalolobopinheiro.com或澳門葡文書局購買。

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42MC MC SEP /OCT - 2024SEP /OCT - 202443In late September, Somos - ACLP, the Portuguese Language Communication Association, presented the photography exhibition Somos Imagens da Lusofonia - In Each Face, a Collective Legacy. The exhibition, curated by architect Francisco Ricarte, featured the winning photographs from the annual competition organised by Somos. The focus of this year’s edition was portrait photography, showing the different cultures that make up the Lusophone world and reecting the multiculturalism and interculturalism of this network of countries and peoples. The exhibition offered a platform for photographers to show the cultural diversity and heritage of the Lusophone world through the lens of portrait photography. Focusing on individual faces, the photographs reect the uniqueness of Lusophone traditions and characteristics. The winning photographs, as well as other selected images, highlight various aspects of Lusophone culture, including joy, resilience, hope and legacy.First prize in the competition went to Luís Godinho, from Portugal, for his photograph São Tomé and Príncipe, which captures the joy of the country’s children. Second prize went to Bruno Pedro for his photograph Paz em Cabo Delgado (Peace in Cabo Delgado), which depicts a smiling girl in the middle of Mozambique’s devastated Cabo Delgado province.Third prize went to Jorge Bacelar for his photograph Momento de descanso, which reects the life of a farmer in Salreu, Portugal, with his cows and dogs. Three honourable mentions were also awarded to João Galamba, from Portugal, Milton Ostetto, from Brazil, and Raphael Alves, from Brazil, for their photographs highlighting traditional festivals, artisanal shing and the effects of drought in the Amazon basin, respectively.The exhibition, which was supported by the Macau Government’s Culture Development Fund, not only featured the winning photographs, but also around four dozen others selected by the jury for their relevance and value in representing the cultural dimensions of Lusophony. With this exhibition, Somos - ACLP aims to promote communication in Portuguese and foster a deeper understanding of the Lusophone world, especially the traditions and characteristics of Lusophony. At the same time, Somos wants to emphasise Macau’s role as a platform for unity between China and the Portuguese-speaking countries/regions. A STORY IN EVERY FACE九月底，Somos - 葡語交流多平台舉辦攝影展「葡語國家的印象：一張臉孔，一份集體的遺產」。是次展覽由建築師Francisco Ricarte 策劃，展出了Somos年度比賽的獲獎作品。今屆比賽的主題是人像攝影，展現葡語世界的不同文化，盡顯這個多國網絡的多元文化及跨文化特性。今次展覽透過人像攝影的視角，提供了一個展示葡語世界文化多樣性及豐富遺產的平台。參展作品將鏡頭對準臉孔，以此彰顯獨具一格的葡語世界傳統。獲獎作品及其他入選作品呈現了葡語文化的各個情感元素，包括喜悅、堅韌、希望及遺產。比賽的首獎得主是來自葡萄牙的Luís Godinho，他的作品「聖多美和普林西比」捕捉到了這個中非國家兒童的快樂瞬間。二等獎則授予Bruno Pedro，他的作品題為「德爾加度角的和平」，描繪了在天災後的莫桑比克德爾加度角省的一位微笑的女孩。三等獎頒給了Jorge Bacelar，他的作品「休息瞬間」攝於葡萄牙薩爾雷烏，主角是一位農民與他的牛和狗隻。此外，還有三位攝影師獲得優異獎，分別是來自葡萄牙的João Galamba、來自巴西的Milton Ostetto及Raphael Alves。他們的作品分別聚焦於傳統節慶、手工捕魚及亞馬遜流域乾旱的影響。是次展覽獲得澳門政府文化發展基金的支持。展覽不僅展示了比賽獲獎作品，還有約四十幅由評審團選出的其他具有文化代表性和價值的作品。透過此次展覽，Somos - 葡語交流多平台旨在促進葡語交流，加深公眾對葡語世界的理解，特別是葡語國家的傳統及特色。同時，Somos亦希望凸顯澳門作為中國與葡語國家/地區交流平台的角色。以攝影促進葡國及葡語傳統交流一張臉孔，一篇故事PHOTOGRAPHY PROMOTING COMMUNICATION IN PORTUGUESE AND LUSOPHONE TRADITIONSARTS藝術

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46MC MC SEP /OCT - 2024SEP /OCT - 202447Co-organized by the Art for All Society (AFA) and curated by José Drummond and James Chu, the collective exhibition of contem-porary Macau artists entitled Here and Now marks the 25th anniversary of the return of the Macau SAR to China, and is on show in Lisbon at the Union of Portuguese Speaking Capital Cities (UCCLA) until December 20.The 25 artists presenting their works include some veterans of Macau’s art scene including Catherine Cheong, Rui Rasquinho and Alexandre Marreiros, as well as some younger ones like Angel Chan, Chiang Wai Lan, Felix Vong, Ieon Man Hin, Karen Yun, Kuok Hou Tang, Kun Wan Tou, Lai Sut Weng, Lei Chek On, Lei Hio Lam, Kit Lei, Leon Chi-Mou, Leong Chon, Leong Fei In, Leong Man Teng, MJ Lee, Season Lao, Sisi Wong, Wong Hio-Chit, Xixia Wu, Yao Mou In, Kay Zhang.The artworks on display include paint-ings, photographs, watercolors, prints, in-stallations, sculpture and video, with the art-ists focusing on issues that are still relevant today. “There is a complexity living in an in-between space, between two cultures like in Macau,” José Drummond says. “There is still a very strong Portuguese identity here, and in this sense, you can see that Macau art-ists are different from artists from Hong Kong artists and Mainland China, because they live in this intermediate space. In this exhibition the artists reflect on their experiences and present works that take inspiration from both sides,” he adds.Presented concurrently with Here and Now is another collaboration between three Macau artists. Ensemble brings together the very different styles of artists James Chu, Kit Lei and Eric Fok to create a harmonious whole and a sensory union.“We manage to have this ensemble, like different musical instruments with different sounds, but which, together, appear in uni-ty,” says the curator. “The exhibition begins with Erik Fok’s more critical and recogniz-able works, then moves on to the nature-in-spired digital animations of Kit Lei, and ends with James Chu’s purer and more sensorial abstractionism.”由澳門全藝社合辦，若瑟·狄莫及朱焯信策展的當代澳門藝術家聯展「Here and Now」正於里斯本的葡萄牙語首都城市聯盟（UCCLA）展出，慶祝澳門特區回歸25周年。展期將持續至12月20日。參展的25位藝術家中，不僅有澳門藝術界的老將，如蔣靜華、華堅玉（Rui Rasquinho）及馬偉圖（Alexandre Marreiros），亦包括眾多新秀，如陳安琦、鄭慧蘭、黃雅諾、楊文軒、翁麗晶、鄧國豪、官宏滔、黎雪穎、李植安、李曉琳、李嘉瑩、梁子毛、梁臻、梁飛燕、梁敏婷、李敏智、劉善恆、黃斯婷、王曉捷、吳析夏、Yao Mou In及張可。展出的作品類型多元，包括繪畫、攝影、水彩畫、版畫、裝置藝術、雕塑及影像。藝術家們透過創作，關注與當今生活息息相關的議題。「生活在澳門這樣兩種文化之間的空間中是非常複雜的。這裡仍然保留著強烈的葡萄牙身份認同。從這種意義上，可以看到澳門藝術家與香港和中國內地藝術家的不同，因為他們生活在兩種文化『之間』的空間。在這次展覽中，他們思考自己的經歷，創作出受兩種文化啟發的作品，」若瑟·狄莫表示。與「Here and Now」同時展出的還有三位澳門藝術家朱焯信、李嘉瑩及霍凱盛的聯展「合奏Ensemble」。鮮明的藝術風格碰撞在一起，創造出和諧的整體和感官的聯結。「我們成功地呈獻了是次聯展，正如音色不同的樂器奏出和諧的交響曲一樣，」策展人表示。「展覽以霍凱盛更具批判性和辨識度的作品開始，隨後轉向李嘉瑩受自然啟發而創作的數碼動畫，最後以朱焯信更純粹、調動感官的抽象作品作結。」梁臻 LEONG CHON吳析夏 WU XIXIA

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54MC MC SEP /OCT - 2024SEP /OCT - 202455Recently, local stunt theatre group ECCircus (Explore Contemporary Circus) presented audiences with a special physical theatre experimental performance called Hand to Hand Project, offering an exciting and fresh experience through three separate acts - Try to Open, Kaleido Star, and One’s Religion - blending acrobatic skills and theatrical elements to explore emotions, strength, and faith.ECCircus aims at making a cross-border fusion of theatre and circus. The group has taken on five trainees since the program start-ed last year and they are looking for more interested local artists to join.“Circus isn’t just about big scenes and thrills. It can also be an experience that connects deeply with people,” says Bobo Leong, the curator of ECCircus.TRY TO OPEN: A STRUGGLE OF MIND AND BODYIn Try to Open, the audience is immediately drawn into the subtle dynamics of a couple’s relationship. The performance is inspired by Italian playwright Dario Fo and Franca Rame’s classic work, Coppia aperta, quasi spalancata, which explores the tension and power struggles between married couples.Lead performers Carmen Kong and Bobby Leong integrate acrobatic movements into the story, making the tension between the couple the centrepiece, and enabling the audience to not only witness their physical actions, but also feel the emotional conflict.“When I first read Coppia aperta, quasi spalancata, I could al-ready see the image of a physical struggle between the man and the woman,” says Carmen, describing the inspiration behind the script. “I thought it had great potential to merge with circus elements.”Her partner Bobby, who plays the husband, performs through limited words, instead relying primarily on circus techniques to ex-press the struggle between the two, exploring the conflict between “me” and “us,” and delving into themes of compromise, sacrifice, and the awakening of self-awareness within marriage.The most memorable moment comes when Carmen stands on Bobby’s shoulders, both maintaining a difficult balance and leaving the audience breathless as they anticipate the imminent collapse.“This isn’t just a technical challenge, but a symbol of fragility and strength in love,” Carmen says.“This is exactly the effect we aimed for,” adds Bobo, “to make circus an extension of emotions, not just a display of technique. We want the audience to truly feel that oscillation between fragility and strength in love.”澳門澳門本地技肢體劇場的創作平台「探索當代馬戲ECCircus」近日呈現了一場三段式的特技肢體劇場試驗演出，為觀眾帶來全新體驗——《試吓OPEN》、《星夢馬戲團》和《一個人的宗教》，以雜技技巧和劇場元素來探索情感、力量和信仰。ECCircus旨在做劇場和馬戲的跨界融合，目前有五位從去年加入的學員，團隊並在尋找更多感興趣的本地創作伙伴加入。「馬戲不僅僅是大場面和刺激，ECCircus旨在做劇場和馬戲的跨界融合，目前有五位從去年加入的學員，團隊並在尋找更多感興趣的本地創作伙伴加入。它也可以是一場更貼近人心的體驗。」ECCircus監製梁嘉慧(Bobo)說。試吓OPEN：身心角力在《試吓OPEN》中，觀眾一開頭就被引入一對情侶的微妙關係中——這段表演靈感來自義大利著名劇作家與導演/演員達利歐‧佛（Dario Fo）及其夫人法蘭卡‧蘭梅（Franca Rame）的經典劇作《開放夫妻》，探討夫妻間的張力與互相牽制的權力關係。女主演龔嘉敏(Carmen)和男主演梁兆富(Bobby)以肢體雜技貫穿劇情，以夫妻張力為核心，讓觀眾不僅看到動作，更感受到內心的對抗。Carmen談到靈感來源時說：「我讀《開放夫妻》時，就能在腦海中看到男女之間的身體對抗畫面，當時我就覺得這個劇本非常適合與馬戲動作結合。」在這場演出中，她和男搭檔Bobby不光是用語言溝通，更多時候靠馬戲技巧來表達他們之間的角力，Bobby 扮演的丈夫，探討了「我」與「我們」的矛盾，從婚姻中的妥協、犧牲，到自我意識的覺醒。最驚險的一幕是Carmen站在Bobby肩上，兩人維持著高難度的平衡。「這不僅挑戰了我們的技術，還隱喻了愛情中的脆弱和力量」，Carmen說，這種隨時可能崩塌的感覺，令全場觀眾屏氣凝神。Bobo補充說：「這就是我們想要的效果——讓馬戲成為情感的延伸，而不是單純的技術展示，讓觀眾真正感受到愛情中的脆弱和搖擺。」

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56MC MC SEP /OCT - 2024SEP /OCT - 202457ONE’S RELIGION: THE LINE BETWEEN FAITH AND MADNESSThe final act, One’s Religion is a one-man show that plunges the audience into a darker and more profound world.Jason Fong stands alone centre stage with the spotlight on him. He’s not just a actor, but a devout believer, someone trying to connect with mysterious forces.The performance is full of ritualistic elements, but it’s not a sol-emn religious ceremony, instead, it’s an absurd satire - Jason wears a clerical robe, exaggerating religious movements, only to break the solemnity with circus acts. It’s as if he’s telling the audience that faith isn’t untouchable; it can be questioned, even mocked.The most ironic part of this piece is how Jason mimics reli-gious rituals to satirise modern belief systems. He mixes elements of witchcraft, mythology, and aliens, creating a mysterious yet hu-morous atmosphere. He even jokingly sells “deep lunar water” to the audience, claiming it cures all illnesses, making them reflect on the spiritual scams in modern society through laughter.“Religion and faith are ways to explore oneself and the world, but I don’t want to define them. That would be forcing an answer on to the audience,” says Jason.Every move Jason makes evokes laughter, but it soon prompts the audience to ponder: Are we, like him, controlled by unseen forc-es? This dramatic performance is both amusing and unsettling. In contemporary society, does personal faith truly liberate us, or has it become an invisible shackle?Finally, Bobo highlights the uniqueness of small folk circus groups like ECCircus: “We don’t have grand sets or flashy lights, but that doesn’t mean our performances aren’t spectacular. All along, we’ve been exploring our own tensions; we aren’t here to make jaws drop. We want the audience to feel that our stories and emotions genuinely resonate with them.” 星夢馬戲團：釋放女力「我把自己對摺，輕輕把你也對摺。」陳可晴(Sobrina)幽默地形容她和搭檔黃諾韻(Wendy)的合作關係。Sobrina靈巧如貓，在空中自如地展開一字馬，而Wendy雖然外表纖細，卻擁有驚人的肌肉力量，是舞台上的「大力士」。兩位性格迥異、但技術互補的表演者共同創作出了一個充滿趣味的小丑show，Sobrina的小巧和靈活與Wendy的力量形成了鮮明的對比，觀眾目接不暇地看著她們小打小鬧，全場笑聲不斷。然而，這份默契並不是一蹴而就。Wendy 坦言：「我們的爭吵不僅僅在舞台上。」創作過程中，她們常常因為不同的想法激烈討論，甚至因為一個幾乎不可能實現的動作爭論不休。Sobrina 認為，這種創作的「摩擦」，正是推動她們合作的動力。她們從最簡單的動作開始，逐步挑戰自我，每個小點子都像拼圖一樣被精心組合成完整的表演。即使是一個簡單的小丑動作，也經過無數次嘗試和磨合，力求讓表演不斷增加張力與趣味。「每次爭吵後，我們彼此理解得更深，也能找到新的突破口。」Sobrina說，「這次合作讓我們明白，創作不只是表演技術，還包括編排、道具設計、音樂製作，甚至服裝設計——這些都是我們親手完成的。」儘管過程充滿挑戰，兩人在舞台上展現了絕佳的默契，無論是高難度的抬舉動作，還是搞笑的互動，都讓觀眾捧腹大笑。Bobo說：「我們的目標，是讓每個演員不只是表演者，更是創作者。」KALEIDO STAR: UNLEASHING FEMALE POWER“I fold myself, and gently fold you too,” Sobrina Chan humorously describes her relationship with her partner Wendy Wong. Sobrina moves with cat-like agility, performing mid-air splits, while Wendy, though slender, possesses impressive strength, making her the “strongwoman” on stage.The two performers, with contrasting personalities but comple-mentary skills, create a clown show full of humour. Sobrina’s petite agility contrasts sharply with Wendy’s strength, and the audience is entranced by their playful banter, laughing throughout the show.However, their chemistry wasn’t instant, Wendy admits.“Our arguments weren’t limited to the stage. During the creative process, we frequently had heated discussions about differing ideas, even debating seemingly impossible moves,” says Wendy.Sobrina believes that these creative “frictions” are what drive their collaboration forward. Starting from simple movements, they gradually challenged themselves, piecing together each small idea like a puzzle, until it formed a complete act. Even a simple clown ges-ture underwent numerous attempts and refinements, adding layers of tension and humour to the performance.“Every argument deepens our understanding of each other and opens new breakthroughs,” Sobrina says. “This collaboration made us realise that creating together isn’t just about performing - it’s about choreography, prop design, music production, even costume making. We did it all ourselves.”Despite the challenges, they display incredible synergy on stage, from high-level lifts to comedic interactions, leaving the audience in stitches. “Our goal is for every member to not just be a performer, but also a creator,” Bobo comments.一個人的宗教：信仰與瘋狂的界限壓軸的《一個人的宗教》將觀眾帶入了一個更加陰暗與深刻的世界。馮兆恆(Jason)一個人站在舞台中央，燈光聚焦在他身上。他不僅僅是一個表演者，而是一個虔誠的「信徒」，一個試圖與神秘力量聯繫的人。整個表演充滿了儀式感，但這不是一場嚴肅的宗教儀式，而是一場充滿荒誕的戲謔——他穿著象徵神職人員的衣服，誇張地模仿著各種宗教動作，卻又突然以馬戲的方式打破儀式的莊嚴感，彷彿在告訴觀眾：信仰沒那麼神聖不可侵犯，它可以被質疑，甚至被嘲弄。這一作品最具諷刺意味的，是Jason通過模仿宗教儀式，來嘲諷現代信仰體系——他把巫術、神話、外星人等元素混合在一起，營造出一種神秘又詼諧的氛圍，甚至戲謔地向觀眾售賣「月球深層水」，聲稱可以治百病，使觀眾在笑聲中重新審視現代社會中的靈性騙局。Jason認為，「宗教和信仰是探索自我與世界的方式，但我不想給它們下定義，因為那是強行塞給觀眾一個答案。」他的每一個動作，都讓觀眾不禁發笑，但隨後又開始思考：我們是否也像他一樣，被某些看不見的力量操控著？這場戲劇性的表演，既讓人感到滑稽，又讓人不寒而慄。個人信仰在當代社會，是否真正能帶來解放，還是反而成為了一種無形的枷鎖呢？Bobo最後提到，像ECCircus這樣的小型民間馬戲團的獨特性：「我我們沒有豪華的場面和花俏燈光，但這不代表我們的表演不精彩。一直以來，我們都在探索屬於自己的張力；我們不是為了讓人目瞪口呆，而是要讓觀眾感受到，我們的故事、情感，真的和他們產生共鳴。」

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58MC MC SEP /OCT - 2024SEP /OCT - 202459Daniel Carney – Macau (1984)Daniel Carney——《澳門》（1984）When Daniel Carney’s blockbuster novel Macau was published in the mid-80s just about every reviewer compared it to James Clavell’s phenomenally successful 1960s and ‘70s novels Tai-Pan and Shōgun. Certainly Macau was a “doorstopper” too, just like all Clavell’s bestsellers, at around 500 pages. And Carney clearly sought to capitalise on Clavell’s phenomenal global sales success – both Tai-Pan and Shōgun sold millions of books in multiple languages and were quickly adapted as movies and TV series. So, if the great reading public around the world had devoured Clavell’s tales of the vainglorious British traders who founded Hong Kong or his retelling of foreign involvement in the interne-cine politics (and wars) of shogunate Japan, then surely a tale set against the long history of Europe’s oldest continu-ous colony in the Far East was a surefire winner? Yet, while people still read Tai-Pan, and the new, sumptuous TV production of Shōgun has brought that story a generation new fans, Carney’s novel Macau is all but forgotten, languishing ignored in second-hand bookstores for pennies. Clavell has remained constantly in print while Carney, though he sold respectably at his height, is little remembered today.Daniel Carney himself led an interesting life. His family had links to China - his father had been posted to Qingdao and Shanghai as a diplomat before World War Two. He had two older sisters, both born in China. Trapped in Japanese-occupied Shanghai the family was part of a prisoner swap and transported to South Africa. They then moved to Beirut where Daniel was born in 1944. Finally, in the early 1960s, Carney settled in Rhodesia (now Zimbabwe), became a colonial policeman, and then a real estate agent. He started Daniel Carney的長篇小說《澳門》於上世紀80年代中期出版，當時幾乎所有評論家都將其與James Clavell在六七十年代大獲成功的小說《大班》和《幕府將軍》相提並論。當然，《澳門》和Clavell的所有暢銷書一樣，也是一部頗有「份量」的作品，長達約 500 頁。Carney顯然想乘一下Clavell的東風——《大班》和《幕府將軍》的各種語言版本全球銷量達到數百萬冊，並迅速被改編成電影和電視劇。如果各國讀者都喜歡閱讀Clavell筆下虛榮的英國商人創建香港的故事，或者外國捲入日本幕府內部政治（及戰爭）的傳奇，那麼以澳門這個歐洲在遠東最古老的殖民地為背景的小說，想必亦可大獲成功。如今人們還在閱讀《大班》，陣容強大的新版《幕府將軍》電視劇也贏得了新一代的粉絲，但與此同時，Carney的小說《澳門》卻幾乎被遺忘，備受冷落，在二手書店以低廉價格售賣。 Clavell的作品一直在不斷再版，而Carney的作品雖然在巔峰時期銷量可觀，如今卻鮮為人知。Daniel Carney本人的生平也很精彩。他的家族與中國有著千絲萬縷的聯繫，父親曾在二戰前作為外交官被派駐青島和上海，兩個姐姐都出生在中國。一家人曾被困在日軍佔領的上海，後來透過戰俘交換計劃前往南非。之後，他們搬到貝魯特，Daniel Carney於 1944 年在那裡出生。20 世紀 60 年代初，Carney定居在羅得西亞（現津巴布韋），成為一名殖民地警察，後來又做了房地產經紀人。他在 30 多歲時開始寫作，目標直指70 年代在機場書店一統天下的歷史小說市場——Arthur Haley、Jackie Collins、Stephen King、James A Michener等。Carney起初寫的是羅得西亞，但直到1980年出版的小說《在狂暴天空下》（Under a Raging Sky）後，他才一炮而紅。฀主角是20 世紀 60 年代剛果的一群雇傭兵。荷里活將這部小說改編成電影《野鵝》，由Richard Burton及Roger Moore主演。此後， C a r n e y 四處具有大片潛質的新作題材。幾年後的 1984 年，他出版了《澳門》，但這不幸成為他的最後一部作品。1987年，Carney因患癌症去世，年僅 42 歲。但我們仍可以一讀這本《澳門》……這本書出版時銷量不錯，但很快就從排行榜上滑落。為什麼沒有取得更好的成績？也許是因為它緊隨Clavell於1981年出版的《望族》（讀者期待已久的《大班》續作）之後，很多主題與其雷同——陷入困境的英國洋行、海盜、與新成立的共產主義中國打交道等。《澳門》的故事中心是一個澳門犯罪組織「集團」，由Crystal Lily繼承。她的唯一盟友是被稱為「澳門蛇船人」的白俄黃金走私犯（本專欄的老讀者都知道，以澳門為背景的小說總是以黃金為主題！），他退出生意後，幫助 Crystal Lily打擊14K 黑社會、企圖將她取而代之的澳門賭場老闆等對手。Crystal Lily與對手展開了激烈的鬥爭，爭奪蓬勃發展的亞洲海洛因走私生意和對澳門賭界的控制權。昔日的紅燈區福隆新街、基督教墳場、南灣、葡京酒店、路環荔枝角都出現了在小說中，但在紙上並不鮮活。歸根結底，《澳門》的故事情節太多了。人物太多，讓人目不暇給，支線情節太多，讓人記不住——誠然，這是典型的七八十年代大片風格，但Carney在處理所有支線情節和大量人物時，的確不像Clavell那樣遊刃有餘。即便如此，《澳門》仍不失為一本好書。儘管對香港的描寫遠勝於對澳門的描寫，考慮到書名，這一點還是略顯惱人。我估計Carney在香港花了大部分時間，而澳門行程可能最多只有一兩天。重讀Clavell的《望族》（《大班》續作）、Christopher New的《中國盒子》或John le Carré的《榮譽學生》，都能讓人對故事發生的時代和地點（至少是香港，如果不一定是澳門的話）有更身臨其境的感受。這些作品也都比《澳門》更能經得起時間的考驗。Carney沒有與他們比肩，未能達到相同的高度，作品也沒有那麼讓人回味無窮。但是，如果你要坐長途飛機，而且已經讀過或重讀過所有上述作品，那麼《澳門》或許可以幫你打發時間。DESTINATION MACAO󰽳󲕼AUTHOR WWW.CHINARHYMING.COMPaul French目的地澳門writing in his mid-30s aiming squarely for the historical blockbuster novel market that had reigned supreme in airport bookshops throughout the 1970s – Arthur Haley, Jackie Collins, Stephen King, James A Michener etc. Carney wrote about Rhodesia at rst, but it wasn’t until his 1980 novel Under a Raging Sky about a group of mercenary soldiers in 1960s Congo that he hit it big. Hollywood adapted the novel as the Richard Burton and Roger Moore movie, The Wild Geese. He looked around for a new subject that had blockbuster follow-up potential. But coming a couple of years later in 1984 Macau was to tragically be his last book. Carney died in 1987 of cancer aged just 42.But we still have his novel Macau…It sold reasonably well when published but soon slipped from the sales charts. Why didn’t it do better? Perhaps because it followed on the heels of Clavell’s 1981 Noble House (the long-awaited follow up to Tai-Pan) and mirrored many of that book’s themes – troubled British Hongs, piracy, dealing with newly communist China etc. Macau centres on a Macanese criminal organisation – the “Syndicate” - inherited by Crystal Lily whose only ally is a White Russian gold smuggler (with Macau-set novels it’s always gold as regular readers of this column will know!), called the “Snake Boat Man of Macau”. He’s brought out of retirement to help Crystal ght everyone from the 14K triad to scheming Macao casino owners who claim her throne. Lily ghts them all for control of the booming Asian heroin smuggling business and the Macao casino world. The former red-light street of the Rua de Felicidades, the old Protestant Cemetery, the Grand Praia, the Lisboa Hotel, the Leprosaria de Coloane all feature as locations. Though often they don’t quite come to life on the page. Ultimately there’s just a bit too much going on in Macau. A few too many characters to keep straight and subplots to remember - admittedly typical of the 70/80s blockbuster style, but Carney simply doesn’t juggle all the sub-plots and the plethora of characters coming in and out as well as Clavell. That said, Macau is a decent enough read, even if the Hong Kong descriptions are far better than those of Macau which is slightly annoying given the novel’s title. I’d suggest Carney spent a good deal of time in Hong Kong and maybe only a day trip or two at best to Macao. Re-reading Clavell’s Tai-Pan follow-up Noble House, Christopher New’s The Chinese Box, or John le Carré’s The Honourable Schoolboy, all give a more vivid sense of time and place (in Hong Kong at least if not always Macao). All have stood the test of time better than Macau too. Carney doesn’t quite hit their mark, reach their high bar, linger as long in the mind afterwards. But, if you’ve got a long ight coming up and you’ve already read, and re-read, all the others, Macau might just help pass the hours. 評論OPINION

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60MC MC SEP /OCT - 2024SEP /OCT - 202461A TALENTED LINEUP優秀陣容MACAO FASHION BRANDS SHOWCASED AT CENTRESTAGE 2024 HONG KONG INTERNATIONAL FASHION SHOWCASE. 澳門生產力暨科技轉移中心組織10個澳門時尚品牌於9月5日赴港，在CENTRESTAGE 2024香港國際時尚匯展舉行的“澳門時尚匯演”專場上大顯身手，演繹了一場帶有澳門新時代風采的視覺盛宴。參展品牌包括 ALTA BELLA、 C/W COLLECTIVE、 Earlyink、ella épeler、GELÉE、 JOYA MA、 MOSQ.、 MULTIPLIER、 SHEFEELING 及 NO.42。他們於9月4至7日期間展示品牌最新設計外，更與大會安排的專業買家進行交流及洽談業務，拓展商機。9月5日的“澳門時尚匯演”專場，吸引了來自不同地區逾三百名觀眾進場，共同欣賞這場扣人心弦的視覺盛宴。是次演出呈現各品牌合共逾60款最新系列，涉及潮流男裝及時尚女裝、沙灘休閒裝及設計配飾等，現場反應熱烈，贏得不少掌聲。參展品牌吸引來自中國內地、日本、韓國、泰國、印尼以至中東地區的買家查詢，並認為是次活動在推廣品牌及拓展商機方面起了實質作用，期望來年能再獲得參展資格，繼續參與這項時尚盛會。The Macau Productivity and Technology Transfer Center (CPTTM) organized 10 Macau fashion brands to go to Hong Kong on September 5 to showcase their design capabilities in a “Macao Fashion Show” at CENTRESTAGE 2024 Hong Kong International Fashion Showcase. The Ma-cau show was a visual feast that presented a new era of Macau fashion sensations.Participating fashion brands included ALTA BELLA, C/W COLLECTIVE, Earlyink, ella épeler, GELÉE. JOYA MA, MOSQ., MULTIPLIER, SHEFEELING, and NO.42. The talented local design-ers exhibited their latest collections at CENTRESTAGE from September 4 to 7, and worked to de-velop business opportunities by interacting and negotiating with professional buyers arranged by the event organizer. The “Macao Fashion Show” attracted over 300 attendees from different geographic regions to view more than 60 of the latest collections presented by these fashion brands, including trendy men’s and women’s wear, casual beach wear, and designer accesso-ries. The show received overwhelmingly positive responses from the audience. The participating fashion brands received numerous enquiries from buyers coming from mainland China, Japan, Korea, Thailand, Indonesia, and the Middle East. Events like CENTERSTAGE play a signicant role in helping to promote local brands and to expand their business opportunities in the region. Make sure you check out many of these local designers in November as they present once more at Macau Fashion Festival.澳門時裝品牌亮相 CENTRESTAGE 2024 香港國際時尚匯展

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72MC MC SEP /OCT - 2024SEP /OCT - 202473咖啡香及幸福回憶󰵨年中最忙碌的季度已經正式開始，任何能讓我提神的小確幸都值得珍惜。最近在一個週六到曉亭享用午餐時，發現餐廳正推出時令越南菜式，無疑十分驚喜。在菜單上，我看到了我最懷念的當地飲品——椰子咖啡，讓我大為欣喜，而出品更毫不敷衍，達到了正宗越南冰椰子咖啡98%的功力。慢滴羅布斯塔咖啡豆的濃郁風味，加上最大亮點 —— 巨大的椰奶冰球（而不是總是過甜的椰子雪糕）。我彷彿置身天堂，每喝一口都回想起上兩個月前陽光與海灘的假期。那次峴港之行是「快閃之旅」。以至於我差點沒能成行，在航班起飛前八小時才提交了當天落地簽證申請。事實證明，金錢確實可以解決很多問題。當我到達峴港機場時，即時由工作人員「接走」，而他手裡仍緊緊拿著我的臨時簽證申請。他拿接過我的護照後，便在一個公室消失了十分鐘，再出現時便帶著我走到關員櫃檯，讓我像是貴賓一樣（考慮到我為簽證花費的金錢，我應該是貴賓），不到五分鐘後我已經到了行李提取處。真好!假期的第一餐，我選擇了高檔越南連鎖餐廳Madame Son，品嚐了有生以來最貴的一碗越南牛肉河粉，盛惠澳門幣200元。不得不說，這一碗牛肉粉物有所值，各種口味的混合碰撞讓人驚喜。首先，這碗粉裝在一個美式大碗裡，第一眼看到的是大大的牛骨，中心有一條火灸過的油亮骨髓，融化的油脂散發出陣陣香氣，瀰漫在空氣中。牛骨下面是顏色粉嫩和紅色相間的生熟和牛肉，上面還有溫泉蛋，橙紅色的蛋黃搖搖晃晃，令人垂涎。當侍應倒入滾燙的牛骨頭湯時，我的天哪，這碗粉做法正宗與否已經不重要了，實在是無上美味。吃了幾口之後，骨髓開始感覺有點膩，這時我才明白為什麼主廚要奉上一把漬紅蔥頭——就是去除油膩，又能完美地融合到湯粉之中。我本以為在享用完美味的晚餐後，第二天早上要做的第一件事就是跳進度假村內的海灘中，當然我和朋友還是以食為先。多虧了已在峴港居住一段時間的好友Wallace推薦了當地一家名叫 Bánh Mì Sum 的「必吃」越南法棍麵包店，於是我們就跳上一輛 Grab前去覓食。這間法棍麵包店乾淨整潔、客人不多，店裡大部分都是當地人，只有兩對遊客夫婦——這正是好兆頭！首先吸引我註意力的是冰香蕉咖啡，這是我最喜歡的兩種食物的配搭，冰涼清爽！咖啡和越式法棍三文治堪稱絕配，法棍包溫熱酥脆的外皮裹著越南肉醬，混合切碎的香菜、歐芹和腌菜根，讓人神清氣爽。餡料做法很有創意，更易於咀嚼，水分更高，與麵包形成口感的鮮明對比，味道也更濃郁。我選擇了烤豬腩肉，出乎意料的是，每塊豬腩肉都切得很薄，豬皮咬極好及油香非常。後來離開時我才發現，每份法棍三文治在上桌前都會被放進炭爐里烘烤一分鐘左右，因此味道比其他地方的更濃郁，豬腩肉的脂肪入口即化，令人回味。這一次的峴港之行充滿了美味佳餚、陽光和海灘。我們還在 Nén 餐廳享用了晚餐，這是越南唯一一間米芝蓮綠星餐廳，也是位於胡志明市入選米芝蓮Nén Light 的姊妹餐廳，由Summer Le 主廚掌舵。這間餐廳的概念非常引人入勝，我必須再寫一篇文章介紹，因為它的確值得。我想我該開始計劃下一次旅行了……或者先去曉亭解解饞，嚐嚐正宗的越南風味！Robust Coffee and Memory BlissThe most hectic quarter of the year has o-cially begun, and any little pick-me-up that comes my way is greatly appreciated. With that said, I was denitely pleasantly surprised when I visited Xiao Ting to grab a quick lunch one Saturday, and found that they were serving some Vietnamese items as a seasonal promotion. I was elated to see somet-hing on their menu that I’ve missed the most from the former French colony - Cà phê dừa - iced coconut coee. And this was not a makeshift version; it was 98% as good as the perfect ones I’d had in Vietnam. The beverage combines a strong coee avor from the slow-dripped Robusta beans, and more importantly, a generous ice-ball that is frozen coco-nut milk (not a scoop of coconut ice-cream that is a lazy alternative and always overly sweet). I was in heaven, and every sip reminded me of the beautiful sun, ocean and beach where I had my last vacation two months ago.That trip to Danang had been very impromptu. So much so that I had almost missed getting a visa, and had to resort to a last-minute on-ground visa which I applied for just eight hours before my ight. It turns out, money does solve a lot of problems, and once I was ‘picked-up’ by the agency sta who was holding my last-minute visa application in hand at the air-port, he took my passport, disappeared into a room for 10 minutes, then came out and walked me down to a counter as if I were a VIP (I mean, I should have been considering how much I paid for that visa) and I was at the luggage belt in less than ve minutes. My rst meal on my holiday was at Madame Son, an upscale Vietnamese restaurant chain where I had the most expensive bowl of Pho in my life at MOP200. I’ve got to say, it was worth every penny, because the mix of avors was a pleasant surprise. First, it came in an American-sized serving bowl, with a decently-si-zed beef bone and a glistening stripe of torched bone marrow which permeated the air with the aroma from its melted grease. Beneath the bone was a generous contrast of pink and red — raw and cooked wagyu beef, topped with an onsen egg with its orange-co-lored wobbling yolk. What a sight that was, and when the server poured a stream of piping-hot bone broth, my goodnesss, it didn’t matter whether this was aut-hentic or traditional; it was just amazingly good. The bone marrow began to feel a bit heavy after a few bites and that’s when I gured out why the chef had sent a handful of picked shallots; it just did the perfect job of cutting through the grease without compromising the avors.I thought the rst thing I’d do the following morning after the delicious dinner, was jump into the ocean at the beach near the resort, but instead I made other plans. My friend and I were so excited about a very local Bánh Mì (Vietnamese baguette sandwich) shop named Bánh Mì Sum that we just hopped on a Grab and went looking for it. Thanks to my dear bud-dy Wallace who has been residing in Danang for quite some time, we managed to nd a clean and not super crowded sandwich shop. When we walked inside the shop, there were mostly locals taking a break from the day, and only two other tourist couples - that’s how you know it’s good! What caught my eyes rst though, was the Iced Banana Coee, my two favorite things combined in ice cold slushy goodness! And that was a perfect match to the bánh mì - warm crispy crust lathered in Vietnamese pâté, and a refreshing mix of chopped cilantro, parsley and pickled roots; this was genius as it was much easier to bite, with added moisture as a contrast to the bun and the avor was just stronger. I chose the pork belly, and to my surprise, each pie-ce was thinly sliced with an interesting texture. I la-ter found out as we were leaving the shop, that each ‘stued’ bun is put into an open charcoal oven for ab-out one minute right before it is served. So that’s why its avor was more intense than other places, and the pork belly fat was just melting with every bite.Our trip in Danang was lled with delicious meals and beautiful sun and beach escapes. We also spent an evening at Nén, holder of Vietnam’s only Miche-lin Green Star and sister to Michelin-recommended Nén Light in Saigon, helmed by Chef Summer Le. The concept of the restaurant is so intriguing that I will have to write about it in a separate column because it deserves that much space. I guess it’s time for me to start planning for anot-her trip… to Xiao Ting rst to quench my thirst for an authentic taste of Vietnam!活著 • 笑著 • 愛著LIVE • LAUGH • LOVE評論OPINION龔善欣 Juliana Kung󴎂󱱝󱱝󹁺󶕢󹑻󱙀󳥛󱵫󵨱󶺪󲭊󵒾󱙀󳥛󴡎󸻍󴏖󸞌󱙀󳥛󴡎󸻍󱘧󳥛󱢟LOCAL MEMBER OF CHAÎNE DES ROTISSEURSDISCIPLES ESCOFFIER INTERNATIONALWINE SOCIETY MACAUInstagram: @julesbites

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76MC MC SEP /OCT - 2024SEP /OCT - 202477Sushi Kissho by Miyakawa, the first international outpost founded by the renowned Chef Masaaki Miyakawa opened its doors in June this year at Raffles at Galaxy Macau, and CLOSER had an opportunity to sit down and chat with the highly decorat-ed sushi master. Chef Miyakawa is one of only six Japan-based sushi masters to have been awarded three Michelin stars. He was previously the Head Chef at one of only three sushi restaurants outside of Japan to earn this prestigious distinction, Sushi Yoshitake in Hong Kong. Now Chef Miyakawa brings his unparalleled mas-tery of Edomae sushi to Macau.“During my time working in Hong Kong, I used to like to come to Macau to walk around the old streets and rest and re-lax. I have lots of good memories of the city and this was one of the main reasons I decided to open Sushi Kissho here in Macau,” Chef Miyakawa explains. “Kissho” is derived from the Japanese word for “auspi-cious,” and Sushi Kissho by Miyakawa embodies the essence of wabi-sabi – the Japanese art of finding beauty in simplicity - in each meticulously crafted piece of sushi. “There are many small elements that are combined to make sushi, and finding perfection in each element and their combina-tion in order to satisfy my customers is most important to me,” Chef shares.Chef Miyakawa’s philosophy centers on a profound appre-ciation for nature’s seasons, sourcing the finest seasonal in-gredients directly from Japan. Led by the seasons, the dynamic omakase menu at Sushi Kissho by Miyakawa promises returning patrons a uniquely exceptional experience with every visit. 由壽司大師宮川政明(Masaaki Miyakawa)創立的「鮨吉祥宮川」於澳門銀河萊佛士正式開業，成為首間於日本以外地區開設的分店。新店開業之際，《澳門特寫》採訪了這位屢獲殊榮的壽司大師。宮川師傅為日本六大米芝蓮三星壽司大師之一。他曾在香港志魂壽司擔任主廚，這是日本以外僅有的三間米芝蓮三星壽司店之一。現在，宮川師傅廚師將正宗的江戶前壽司帶到了澳門。「在香港工作期間，我經常到澳門的老街上走走，休息放鬆。我對這座城市有很多美好的回憶，這也是我決定在澳門開設『鮨吉祥宮川』的主要原因之一，」宮川師傅表示。「吉祥」寓意幸運和喜悅，代表著大自然的祝福。於「鮨吉祥宮川」，每件精心製作的壽司體現了傳統日本美學概念「侘寂」，完美演繹樸素的優雅之美。「壽司的製作有很多細節，為了讓賓客滿意，每個細節及其組合都要追求完美，」他分享道。宮川師傅以精煉的技藝將時令食材發揮到極致，嚴選由日本直送的優質當季食材，以確保最佳風味與新鮮度。「鮨吉祥宮川」的菜單猶如一幅四季畫卷，菜式隨季節變換，每次用餐體驗都是一場驚喜饗宴。「香港和澳門不像日本一樣四季分明，所以我想為這裏的食客重現地道的日本四時滋味，」宮川師傅續說。餐廳菜單隨季節變更，食材從宮川信賴的供應商和世代漁民採購，展現來自日本海水域最新鮮食材的最佳風味。「多年來，我與日本的魚市供應商建立了密切聯繫，這對於確保食材的最高品質至關重要。」宮川主廚來自北海道旭川郊外的鄉村小鎮，於 2014 年創辦了「宮川壽司」，並於2017 年首版《米芝蓮指南北海道》摘得三星最高評級。2017 年，他在二世古創辦「鮨心 by 宮川」，隨後又於 2019 年在東京文華東方酒店開設「江戶前壽司」。CLOSER CELLAR 特寫酒窖

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78MC MC SEP /OCT - 2024SEP /OCT - 202479“Hong Kong and Macau don’t have four distinct seasons like in Japan, so I want to bring a very season-al Japanese culinary experience to customers here,” Chef Miyakawa adds. The seasonally rotating menu highlights the freshest ingredients sourced from the pristine waters of the North Pacific Ocean and the Sea of Japan, procured from Miyakawa’s own trusted suppliers and generational fishermen.“Over the years I have developed many close relation-ships with the fish market vendors in Japan, which is critical to ensuring the highest quality of the ingredients,” he notes.Hailing from a rural Hokkaido town outside Asahikawa, Chef Miyakawa founded his eponymous restaurant Sushi Miyakawa in 2014, achieving an incredible three Michelin stars in the launch edition of the Michelin Guide Hokkaido 2017. He launched Sushi Shin by Miyakawa in Niseko in 2017, followed by Sushi Shin by Miyakawa at Mandarin Oriental, Tokyo in 2019.Chef Miyakawa’s expert blend of Edomae sushi tradition with Hokkaido influences, showcases his refined skills in tra-ditional Japanese cuisine. With a focus on delicate small plates accentuating umami, every dish reflects a harmonious balance of flavours and textures, offering a culinary journey that em-bodies his love for the craft.“I really enjoy demonstrating my passion for sushi in per-son and serving customers at the counter so I can observe their reactions up close,” Chef Miyakawa notes. The experience begins with a delicate array of seasonal appetisers such as Seared Alfonsino, a pale, cherry-coloured fish with a mildly sweet flavour that is served with mountain wasabi, ginger, green onion and ponzu vinegar; and Black Abalone with Liver Sauce, a signature dish from Miyakawa’s acclaimed three-Michelin-starred restaurant in Sapporo. This dish features black abalone from Shimane Prefecture that has been nourished with kombu to enhance its liver, then slow-cooked with water, sake, and kombu algae for three hours, served with a decadent sauce crafted from abalone broth and liver.This is followed by an impeccable sushi selection featur-ing delicacies such as Chu-Toro (Medium Fatty Tuna), which is aged for a week before being marinated in a home-brewed soy sauce for up to five hours; live Kuruma Ebi (Prawn), which is lightly blanched to maximise the fresh taste and sweetness; and Kohada (Gizzard Shad), a staple of Edomae sushi that is marinated in salt and vinegar, and prepared with homemade shrimp powder to reduce acidity and increase freshness. The omakase journey culminates with traditional ele-ments like Miso Soup, Tamago (Omelette), and a delightful dessert, ensuring a gastronomic experience that celebrates the essence of authentic Japanese cuisine in an elegant and serene setting.Enhancing the impeccable sushi offerings at Sushi Kissho by Miyakawa is an exceptional array of premium sake and a sleek open design inspired by wabi-sabi—a Japanese apprecia-tion for natural simplicity. The impressive sushi counter is handcrafted from a 300-year-old Kiso Hinoki Cypress tree sourced in Nagano Prefecture, showcasing natural grain and a signature maple leaf inlay by master craftsman Mr. Tomita. Meanwhile, the main dining room features ceramics by the Miyagawa family, renowned for their 11-generation legacy in ceramic-making since the Edo period, complemented by antique Ikebana bas-kets from Kyoto.宮川師傅將江戶前壽司的傳統風味巧妙地融合北海道元素，展現了他的傳統日本料理創作的精湛技藝。他創作的精緻菜式著重凸顯食材的鮮味，體現味道和質地的完美平衡。「我很喜歡親自展示我對壽司藝術的熱情，在吧檯為賓客服務可以近距離觀察他們的反應，」宮川師傅坦言。美食之旅以一系列精緻的時令前菜打開味蕾，包括烤紅金目鯛，肉色呈淡粉色，魚肉甜香濃郁，佐以山葵、薑、蔥和柚子醋；黑鮑魚肝醬為宮川師傅於札幌的米芝蓮三星壽司店之招牌菜式，島根縣黑鮑魚以昆布烹煮，然後與水、清酒和昆布一起慢煮三小時，配以由鮑魚清湯及鮑魚肝製成的濃香鮑魚肝醬。接著是無可挑剔的精選壽司，包括以自家釀製醬油醃製五小時的中拖羅，熟成一周後味道濃郁有層次；經燙煮後的車海老肉質彈牙，鮮蝦的香甜味道更為突出；小肌被視為江戶前壽司的代表食材，以鹽和醋醃製，加入自製蝦粉以提鮮及減低酸度。然後，客人可以品嚐味噌湯、玉子燒和精緻甜點，於幽靜雅緻的環境中享受正宗日本料理的精髓。地址: 澳門路氹望德聖母灣大馬路澳門銀河萊佛士 2 樓營業時間: 晚上 6 時至晚上 10 時 30 分（星期三休息）第一時段: 晚上 6 時至晚上 8 時第二時段:晚上 8 時 30 分至晚上 10 時 30 分Instagram: @sushikisshobymiyakawa電話: +853-8883-2221電郵: sushi.kissho@galaxyentertainment.comAddress: Level 2, Ra󼴬es Hotel at Galaxy MacauOpening Hours: 18:00 – 22:30, Thursday to Tuesday, closed on Wednesdays1st seating: 6pm – 8pm2nd seating: 8:30pm – 10:30pmInstagram: @sushikisshobymiyakawaTel: +853-8883-2221Email: sushi.kissho@galaxyentertainment.com「鮨吉祥宮川」提供一系列優質清酒，與壽司相輔相成。精緻的壽司吧檯以產自長野縣的一棵樹齡 300 年的木曾檜木手工製作而成，展示了天然紋理和大師級工匠 Tomita 的標誌性楓葉鑲嵌，將大自然元素融入室內空間。主餐廳位置設有宮川家族的陶瓷，並配有來自京都的古董插花籃。宮川家族的陶瓷製作相當聞名，自江戶時代已流傳至第十一代。

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80MC MC SEP /OCT - 2024SEP /OCT - 202481SEASONAL MASTERPIECES杭州是浙江省的省會，位於上海之南，是南宋故都，亦是著名的龍井茶之鄉，更以西湖美景名聞天下。最近，杭州西子湖四季酒店舉辦了一場令人印象深刻的美食活動——由主廚王勇主理的第六屆年度「主廚私宴」系列活動，向江浙美食致敬。王勇是杭州西子湖四季酒店金沙廳的資深中餐行政總廚，於 2016 年發起了「主廚私宴」。「這是第六次主廚私宴。從最初的一時興起，到後來延續至今，我們想做的都是以季節為題的表達。對我來說私宴反映了我的性格，是我在時間和過往經歷沉澱之後的思考。」在九月中旬的私宴開始前，我們采訪了王勇師傅。「這次的菜單是從今年的2月份左右開始有了第一個菜，整個菜單的開發耗時六個月。做下來幾年，大家對這個系列的期望越來越高。所以牽涉到的團隊成員越來越多，投入的精力也越來越多。如果做，就要做到最好。我想讓客人吃到不一樣的味道，看到我們的廚師不一樣的地方。」對於在上海外灘著名的黃埔會歷練多年的王師傅而言，壓力和期望是再熟悉不過的了。後來他移居杭州，成為金沙廳籌備團隊的一員，並帶領餐廳在過去的16年裡大獲成功。金沙廳在2023年首版《米芝蓮指南杭州》中榮獲一星，今年成功衛冕。金沙廳連續七年榮獲福斯點評黑珍珠三鑽餐廳，自2016年起蟬聯8年福布斯旅遊指南四星餐廳。Four Seasons Hotel Hangzhou at West Lake presents the summer avours of Jiangsu and ZhejiangHangzhou, the capital city of Zhejiang province just south of Shanghai, ancient capital of the Song dynasty, and home to some of the most famous tea in China (Longjin) and of course the magnicent West Lake; this was the venue for an impressive culinary event hosted by Four Seasons Hotel Hangzhou at West Lake paying tribute to the cuisine of Jiangsu and Zhejiang - the sixth annual Chef’s Table by Chef Wang Yong.Chef Wang is the Senior Executive Chinese Chef of the elegant Jin Sha Restaurant at The Four Seasons property, and initiated the rst Chef’s Table event back in 2016. “This year is the sixth edition of Chef’s Table. What began as a spontaneous idea has evolved into a recurring event dedicated to capturing the essence of the seasons. For me, Chef’s Table reects my personality and my culinary philosophy, shaped by years of experience,” says Chef Wang when we spoke to him before the event in mid-September. “We started preparing in February, so it’s been a total of six months preparation. Over the years, guest expectations have risen more and more, so every year we have to involve more people in the preparations and there’s more and more pressure. If we’re going to do it, we have to do it to the best of our ability. I want our guests to experience something very unique, both in our dishes and through our chefs.”󳠙󰻃󱆃󰽳杭州西子湖四季酒店金沙廳呈獻江浙風味夏日美饌80文 BY MARK PHILLIPS 譯 TRANSLATION DAISY WONG

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82MC MC SEP /OCT - 2024SEP /OCT - 202483Pressure and expectations are something very familiar to Chef Wang, who honed his culinary skills at the famous Whampoa Club in Shanghai on the Bund. He later moved to Hangzhou to be part of the pre-opening team of Jin Sha and has led the restaurant to great success over the past 16 years. Jin Sha earned one Michelin star in the inaugural Michelin Guide Hangzhou in 2023, successfully retaining the honour this year. It has also received three diamonds from the Black Pearl Restaurant Guide for the past seven consecutive years, and has been rated as the only four-star restaurant in Hangzhou by Forbes Travel Guide for eight years since 2016.“As we prepare the menu, we rst have to identify a theme that incorporates the concepts of the season. Within this framework, we unleash our imagination to convey our understanding of that season,” continues Chef Wang. “For Chef’s Table, I won’t limit myself to just Jiangsu and Zhejiang cuisine; that’s not necessarily the case. The most important thing is for guests to experience my culinary journey.”Chef Wang’s imagination takes guests on a gastronomic voyage through the cuisine of Jiangsu and Zhejiang, while also paying homage to many other culinary inuences clustered around the Yangtze River Delta including Shaoxing, Xiaoshan, Suzhou, Wenzhou, Taizhou, and Ningbo, introducing delicacies from the region’s many lakes, forests, and mountains as well as the sea.Our meal begins with West Lake Watershield and Sea Urchin Jelly with Lotus Root and Pine Oil. Watershield is a local specialty of Jiangnan, found growing throughout West Lake. To this, Chef Wang adds sea urchin, lotus root, lotus root mousse, and pine oil for an uncommonly smooth taste, with ashes of sweetness from the sea urchin and tantalizing aromas from the pine oil. Other highlights of the exclusive menu include Yellow Wine Marinated Geoduck Clam; Double-Boiled Aged Preserved Vegetable Soup with River Shrimp; Steamed Pumpkin Blossom Stuffed with Pork, Water Chestnut, Hairy Crab Meat, Dried Scallop, and Yellow Wine Vinasse Sauce; Pancake Rolled with Crisp Fritter, Bombay Duck, Sea Sedge, Lettuce and Caviar; and Crispy Pigeon Leg Stuffed with Fish Maw and Ganba Mushroom.The meal concludes with two delightfully refreshing deserts: Crystalline Pineapple Cake with Mung Bean and Birds Nest Pineapple Dew with Chinese Liquor. In a wonderfully mysterious twist, throughout the meal, the full menu was never completly revealed to the guests. Instead, before each dish, a beautifully illustrated place card was presented face down on the table to keep diners guessing until they were allowed to turn it over to discover what they were about to eat. “This year’s Chef’s Table, led by Chef Wang, was nothing short of a masterpiece. Every aspect was meticulously crafted, 「設計主廚私宴時，我們首先會找到一個點，例如大方向是季節。然後在這個框架裡，發揮所有的想像力，呈現是對這個季節的認知。當然我不會局限於我一定要做江浙菜，我覺得也未必。最重要的是打造跟隨王師傅的一種美食體驗，一段旅程，」主廚表示。以地道江浙菜為脈絡，饕客們從餐廳所在地——西湖出發，歷經紹興、蕭山、蘇州、溫州、台州、寧波等長三角文化名城，展開了一場湖、海、山、林四境珍饈的味蕾之旅。這場舌尖盛宴以西湖蓴菜松油藕丁海膽凍開啟。蓴菜是江南風土名物，主廚以西湖蓴菜入饌，配以海膽、藕丁及蓮藕慕斯與松油，滑嫩獨特的口感與海膽的鮮甜、松油的香氣交織。在紫珠點綴下，呈現出季節美感。其他特色菜式還包括紹興干糟象拔蚌；蕭山陳年菜頭湯敲蝦；糟溜南瓜花，瑤柱六月黃；鱘龍魚籽醬，苔條九肚魚煎餅果子；以及花膠乾巴菌，脆皮鴿腿。晚宴以兩道清新的甜品收尾：琉璃綠豆鳳梨糕及茅臺燕窩鳳梨露。在整個用餐過程中，賓客始終無法獲悉完整的菜單，巧妙地為用餐體驗增添懸念和神秘感。每道菜上桌前，侍應生會將一張圖文並茂的餐牌正面朝下擺放在桌上。直至獲准翻開餐牌，食客方才能夠知曉即將享用的美饌。「今年由王師傅領銜的主廚私宴堪稱一絕，」杭州西子湖四季酒店總經理郭雋文(Gianni Costa) 評論道，「由驚艷的裝潢，別出心裁的菜單呈現，包括圖文菜牌，以至精心挑選的葡萄酒搭配，每個細節都經過精心設計。每道菜都獨具匠心，烹調精湛，完美詮釋了傳統美食如何突破界限，為食客帶來全新的味覺探索之旅。」中秋節期間，賓客可在精緻典雅的環境中享用主廚私宴。即使你錯過了今年的主廚私宴系列，單點菜單上亦有許多其他令人垂涎的浙江風味。酒店園林由世界級景觀設計大師Bill Bensley設計，金沙廳則由享負盛名的日本東京SPIN設計室負責整體的室內設計，有許多著名的餐廳也是出自他們之手筆，包括香港四季酒店的Caprice法國餐廳。金沙廳最受歡迎的菜品包括鮑魚紅燒肉、八寶富貴雞及龍井燉奶。還可以品嚐以茭白、雪菜、筍為原料的杭州名菜「片兒川」。美味總有茶香伴；在金沙廳的中央設有一個茶亭，為貴客獻上杭州本地茗茶。在江浙地區，茶葉作為中草藥已經有4000多年的歷史了，公元七世紀到十世紀的唐朝時代，茗茶已經逐漸演變成為日常生活的一部分。金沙廳供應的茗茶種類眾多，其中包括白茶、綠茶、烏龍茶、紅茶和花草茶，當然還有西湖地區著名的龍井茶。龍井茶還會被用來烹調菜餚，如名菜龍井蝦仁就是用本地湖蝦和龍井茶一同炒製而成的。CLOSER CELLAR 特寫酒窖

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84MC MC SEP /OCT - 2024SEP /OCT - 202485from the stunning décor to the detailed menu presentations, complete with illustrations that hinted at the individual dishes, and the thoughtfully curated wine pairings,” comments Gianni Costa, General Manager of Four Seasons Hotel Hangzhou at West Lake. “Each dish was uniquely special and executed to perfection, demonstrating how traditional cuisine can transcend its boundaries to offer exciting new culinary journeys.” The exclusive menu was available to guests for a limited time during Mid-Autumn Festival, enjoyed in the exquisitely elegant surrounds of Jin Sha restaurant. And even if you missed this year’s Chef Table, there are plenty of other mouthwatering Zhejiang avours presented on the A La Carte menu at Jin Sha all year round. Located within a stunning Bill Bensley-designed garden, Jin Sha’s impressive interiors are by SPIN Design Studio of Tokyo, known for designing several acclaimed restaurants, including Caprice at Four Seasons Hotel Hong Kong.Signature dishes include Shanghainese braised pork with abalone in sweet soy sauce; Cod sh soup; Crispy chicken with spicy salt and Longjing tea avored cream brulee. Another must-try dish is the traditional local delight Pian Er Chuan - noodles cooked in wild rice stem, preserved vegetables and bamboo shoots.To accompany the meal, Hangzhou’s nest selection of teas is served from the Tea Station at the center of Jin Sha. The history of tea as herbal medicine goes back more than 4,000 years in Zhejiang Province, before emerging as a fashionable drink during the Tang Dynasty in the 7th to 10th centuries. The selection at Jin Sha includes a range of white, green, oolong, black and herbal teas, including the famous Longjing tea, also known as dragon well tea, native to the West Lake area. Longjing tea also enhances the avor of several dishes, including the Hangzhou favorite Sautéed River shrimp with ‘Long Jing’ tea traditional” (fried local lake shrimp).“At Jin Sha, we aim to present one of the world’s great cuisines in its truest form,” concludes Chef Wang.Set along the banks of the fabled West Lake Four Seasons Hotel Hangzhou at West Lake is a tranquil enclave studded with ponds, courtyards surrounding picturesque Chinese gardens, willow trees, and mist-covered lagoons. Small, quiet, and exclusive, the hotel features just 78 guest rooms, with many opening out to a terrace conservatory featuring windows that may be opened in fine weather. Views encompass forest glades, traditional gardens, or lovely West Lake. Decor blends centuries of Chinese tradition with chic designer style, seamlessly incorporating the latest technology for business and entertainment.杭州西子湖四季酒店坐落於美麗的西子湖畔，宛如一片世外桃源，周圍環繞著寧靜的中式園林。酒店風景如畫，芳草池塘、綠蔭庭院、垂柳依依，池水被薄霧籠罩，營造出靜謄氛圍。酒店共有78間寬敞舒適的客房，部分客房設有私人陽台，遠眺便是連綿的山峰、綠樹掩映的古寺和西湖美景。現代化設施與優質服務相得益彰，確保每位賓客享受到奢華而寧靜的棲居體驗。

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88MC MC SEP /OCT - 2024SEP /OCT - 202489Master Blender’s Selection No. 5 is a limited-edition blend that pays tribute to exclusive distillers featuring selected eaux-de-vie that capture a particular moment in time. “For this fth edition, I wanted to pay tribute to the group of distillers that are very exclusive to Hennessy and who have been doing an amazing job for years, decades, sometimes even generations. So I decided to make a cognac only with eaux-de-vie from their production,” says Renaud Fillioux de Gironde, himself an eighth-generation Master Blender, when CLOSER spoke with him at City of Dreams during his short visit.“The style that I wanted to create was something very precise, with a touch of citrusy, orange peel character, and some bitterness of dark cacao and the spices that go with that.”This latest limited edition celebrates the passion and expertise of 18 exceptional families of distillers, merging their characters and personalities to create a very special cognac. The eaux-de-vie selection was followed by a maturing process of at least seven years in French oak barrels, lending to its aromatic complexity and deep amber hues. On the nose are notes of spice and candied orange. The palate is smooth, with delightful pastry notes of cocoa and sweet spices with a comforting creaminess, followed ultimately by notes of light tobacco and candied orange.This is the third Master Blender’s Selection created by Renaud. The rst Master Blender’s Selection, created by his uncle Yann Fillioux, was released in 2016, and since then, only four of these innovative, small-batch blends have been produced, with No. 4 debuting in 2021. The Master Blender’s Selection collection is composed of truly unique blends that will never be replicated, and is Hennessy’s only cognac bottled at 43%.“The heart of my job is to recreate day after day, month after month, year after year the core of the range of Hennessy, and to make sure that we keep the consistency at a very high level. On top of that, when I get the right inspiration at the right time, I want to create some very limited editions. The Master Blender’s Selection is a way for me to express my inspiration and share that with others, because at the end of the day, I don’t make cognac for myself, I make cognac for people to enjoy.” During the Master Blender’s visit to Macau and Hong Kong, Hennessy also unveiled a captivating new design of Hennessy V.S.O.P Mid-Autumn Festival Limited Edition, inspired by the enchanting Year of the Wood Dragon.限量版「調酒大師精選5號」由精選的「生命之水」調製而成，藉此向幕後的干邑匠人致敬，完美展現品牌傳統工藝與創新的糅合。「在5號作品中，我想致敬那些專門為軒尼詩服務的釀酒家族，他們多年來、甚至幾代人以來一直以卓越手藝打造驚艷風味。因此，我決定僅使用他們生產的『生命之水』來製作這款干邑，」第八代調配總藝師 Renaud Fillioux de Gironde表示。「我想要的風格非常精確，帶有一絲柑橘和橙皮的清香，還有一些濃醇可可的苦味，以及與之相搭配的香料。」全新限量版向專門為軒尼詩服務的 18 所釀酒家族匠人致敬，將其精髓濃縮並融合一起，最終成就完美互補、和諧平衡的「調酒大師精選5號」調和干邑。隨後於法國橡木桶中熟成至少七年，發揮「生命之水」的潛力，誘發複雜及多層次香氣，深琥珀酒色折射出閃耀銅金色澤，象徵著其頂尖品質。先是撲鼻而來的香料及蜜餞橙味，細緻芳香。入口是濃醇可可、如奶油般細膩順滑的甜味，整體香辛味道較輕柔。最後以淡淡草本、蜜餞香橙收結。這是Renaud調配的第三款調酒大師精選系列干邑。這一係列的開山之作由其叔父Yann Fillioux於 2016 年推出，此後陸續又有三款問世，當中4號於2021年亮相。調酒大師精選系列的混合調配僅此一造，永不復刻，亦是軒尼詩唯一一款 43%酒精濃度的瓶裝干邑。「我工作的核心是日復一日、月復一月、年復一年地重現軒尼詩的核心產品系列，並確保一如既往的極高品質。此外，當我在合適的時間受到靈感啟發時，還會推出一些限量版。『調酒大師精選系列』是我表達靈感並與他人分享的一種方式，因為歸根結底，我釀造幹邑不是為了自己，而是為了讓人們享用。」在他訪問澳門及香港期間，軒尼詩還推出了一款全新設計的軒尼詩V.S.O.P中秋節限量版，靈感來自木龍年。「對於軒尼詩品牌而言，文化以及文化之間的融合至關重要。因此，當我們推出不同的節日及慶典的限量版產品時，會尋找與其他文化相融合的方式。我認為這也是我喜歡旅行的部分原因——從來自不同市場的人身上獲得靈感。」軒尼詩與當地美食的完美搭配，亦給Renaud留下了深刻印象。「餐飲是文化的一部分，坦白講，對我來說，今次港澳之行真是令人驚喜，因為食到的所有中餐、粵菜與幹邑都是絕配，深刻印證了文化融合的魅力。我不知道這種餐酒搭配為何如此完美，也許是因為各種濃郁的醬汁，但我可以說，軒尼詩與本地美食的搭配渾然天成。」CLOSER CELLAR 特寫酒窖

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90MC MC SEP /OCT - 2024SEP /OCT - 202491“For the Hennessy maison, it’s a lot about culture, and the blending of cultures. So when we do a limited edition for dierent events and celebrations, we look for ways that we can blend together with other cultures. I think it’s also part of the reason why I like travel - to get inspiration from people from dierent markets,” notes Renaud.Having visited the region many times, Renaud is particularly impressed with how well Hennessy pairs with the local cuisine.“One aspect of culture is dining, and honestly, for me, being here is just amazing, because all the Chinese and Cantonese food that I’m having with the cognac is such a good pairing, and this is why that blending of cultures can be so impressive. I don’t know exactly why the pairing works so well – perhaps it’s the strong avours of the various sauces - but I can tell you that it’s very natural and it works.” China is of course a very major market for Hennessy, and Macau and Hong Kong have a signicant role to play in their regional strategy.中國自然是軒尼詩的重要市場，澳門和香港在品牌的區域策略中扮演著重要角色。「中國內地、香港和澳門在商業方面都非常重要，這裡也有很多對軒尼詩充滿熱情的人，渴望了解更多。所以我每次來都很開心，能夠與大家分享我們的工作、為什麼要這樣做、以及幹邑釀造背後的故事。」「作為一名調酒大師，我在這裡遇到很多真正的干邑愛好者，表示我們產品的口味完全符合他們的喜好。所以大中華區有著舉足輕重的地位，因為我們在飲酒方面有著相同的語言。」軒尼詩亦於港澳推出備受期待的 James Hennessy 干邑。這款佳作是為了向軒尼詩家族歷史人物 James Hennessy 致敬。具有遠見的 James 出生於 1765 年，同年其父 Richard Hennessy 創立這個流芳百世的酒莊。他隨後成功領導軒尼詩品牌的全球擴張，創立不可撼動的品牌聲譽。「James Hennessy由6至12年陳釀的生命之水混合而成。我們的想法是釀造出一款口感豐富、濃郁的干邑。我們使用新橡木桶來釀製大部分的干邑，以保留橡木的辛辣風味。這款干邑在很多國家都廣受好評，因此我們決定也將它帶到港澳，目前反響熱烈。」“Mainland China, Hong Kong and Macau are very important places in terms of business and there’s also a lot of people here who are very passionate about the product and who really want to learn more, so I’m always happy to come here and share what we do and why we do it and what is happening behind cognac making.”“As a master blender, what I see here are a lot of people who are really cognac lovers, the taste ts exactly what they like, so Greater China is key, because we talk the same language in terms of drinking.”Hennessy also unveiled another highly anticipated masterpiece for the Hong Kong and Macau market - James Hennessy. This exceptional cognac bears the distinct imprint of James Hennessy, a true visionary who embodied the family’s pioneering spirit. Born the same year that his father Richard founded the renowned cognac house in 1765, James went on to lead the global expansion of Hennessy, cementing its reputation for unparalleled quality and renement. “James Hennessy is a blend of eaux-de-vie that are between 6 and 12 years old. The idea was to have a cognac that is quite rich and intense. With most of the eaux-de-vie, we use recent oak to create the oaky spicy characteristics. It’s a cognac that it has been very well received in many other countries, so we decided to bring it here too, and so far the reception has been very positive.”James Hennessy has a silky yet well-dened composition that expands across the palate. The avours are reminiscent of ripe blood peach and roasted almonds, culminating in an exceptional, lingering nish. It is presented in sophisticated decanter meticulously crafted by the esteemed artist Marc Newson.“Being the eighth generation Master Blender is a tremendous honour, and I feel privileged to be able to continue the craft that was passed down to me by my uncle Yann Fillioux,” comments Renauld as we speak to him at City of Dreams before enjoying a Hennessy pairing menu at The Tasting Room.“I spend at least an hour a day tasting, and one of the things I enjoy most is working in an environment where I can concentrate on the senses. I’m trying to create something that is emotional, and then share this emotion with people who love cognac. When someone here in Macau wants to enjoy a glass of Hennessy, it has to be perfect. Making the perfect product that people can enjoy is at the heart of what we do at Hennessy.”這款開創性干邑的味道平和而甘醇流暢，猶如軒尼詩的悠久歷史，充滿血桃的果熟香氣和烘焙杏仁的縈繞餘韻，口感層次豐富。瓶身由著名藝術家 Marc Newson 精心製作，結合玩味及典雅於一身。「能夠繼承叔父Yann Fillioux傳給我的手藝，成為第八代調配總藝師，我深感榮幸，」在新濠天地御膳扒房的軒尼詩晚宴之前，我們採訪了Renaud。「我每天至少要花一個小時品酒，而我最喜歡的事情之一就是在可以集中所有精力感官的環境中工作。我努力釀造出具有情感能量的酒，然後與喜愛干邑的人分享這種情感。當澳門，當有人想品嘗一杯軒尼詩時，它必須是完美的。為賓客呈獻完美產品，這就是我們在軒尼詩的使命。」

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92MC MC SEP /OCT - 2024SEP /OCT - 202493格蘭路思25年、18年單一麥芽威士忌全新面貌優雅登場THE GLENROTHES REINVENTS “THE 25” & “THE 18” SINGLE MALT WHISKIES WITH A DISTINCTIVE NEW LOOK92Since 1879, The Glenrothes has been producing some of the nest single malt whiskies in the pastoral Speyside town of Rothes in the Scottish Highlands, using the purest, softest spring water sourced from the estate’s ground. This year, the 25- and 18-year-olds will don a brand new look that opens up a new chapter of the prestigious Highlands distillery. The sophisticated new packaging is a form of art on its own, while the liquids within are the precious results of time and patience beloved by the most discerning connoisseurs. The newly revamped 25- and 18-year-olds are housed in a cylindrical canister in luxurious copper and purple respectively, a graceful nod to the rst-ll sherry-seasoned oak casks in which the whiskies have matured. It is embossed with the rened topographic contours of The Glenrothes Estate, source of the brand’s extraordinary spring water elemental to its distinctive house style.A gentle twist of the canister rolls back the front panel, revealing the gleaming bottle inside. Its lengthened neck is an elegant new feature that ensures a smoother pour, safeguarding every precious drop of The 25 and The 18. The tactile relief of the bottle lets the beauty of the luscious, fully natural amber liquid shine through, while a transparent label carries the whisky maker’s handwritten tasting notes, making each bottle truly one-of-a-kind. Almost 150 years of whisky making nds its roots in “The Lady’s Well”, a private spring owned by the distillery with the freshest and softest of natural spring water. Through a very slow distillation and ageing process, an elegant evolution of avor has been intensied with exceptional depth.The delicately elegant and fruity 25-year-old has a distinctive golden hue. An aroma of ripe peaches and zesty orange peel lls the nose. A palate of decadent vanilla notes, Swiss milk chocolate, ripe stone fruit and orange oil is infused with toasted almonds, delicate oak notes and a lingering sweet spice. Its delicate roundedness with harmoniously balanced avors is followed by a rich and sweet nish with a silky nuttiness and persisting fragrance.The 18, like its sister whisky, also makes use of a high proportion of rst-ll sherry-seasoned oak casks which delivers an intense and rich avor prole and contributes signicantly to its vibrant fruitiness. It begins with a waft of ripe pear and sweet vanilla pods on the nose, whilst a hint of dried ginger spice creates unassuming depth. A rich and deep avor permeates the palate, alive with sweet ginger, pear and rose water. Aromatic fruit and light oak create gentle spice, which balances nicely against an undercurrent of creamy vanilla. The lingering nish is silky and rounded, brimful of sweet, spicy and peppery notes.Available in Macau at Remy Wines & SpiritsFRESH NEW LOOK蘇格蘭單一麥芽威士忌品牌格蘭路思The Glenrothes創立於1879年，承襲過百年釀酒工藝，於山水秀麗的斯佩塞產區，以純淨自家泉水釀造出擁有絕佳原始風味的威士忌。承先啟後，格蘭路思The Glenrothes 25年、18年單一麥芽威士忌於今年以嶄新面貌優雅登場，並同時宣告格蘭路思 The Glenrothes 開啟頂級珍釀新篇章。全新包裝雅緻逸麗，每一瓶曠日蟄伏的時淬之藝都猶如一件獨一無二的精緻藝術擺設，不但引領識酒之人細味箇中的風味與內涵，更折射出 The Glenrothes 視每一瓶單一麥芽威士忌都是頂級限量藝術藏品般存在的品牌新定位。為了完美呈現格蘭路思The Glenrothes 25年、18年兩瓶時淬之藝的高雅格調，全新昇華的華麗包裝分別採用古銅色和淡紫色、象徵珍貴初次雪莉橡木桶的圓柱形罐子狀外盒。罐子上特別刻上蘇格蘭莊園的地型輪廓，以充滿藝術動感的細膩線條演繹酒廠位於蘇格蘭斯佩塞河域水色秀麗的地貌。輕輕轉動罐子外盒，前面的板門就會打開，綻放著耀眼光澤的酒瓶隨即映入眼簾。全新設計的酒瓶頸瓶加長，不但更顯雅緻，而且使倒酒更加順暢，保護每一滴彌足珍貴的酒液。輕拂酒瓶，更可感受到精雕細琢的隱約浮雕，自然的酒色從浮雕中綻放出高貴的橙黃色光芒。此外，瓶身的透明酒標亦鍍上釀造者的手寫品鑑筆記，令每瓶25年、18年都更顯獨一無二。完美酒體皆是時光淬鍊的稀世藝品，傳承 150 年的威士忌釀造工藝，以無比悠長淑女泉為底蘊，透過更耗時的慢速蒸餾和更曠日的蟄伏珍釀，從釀造到熟成歷經漫長等待，醞釀出超越經典、巧奪天工的極致風味。輕盈優雅，果香四溢的 25 年酒色呈現耀目的黃金色澤，散發著極致芬芳的成熟桃子和清新橙皮水果香氣，滿溢著在在口中打轉的濃郁雲尼拿味、瑞士牛奶朱古力味、成熟的核果和橙油味、烤杏仁味、橡木味和持久的甜味香料等等，輕盈細緻、圓潤醇郁的口感，完美無瑕且永恆不變。而令人魂牽夢縈的堅果味香氣餘韻，更是久久揮之不去。18 年的陳釀同樣使用了大量珍貴初次雪莉桶，讓威士忌吸收到最多雪莉桶本身的香氣，成就出豐韻的果香與層次細膩的酒體。輕輕淺聞，飄來陣陣熟成梨子及甜雲尼拿豆莢的香氣，而乾薑香料的氣味更營造出沉厚的深度;品酩後，舌尖上傳來甜薑、梨子和玫瑰水的的濃醇氣息，與由芳香的水果味及輕盈的橡木味營造出的溫和香料氣息和諧融合，並與奶油香草味的底蘊完美平衡。尾韻綻放出圓潤絲滑的甜、辣、胡椒馨香，久久縈繞於喉腔令人難忘。嶄新登場澳門寰發洋酒有售CLOSER CELLAR 特寫酒窖

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96MC MC SEP /OCT - 2024SEP /OCT - 202497A certified yoga instructor for more than nine years, Margarida specialises in teaching yoga to the elderly and to pregnant women, and even women going through menopause. “I’m in menopause myself, and I’ve been using yoga to address many of the symptoms, to strengthen my body and to help my mental health. Of course, I still teach group classes in studios, but more and more my work is focused on helping peo-ple to use yoga to become healthier at all stages of life.”Observing that pregnant women did not have many op-tions for learning yoga in Macau, in 2019, Margarida trained to receive her certification as a pre-natal and post-natal yoga instructor.“You need special certification because you need to under-stand the anatomy and physiology of pregnancy to create a safe space for pregnant ladies do yoga,” she explains.As she began teaching prenatal yoga, Margarida came to the realisation that in the past, women were more able to follow closely the development of their pregnancies, and also they had more support from other women in the family: grandmothers, mothers and aunts, to share their experiences of prenatal care and childbirth as a common part of domestic culture.“I was not only helping pregnant ladies to move their bodies more during pregnancy, but also I was helping them to prepare for labour, to understand their bodies and enable their babies to turn into the optimal foetal position,” Margarida comments.Everywhere you go these days, you’re likely to see someone walk-ing around with a yoga mat, on their way to or from a class. And quite often, that person is young, fit, healthy and beautiful. But what if you don’t feel like you fit this stereotypical look. Do you really think you can make yoga a part of your life? Surely you’re too old and too inflexible right? Absolutely not, says local yoga instructor Margarida Luz.“Yoga is for everyone at every stage of life, but many people don’t feel comfortable going to a commercial yoga studio,” says Margarida, “I want to help people who think that yoga is not for them, who say to themselves “I'm too old for yoga. I'm too stiff for yoga and my mobility is limited.” Yoga is exactly for these kinds of people, not just for flexible beautiful young ladies. This is a stigma that social media is creating. I want to contribute to society by making yoga accessible to people who feel excluded.”如今，無論走在哪裡，幾乎總能看到有人帶著瑜伽墊正要去上瑜伽課，或剛剛結束課程歸來。這些人往往看起來年輕，健康，美麗。但如果你覺得自己並不符合這種典型形象呢？是否還能讓瑜伽成為生活的一部分？年紀太大或身體不夠靈活的話，肯定不行吧？當然不是！本地瑜伽教練Margarida Luz如是說。「瑜伽適合每個人生階段的人，但很多人去商業瑜伽館時會感到不自在。我希望幫助那些認為瑜伽不適合自己的人，她們覺得『我年紀太大，身體太僵硬，根本無法做瑜伽』。但其實，瑜伽非常適合這些人，而不僅僅是年輕、靈活、美麗的女士。這是一種社交媒體製造的刻板印象。我希望能扭轉偏見做出一份貢獻，讓那些在常規瑜伽館有被邊緣化之感的人也能接觸到瑜伽，」Margarida說。Margarida擁有超過九年的瑜伽教學經驗，專門教授長者、孕婦，以至更年期的女性。「我也處於更年期階段，並且一直透過瑜伽來緩解症狀，增強並保持身體及心理健康。當然，我仍會在瑜伽館教授團體課，但我越來越致力於幫助人們在生命的每個階段通過瑜伽變得更健康，」她說。Margarida觀察到，孕期女性在澳門學習瑜伽的選擇有限，於是她在2019年考取了產前和產後瑜伽教學資格。「孕期瑜伽需要特殊的認證，因為必須具備相關解剖學和生理學知識去為孕婦學習瑜伽創造一個安全空間，」她解釋道。在開始教授產前瑜伽後，Margarida意識到過去,女性能夠更密切地關注她們懷孕的進展，她們也得到了家庭中其他女性，如祖母、母親和阿姨的更多支持，分享她們的產前護理和分娩經驗，作為家庭文化的共同組成部分。

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98MC MC SEP /OCT - 2024SEP /OCT - 202499Margarida hails from old Macanese families on both sides, but she was actually born in Hong Kong and then moved with her family to Brazil where she lived until she was 10. Then she came back to Macau for her high school studies, before moving to Paris for her university studies. Later she lived in Mexico for 16 years before eventual-ly returning to Macau and working in the events indus-try for a time. Now she has found her true passion, and teaches yoga in three languages, English, Portuguese and Cantonese. “This opens up the range of people that I can reach,” she acknowledges. As well as prenatal yoga, Margarida has also begun fo-cusing on yoga for elderly people too. “Yoga is very good for seniors because when we get older, our bodies tend to get stiffer and stiffer and our muscles weaker, especially if we don’t move more. In a very gentle way, yoga helps seniors to move their bodies, to reclaim their mobility, and also to keep joint health and mental health. If you commit to being consistent and prac-ticing at least once a week, you will see very big changes, not only physically but mentally as well.”“Nowadays, people are too busy and pregnant women often work until almost the day they give birth. They only stop working the day that they go to the delivery room and so they have no time to dedicate special attention to the significant changes their bodies are going through during pregnancy, and they generally do not have a voice when they go into labour. They just go to the hospital without a birthing plan and the maternity staff decide how their birth experience unfolds. And of course, there is a factor of fear there when you don't understand what's going on with your body and how labour works,” she adds.“So now I try to help women better understand how they can navigate their pregnancy and labour in a good way and in a way that is easier for them and for the baby.”Margarida acknowledges that she had quite a traumat-ic experience when giving birth to her son many years ago, and this also motivates her to want to help pregnant wom-en through yoga. Given the possible risks in the first tri-mester, she generally only teaches women once they have reached the second and third trimesters. “After 14 weeks is the best time to start because the foetus is small, but fully formed. There are still some po-sitions that pregnant ladies cannot do like deep twists and forward folding, or having their belly pressed on the ground, so I remove or modify these kinds of yoga pos-tures. That’s why a yoga teacher needs to really understand the physiology of pregnancy.”As her students get closer to their delivery date, Margarida also teaches breathing techniques to help them manage their contractions, and exercises to make the birth process easier. “By this stage the baby is almost fully grown, so we focus on positions that make space for the baby and make the mother feel more comfortable; stretching and opening up the hip area to prepare for an easier delivery.”Margarida also explains that the benefits are not just physical.“It’s about learning to trust your body and overcoming any fears. I normally guide pregnant ladies in meditation to connect emotionally with their babies. In Sanskrit, yoga means to join or to unite, so in a very simple way, it means to unite the physical and the mental aspects of a human being. When you unite these two parts, you understand yourself and you can be fully present and aware for any situation in life.” 「我不僅幫助孕婦更好地活動身體，也幫助她們為分娩做準備，讓她們了解自己的身體，並幫助BB轉到最佳胎位，」她表示。「如今人們太忙碌，很多孕婦甚至直到分娩前才停止工作。她們沒有時間真正特別關注懷孕期間身體所經歷的重大變化，而且在臨產時她們通常沒有發言權。只能被動地住進醫院，讓護士和醫生隨意處理。而當你不了解身體的變化和分娩過程時，當然會恐懼。」「所以我現在致力於幫助女性更好地應對懷孕和分娩過程，讓她們知道怎樣做對自己和BB都更好。」Margarida承認，多年前的分娩經歷給她留下了相當嚴重的心理創傷，這也是她想透過瑜伽幫助孕婦的動力之一。考慮到第一期的潛在風險，她通常只教授已進入第二或第三期的婦女。「孕14週後是最佳時機，因為此時胎兒雖然體型仍小，但已經完全成型。有些體式孕婦不能做，比如深度扭轉、前屈或腹部壓地，因此我會避免或進行調整。這也是為什麼瑜伽導師必須了解孕期生理學。」隨著學生的預產期臨近，Margarida還會教她們呼吸技巧以應對宮縮，進行一些讓分娩過程更輕鬆的運動。她說：「這個階段，BB已接近足月，所以我們專注於能為BB騰出空間的姿勢，讓母親感到更舒適，並進行拉伸和打開髖部的練習，為順利分娩做準備。」Margarida還解釋說，瑜伽的好處不僅僅是身體上的。「這也是學習信任自己的身體，克服恐懼。我通常會指導孕婦進行冥想，以便與BB建立情感聯繫。瑜伽在梵語中的意思是『聯合』，簡而言之，就是將人類的身體和心理聯合起來。當你聯合這兩部分時，就能理解自己，並能在任何人生情境中做到全然的當下覺知。」Margarida的父母來自澳門土生葡人家庭，但她出生於香港，後來隨家人移居巴西，直至10歲。中學時期，她回到澳門，隨後遠赴巴黎讀大學。畢業後，她在墨西哥生活了16年，最終回到澳門，並在活動策劃行業工作了一段時間。如今，她找到了自己真正熱愛的事業，以英文、葡文及粵語教授瑜伽。「這讓我能接觸到更多不同的人群，」她說。除了孕期瑜伽，Margarida也開始關注老年瑜伽課程。「瑜伽對於老年人非常有益，因為隨著年齡增長，身體會變得越來越僵硬，肌肉力量也會變弱，特別是在缺乏運動的情況下。瑜伽以溫和的方式幫助老年人活動身體，恢復機動性，並保持關節健康和心理健康。如果能夠持之以恆，每週至少練習一次，無論是在身體還是心理方面，都會看到顯著的改變。」如欲了解更多資訊，請瀏覽 | For more information go to www.marluzyoga.com

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100MC MC SEP /OCT - 2024SEP /OCT - 2024101In the ‘70s and ‘80s John Lou was a member of the Hyatt Regency Resort (now the Regency Art Hotel), where he exercised regularly. Having grown up in the hustle and bustle of Calcada de Monte by the Portuguese Consulate building, the emptiness of Taipa at the time was an at-traction. He would jog across the then-only bridge be-tween Macau and Taipa to the Resort and around parts of Taipa and began appreciating the quiet of this less populated area. When the bridge fee (a charge of MOP5 to cross) was cancelled, the Resort gained a lot more members coming over from Macau. In those days Taipa and Coloane were considered virtually ‘rural’; there were only a few apartment towers and no Cotai. The tallest building at the time was the staff accommodation for the Jockey Club. When chatting with his Resort member friends, John discovered that two new apartment blocks were being built next door. He went to investigate and decided that it would be a good opportunity to buy there. “We specically chose a middle oor, the eleventh”, he explains, “as it’s too hot on the higher oors and if the lifts ever break down, it’s more accessible being not so high. We moved in late 1986 and since then, over the 40 years, we’ve carried out three renovations.” The layout is unchanged with an open living-dining area, small balcony and teeny kitchen, one bathroom and two spacious bedrooms - ideal for John’s family of three. Ever the practical couple, the Lou’s furnished the home almost entirely with IKEA - sideboard, shelves, cabinets, sofa, coffee table, lounge chair. The solid wood dining table and chairs from China are an exception. And on the shelves, one begins to learn of the couple’s various interests and hobbies. 八九十年代時，John是氹仔凱悅酒店太白度假村（現為麗景灣藝術酒店）的會員，經常在那裡做健身運動。幼年時John在葡萄牙領事館旁的大炮台斜巷一帶長大，氹仔遼闊的空間對他來說十分吸引。由於慢跑時經過當時澳氹之間唯一的大橋去凱悅酒店及氹仔的一些地方，並逐漸喜歡上這個人口稀少區域的寧靜。過橋費（澳門幣5元）取消後，酒店吸引了更多從澳門半島來的會員。當時氹仔和路環被視為「鄉下地方」，當時只有幾座現代建築物；現時路氹金光大道並不存在。當時最高的大樓是賽馬會的員工宿舍。John與度假村會友聊天時，發現隔籬正在興建兩棟新的公寓大樓。前去考察後，認為是入手的好機會。「我們特別選擇了中間樓層，十一樓，」他解釋道，「因為高樓層太熱，而且如果升降機發生故障的話，稍低樓層更輕鬆些。我們在1986年底入伙，自此之後的近四十年間，進行過三次翻新。」家居格局維持不變，有開放式客廳、小陽台、小廚房、一間浴室及兩間寬敞的臥室，非常適合一家三口居住。「我們翻修了浴室；卅多年過去了，水管需要換新。廿年前鋪設的公寓地板是西班牙瓷磚，比木地板好，因為它不易刮傷，也不會吸潮，如果我的狗不小心闖禍，木地板麻煩就大了！」夫婦二人向來注重實用，家中幾乎全部使用宜家家居的產品，包括邊櫃、装飾架、櫥櫃、梳化、咖啡桌及休閒椅。來自中國的實木餐桌椅是個例外。而装飾架上的藏品透露了這對夫婦的各種興趣和愛好。1984年,盧氏夫婦John和Tammy在當時嶄新的氹仔伯樂花園購入了兩房式單位，當時這是區內僅有的幾座高層大廈之一。伯樂花園的住客多為自置自住的業主, 以友善和睦的鄰里關係而聞名。盧氏的家居表露多元愛好及各類珍藏的完美櫥窗。󳛓BY SUZANNE WATKINSON 󷵽 DAISY WONG󱱯 MARK PHILLIPSA CONTENTED LIFE安逸人生John and Tammy Lou bought their 2-bedroom apartment in the then-brand new Edicio Jardim Do Hipódromo at PakLok Garden, Central Taipa in 1984, when it was one of the few high-rises in the area. The building is famed for its friendly, predominantly owner-occupied neighbours and the Lou’s home is a show case of their interests and treasured collectibles.

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102MC MC SEP /OCT - 2024SEP /OCT - 2024103“I became a fan of all the different colours and collect from Hong Kong and on Ebay”, smiles John, “but my favourite is the emerald, green Jadeite design – it even appeared in the famous movie In the Mood for Love (2000) by Wong Kar Wai, staring Tony Leung Chiu-wai and Maggie Cheung Man-yuk!”And what’s the story behind the large red and white rocket standing in the corner of the living room? This is from John’s Tintin memorabilia. A popular European comic series, The Adventures of Tintin tells the tales of a young reporter Tintin, his dog Snowy and various friends. Explorers on the Moon is the 17th volume which rst came out in 1952. The narrative tells of Tintin, Snowy and friends who are aboard humanity’s rst crewed rocket mission to the Moon. “My rocket was a gift from a friend!”Another give-away to John’s passions is all his swords and sticks. “Along with my family, there are three other things I love in my life: movies, music and martial arts. I never miss any classical performances at the Macau Music Festival. And mar-tial arts is my life. I started practicing martial arts when I was more than ten years old. I first learned Wing Chun Kung Fu from the famous master Chen Heng. During the 70’s I learned mixed martial arts from the famous Hong Kong martial artist and actor Carter Wong. In 1998, I learned Kendo from my first teacher, Mr. Luis Trabuco. In 2012, I met Master Kenyo Otsu, 8 Dan Kyōshi in Niigata Prefecture, Japan, and studied Iaido. I am a fifth-dan (there are ten levels in total, though the highest rank that can be obtained in the assessment is eighth dan. I am working towards sixth dan). In Jodo, I am currently under the instruction of Hanshi (eighth Dan Ishido Shizufumi Sensei, Grand master of the Shinbukanin Kawasaki City, Japan). I am only ranked as third Dan. This November I will go to Japan to challenge for my fourth-dan. The success rate is only 25%, I am working hard and crossing my fingers for that!”John teaches Kendo, Jodo and Iaido at two community centers in Macau. Two hours of Japanese martial arts are taught in six classes each week at each center. Students range from children to adults, from 6 to 76 years of age, and come from Macau, the Philippines, Canada, the US and other countries.“I go to Japan three or four times a year for training and to take students there for their exams. Its very time consuming and I don’t do it for the money, it’s my passion. My main purpose is to promote and preserve this kind of traditional art. We don’t use weapons to attack or protect us, we have our police force for that – no, we use the weapons to train our minds, to develop our inner selves,” John explains.In keeping with a love of all things Japanese, the energetic little puppy that John recently adopted is a Shiba Inu, a Japanese hunting dog. Her name is Nadeshiko, translated to ‘beloved or dear child’, literally ‘child being petted’.「我對日本文化非常著迷，尤其是茶道。為此我更收集日本南部鐵壺，這種器具為茶道注入了溫柔細膩的特質，」John說。「南部鐵器的歷史可追溯至十七世紀中葉。在過去幾百年的發展，技術精湛的鑄造師及大師級工匠一直兢兢業業製造這些精緻鐵壺，很吸引我開始收藏不同類型的鐵壺。」「我亦對Fire King產品甚感興趣，這是美國玻璃製造公司 Anchor Hocking 在四十年代早期推出的烤箱玻璃杯盤品牌。」杯、碟、餐具向來鮮有和潮流掛鈎；然而，這些可算是例外。在美國和日本，它們深受古董餐具愛好者及各路潮人所追捧。這些器皿以質地堅硬的硼玻璃製成，特點是恍如玉石的翠綠色外觀及良好的耐損性，最初是為美國餐廳生產；厚實耐Restaurant Ware系列如今是 Fire King 粉絲最想入手的藏品。Fire King在美國停產後，一間日本公司於2011 年買下版權並復刻生產，延續Fire King品牌。雖然日本復刻版的質感與美國原版不同，但在日本極受歡迎，也吸引了時尚界的注意。「我成了Fir e Kin g各種不同顏色器皿的粉絲，在香港和Ebay上購入藏品」，John笑道。「但我最鐘意的還是招牌翠綠色Jadeite的設計——甚至在王家衛執導，梁朝偉、張曼玉主演的著名電影《花樣年華》（2000 年）中，都有它出鏡！」那在客廳角落裡的大型紅白火箭背後有什麼故事呢？這是John的丁丁歷險記收藏品。丁丁歷險記是由比利時漫畫家喬治·勒米以筆名艾爾吉創作的歐洲漫畫系列，廣受歡迎。作品講述了年青記者丁丁、白色愛犬Snowy和朋友們的冒險故事。這系列作品已翻譯成70多種語言，全球銷量達數百萬本，並被改編為廣播、電視、戲劇和電影。第17卷《登月探險者》首版於1952年，講述了丁丁、Snowy和朋友們參與人類首次載人航天火箭任務前往月球的經歷。「我的火箭藏品是朋友送的禮物！」喜愛舞刀弄劍則是John的另一熱愛。「除了家人之外，我有三大愛好：電影、音樂和武術。澳門音樂節的古典音樂會，各場音樂會差不多都會購票。而武術更是我的生命，我從十多歲開始習武，起初是跟隨著名詠春師傅陳恆先生學習中國功夫，其後跟隨香港著名武術家及影星黃家達先生學習綜合武術格鬥爭術。在1998年我遇到啟蒙老師Luis Trabuco高谷龍一先生學習日本劍道，直至2012年向日本新潟県的八段教士大津憲養老師學習居合道，目前為五段“I’m fascinated with Japanese culture, and in particu-lar their tea ceremonies – I collect Japanese Nambu cast iron kettles known as Tetsubin which impart a gentle and delicate quality to the tea ceremony,” says John. “Nambu ironware has a history going back to the mid-17th century. For the past 170 years, skilled foundry artisans and master craftsmen have been producing these beautiful kettles and I enjoy collecting them.”“I’m also a collector of ‘Fire King’, the brand of oven glass cups and saucers rst made by American glass manufacturing company Anchor Hocking in the early 1940s.” Cups, plates, and tableware are rarely linked to trends, however, these can be regarded as an exception. Fire King is much sought after by antique tableware enthusiasts and fashionistas in the USA and Japan. （一共有十段，通過考核能夠獲得的最高段位為八段。我正在向六段努力）。在杖道方面，有幸跟隨神奈川県川崎市神武館館長範士八段石堂倭文先生學習，經多年鍛鍊目前只是三段。今年十一月我將前往日本參加四段級考試。成功率只有25%，希望我能通過！」John現時在澳氹兩間社區中心教授劍道、居合道及杖道。每週分別在各中心教六堂各兩小時的日本武道。學生由兒童到成人都有，年齡從6歲到76歲不等，來自澳門本地、菲律賓、加拿大、美國和其他國家。「我平均每年去日本鍛錬兩至三次，也會帶學生往日本本部參加考試。這很花時間，而且我不是為了賺錢，這是我的熱情所在。我的主要目的是推廣和保存這種傳統藝術。習武不是用於攻擊或自衛，這些自有警方操心——不，我們是為了訓練心智，發展自我，」John解釋道。John熱愛日本文化，最近還收養了一隻精力充沛的柴犬，這是一種日本獵犬。愛犬的名字叫「撫子」，意思是「心愛的孩子」。這個名字既表示兼具使人憐愛與氣質的日本花種「撫子花」，亦想著日本獨有的女性美德標準「大和撫子」。John的家族原籍廣東新會，於上世紀二十年代初移居澳門。「我是 100% 的華人，在這裡出生，第四代澳門人，現在 74歲了！」他自豪地說。 HOME AFFAIRS家居

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104MC MC SEP /OCT - 2024SEP /OCT - 2024105The Foundation, established by lawyer Dr. Rui Jose Cunha and his son in April 2012, is a service to the community, promoting Macau’s unique culture through the gathering of local artists, musicians and thought leaders of the day. “After three months I was transferred to their Social and Culture Department to coordinate and curate exhibitions and events. We have a full schedule but that’s good as I’m an active person, I like to be busy. Six years in the job and I’m really enjoying what I do. Helping people organize exhibitions and events successfully gives me a great sense of achievement.” An open book as the saying goes, John explains that he’s “easy going and talkative – communication skills are essential for survival. I’m not shy, I’m not private, I participate in a lot of interviews in Hong Kong, helping to promote Macau. My face is often on TV for various advertisements. I’m known as ‘Uncle John’. The agents will contact me when extras are needed for lms or promotions.”And what does John love about Macau? “We moved to Taipa 40 years ago and really like the environment and our friendly neighbours; I know almost everyone in the building, it’s like the old neighbourhood that I grew up in, but in a modern high-rise. I like the intimacy of Macau. I’m content, I lead a busy but quiet life.”John’s family originally hails from Shinhui, Guangdong. His family moved to Macau in the early 1920s. “I’m 100% Chinese, born and raised here, fourth generation Macau, and I’m now 74!” he says proudly. John’s career began in 1972 when he joined Macau’s electric utility company CEM as a fresh graduate from the Perpetual Help College. (Did you know that CEM, Companhia de Electricidade de Macau, was originally named MELCO? Today MELCO is of course one of the six gaming concessionaires. And did you know that MELCO stands for Macau Electric Lighting Company?!)Having a strong command of English, John was put in charge of the workshop department at CEM. Young and not in the least bit technical, he was teased by the older, more experienced technicians, but through sheer force of personality, charm and likability, he soon earned their respect and friendship. He stayed with CEM for 46 years, spending more than 20 years in HR and the latter years in Public Relations. During his illustrious career with CEM, John attended a long-distance learning marketing degree programme with the East Asian University, the precursor of today’s Macau University. “Tammy also had a long career – 30 years with the Service Department of STDM, supporting VIPs with their travel arrangements between Macau and Hong Kong,” says John. “I retired from CEM in 2017. Then in 2019 I was approached to join the Rui Cunha Foundation administration department.” 「我們四十年前搬到氹仔，非常喜歡這裡的環境、友善的鄰里。我差不多認識大樓裡每位街坊，就像我成長的舊區，只不過是現代化的高樓大廈。這𥚃有泊車位置，周圍環境優美，方便遛狗。附近亦有各式餐廳。日式超級市場高瑪生活百貨亦不遠，可以買到所有我需要的日本食材。我喜歡日本米——嚐過日本米之後，其他大米再也無法媲美。我喜歡自己動手烹飪，當孫輩來訪的時候，總是喜歡為他們弄些好吃的，澳門那種親切感令我感到十分滿足，生活雖然忙碌但亦帶平靜。這裡交通四通八達，跨境到內地就有很多新的地方可以探索，新的餐廳可以嘗試。乘船一小時即可到達香港及其國際機場，去自己喜愛的日本及台灣也很方便。」John的職業生涯始於1972年，當時他剛從永援中學畢業，加入澳門電力股份有限公司（CEM）。（你知道澳電的原名是MELCO——澳門電燈公司Macao Electric Lighting Company嗎？如今的MELCO新濠是知名本地企業，是新濠天地及新濠影匯的特許經營商，亦涉足其他行業。）當年入職時英語流利的John被分配到維修車間工作。年青又不懂技術的他，常常被經驗豐富的前輩同事取笑，但憑著個性、魅力和親和力，他很快贏得了他們的尊重和友誼。在他職業生涯期間，更兼修東亞大學（澳門大學的前身）的市場營銷學位課程。在此他有廿多年從事人力資源工作，後來轉任為企業公關一職直至2017年底才退休。「Tammy的職業生涯也很長，她在澳娛的服務部工作了卅多年，為貴賓們往返港澳之間的旅行安排提供支援」。「2017年，我從澳電退休。在2019年，受邀加入了官樂怡基金會的行政部門。」官樂怡基金會由大律師官樂怡博士及其子女於2012年4月創立，旨在服務社區，透過匯聚本地藝術家、音樂家和思想領袖，推廣澳門的獨特文化。「入職後約三個後，我被調到了基金會的社會文化部門，擔任展覽及活動的協調及策展工作。基金會畫廊日程排得很緊密，但這很好，因為我天性好動，喜歡忙碌。六年了，我非常享受這份工作。幫助很多人成功舉辦了無數展覽和活動，我覺得好有成就感。」John是一個坦率真誠的人，他說，「我很隨和、健談——溝通技巧是生存的必要條件。我不害羞亦不內斂，本人在港澳兩地曾參與過很多訪問，宣傳澳門。我經常出現在電視上，拍攝各種廣告。大家都叫我『Uncle John』。如果有電影或宣傳活動需要臨時演員就會通過經理人與我聯絡參加工作。」John最喜歡澳門的什麼方面呢？

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106MC MC SEP /OCT - 2024SEP /OCT - 2024107Renowned Portuguese pianist Adriano Jordão was in Macau in early October to attend the inauguration of the 36th edition of the Macau International Music Festival (FIMM) - a festival he founded in the territory in 1987. Not only did he found it, but he was also the first soloist at the first edition of the Festival, playing the Ravel concerto with the Beijing Radio Orchestra. He was also the event’s artistic director for the first five editions. During his time as director he brought to Macau such luminaries as Audrey Hepburn, Ileana Cotrubas and Christa Ludwig. This year the award-winning pianist is celebrating 55 years of a ca-reer that has spanned Europe, America, Africa and Asia.Given your strong connection to the Macau International Music Festival, how do you feel being back as a guest for the opening ceremony 37 years af-ter you founded it?I feel what a grandfather feel towards his grandchildren. They’ve grown up, today they’re independent and going their own way. It’s a great thrill to see that the guidelines that were set in place at the origin of the Festival almost 40 years ago have been maintained and that the paths to achieving these guidelines have been freed from the grandfather, who in this case is me.In 1987, Adriano Jordão founded the Macau International Music Festival (FIMM). This year, the Portuguese pianist returned to Macau to attend the inauguration of 36th edition of the Festival and says he feels like a grandfather seeing his grandchild all grown up.葡萄牙知名鋼琴家Adriano Jordão於10月初來到澳門，出席第36屆澳門國際音樂節的開幕典禮。他不僅創辦了澳門國際音樂節，還是首屆音樂節的首位獨奏藝術家，與北京廣播交響樂團合作演奏了《拉威爾協奏曲》。此外，他更擔任首五屆音樂節的藝術總監，在任期間將Audrey Hepburn、Ileana Cotrubas及Christa Ludwig等名人巨星帶到澳門。今年亦是這位屢獲殊榮的鋼琴家從業55週年，他的職業生涯異常精彩，橫跨歐洲、美洲、非洲及亞洲。你與澳門國際音樂節有深厚淵源。在創辦澳門國際音樂節37年後重返澳門，作為嘉賓出席今屆音樂節的開幕儀式，有何感想？我的心情就像祖父看到孫輩一樣。當初的孩童已經長大成人，自強自立，走出了自己的道路。看到近四十年前音樂節創辦之初的指導方針得以保持，而具體路徑則擺脫了祖父（即是我）的影響，我感到興奮與欣慰。回想1987 年，你如何萌生出了創辦音樂節的想法？簡直是瘋了（笑）。其實很簡單：我和Sequeira Costa是戰後首批來到中國的葡萄牙鋼琴家。來到澳門後，我發現這是在亞洲舉辦西方音樂音樂節的絕佳地點。澳門是文化交匯點，中西交流之地，建城之始就扮演貿易中轉站的角色。因此我意識到，澳門可以成為一個優秀的文化樞紐。今天，我們可以看到，音樂節的創辦為文化產業的發展注入了巨大的動力。四十年前，在由江連浩（António Conceição Júnior）改造為澳門舞台的體育館內上演國際巨星雲集的歌劇，舞台技術總監來自倫敦科芬園皇家歌劇院，絕對是瘋狂之舉。四十年後，當我看到澳門有了真正的文化中心時，我覺得當年的一切努力都是值得的。這些設施是應運而生，正是因為音樂節，澳門才有了現在的基礎設施。澳門樂團就是在第三屆音樂節上誕生的，一直延續至今。引進世界級藝術家亦會改變觀眾的認知。如果不去聽最好的音樂，就不知道什麼是好的。四十年過去了，我認為這一切都是值得的。如今，我將在這裡與當代最偉大的交響樂團掌舵人之一：維那利‧捷傑耶夫（Valery Gergiev）一起欣賞《托斯卡》，這在我們創辦音樂節之初是不可想像的。如果當時沒有我這個瘋子以及其他同樣異想天開的人，如工程師Costa Antunes、醫生Sales Marques、António Conceição Júnior，當然還有政府的支持，一切都不會發生。記憶猶新FOUNDING MEMORIES󳛓ANDRÉ VINAGRE1987年，葡萄牙鋼琴家 Adriano Jordão 創辦了澳門國際音樂節。今年，他重返澳門，出席了2024年音樂節澳門國際音樂節的開幕儀式。談及這段經歷，他說，就像祖父看到孫輩長大成人一樣，倍感欣慰。󱱯ANDRÉ VINAGRE

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108MC MC SEP /OCT - 2024SEP /OCT - 2024109As artistic director of the Festival, you managed to bring names like Audrey Hepburn, Alfredo Kraus and Ileana Cotrubas to Macau. Was it easy to attract these names to come to Macau in those days? And what was their reaction to the city?They were my friends. The only one of my friends who didn’t come here at the time was Plácido Domingo. He was at the top of his career at that time and I tried to get him to come, but I couldn’t because his schedule was impossible.Those that came liked it very much. Christa Ludwig told me that she had an extraordinary memory of her re-cital in Macau - a woman who has sung all over the world explicitly mentioned her recital in Lou Lim Ioc Garden. People liked coming here. Audrey Hepburn wasn’t my friend, but she became one. She came because she was the cousin of the Dutch ambassador to Portugal at the time, who was also my friend.When organizing the Festival, what aspects did you take into consideration? What criteria were the most important?Very simple: total and absolute intransigence with ar-tistic quality, concern for balance and access to inter-nationally elite musicians. For example: In La Traviata, which was performed at the Forum, Violeta - the lead role - was played by Ileana Cotrubas, one of the best Violetas in history; the staging came from London, from Covent Garden; we also had António Conceição Júnior doing a fantastic job; and I brought the male role from Beijing, who was a young Chinese tenor.How did the idea of creating this Festival come about in 1987? It was a fit of madness [laughs]. It was very simple: I was coming to Asia to play - I was the first Portuguese pianist, with Sequeira Costa, to come to China after the war - and I had a contract that included Hong Kong and, obviously, I came to Macau. When I came to Macau, I thought it was a privileged place in Asia to hold a Festival of Western music and culture. Macau is a meeting point, a place of exchange. Macau was born as a trading post. So I realized that Macau could be an excellent cultural hub. Today we can see that the creation of the Festival has given immense impetus to the development of the cul-tural industries in the city. Forty years ago, putting on an opera with international superstars in the sports forum that António Conceição Júnior transformed into an opera house with stage directors who came from London’s Covent Garden was absolutely crazy. When I see that, after 40 years, Macau has a proper Cultural Center, I say it was worth it. These things come out of necessity. There are infrastructures that are here in the city now precisely because of the Festival. The Macao Orchestra was born at the third Festival and has remained. Bringing in world-class artists also changes people’s param-eters. If people don’t listen to the best there is, they don’t know what the best is. Four decades on, I’d say it was worth it, because I’m going to see Tosca here with one of the greatest orches-tra leaders of our time [Valery Gergiev], which would have been unthinkable back when we started the Festival, if there hadn’t been a madman - me - as well as other madmen who are here - like Engineer Costa Antunes, Doctor Sales Marques, António Conceição Júnior - and also with the sup-port of the government of course.On a cultural and social level, were there any difficul-ties in founding the Festival?None. It was very successful, especially because of the in-ternational projection it had. The closing concert of the first Festival was broadcast live by TDM to 70 international tele-vision channels, including NHK in Japan. In 1987, having 70 minutes of Macau on the air throughout the whole of Asia, without the city being labeled as a gambling destination, had great significance.在文化和社會層面上，創辦音樂節有什麼困難嗎？沒有。音樂節非常成功，尤其是因為在國際上的影響力。首屆音樂節的閉幕音樂會由澳廣視向70個國際電視頻道現場直播，包括日本 NHK。1987年，在整個亞洲播放70分鐘的澳門節目而沒有博彩勝地的標籤，意義非凡。作為音樂節的藝術總監，你成功地把Audrey Hepburn、 Alfredo Kraus及Ileana Cotrubas等名人帶到了澳門。當時吸引這些巨星來澳門容易嗎？他們對澳門的印象如何？他們都是我的朋友。當時我的朋友中，只有多明戈沒有來過澳門。我曾試圖邀請，但他正處於事業巔峰期，日程繁忙，最終未能成行。來澳門的人都非常喜歡這裡。Christa Ludwig告訴我，她對當年在澳門的獨奏會記憶猶新。一位在世界各地演唱過的歌唱家對她在盧廉若花園的獨唱會念念不忘。大家都喜歡這裡。Audrey Hepburn本來不是我的朋友，但後來成了我的朋友。她來是因為她是當時荷蘭駐葡萄牙大使的表妹，而大使是我的朋友。 CLOSING STORY特寫故事在組織音樂節時，你考慮了哪些方面的因素？最重要的標準是什麼？好簡單：對藝術品質全然、絕對不妥協，關注平衡以及與國際精英音樂家的接觸。例如在澳門舞台上演的《茶花女》中，女主角Violeta由Ileana Cotrubas飾演，她是史上最優秀的Violeta演員之一；舞台設計總監來自倫敦科芬園皇家歌劇院；我們請來了António Conceição Júnior，表現出色；還從北京請來了一位年輕的中國男高音飾演男主角。你是否一直在關注音樂節的發展？它的發展是否與您多年前的設想一樣？我覺得指導原則是一樣的。今年有捷傑耶夫指揮馬林斯基交響樂團演出《托斯卡》，他是世界頂級的指揮大師。我認為當初的原則得到了堅持，很高興看到多年的努力得到了回報。我不會要求繼任者保持和我一樣的工作方式。藝術上的尊重意味著無論誰接手，只要遵循基本原則，我都會予以尊重。你認為今年的音樂節節目單如何？特別好。換我來做也會是如此（笑）。這是我的最高評價。亮點當然是開幕式和捷傑耶夫的出席。難免會有批評之聲，但這也是遊戲規則的一部分。如何受邀參加今年的藝術節？幾個月前，我在里斯本的家中，收到文化局的摯友Michel Morais Reis向我提出能否參加本屆音樂節的可能性時，當時我感到非常興奮。而且我並不知道的是邀請函已在路上，而且還包括在澳門音樂學院為年輕鋼琴家主持大師班的機會。

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110MC MC SEP /OCT - 2024SEP /OCT - 2024111Have you been following how the Festival has devel-oped? Has it become what you imagined it would all those years ago?I feel the parameters are the same. We have Gergiev conducting the Mariinsky Orchestra in a production of Tosca, we’re talking about a top-level conductor. I think the principles are being maintained and I’m very proud to see that it has paid off. What I can’t do is demand that whoever takes over does it as if I were doing it. Artistic respect means that I have to respect whoever takes over, as long as the basic guidelines are followed.What do you think of the program for this year’s edition of the Festival?It’s excellent. I could have done it myself [laughs]. That’s the highest praise. The highlight is certainly the opening and the presence of Gergiev. There will always be people who criticise elements of it, but that’s part of the rules of the game.How did the invitation to attend this year’s Festival come about?Months ago, I was at home in Lisbon, when my dear friend Michel Morais Reis from the Cultural Affairs Bureau raised the possibility of attending and I was thrilled with the idea. I did not know at that time that the invitation was already on its way and that it would also include an opportunity to conduct a masterclass for young pianists at the Macau Conservatory. How important are masterclasses for these young up and coming talents?There has been an impressive development in the qual-ity of teaching at music schools. Young performers are technically and mechanically extremely well prepared, but often tend to look at music as a competition. It is easy to establish which athlete is fastest and can win the race, but trying to determine the best interpreta-tion of a musical piece requires careful cultural analysis. Understanding the historical context in which a piece was composed plays an instrumental role in determin-ing the different perspectives and ways of approach-ing a musical score, and that is the main focus of my masterclasses.And on a cultural level, do you notice any differenc-es in the city? The government has stressed their in-tention to diversify Macau’s economy and one of the keys to making this happen is investing in the cul-tural industries. Is there potential for this in Macau?There is enormous potential in Macau. Macau has the only Italian-style theater - the Dom Pedro V Theater - in Asia. And where in Asia do you find a Leal Senado or the Ruins of St. Paul’s? That’s what makes Macau unique in the world. When people talk about Macau, they ob-viously think of gambling, which is also part of it, but that’s not all. And the fact that it’s not just that is very important.You’re now celebrating 55 years in the business. You’ve performed all over Europe, North and South America, Africa and Asia, and you’ve also been hon-ored by the French and Portuguese governments. Can you single out any moment in your career as being the most important for you?That’s very difficult. I would say that the inauguration of the Festival was very important. It’s not easy to be the director of the Festival and show your face at the open-ing. That’s a very important moment. I also remember playing, on tour with the Beijing Orchestra, in Hainan, when there was nothing there. I also remember the Ravel concert in New York, at Lincoln Center. But the inauguration of the Festival in Macau was a very exciting moment.大師班對這些年輕的新秀有多重要？音樂學校的教學品質有了令人印象深刻的發展。年輕的演奏家在技術和機械方面都準備得極為充分，但往往傾向於將音樂視為一種競賽。要確定哪位運動員跑得最快並能贏得比賽很容易，但要確定一首樂曲的最佳詮釋則需要仔細的學術分析。了解樂曲創作的歷史背景，對於決定從不同的角度和方式來處理樂譜起著舉足輕重的作用，這也是我的大師班的主要重點。在文化層面，你是否注意到這座城市的變化？政府強調要實現澳門經濟的多元化發展，當中一個關鍵舉措就是投資文化產業。澳門在這方面有潛力嗎？澳門有巨大的潛力。澳門擁有亞洲唯一的意式風格劇院——崗頂劇院。亞洲哪裡還有議事亭前地或大三巴牌坊這樣的建築？這就是澳門在世界上的獨特之處和立身之本。提及澳門，人們顯然會想到博彩，這是澳門的一部分，但遠非全部。澳門不只有博彩，這很重要。從業55年來，你的足跡遍佈歐洲、北美、南美、非洲和亞洲，亦受到法國和葡萄牙政府的嘉獎。能不能說說在職業生涯中對你來說最重要的時刻？太難了。我想，創辦音樂節非常重要。擔任音樂節總監並在開幕式上露臉，並不容易。這是一個重要時刻。還有與北京樂團一起在海南巡演，當時那裡還是一片荒蕪。此外，我還記得在紐約林肯中心的拉威爾作品音樂會。但在澳門創辦音樂節絕對是激動人心的經歷。

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112MC MC SEP /OCT - 2024SEP /OCT - 2024113The France Macau Chamber of Commerce (FMCC) successfully hosted its prestigious 2024 Charity Gala Dinner on 20th September 2024, themed A Journey Through Time and Space at the Grand Ballroom of MGM Macau. This event brought together approximately 300 VIPs, executives, and government oicials from Macau, Hong Kong, and the Greater Bay Area to celebrate 60 years of Sino-French diplomatic relations, marking a remarkable milestone in the shared history between the two nations. In alignment with this historic occasion, FMCC continued its commitment to sustainability and community development by presenting the Macau ESG Awards 2024. 法國澳門商會(FMCC)於2024年9月20日在澳門美高梅酒店大宴會廳成功舉辦了2024年度慈善晚宴，主題為「時空之旅」。此次活動匯集了約300位來自澳門、香港及大灣區的貴賓、企業高管及政府官員，共同慶祝中法建交60周年這個具有重要意義的歷史里程碑。作為此次活動的一部分，FMCC繼續履行其對可持續發展及社區發展的承諾，頒發了2024 年度澳門ESG獎項，表彰在環境、社會及治理(ESG)方面取得傑出成就的機構。獲獎者包括最佳非政府組織的澳門樂施會、最佳中小企業的C&C律師事務所，以及最佳項目的美高梅。他們在推動可持續發展方面展現了卓越的創新和領導力。晚宴還成功為樂施會的「紙皮回收」計劃籌集到澳門幣60,910元善款。該計劃旨在通過社區參與、教育和環境保護，提升澳門的紙皮回收率，這與FMCC對可持續發展和環保的承諾非常契合。此外，晚宴上還有來自上海的中法爵士樂隊「愛黎與流浪者」的精彩表演。法國澳門商會舉辦2024年度慈善晚宴，慶祝中法建交60周年FMCC CHARITY GALA DINNER 2024 CELEBRATES 60 YEARS OF SINO-FRENCH RELATIONSThe awards recognized outstanding achievements in Environment, Social, and Governance (ESG), with winners from the categories of Best Project: MGM, Best SME: C&C Lawyers & Notaries, and Best NGO: Oxfam in Macau announced during the gala. These winners exemplified innovation and leadership in advancing sustainable practices within Macau. This year’s gala also raised significant charitable funds of MOP60,910, in support of Oxfam’s “Paper Recycling” initiative. This project aims to enhance Macau’s paper recycling eorts through community involvement, education, and environmental stewardship, perfectly aligning with FMCC’s dedication to sustainable practices and positive environmental impact. The evening was further enriched by performances from Alice & The Wanderers, a Sino-French jazz band flown in from Shanghai. PEOPLE為人部分

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116MC SEP /OCT - 2024On a day of unpredictable weather conditions, fashion aficionados gathered for Alta Bella's highly anticipated cruise collection show, Éclat et Élegance à Bord. A significant milestone for Alta Bella, this show marked the debut of their Men's Collection, a testament to the brand's expanding range. The collection featured sleek, contemporary designs that exuded sophistication, from tailored swim shorts to elegant beachwear. Miss Universe Latvia, Kate Alexeeba, was a star attraction, adding an extra layer of glamour to the evening. Her presence captivated the audience, seamlessly blending beauty and elegance with Alta Bella's latest creations. Despite the weather challenges, Alta Bella's cruise collection show successfully impressed attendees, highlighting the resilience of designer and owner Bella Horner and her team. As the brand looks to the future, the event augurs well for the continued growth and evolution of Alta Bella’s collections, promising many more moments of sartorial brilliance.在天氣陰晴不定的一天，時尚愛好者們齊聚一堂，參加備受期待的Alta Bella郵輪系列時裝秀「Éclat et Élegance à Bord」。對於Alta Bella，這場時裝秀是一個重要的里程碑，標誌著男裝系列的首次亮相，也證明品牌不斷擴大的版圖。由剪裁合體的泳褲以至優雅的沙灘裝，系列單品以時尚、現代設計為特色，散發著精緻的氣息。光彩照人的拉脫維亞環球小姐Kate Alexeeba是當晚的明星。她的美麗優雅令在場觀眾為之傾倒，完美演繹了Alta Bella的最新設計。儘管天公不作美，Alta Bella 郵輪系列秀「Éclat et Élegance à Bord」依然成功地驚艷一眾出席者，彰顯了設計師兼創始人 Bella Horner 及其團隊的超凡實力。今次活動預示著 Alta Bella 系列將繼續發展壯大，並在未來帶來更多的時裝佳作。MAKING WAVES: ALTA BELLA’S UNFORGETTABLE CRUISE COLLECTION SHOW “ÉCLAT ET ÉLEGANCE À BORD”乘風破浪：ALTA BELLA令人難忘的郵輪系列秀「ÉCLAT ET ÉLEGANCE À BORD」PEOPLE為人部分

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