MC175 flibook : simplebooklet.com

6MC MC MAY /JUN - 2025MAY /JUN - 20257PUBLISHER & 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, Yang Sio Maan PHOTOGRAPHY 攝影Eloi Scarva, Mark Phillips, Pedro André Santos CONTRIBUTORS 投稿人André Vinagre, Annya Lai, Carolina Baltazar, Catarina Chan, Eloi Scarva, Ganaa Avila, G!NN!E龔善欣 Juliana 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「既視感」“Déjà Vu”共慶葡國藝術A Celebration of Portugal重塑經典鉅作 Reimagining an Icon沉默之聲的迴響Echoes of Silenced Voices 觀古照今Classic and Contemporary探索文化旅遊Exploring Cultural TourismPedro Paz PORTFOLIO | | 作品集66爐火純青A Passion for Quality葡韻魅力The Real Deal | ARTS | | 藝術48 | ARTS | | 藝術42 ARTS | | 藝術38 ARTS | | 藝術34 ARTS | | 藝術52 ARTS | | 藝術58 PUBLISHER’S DESK | | 編輯筆錄9WHAT’S ON | | 10城中熱事DISCOVER MACAO | | 12城中節慶HOT SPOT | | CLOSER LOOK | | 16 20城中熱點特寫焦點OPINION | | 評論7692OPINION | | 評論102OPINION | | 評論78美食84美食創意聯乘Creative Partnerships CLOSER CELLAR | | 特寫酒窖 92 | HOME AFFAIRS | |94家居PEOPLE | |104人物舊居新生Harry’s HousePAUL FRENCH目的地澳門DESTINATION MACAO龔善欣 JULIANA KUNG活著 • 笑著 • 愛著LIVE • LAUGH •LOVEGANAA AVILA心嚮INNER HARMONYCULTURAL CONSTRUCTIONS 文化฀築฀跡JOE TANG JOE’S READING LIFEOPINION | | 評論56老外咖啡CAFÉ XINAGOURMET | | GOURMET | |

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8MC MC MAY /JUN - 2025MAY /JUN - 20259We 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 | 9對於曾在亞洲生活或旅行的人來說，建築地盤上縱橫交錯的竹棚架是再熟悉不過的風景。初見者無不為其精湛工藝、堅固實用以及對天然材料的巧妙使用所折服。在澳門，每逢特定節慶時分，各大廟宇周邊的竹子不僅是竹棚架，更化身為建築主體那些穩穩屹立的戲棚，可用以舉行粵劇等傳統表演，為廟中供奉的神祇慶賀誕辰。本期我們專訪一位竹棚架搭建大師，探尋這項獨特營造技藝的奧妙，並思考它是將繼續存在，還是終將湮沒於歷史煙雲。五年前，可謂澳門最著名現場秀的《水舞間》因疫情暫別舞台。但令人欣喜的是，這場視覺盛宴於上個月強勢回歸，不僅保留了經典橋段，更添創新演繹。我們與藝術總監朱利安諾·佩帕里尼暢談重啟這場盛大演出的挑戰與機遇。在藝術欄目，我們帶你探訪城中新展：澳門巴黎人正舉辦「鏡像・迴路・生成」系列「既視感」中法藝術交流三人展，法國錄像藝術先驅羅伯特・凱恩（Robert Cahen）與澳門藝術家郭恬熙及蔣靜華的作品於此展開跨時空對話。詩人兼藝術家徐今今則透過展覽《千百種現場：消聲》探討流徙、語言與身份認同議題，與我們分享她的創作歷程。適逢澳門文華東方酒店開業十五週年，酒店於大堂及大堂酒廊呈獻特備中國藝術展「觀古照今・筆墨恆長」，展出兩位澳門女性藝術家梁潔雯以及曾貞貞的當代中國繪畫作品。意大利美食巨匠Alfonso Iaccarino近日訪澳，與我們分享其傳奇生涯與澳門情緣。我們亦專訪「曼撻格利亞Manteigaria」的經理Diogo Vieira，看這間新店如何為澳門帶來最地道的葡式蛋撻。最後，我們走進望德堂區，參觀澳門香學文化協會會長樓高三層的歷史宅邸，感受老澳門的生活韻味。盛夏已至，不妨斟杯冰飲，尋處蔭涼，隨本期《澳門特寫》細味小城故事。祝你閱讀愉快！插畫 COVER ELOI SCARVA For anyone who has lived in or travelled around Asia, the sight of masses of intertwined bamboo scaolding on construction sites is a very familiar one. Anyone seeing it for the rst time is always impressed by the ingenuity of the workmanship and the strength and practicality of this product of nature. At special times of the year around many of the temples in Macau, bamboo is not simply scaolding, but it is the structure of the building itself, primarily in the form of impressive theatres that host traditional Cantonese operas and other performances to celebrate the birthdays of locally worshipped deities. In this issue, we meet up with a master craftsman of this tradition and learn more about this unique building method, and also consider whether it will manage to continue or one day disappear into the fog of history.Five years ago, arguably the most famous live show in Macau, House of Dancing Water at City of Dreams, was forced into temporary closure due to the pandemic. Happily though, last month the show returned with many of its most popular acts, together with a host of new and innovative performances. This issue we speak with Artistic Director Giuliano Peparini about the challenges and opportunities he faced when bringing the show back to life. In the world of Art we check out some fantastic new ex-hibitions around town including Mirroring•Looping•Generat-ing - Déjà Vu A Sino-French Art Exchange at the Parisian Macao bringing together the work of pioneering French video artist Robert Cahen, with that of Macau artists Alice Kok and Cath-erine Cheong.We also speak with artist and poet JinJin Xu as she introduces her groundbreaking exhibition What Would You Say If You Could? reecting on displacement, language and identity. This year Mandarin Oriental Macau is celebrating its 15th anniversary, and to commemorate the occasion the property is featuring the artwork of two talented local artists Leong Kit Man and Tsang Tseng Tseng with the exhibition Modern Vision, Timeless Technique, on display in the hotel lobby.An icon of the world of Italian ne dining, Chef Alfonso Iaccarino visited Macau recently and spoke with us about his remarkable career and his strong ties with the city. We also meet up with Diogo Vieira, manager of recently opened Manteigaria, who is introducing visitors and locals to the truly authentic avours of Portuguese pastel de nata.Last but not least, we visit the lovely heritage home of Harry Chan located in St. Lazarus district. Chairman of the Macao Incense Culture Association, Harry shows us around his delightful three-story residence.Summer is here, so grab a cold drink, nd a cool place to relax and enjoy learning more about the city and its people with this issue of CLOSER. Happy Reading!

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活動 EVENT 品嚐葡韻風味葡萄牙晚宴套餐SAVOUR PORTUGAL – A SET DINNER TO REMEMBER@ 澳門雅辰酒店 ARTYZEN GRAND LAPA MACAU「反斗奇兵滙聚新濠影滙」STEP INTO TOY STORY AT STUDIO CITY@ 新濠影滙 STUDIO CITY「虎藏拾味下午茶」THE NEW W T TIME AFTERNOON TEA @ 澳門新濠影滙W酒店 W MACAU – STUDIO CITY全新「蔚藍夏日」南意風味體驗THE VIBRANT FLAVORS OF SOUTHERN ITALY WITH “SOLE E MARE” AT FONTANA@ 永利皇宮 WYNN PALACE探索葡萄牙美食的靈魂，盡在澳門雅辰酒店的薈景閣餐廳。在光映照的拱形門廊、葡式馬賽克地板及天花板吊燈下的氛圍下，薈景閣餐廳誠邀饗客品味主廚挑選的葡萄牙美饌套餐。每一道佳餚皆展現匠心獨運，配以一杯醇厚的紅白佳釀，為晚宴添上風雅時光。Discover the soul of Portuguese cuisine at Café Bela Vista, Artyzen Grand Lapa. With its sun-drenched archways, mosaic-tiled oors and whirling ceiling fans, at Café Bela Vista, guests are invited to enjoy a set dinner infused with authentic Portuguese avours from the chef’s selections with masterful craftmanship, complemented by a glass of ne red or white wine.適逢《反斗奇兵》全球上映30週年，新濠影滙於4月18日至10月31日精心打造《反斗奇兵》主題活動，化身為玩具大本營，透過巨型主題裝置、獨家遊樂體驗及限量珍藏週邊精品，為影迷打造一場充滿驚喜的歡樂旅程。To celebrate the 30th anniversary of Disney and Pixar’s Toy Story, Studio City is bringing the beloved world of Toy Story to life with a large-scale themed event. From April 18 to October 31, the resort will transform into a world of Toy Story, offering guests of all ages a special adventure with immersive installations, interactive experiences, and exclusive collectibles.永利皇宮旗下咖啡苑呈獻由行政總廚 Marco Pacetta 打造的「蔚藍夏日」(Sole e Mare)意大利南部風味體驗,帶領賓客沉浸於阿瑪菲海岸的陽光風情之中,以個性鮮明的南意美饌,加入創新理念和卓越廚藝,打造一場滋味滿分的舌尖之旅。餐廳坐擁永利皇宮壯麗的表演湖景,透過本味彰顯鮮明奔快的南意風味,配合檸檬元素裝潢設計及鮮活互動體驗,陽光普照的意大利南部海岸氣息撲面而來。Wynn is pleased to welcome Executive Chef Marco Pacetta to Fontana at Wynn Palace, where he is presenting lively and engaging “Sole e Mare” gastronomy experiences. The “Sole e Mare” experience at Fontana transports guests to the sun-kissed shores of Italy’s Amal Coast, where time-honored recipes, bold innovation, and heartfelt passion converge in one exceptional dining destination. Against the breathtaking backdrop of the Performance Lake at Wynn Palace, Fontana offers a taste of southern Italy’s vibrant avors. Every detail evokes the warmth and charm of coastal Italy.26/0518/0526/0631/10至 UNTIL至 UNTIL 從 FROM永利全新打造的亞洲超人氣美食地標—「馥樂庭」於 2025 年 4 月29 日盛大開幕。從一鳴驚人的米芝蓮平民魚粥,到無數明星打卡的新加坡叻沙名店,從風靡亞洲的日本鰻魚百年老店,到台灣最難訂位牛肉麵,踏入馥樂庭,每一步都蘊藏著別處難覓、只此永利的美味驚喜。Wynn’s exciting new Asian culinary landmark – Gourmet Pavilion is now open, presenting an exciting selection of colorful and diverse avors from all across Asia. Discover Michelin-starred Chaoshan sh congee, the best laksa from Singapore’s celebrity-favorite noodle shop, perfectly prepared unagi from a revered century-old Japanese restaurant, and the most sought-after beef noodles from the almost impossible-to-book restaurant in Taiwan.「馥樂庭」“GOURMET PAVILION”@ 永利皇宮 WYNN PALACE美食 DINING美食 DINING美食 DINING美食 DINING29/04從 FROM從 FROMWHATSON.MACAUCLOSER.COM30/06至 UNTIL 「六月,葡國月」 “JUNE – MONTH OF PORTUGAL IN MACAU”@ 澳門上葡京 GRAND LISBOA PALACE美食 DINING盛夏悄然降臨，澳門新濠影滙W酒店的特色酒吧 Blind Tiger 推出全新系列「虎藏拾味下午茶」，為賓客帶來一場沉浸式下午茶體驗。Blind Tiger 位於酒店40 樓頂層，賓客可在此盡情享受迷人的澳門天際線壯麗全景，以柑橘的清新、莓果的馥郁，迎接充滿活力的夏日，昇華悠閒午後時光。As the vibrant hues of summer begin to paint the city, W Macau - Studio City is thrilled to announce the launch of its latest edition of W T Time, an immersive afternoon tea experience at destination bar Blind Tiger. Guests are invited to elevate their afternoons and welcome the sun-kissed season with a vibrant palette of citrus brights, berry hues, and golden sunshine from high atop the W Macau - Studio City.欣逢「六月,葡國月」,「澳娛綜合」積極參與由葡萄牙駐澳門及香港總領事館、葡萄牙經貿投資促進局、澳門葡人之家協會、東方基金會及東方葡萄牙學會聯合舉辦的第三屆「品嘗葡萄牙」美食之旅,在旗下澳門上葡京綜合度假村內的高級當代葡菜餐廳「味賞」推出六月限定菜單,以葡式美饌搭配由專業侍酒師悉心挑選的美酒,誠邀賓客歡賀葡萄牙傳統節慶,體驗融合美食與歷史文化的獨特魅力,感受澳門作為中葡合作橋樑的活力。For “JUNE – Month of Portugal in Macau” “SJM” is proud to participate in the 3rd edition of Portuguese Cuisine Gastronomy Tour “Comer e Beber à Portuguesa,” organised by the Consulate General of Portugal in Macau and Hong Kong, Portuguese Agency for Foreign Investment and Commerce, Casa de Portugal in Macau, Oriental Foundation and Instituto Português do Oriente. As part of the celebrations, SJM’s contemporary Portuguese restaurant, Mesa by José Avillez at Grand Lisboa Palace Resort Macau, will present a limited-time menu in the month of June, featuring exquisite Portuguese dishes paired with sommelier selected Portuguese ne wines. WHAT’S ON

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12MC MC MAY /JUN - 2025MAY /JUN - 202513 Jun 6 -Sept 21, 2025St. Lazarus Square, Camões Garden, St. Augustine’s Square, Rua do Pai Kok Leisure Area  Baby Molly ‧Signature SpecialtiesCRYBABY‧Flavour Bites󽶳DIMOO‧Classic Cha Chaan TengLABUBU‧Macanese DelicaciesJun 6 - Sept 21, 2025 Ritz Building at Senado Square,  Sunday to Thursday: 11:00 AM - 8:00 PM;Friday & Saturday: 10:00 AM - 8:00 PMPOP MART互動體驗  限定好禮除了打卡拍照，活動還設有消費抽獎與蓋章活動，鼓勵遊客探索不同社區，並有機會獲得限定POP MART禮品。此外，議事亭前地的POP STATION活動大本營將展示澳門限定的MEGA SPACE MOLLY蛋撻打卡裝置，並設有快閃店供粉絲選購心動藏品。󶪆󴝡󸖊󴡎󸻍󳞉 󳦎󼶊 2025年 6月6日至 2025年 9月21日󱲓󹻋󽵚白鴿巢前地、瘋堂斜巷、崗頂前地及氹仔排角路休憩區󵏈󱷕󳛸󲧁Baby Molly – 特色手信󵒰󹯼󲦥󱑺󱲓CRYBABY – 地道小食󲠌󹌦󱑺󱲓DIMOO – 小城冰室󴊗󰺬󳍗󷨭󸄠󰼆󳀳󱘧LABUBU – 澳葡風味活動大本營 POP STATION󳞉 󳦎󼶊 2025年 6月6日至 2025年 9月21日󳠙 󸻧󼶊週日至週四上午11時至晚上8時；週五及週六上午10時至晚上8時󱲓 󹻋󼶊議事亭前地利斯大廈今年夏天，POP MART 攜手澳門特區政府旅遊局，打造了一場別開生面的城市遊歷「與POP MART漫遊澳門」！POP MART超人氣角色如Baby Molly、CRYBABY、DIMOO 和 LABUBU 化身各種造型首次進駐這座充滿魅力的城市，帶來一系列驚喜造型，更與澳門的歷史、建築和美食文化巧妙融合，打造獨一無二的沉浸式互動體驗。This summer, POP MART and the Macao Government Tourism Bureau have created a unique city tour - “POP MART MACAO CITYWALK”! POP MART’s popular characters such as Baby Molly, CRYBABY, DIMOO and LABUBU are transformed into various styles for the 󼴩rst time in this charming city, bringing a series of surprising styles, cleverly integrated with Macao’s history, architecture and food culture to create a uniquely immersive interactive experience.󴡎󸻍󶕢󹑻大型裝置 城市探索POP MART 角色遊走於澳門的世界遺產建築群，與白鴿巢前地、瘋堂斜巷、崗頂前地及氹仔排角路休憩區等地標場景融為一體。活動期間，7米高的巨型LABUBU裝置、4米高DIMOO裝置、Baby Molly全新造型裝置及CRYBABY多個趣味裝置藏身於澳門世遺建築，場景都充滿驚喜與趣味，遊人在打卡拍照的同時，深入感受澳門的獨特魅力。漫遊澳門與這次 POP MART 角色以美食為靈感，從澳門特色手信到澳葡風味，他們化身澳門地標性的美食代表，超萌造型讓人忍不住打卡！在瘋堂斜巷遇見手捧杏仁餅的 Baby Molly，在澳門白鴿巢前地尋找「好吃到哭」的夾餅的CRYBABY，在崗頂前地探索小城冰室的經典美食的DIMOO，或是在氹仔排角路休憩區體驗澳葡風味的LABUBU。The theme of these POP MART installations is inspired by food. From Macao’s special delicacies to authentic Macao-Portuguese 󼴪avors, these delightful POP MART characters have all become representatives of Macao’s culinary delights, and their super cute costumes make people want to check them out! Meet Baby Molly tasting almond cookies at St. Lazarus Square, CRYBABY looking for ‘tear worthy’ wa󼴬es in Camões Garden, DIMOO exploring classic Cha Chaan Teng food in St. Augustine’s Square, and LABUBU enjoying Macanese delicacies at Rua do Pai Kok Leisure Area in Taipa.The event also features a lucky draw and stamping event to encourage visitors to explore di󼴨erent communities and have the opportunity to get limited POP MART gifts. In addition, the POP STATION activity based in Senado Square showcases the Macao-exclusive MEGA SPACE MOLLY Egg Tart installation, along with a pop-up store for fans to purchase their favourite collections.POP MART characters wander around the world heritage buildings in Macao, integrating with famous landmarks such as St. Lazarus Square, Camões Gardens, St. Augustine’s Square and Rua do Pai Kok Leisure Area in Taipa. During the event, the 7-meter-high mega LABUBU installation, the 4-meter-high DIMOO installation, an installation of Baby Molly with a brand-new design and several fun installations of CRYBABY are hidden around the world heritage sites of Macao. The scenes are full of surprises and fun, allowing visitors to truly feel the unique charm of Macao while checking in and taking photos.WWW.MACAOTOURISM.GOV.MODISCOVER MACAO

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14MC MC MAY /JUN - 2025MAY /JUN - 202515 MC JAN /FEB - 2025 DISCOVER MACAO澳門，這座東西文化交融的城市，正舉行一場精彩絕倫的展覽《葡京：澳門故事》。展覽在澳門上葡京度假村藝術館舉行，以沉浸式體驗帶領觀眾穿越澳門500多年的歷史，從明朝時期的港口到如今的「世界旅遊休閒中心」的變化。Macao, a city where Eastern and Western cultures intertwine sees an extraordinary exhibition “The Lisboa, Stories of Macau”, taking place at the Art Gallery of Grand Lisboa Palace Resort. This immersive experience takes visitors on a journey through over 500 years of Macau’s history—from its days as a trading port in the “Ming era” to its transformation into today’s “World Centre of Tourism and Leisure”.󷌂󷝰󳛓󱗌󲚞󹔮󲚞󷨓󱲓󹻋󼶊 澳門上葡京綜合度假村二樓213號，上葡京藝術文化展館󸻛󳙟󳠙󸻧󽵚上午11時至晚上7時 (最後入場時間為下午6時)󸻍󵥲免費Grand Lisboa Palace Art Gallery, Shop 213, Level 2, Grand Lisboa Palace Resort Macau11:00 a.m. to 7:00 p.m. (The last admission time at 6:00 p.m.)探索澳門的傳奇《葡京：澳門故事》展覽涵蓋澳門八大著名地標，透過多維度影片、文字敘述、珍藏展品、互動遊戲及先進科技，更透過引人入勝的人物故事、地標建築及文化習俗，讓參觀者深入了解澳門的多元文化。󽶳“The Lisboa: Stories of Macau”covers eight themed zones, each showcasing Macau’s iconic landmarks. Through multidimensional videos, narrative texts, treasured exhibits, interactive games, and advanced technology, the exhibition guides audiences through Macau’s rich history. Engaging personal stories, landmark buildings, and cultural customs provide visitors with a deeper understanding of Macau’s multicultural heritage.《葡京：澳門故事》“The Lisboa, Stories of Macau”「藏京閣」：珍品展現清朝宮廷藝術首展以《中華瑰寶：清朝宮廷藝術》為主題，精選多件展現清朝宮廷藝術的珍品，包括戧金及填漆龍紋寶座、珊瑚紅雲龍大碗及墨玉雙龍頭活環三足寶鼎等，讓觀眾感受清代宮廷美學與文化風韻。󽶴󽶵The inaugural exhibition, titled “Chinese Treasures: Qing Dynasty Court Art”, presents exquisite artifacts such as he Filled-in Gold and Lacquered Dragon Throne, Eggshell Porcelain Glazed Bowl with Coral Dragons Motif, and Spinach-green Dragon Jade Burner, allowing audiences to experience the beauty and cultural charm of the Qing court.文創商店除了展覽外，「上葡京藝術文化展館」設有紀念品店，匯集與本地插畫家聯合呈獻的澳門特色精品及本地設計產品等,讓參觀者將澳門文化記憶帶回家。The Grand Lisboa Palace Art Gallery includes a souvenir shop that brings together Macao-themed products and locally designed items in collaboration with local illustrators, allowing visitors to take home a piece of Macao’s culture. WWW.MACAOTOURISM.GOV.MO

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18MC MC MAY /JUN - 2025MAY /JUN - 202519接手後，阿謙與合作夥伴何思樂很快著手翻新內部空間並升級廚房設備。一年後的今天，菜單已涵蓋豐富選擇：酒吧小食、前菜、沙律、湯品、意粉、主菜，還有葡萄酒、雞尾酒和手工啤酒。儘管團隊僅有三人，老外咖啡仍堅持每晚7時營業至凌晨2時。「我們每月通常只休息一兩天。若當日不營業，會提前在Instagram發文。」週末時，經常有本地DJ受邀在此演出，派對狂歡直至凌晨。「我們定期舉辦派對，就是想為大家的生活增添樂趣。從各地趕來的朋友整晚飲酒聊天，有時一直持續到第二天上午10時。這裡有很多可能性，是一個非常自由隨性的空間。」經營一年後，有何收穫？「我學會了如何靠極少睡眠生存！」阿謙笑道。「雖然之前我從沒想過會做這行，但現在我真的很享受這一切，樂在其中。我認識了許多人，結交新朋舊友，也認識了不少其他餐廳老闆。這座城市有非常團結的餐飲從業員社群。」工作日的晚間通常比週末更忙碌，訂座與即場加入的客人都更多，多為本地年青人。這裡歡迎寵物，因此訓練有素的乖巧狗狗亦可同行。老外咖啡是一個絕佳的社交與聚會空間，人們在此相聚同樂，享受美食佳釀與溫暖親切的服務。「我對生意成功與否並沒有執念，」阿謙說，「只想盡己所能服務客人，讓他們在這裡享受美好時光。」“The whole process happened quite quickly and unexpectedly, so we didn’t go into it with a very specic plan or concept. But gradually we have been working things out and listening to feedback from our customers to make some changes along the way. We’re still experimenting with some dierent ideas, and our friends and regular customers are very supportive of us, so we’re very thankful to them.”Him and his partner Ho Si Lok quickly got to work renovating the interior and modernizing the kitchen. A year later, the menu oers a good range of bar snacks and appetizers, salads, soups, pastas and main courses, as well as wines, cocktails and craft beers. Despite being a small team of just three, Café Xina is open everyday from 7pm to 2am.“We usually only close one or two days a month. If we are not going to be open, we just put a message out on Instagram to let people know.”Local guest DJ’s often play on the weekends, with the parties carrying on to the early hours. “We keep organizing parties and trying to make something just to make people’s lives more interesting and fun. We have friends coming from other places, and talking and drinking for the whole night, and we sometimes stay here until 10 in the morning. We can do a lot of things here. It’s a very exible and relaxed space.”Has Him learned anything from the rst year of running the business?“I’ve learned how to survive on very little sleep!” he laughs. “I’m denitely enjoying this, it’s a lot of fun and I never expected to be doing this. I’ve met a lot of people and made a lot of new friends, gotten to know our regular customers and also a lot of owners from dierent restaurants as well; there’s a real F&B community here in the city.”Weeknights tend to be busier than weekends, with more reservations and walk-ins, and customers are generally a younger, local crowd. And it’s a pet friendly space too, so well-trained dogs are welcome. Overall, Café Xina is a great community gathering spot where people can come together and have a good time, with nice food and drinks and warm, personal service.“I have no expectations in terms of the success of the business,” says Him. “We’re just trying to do whatever we can to take care of our customers and make sure they enjoy their time here.”

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22MC MC MAY /JUN - 2025MAY /JUN - 202523The eighth day of the fourth lunar month is the tra-ditional birthday celebration of Tam Kong, a Taoist deity of the sea. And down by the seaside in Coloane village, the usually quiet area in front of Tam Kong Temple comes alive with the construction of an impres-sive Cantonese opera theatre, built entirely from bam-boo. Upon completion, the structure hosts a number of performances over several evenings, in celebration of the deity.The imposing three-storey structure is the largest of its kind in Macau, comprising hundreds of bamboo poles and fir wood beams of varying lengths, all held together without a single nail, screw or any other piece of metal. The main structure of the theatre covers over 1,000 square meters. Functionally, it is divided into a stage and seating areas, with triangular arched truss structures forming the roof.Master Leong Wo, a seasoned bamboo theatre builder, arrives in the village on his motorcycle carrying with him all the tools of his trade, ready to get to work.As he works, he explains: “We mainly use two ma-terials - solid fir wood as load-bearing pillars and hol-low bamboo as supplementary supports.”When the annual celebratory performances have come to an end, the entire structure is dismantled and much of the construction materials are kept and re-used the following year.“Every year, we carefully store the materials. The fir wood can last for more than a decade and the bam-boo needs to be replaced every two years.”四月初八是道教海神譚公的傳統誕辰慶，路環村的海邊每年的這個時候都變得熱鬧非凡。平日寧靜的譚公廟前會搭建起一座全竹結構的宏偉粵劇戲棚，戲棚落成後，將連續數晚舉行多場演出，以慶賀神誕。這個足足有三層高、全澳門最大的竹子戲棚，是由數千支長短不一的竹竿和杉木樑柱構成的，全結構不用一根鐵釘、螺絲或其他金屬部件。戲棚主體佔地逾千平方米，功能上分為戲臺與觀眾席，屋頂則採用三角拱形桁架結構。梁和師傅，一名資深搭棚工匠，他騎著電單車來到路環村，車上載滿全套搭棚工具，準備開工。他一邊工作一邊娓娓道來：「搭棚主要用兩種材料：實心的杉木作承重柱，空心的茅竹（又稱毛竹）作輔助支架。」年度神功戲落幕後，整座竹棚便會拆卸，大部分建材都會妥善保存，留待來年再度使用。「每一年，我們都會仔細收好建材。杉木可以用十幾年，茅竹就每兩年要換新。」從開始搭建到戲棚完全拆卸，整個週期也不過五十天。在澳門，竹枝容易採購，售價便宜兼用途繁多，竹棚架更是舉目皆是，往往用於建築工程中。事實上，神功戲棚建築技藝更已被列入非物質文化遺產清單中。然而，鄰阜香港從今年起，將以公共工程為起點，推廣重用性更高的金屬架，逐漸取代傳統竹棚。這份依靠口傳手授的手工藝，靈活、隨建隨拆的竹棚建築傳統，已經歷了數百年風吹雨打和歷史的考驗，但能否延續卻仍是未知數。梁師傅指着上方這些八、九米長，微微拱起的竹枝，帶我們參觀正在搭建中的戲棚。「拱頂既能承重，又方便騰出更多空間懸掛花牌，讓觀眾看得更過癮！」我跟著梁師傅的步伐往退後幾步，整個戲棚的精妙結構一覽無遺，竹枝和杉木以精妙方式相互咬合，蔚為奇觀。A STAGE BETWEEN TIDES潮汐間的戲台󳛓TEXTBY G!NN!E / 󱱭 PHOTOS ELOI SCARVACLOSER LOOK特寫焦點

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24MC MC MAY /JUN - 2025MAY /JUN - 202525From the beginning of the construction process till the theatre is all completely dismantled again, takes around 50 days in total.In Macau, bamboo is readily available due to its af-fordable and versatile nature, and bamboo scaffolding is found everywhere in the city, commonly used in con-struction projects. In fact, the craftsmanship of these traditional bamboo opera theatres has been listed as intangible cultural heritage. However, neighboring Hong Kong has begun re-placing traditional bamboo scaffolding with more reus-able metal rods for public works projects from this year. So while this orally transmitted handicraft of building flexible and temporary bamboo structures has weath-ered centuries of storms and historical changes, its fu-ture now seems uncertain.As Master Leong guides us around the theatre un-der construction, he points to the eight-to-nine-meter-long, slightly curved bamboo poles high above.“The arched roof can bear heavier loads while creat-ing more space to hang decorative plaques, making the show more enjoyable for our audiences!” he explains.Following Master Leong, the ingenious structure of the entire bamboo theatre becomes clearly visible, with its complex array of marvelous interlocking bamboo poles and fir wood. According to Master Leong, the Tam Kong Temple theatre can accommodate over a thousand people, and there are a total of three entrances, with the main building connected to a sheltered corridor that manag-es crowd flow while providing space for stalls and din-ing, cleverly linking the temple with the sea.Similar bamboo theatres are also set up at A-Ma Temple, Fok Tak Chi Temple, Lin Kai Temple, and Taipa’s Pak Tai Temple, but Tam Kong Temple’s theatre is particularly spectacular.Tam Kong Temple was built in the first year of Tongzhi reign (1862), established by fishermen who worshipped Tam Kong as a sea deity. Tam Kong is wide-ly venerated throughout Guangdong’s coastal areas. 梁師傅說，譚公廟神功戲棚最多可以容納一千多人，場地一共有三個出入口，主棚連接風雨廊，既能分流人群，又可擺攤和聚餐，巧妙串聯起廟宇與海。同類神功戲棚在媽閣廟、雀仔園福德祠、蓮溪廟及氹仔北帝廟亦有保留，但譚公廟戲棚尤為壯觀。譚公廟建於同治元年（1862年），由奉譚公為海神的漁民所建。譚公信仰在廣東沿海地區廣為流傳。從歷史淵源來看，澳門的神功戲傳統至少可追溯至二百八十年前，完整保留了本地人文信仰的原始形態。相較起鄰近地區，神功戲的演出在香港城中各大小廟宇多已近乎絕跡，在嶺南也退居鄉村，但澳門反而有完整的保存，更顯難能可貴。梁師傅憶起自己曾造訪過香港最大的戲棚，他驚嘆這個戲棚大到可以容納足足五、六千個座位。「那個戲棚大得驚人！澳門的神功戲棚雖然在體積上不及他們，但我們的工藝更為精巧。」梁師傅如此評價道。如今，神功戲棚這一建築類型如今僅零星留存於珠三角、潮汕、福建等東南沿海部分地區。由於各地的風俗習慣、實際需求和建造技藝不同，它們都發展出鮮明的地域特色，但同時也保留着某些共同特徵。梁師傅說，不論哪種戲棚，最重要的就是因地制宜：「做到哪就想到哪，這就是我面對困難的方法。」MASTER LEONG WO

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26MC MC MAY /JUN - 2025MAY /JUN - 202527HAND-EYE-HEART CRAFTSMANSHIPMaster Leong explains that every year’s construction be-gins with a fixed procedure: identifying key pillar points on the land and water respectively, followed by building perimeter walls and temporary supports, laying down green plastic sheets, erecting the stage, installing the en-trance corridor, and finally decorating the theatre with floral plaques and banners. During construction, craftsmen nimbly move throughout the structure, using only visual estimations, mental calculations, body measurements and balance to determine the spacing between the bamboos poles and load-bearing points, while maintaining the symmetrical aesthetics of the theatre - truly a craft that demands not just strength and agility, but the perfect syncronisation of hand, eye and soul. Master Leong recalls that when he first started work-ing on temple bamboo theatres, he had no official blue-prints at all, only two photos that didn’t even show the entire structure: one showing the left side, the other the right - which he had to piece together to understand the internal structure. Scaffolding craftsmen at that time could build without blueprints or machinery, and Master Leong had to learn his craft by carrying bamboo poles and wood on site every day with his teacher.After two years’ apprenticeship, Master Leong ob-tained his instructor’s license in 1980.“The basic knowledge only takes two years to master, but everything beyond that requires your own creativity,” he says. Since entering the trade, he has worked at temples around Macau for over 40 years.The construction of the Tam Kong theatre requires around 70 to 80 craftsmen. Before construction begins, the team prays at the temple for safety and good weather: by June, Macau enters its stormy season, therefore, major deity birthdays like God Tou Tei, Northern Emperor and God A-Ma, all occur before Dragon Boat Festival, the fifth day of the fifth month of the Chinese calendar. Historically, Macau’s temple opera tradition dates back over 280 years, keeping alive the original form of lo-cal beliefs and culture. Compared to neighboring regions where such performances have largely disappeared from urban Hong Kong temples and retreated to rural Lingnan areas, Macau’s preservation is remarkably complete.Master Leong recalls a visit to Hong Kong’s largest bamboo theatre, and his surprise at its capacity to seat five to six thousand guests. “It was so huge! Even Macau’s bamboo theatres can’t match their size, but our craftsmanship is more refined,” he remarks. Today, this architectural style survives only sporad-ically in parts of the Pearl River Delta, Chaoshan, Fujian and other southeastern coastal areas. All have developed distinct characteristics due to local customs, practical needs and construction techniques, which vary from re-gion to region, but also share some common features. As Master Leong says, regardless of the structure type, the key principle is adapting to the actual circum-stances: “I figure things out as I go - that’s how I solve problems.”

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28MC MC MAY /JUN - 2025MAY /JUN - 202529Master Leong recalls an A-Ma birthday celebration over a decade ago when a No. 8 typhoon struck. Luckily, the bamboo theatre remained standing. This miraculous resilience was the result of the skilled hands of crafts-men, who built sturdy structures that could withstand the forces of nature.“The flexibility and strength of bamboo is truly in-credible, and it shows amazing toughness even against the strong winds,” Master Leong says proudly.“We start work on the first day of the third lunar month every year, rain or shine. The whole project takes about a month, so that we can finish right before Tam Kong’s birthday,” Master Leong says with a smile, exud-ing the strong sense of pride in his work. Later in the month, we return to the site when the festivities are all over, and as the sun sets, the last bam-boo pole is removed, returning Tam Kong Temple square to its usual peace and quiet. Even though this iconic 入行後，梁師傅就跑遍澳門各個廟宇，一做就是四十多載。每年的譚公誕神功戲棚需七八十位工匠合作搭建。動工前，他們都會到廟裡祈求動工平安與天公作美——因為到了六月，澳門就會進入風雨季，所以一連串的大型神誕都是在端午節前舉行，如土地誕、北帝誕及媽祖誕。梁師傅還記得十多年前的媽祖誕，那時候不巧遇上八號風球，所幸戲棚也能保持屹立不倒。這神蹟般的力量，歸功於一雙雙巧手搭建起穩固的戲棚結構，方能抵禦自然之力。梁師傅自豪地說道：「竹枝的柔韌與強度超乎想象，即使面對強風也能展現出驚人的抗風力。」「每年農曆三月初一我們就會開始動工，風雨不改。整個工程耗時約一個月，正好趕在譚公誕辰前完工。」梁師傅說，看著他洋溢的笑意，就能感受到他有多自豪。一個月後，我們重回譚公廟，慶典已落幕。夕陽西下，最後一根竹竿被輕輕卸下，譚公廟前地又恢復了往日的寧靜。儘管這座標誌性的竹棚戲臺年復一年地搭建又拆卸，它為澳門人創造的鮮活民俗記憶，仍將代代相傳。海風掠過空蕩的岩岸，彷彿還能看見半個世紀前那個純樸漁村的模樣——戲棚裡粵劇唱段餘音裊裊，臺下觀衆喝彩陣陣，仍在夜空中回盪着。傳承，不一定代表永恆的存在，更難能可貴的，是年複一年的重生——就像譚公廟前的潮汐，退了又漲；又如同那些悉心保存的竹枝，靜待下一個春天，再次拔地而起，撐起一方人間煙火。手眼心技藝梁師傅解釋道，每年的搭建工程都遵循固定程序：先在陸地與水面分別定位關鍵支柱點，接著搭建外圍牆架與臨時支架、鋪設綠色塑料布、豎立戲臺、安裝入口廊道，最後以花牌彩幡裝飾戲棚。施工期間，只見師傅們身手靈活地穿梭在棚架的裡裡外外、上上下下，僅憑眼力、心算、身體尺度和平衡感判斷竹與竹之間的距離、受力點的位置，還能同時兼顧對稱美學，絕對不僅僅是一門體力活，更是一門手眼心技藝。梁師傅回憶初涉廟宇戲棚時，他沒有圖則可參考，只有兩張照片，這兩張照片甚至拍不完竹棚全貌，左一幅，右一幅，拼起來才看得出其內部結構。當年的搭棚匠人無需圖則或機械便能施工，梁師傅每日跟著師父在工地搬運竹木料，就此練就一身手藝。歷經兩年學徒生涯後，梁師傅於1980年考取搭棚師傅執照。「基本功兩年就能學成，但是之後的所有，都要靠自己創造。」梁師傅說。bamboo theatre has come and gone for another year, it will continue to create vivid folk memories for the people of Macau for generations to come. As sea breezes sweep across the now empty rocky shore, it is easy to imagine this simple fishing village half a century ago, with the echoes of Cantonese opera melo-dies and audiences’ enthusiastic applause rising into the night.True heritage is not just about perpetual existence, but annual rebirth, like the tides before Tam Kong Temple, ebbing and flowing and those carefully stored bamboo poles, supporting one another for season of celebration.REFERENCES 主要參考文獻：[1] 陳煒恆：《路氹掌故》修訂版，澳門：民政總署文化康體部，2007[2] 澳門雜誌156期 www.gcs.gov.mo/news/[3] 麥晟，張曉桐，劉驍．澳門路環譚公廟神功棚的營造與建構II．新建築，2024(2)：16—21．https://d.wanfangdata.com.cn/

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30MC MC MAY /JUN - 2025MAY /JUN - 202531While structures ponder the strength of the elements in their natural resilience, humanity is confronted with its own evolution. Traditional forms and centuries-old meth-ods are replaced by obvious improvements in technology and tools, just as our human consciousness is being replaced by electromagnetic connections. Carbon for silicon. Bamboo for steel.There’s no denying that safety must always be a primary concern. When lives are on the line, decisions must be made on the basis of what is proposed as the most efficient way to prevent accidents at the time. It is along these lines that the neighbouring Hong Kong Government and its Development Bureau, under the leadership of Terence Lam, has decided to gradually phase out the use of bamboo structures and scaffold-ing on construction sites. Since 2018, due to what they call ‘in-trinsic weaknesses’, the bureau has counted 23 deaths directly linked to the practice of erecting buildings with this type of natural scaffolding. A tradition seen on the Chinese mainland in 12th centu-ry paintings and in the writings of master carpenter Lu Ban 2,500 years ago, the interior of the country has now completely abandoned the use of bamboo in construction; this species of grass that grows so abundantly across the vast Asian conti-nent. Steel has replaced the organic weaknesses of these mas-sive nodular reeds.But regardless of the contemporary discussion about which labour practices are carried out safely or not, in a craft that has grown over time, it is indeed these ‘intrinsic weak-nesses’ that a craftsman can take advantage of and play with. In the hollow lightness of bamboo is found a flexibility su-perior to steel. An easy-to-cut material that allows for rapid changes. Erecting any kind of imaginable form from multi-ple beams entangled with nylon threads is not only infinitely cheaper, but also gives the masters of this trade options that are limited only by what is physically possible.Its function as the main structure of unique buildings that stand on their own to house musicians, actors and stages for traditional operas, among other functions, is a work of art in itself. In the space of a few weeks, a ‘warehouse of dreams’ emerges, worthy of large-scale shows, which in Hong Kong gather thousands under a roof of curved bamboo.SWAPPING BAMBOO FOR STEEL文圖TEXT & PHOTOS BY ELOI SCARVA / 譯 TRANSLATION DAISY WONG當樓宇建築在權衡不同原料的自然韌性時，人類也面臨自身的進化。傳統的樓宇結構及沿襲數百年的工藝被日新月異技術和工具所取代，就像人類的意識被電磁連接所取代一樣。硅基取代碳基。鋼鐵取代竹子。無可否認，安全永遠是首要考量。當關乎人命存亡時，決策必然基於當時最能有效防止不幸意外的方案。在此原則下，林達明領導之下的香港政府發展局決定逐步減少在工務工程地盤上使用竹架及竹棚。發展局統計出，竹棚竹架的「固有缺陷」自 2018 年以來已導致 23 人工亡。竹棚竹架的傳統源於中國，可追溯至12世紀的古畫，以至2500年前木匠祖師魯班的記載。這種具有喬木形態的禾本科植物遍佈廣闊的亞洲大陸。但如今，中國內地已完全棄用竹子作為建築材料，改用鋼材。但無論當代人如何爭論材料自身的安全性，在竹棚架這個歷經時間淬煉的工藝中，工匠們恰恰善於利用竹子的「固有缺陷」，將其化為獨特優勢。空心輕質的竹子擁有比鋼鐵更優越的柔韌性。易於裁切的特性，令其可以快速搭建、調整。僅以塑料繩捆扎的一根根竹枝可以構築任何一種形態，僅僅受限於物理法則，而且成本極低。以鋼代竹

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32MC MC MAY /JUN - 2025MAY /JUN - 202533A swarm of men with black nylon plastic tails gather un-der the tutelage of a master to guide the straight lines of the work made up of two types of bamboo, the ‘Mao Jue’ and the ‘Kao Jue’, aged up to at least three years. The former, which is thicker, denser and stronger, rests on the ground, often dug into the tarmac of the streets; sturdy support points. The sec-ond type, thinner and lighter, is widely used throughout the rest of the structure, as platforms, partitions or supports for the roof of these buildings.Bamboo structures are reusable, and easy to store and transport. The poles can be reused up to three times and can be stored outdoors. It is for these and other reasons that the practice is not so easily abandoned, not only for practical rea-sons, but also for the creative flexibility it offers. Not only does it keep a pantheon of craftsmen-workmen active, who in turn pass on their knowledge through the generations, but it also inspires contemporary architects with new visions for the “liv-ing space”. Local architect firms in Macau, such as Impromptu Projects, have been studying ways to introduce these ancient traditions into modern design. A form of preservation, but above all, an appreciation for the beauty of the natural incor-porated into the artificial.In our neighboring city the practical functions of bam-boo - which curiously pass through Macau from their source in Zhaoqing in Guangdong province and Guangxi province in southern China before reaching the heights of Hong Kong’s skyscrapers - are being abandoned, yet Art immortalises tra-dition. The smell of cement and silicone may replace the scent of sawn wood; the sharp sound of cutting steel may overpower the musical tones of splitting bamboo poles; all to keep ev-erything ‘strong and safe’. But what these installations project into history is not heritage or traditionalist resistance, but a choice to opt for beauty, creativity and the cultivation of the intangible artistic human spirit, in collaboration with nature and the space that surrounds it. The bamboo cathedrals erect-ed by men and women for the sake of art, keep alive this the-atre of emotions that is life. Because we don’t always need to exchange bamboo for steel.至於竹戲棚這種以竹為骨的特殊建築，本身就是藝術傑作——它是臨時搭建的流動場所，為傳統戲曲樂師、演員與舞台提供專屬空間。短短數週內，一座「夢幻倉庫」便可拔地而起，其穹頂之下足以容納數千人，可以舉辦大型舉行演出及活動。一群帶著黑色塑膠繩尾巴的人聚集在一位大師的指導下，在師傅指導下擺弄兩種竹材——「毛竹」與「蒿竹」。這些至少生長三年的竹枝各司其職：更粗、更密、更結實的毛竹深插瀝青路面，成為建築的根基支點；輕薄柔韌的蒿竹則化作戲台、隔板與屋頂的骨架，在整個結構中縱橫交錯。竹棚架可重複使用，且易於儲存和運輸。竹枝最多可以重複使用三次，而且可以存放於戶外。正因如此，這項工藝難以被輕易取代——不僅因其無可替代的實用性，更在於它所賦予的創作彈性。它既維繫著一代代匠人的技藝傳承，更啟發了當代建築師對「生活空間」的新願景。澳門 Impromptu Projects等本地建築事務所正探索如何將這項古老技藝融入現代設計。這不僅是技藝的保存，更是融合自然之美與人工造物的嘗試。在鄰近的香港，竹子的實用功能正逐漸被捨棄——有趣的是，這些奇妙的天然材料原產於廣東肇慶或廣西，途經澳門，最終才攀上香港的摩天大樓——但藝術卻讓傳統永恆不滅。水泥和密封膠的氣味可能取代鋸木的清香；切割鋼材的刺耳聲音可能蓋過劈開竹枝的清脆聲響；一切都是為了確保「堅固與安全」。但是，這些竹製作品投射在歷史中的，並非只是遺產或傳統主義對改變的本能抗拒，而是一種對美麗、創造力和人類無形藝術精神的堅持，對與大自然及人類周遭空間共生共榮的追求。人們為藝術搭建竹製殿堂，延續著這場以生命為名的情感劇。畢竟，我們並非總是需要以鋼鐵取代翠竹。

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36MC MC MAY /JUN - 2025MAY /JUN - 202537A Fireside Chat focused on the transformative power of art in redening resort experience featur-ing Helen Wu, SVP and Chief Marketing Ofcer of Melco Resorts & Entertainment, Cristina Kuok, SVP of Arts & Culture at MGM, and Porcia Leung, SVP of Corporate Brand & Marketing of SJM Resorts, S.A.Catarina Lio, Senior Vice President of Brand Marketing of MGM, introduced “Macau 2049” which has redened the interpretation of Chinese intangible cultural heritage by seamlessly integrat-ing tradition with technology, captivating audienc-es across generations.Jerry Chiang, Founder of J-CUBE and PULSE KINGDOM, had a dialogue with Zhang Xiao Yang, General Manager of Marketing in Greater China of POP MART on the topic of Art-tainment and Pop Culture. Meanwhile, Ai Lin, the director of Deji Art Mu-seum, shared insights on amplifying cultural inu-ence through technology.Finally, Levina Li and Christine Chan Chiu, Managing Partners from Art-Partners Consultants Limited, also introduced their large-scale public in-stallations, which combine art and commerce to el-evatesthe status and attraction of the destination.This forum is funded by the Cultural Devel-opment Fund of the Macao SAR Government and supported by the venue sponsor, Melco Resorts & Entertainment.ArtBiz Asia debuted at G2E Asia in 2019 and have continued to partner with Asian IR Expo in2023 and 2024. Over the past three years, it has formed valuable collaborations with these es-teemed events, gaining the endorsement of gov-ernment departments, including the Cultural Bu-reau, MGTO and IPIM of Macao SAR.“The fourth ArtBiz Asia focused on building a dialogue plat-form for decision-makers in regional cultural tourism and integrated resorts, promoting the commercial diversica-tion and innovative thinking of the arts industry. “This year’s theme centered on ‘How Art and Creativity Upgrade Cultural Tourism,’ bringing together operators of integrated resorts, representatives from art institutions, and leaders in technology and media to deeply explore the em-powering effects of innovative models on sustainable tour-ism and economic growth, constructing a symbiotic ecosys-tem between art and business,” Patricia Cheong adds.The impressive speaker lineup began with Maria Helena de Senna Fernandes, Director of Macao Government Tour-ism Ofce as the keynote speaker in the morning: exploring how integrated resorts and tourism destinations can har-ness cultural assets to drive sustainable economic growth, while preserving heritage and enhancing the cultural appeal of travel experiences. Local senior architect and artist Carlos Marreiros host-ed a panel with Lam Kin Meng from the Cultural Bureau of the Macao SAR, popular Korean designer Teo Yang, and Cre-ative Director of CHIII Design, Mann Lao about The Synergy of Heritage, Arts, and Revitalizing Old Districts.Teo Yang shared his journey of reinterpreting the beau-ty of tradition through a contemporary lens, under the theme of “Rediscovering Tradition and Locality for the Fu-ture, while renowned designer Alan Chan talked about the integration of art and urban living. 澳門國際文化及體育產業協會會長、ArtBiz Asia 創辦人張茜表示：「ArtBiz的起點，是一個連結藝術與商業的新構想。幾年下來，它已發展成為亞洲區內創意人士、產業領袖與文化創新者的年度盛會。第四屆ArtBiz Asia以搭建區域文旅及綜合度假村決策者與藝術領域專業人士的對話平台為核心目標，致力推動藝文產業的商業化多元發展與創新思維融合。」「本屆活動將聯動國內外知名平台建立戰略合作，為藝術家與商業機構開闢跨領域協作的新維度，共探藝術價值的產業化通路。」她續指，本屆主題聚焦「藝術與創意驅動文旅升級」，通過匯聚綜合度假村運營方、藝術機構代表及科技傳媒領袖，深入探討創新模式對可持續旅遊與經濟增長的賦能效應，構建藝術與商業的共生生態。今屆內容多元豐富，講者陣容強大。澳門旅遊局局長文綺華是上午的主題演講嘉賓，探討綜合度假村與旅遊目的地如何善用文化資產，在保育文化遺產的同時推動經濟的可持續發展，並提升旅遊體驗的文化魅力。經過一天豐富內容的論壇，盛會以ArtBiz Asia交流酒會延續和深化行業之間的交流。是次論壇由澳門特•行政區政府文化發展基金資助和新濠博亞娛樂作為場地贊助。ArtBiz Asia於2019年首度亮相「亞洲國際娛樂展」 (G2E Asia)，並於2023年及2024年持續與 G2E Asia 及「亞洲綜合度假休閒產業博覽會」 (Asian IR Expo) 深化合作。過去三年來，ArtBiz Asia與這些國際盛會建立了緊密而寶貴的夥伴關係，並獲得澳門特區政府部門的支持與認可，包括文化局、旅遊局及貿易投資促進局。張茜女士深耕生活方式領域數十載，擁有豐富的奢侈品牌運營經驗，並曾策劃多場高端生活方式活動。2019年，基於對藝術的熱愛及對酒店業市場需求的深入洞察，她在 Asian IR Expo 及 G2E Asia 的支持下共同創立 ArtBiz Asia。該平台致力於促進藝術界與綜合度假村行業的交流，提升綜合度假村的藝術收藏與體驗，這不僅是吸引全球遊客的重要元素，更是激發本地藝術家創作靈感的關鍵動力。張女士畢業於美國西北大學凱洛格─香港科技大學 (Kellogg-HKUST)行政人員工商管理碩士課程。現任中國人民政治協商會議（CPPCC）常委，並擔任澳門國際文化及體育產業協會（MICSA）創始人

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38MC MC MAY /JUN - 2025MAY /JUN - 202539觀古照今CLASSIC AND CONTEMPORARYThe exhibition was launched in late May and will be on display until August 31 in the lobby and Lob-by Lounge of the Mandarin Oriental, giving visitors a chance to appreciate the two artists’ works, which im-bue traditional Chinese painting techniques with mod-ern sensibilities. While the hotel has exhibited tempo-rary artworks from time to time, this is the rst fully edged exhibition staged at the property. “The works of these two artists collectively demonstrate how these ancient art forms remain vibrant through thoughtful reinterpretation and cultural exchange,” explains Alice Kok, President of Art for All Society (AFA) and curator of the exhibition, adding that Modern Vision, Timeless Technique celebrates the enduring values of cultural heritage and artistic innovation.” At the same time, the curator notes that the works of the two painters have their distinctive traits, with Leong’s art focusing on “brush sentiment” – or careful-ly handling the brushstroke in order to convey a partic-ular feeling or temperament. 澳門文華東方酒店呈獻特備中國藝術展「觀古照今・筆墨恆長」慶祝開業15週年Mandarin Oriental, Macau marks its 15th anniversary with the Chinese art exhibition, Modern Vision, Timeless Technique澳門文華東方酒店15週年慶特備中國藝術展「觀古照今•筆墨恆長」正式開幕，展出兩位澳門女性藝術家梁潔雯以及曾貞貞的當代中國繪畫作品。是次藝術展為澳門文華東方酒店首個大型藝術展覽，設於澳門文華東方酒店大堂及大堂酒廊，展期至8月31日。展出的作品均以當代視角重新詮釋古典技法，為媒材的表現潛力帶來獨特見解。策展人、全藝社會長郭恬熙表示，「兩位藝術家的作品共同展示了這些古老的藝術形式如何通過深思熟慮的重新詮釋和文化交流而保持活力。『觀古照今．筆墨恒長』展覽頌揚了文化遺產與藝術創新的永恆價值。」她又指出，兩位藝術家的作品在表達上各具特色，梁潔雯的藝術體現了透過精確控制筆觸所能達到的準確性與情感共鳴——這正是「筆情」的精髓。相對地，曾貞貞著重於「墨性」——即墨本身所固有的特質與表現上的生命力。兩位藝術家的專長亦各有不同。梁潔雯偏好工筆技法，以其複雜的細節和細膩的筆觸為特徵，同時運用亮澤的礦物顏料；而曾貞貞則以山水畫著稱，善於將傳統技法與獨特的現代感性融為一體。ARTS藝術

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40MC MC MAY /JUN - 2025MAY /JUN - 20254140 41Franck Droin, the General Manager of the Mandarin Oriental, Macau said that the mixture of classical and contemporary elements in the artworks is reective of the hotel’s values. “Just as the Mandarin Oriental embraces its heritage while innovating with brand-led, guest-centric experiences, so too do the artworks presented here offer a modern interpretation of classical forms,” he said. “This exhibition is also a testament to our deep connection with the Macau community – a connection that has been nurtured over the decades that the Mandarin Oriental has been a part of this city. We are proud to be able to feature the talents of our local artists and celebrate the rich cultural scene of Macau.”By contrast, Tsang’s art delves into the concept of “ink character”, which Kok describes as “the inherent qualities and expressive vitality of the ink itself.” The two local artists also deviate in their specialisation. Leong prefers to produce Chinese paintings using the gongbi technique, which involves intricate details and ample use of colour. Tsang, on the other hand, is focused on producing a traditional style of Chinese landscape painting known as shan shui (mountain water). Some of the art pieces on display at the exhibition include Leong’s After the Snow (2021) and Awakened from a Dream (2017), as well as Tsang’s The Scenic Splendour of St. Paul’s (2024) and The Sound of Springs and the Colour of Pines (2024). 是次藝術展展品包括梁潔雯的《飛花過後》（2021）、《夢醒時分》（2017），曾貞貞的《三巴勝景》（2024）、《泉聲松色圖》（2024）等。澳門文華東方酒店總經理方東宏表示，兩位藝術家的作品揉合了經典與當代元素，恰好切合澳門文華東方酒店的理念。方東宏指出，「一如文華東方致力在傳承中創新，提供以品牌為導向、以賓客為中心的體驗，這次展出的藝術品同樣以嶄新的視角詮釋經典。藝術展也突顯出我們與澳門深厚的聯繫——這聯繫在文華東方落戶澳門的15年間不斷成長。我們非常榮幸能展出本地藝術家才華洋溢的作品，同時頌揚澳門豐富的文化藝術氛圍。」「觀古照今‧筆墨恆長」中國藝術展由澳門文華東方酒店主辦，全藝社、Macao News共同協辦。展品可供購買，欲了解更多信息，請聯繫策展人郭恬熙：afapromotion3@gmail.comModern Vision, Timeless Technique is co-organised by Mandarin Oriental Macau, the Art for All Society and Macao News. The works are available for purchase. For further enquiries, please contact curator Alice Kok: afapromotion3@gmail.com

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42MC MC MAY /JUN - 2025MAY /JUN - 20254343Imagine a space where silenced voices nd echoes, where attentive listening reveals stories of resistance and transformation. It is in this universe of forgotten emotions and memories that JinJin Xu invites us to reect on displacement, language and identity, with her exhibition What Would You Say If You Could? which was presented at butter room cultural space last month. As an artist and poet who moves between Macau, Shanghai and New York, she has used an interdisciplinary, documentary and poetic ap-proach to bring to life narratives that are often invisible, especially those of marginalised wom-en. Inspired by the ancient Nüshu language, a secret script created by women in China, JinJin investigates silent forms of resistance and the preservation of memories, creating sound in-stallations, participatory performances and sen-sory experiences that stimulate empathy and dialogue. Her work reveals forgotten stories and challenges audiences to listen carefully.Through her work, JinJin Xu proposes a pro-found reection on the various dimensions of displacement and the parallel narratives that are often ignored. Her artistic practice, which com-bines poetry, technology and sensory experienc-es, promotes an emotional connection between the works and those who observe them, placing listening at the centre of the process of under-standing. By involving the public in collective actions such as recitals and sound installations, JinJin reinforces the importance of recognising and valuing other cultural dimensions and tradi-tions. With ongoing research into women’s voices in the context of displacement, she transforms the exhibition space into a place of active listen-ing, inviting us to question our own perceptions and value the power of language. In this way, JinJin Xu demonstrates how art can be a pow-erful tool for recognition and empathy in the con-struction of a universe of continuous dialogue, with greater awareness and inclusion.JinJin Xu is a creator who dees silence, using sound, poetry and performance to reveal forgotten voices, and transforming spaces into territories of rediscovery and research文圖TEXT & PHOTOS BY ELOI SCARVA / 譯 TRANSLATION DAISY WONG ARTS藝術想像這樣一個地方：被噤聲者在此獲得迴響；凝神傾聽時，能夠聽見抗爭與蛻變的故事。藝術家徐今今上月於本地獨立藝術空間butter room舉行《千百種現場：消聲》展覽，帶領我們在這個充滿被遺忘的情感與記憶的宇宙中，重新思考流徙、語言與身份認同。身兼藝術家與詩人的徐今今，穿梭於澳門、上海與紐約之間，以跨領域、紀實與詩意的手法，呈現常被忽略的敘事，尤其是邊緣婦女的故事。她的創作靈感源自中國女性創造的「女書」。她探索無聲的抗爭形式和記憶的保存，透過聲音裝置、參與式表演及感官體驗，激起共鳴和對話。她的作品讓被遺忘的故事重見天日，鼓勵觀眾仔細聆聽，並認識到聆聽的力量。透過作品，徐今今對流徙的各個層面以及常被忽視的平行敘述進行了深刻反思。她的藝術實踐結合了詩歌、科技和感官體驗，在作品與觀者間建立情感連結，將「聆聽」置於理解過程的中心。透過讓觀者參與朗誦及操作聲音裝置等集體行動，徐今今強調了認可和重視其他文化維度及傳統的重要性。她持續研究流徙中女性的聲音，將展覽空間轉變為主動聆聽的場所，邀請我們質疑自己的固有看法，並重視語言的力量。她以這種方式展示了藝術如何能成為一種強大的工具，在建構一個持續對話的宇宙中，以更大的意識和包容來達成認知和共鳴。徐今今是一位以藝術對抗沉默的創作者，透過聲音、詩歌及表演，讓被遺忘者發出聲音，並將物理空間轉化為重新發現及研究的場域Echoes of Silenced Voices 沉默之聲的迴響

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44MC MC MAY /JUN - 2025MAY /JUN - 20254544Your work is described as ‘interdisciplinary’ and ‘do-cu-poetic’, mixing poetry, sound installations and performances. How do different media converge in your practice to explore themes of memory, absence and representation?I think it’s strange when people choose to dene them-selves by a specic medium, whether as a lmmaker, poet or visual artist. For me, these mediums are uid and depend on what the project requires. I don’t decide to make a poem, a lm or an installation; everything arises according to the needs of the work. I see myself as a vessel for the voices of the people I’ve met, which is why the project’s title is What would you say if you could?. It’s a practice that combines documentary and poetic el-ements, where I act as a witness amplifying stories that are often ignored. For me, it’s a form of poetry and tes-timony that doesn’t separate art from life, but contains the voices of those who are silenced.The central focus of your exhibition is to give a voice to women living in displacement. What was the inspiration for this project, and what have you learnt about the power of listening and sharing narratives from collecting these testimonies?This project was inspired by a book of poems by Bhanu Kapil, The Vertical Interrogation of Strangers. She inter-viewed women from all over India and created a book with twelve questions, including “What would you say if you could?”. What fascinated me was the fact that, in the book, you can’t tell who answered what, because it sounds like a collective voice. This approach has radi-calised my artistic practice, as it questions the limits of empathy and true listening. Since 2017, I’ve been work-ing with testimonies by women from different countries and contexts, and I’ve learnt that listening with empa-thy is a powerful practice that requires sensitivity to what is often not said, to silence and to what is censored or silenced.Research into Nüshu, an almost extinct women’s writing, is an important element of your work. Does the historical context of Nüshu, as a form of hidden communication and resistance, resonate with the contemporary experiences of silenced voices that you explore in your exhibition?After several years, during COVID, I returned to China and found the Nüshu language in Hunan province, near where my mum grew up. I spoke to the last heirs of this secret writing, which has been passed down from gen-eration to generation by women. To write Nüshu, they had to erase themselves, destroy themselves, in order to keep their message. This action of disappearance, of silence, is deeply related to the stories of silenced wom-en and silent resistance that I try to explore in my work. Nüshu represents discreet resistance, a way of commu-nicating and preserving stories that silencing has tried to erase.你的作品被形容為「跨領域」和「記錄詩學」，結合了詩歌、聲音裝置和表演。在創作中，你如何結合不同媒材來探討記憶、缺失與表象的主題？當人們以特定的創作媒材來定義自己時，紀錄片導演、詩人或視覺藝術家，我總是覺得很奇怪。對我而言，創作媒材會隨著每個項目的本質自然成形。我從不會預設要寫詩、拍電影或是製作藝術裝置——作品的樣貌會根據表達的需要而自然浮現。我將自己視為容器，承載我所遇見的人的聲音，因此這個項目被命名為《千百種現場：消聲》。這是一種結合紀錄片與詩歌元素的創作，我以見證者的身份將那些常被忽略的微弱聲響放大。對我來說，這是一種融合詩歌和見證的形式，沒有藝術或生活的區分，而是讓被沉默者的聲音發出震顫。《千百種現場：消聲》的核心是為流離失所的女性發聲。這個項目的靈感來源是什麼？從收集這些見證的過程中，你對聆聽與分享故事的力量有什麼心得？靈感來自 Bhanu Kapil 的一本詩集《The Vertical Interro-gation of Strangers》（《陌生人的垂直盤問》）。她訪問了來自印度各地的婦女，創作了一本包含十二個問題的書，其中包括「如果可以，你會說什麼？」令我著迷的是，在書中，你無法分辨誰回答了哪個問題，因為看起來像是集體的聲音。這種方法激化了我的藝術實踐，因為它質疑了同理心和真正聆聽的極限。自 2017 年以來，我一直在整理收集到的來自不同國家和背景的婦女的見證。我認識到，帶著同理心傾聽是一種有力的實踐，需要經常對那些沒有說出口的話、沉默以及被審查或消聲的話語保持敏感的覺察。

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46MC MC MAY /JUN - 2025MAY /JUN - 202547The exhibition emphasises the sense of hearing as central to the viewer’s experience. How do you in-tentionally use sound, including the direct voices of the women you worked with, and the integration of sound technology to create an immersive and em-pathetic environment?I’ve created several versions of sound installations. One of them was in Shanghai in 2021, where I placed the voices inside a net of ies - a visual metaphor for several voices happening simultaneously. Listeners had to lis-ten carefully to distinguish the different voices, many of them in languages such as Arabic, Farsi, Thai or Hmong dialects, which many people may not understand. This language barrier actually allowed the audience to focus more on the emotion of the voices, their vulnerability, the moment when a narrator gets emotional or on the verge of tears. Thus, listening goes beyond linguistic comprehension and touches the emotional state, creat-ing empathy through sound.Your performances seem designed to promote a sense of collective engagement and shared experi-ence. What do you hope visitors will gain from ac-tively participating in these performative elements of your work?This experience was very moving. In Shanghai, I invited women and non-binary people to read aloud the tran-scripts of the voices I had collected. At rst, it was silent and a little awkward, but as they began to read, others joined in spontaneously, creating an organic chorus. Some people repeated passages, others read different passages, and some just listened. This active participa-tion means that the audience is not just a listener, but also a body that embodies these stories. Reading aloud brings people together, creates a deeper connection with the text, and transforms the experience into a col-lective sharing of voices and emotions.What is your relationship with Macau? I grew up between Shanghai and Macau, and I always came here with my parents because they met in Macau. When I was young, Macau seemed like a distant desti-nation, more a story of my parents than something that was part of me. During COVID, I spent half a year in the city and, in a way, I felt at home here because I had been to New York before. Now that I’m back, I want my work to be site-specic and involve the local community, be-cause all my art is like that. I’m very happy to be doing this at butter room, which is a very community-orien-tated space.How does your connection with Macau inuence your artistic perspective and the themes you choose to tackle? What is it about Macau that particularly resonates with you creatively?In Macau, the linguistic diversity is very strong - people speak English, Portuguese, Cantonese and Mandarin. At the recital, I encouraged everyone to read in their own language, and we ended up with several different lan-guages, with different tones and intentions. The experi-ence was more collective, noisier, and very beautiful for that reason. Macau, with its mix of cultures, inspires me to explore the diversity of voices and create works that reect this multiplicity. In the future, I want to contin-ue incorporating local voices and exploring this cultural richness in my art.這個展覽強調聽覺是觀眾體驗的核心。你是如何有意識地使用聲音，包括參與項目的女性的聲音，以及整合聲音科技，來創造一個令觀者身歷其境、感同身受的環境？我創作過幾個版本的聲音裝置。當中一個是 2021 年在上海，我把聲音放在一張蒼蠅網裡——宛如幾種不同聲音同時發聲的一個視覺隱喻。觀者必須仔細聆聽，才能分辨出不同的聲音，包括阿拉伯語、波斯語、泰語或苗語方言。雖然很多人可能聽不懂，但語言障礙讓他們更能專注於聲音傳達出的情感、脆弱、敘述者情緒激動或瀕臨落淚的時刻。因此，聆聽超越了語言理解，而是觸及情感狀態，透過聲音本身產生共鳴。你的表演似乎是為了促進集體參與及分享而設計的。你希望參觀者從參與作品表演中獲得何種體驗或感觸？這種體驗非常感人。在上海，我邀請了女性和非二元性別人士朗讀我收集到的聲音的文稿。一開始，大家都默不作聲，有點尷尬，但隨著有人開始朗讀，其他人也自發加入，形成了一個有機的合唱。有些人重複讀出特定段落，有些人讀出不同的段落，有些人則只是聆聽。這種主動參與意味著他們不只是被動聆聽者，也是具象化這些故事的主體。朗讀將人們聚集在一起，與文本建立更深的聯繫，並把這種體驗轉化為聲音和情感的集體分享。你與澳門有何淵源？我是在上海和澳門兩地長大的。我的父母在澳門相遇，所以我經常隨父母來這裡。小時候，澳門似乎是一個遙遠的地方，更像是我父母的故事，而不是我的一部分。但疫情期間，我在澳門待了半年。在某種程度上，這裡開始有了家的感覺，因為在此之前我常駐紐約。現在回到了澳門，我希望我的作品是針對特定場地特別打造的，並有本地社區的參與，正如我所有的藝術項目一樣。很高興能在 butter room 這樣一個以社區為導向的空間進行這次創作。與澳門的連結如何影響你的藝術觀點和創作主題？澳門有哪些地方特別能引起你的創作共鳴？在澳門，語言的多元性非常顯著——人們講英文、葡文、廣東話和普通話。在朗讀會上，我鼓勵大家用自己的語言朗誦，因此我們聆聽了不同的語言，不同的語音語調。這次的經驗更加集體、更嘈雜，也因此更顯動人。澳門這個文化交融之地啟發我探索聲音的多樣性，並創作能夠反映這種多樣性的作品。未來，我希望繼續在藝術創作中融入本地的聲音，探索文化的豐富性。「女書」是你作品中的重要元素。作為一種隱蔽的溝通和抗爭形式，女書的歷史背景是否與你在展覽中探討的當代被噤聲的經驗產生了某種共振？疫情期間，我回到中國，在湖南江永了解到了「女書」這種由女性世代相傳的秘密文字。那裡離我母親成長的地方很近。我訪問了女書的最後一批傳承人。為了用女書留下訊息，女性必須抹去自己、毀滅自己。這種消失、消聲的舉動，與我在作品中探討的被消聲的女性和無聲抵抗的故事有著深刻的關係。女書代表了謹慎的反抗，一種溝通及保存那些被試圖抹去的故事的方式。

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48MC MC MAY /JUN - 2025MAY /JUN - 20254949 A Sino-French Art Exchange On May 14, the inaugural chapter of the exhibition series Mirroring•Looping•Generating - Déjà Vu A Si-no-French Art Exchange Exhibition - opened at Shoppes at Parisian, featuring the work of pioneering French video art-ist Robert Cahen, as well that of Macau artists Alice Kok and Catherine Cheong.In this era of information overload, Déjà Vu aims to be more than just an art exhibition, hoping to serve as a mirror reecting modern mental states. As perception is washed away by data deluge and memory oats between the virtual and real, the exhibition invites visitors to pause and con-template those eeting moments of “familiarity” - perhaps the last vestiges of human self-awareness in this techno-logical age.“Déjà Vu is not only an artistic interpretation of Berg-son’s philosophy, but also a profound dialogue between Chinese and French cultures in contemporary context,” says Alice Kok, who is both a featured artist and curator of the exhibition. “Through video art, AI-generated imagery, and multimedia creations, the three of us hope to transform philosophical contemplation into sensory experiences that touch the heart.”中法藝術交流三人展圓滿開幕五月五月十四日，「鏡像฀迴路฀生成」系列首部曲——「既視感」中法藝術交流三人展於巴黎人購物中心三樓320號舖盛大開幕，展出法國錄像藝術先驅羅伯特฀凱恩（Robert Cahen）與澳門藝術家郭恬熙及蔣靜華的作品。在資訊超載的當下，「既視感」不僅是一場藝術展，更是一面映照現代人精神狀態的鏡子。當感知被數據洪流沖刷，記憶在虛擬與現實間飄搖，展覽邀請觀眾暫停腳步，凝視那些轉瞬即逝的「似曾相識」——它們或許是科技時代中，人類對自我存在的最後印證。開幕式上，策展人郭恬熙致辭表示：「『既視感』不僅是對柏格森哲學的藝術詮釋，更是中法文化在當代語境下的深度對話。三位藝術家透過錄像藝術、人工智能生成影像以及多媒介的創作，將哲學思辨轉化為觸動人心的感官體驗。」由澳門全藝社主辦、前瞻創新多媒體藝術協會協辦的開幕儀式吸引逾百位嘉賓與藝術愛好者共襄盛舉，包括中央人民政府駐澳門特別行政區聯絡辦公室宣文部副處長徐東傑先生、澳門文化發展基金行政委員會委員陳家耀先生、婆仔屋文創空間主席馬若龍建築師、澳門美術協會秘書長劉春紅女士及媒體代表等。「既視感」 “Déjà Vu”ARTS藝術48

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50MC MC MAY /JUN - 2025MAY /JUN - 202551Organized by Art For All Society (AFA Macau), co-organized by “Avant-garde” Innovative Multime-dia Art Association (Macau), the opening ceremony attracted many distinguished guests and art enthusi-asts, including Mr. Xu Dongjie, Deputy Director of the Department of Publicity and Culture of Liaison Ofce of the Central People’s Government in the Macao SAR, Mr. Chan Ka Io, Member of Fund of Cultural Develop-ment , Architect Carlos Marreiros, President of Alber-gue SCM and Ms. Lao Chon Hong, Secretary General of the Macau Artist Society and media representatives.As an extension program, the three artists also conducted Déjà Vu – French Video Art Masterclass at The Parisian Macao, sharing with participants the po-etic tension of “virtual memory” in video creation and exploring the profound connection between video art and local sentiment.Mirroring•Looping•Generating: From Video Art to AI Exhibition Series II will move to Espace Temps Gal-lery in Paris, France from August 21 to 30, continuing the cross-cultural dialogue between China and France. Global audiences are invited to witness the evolving interplay of memory and technology.Déjà Vu - A Sino-French Art Exchange Exhibition is sponsored by the Macao Cultural Development Fund and venue sponsored by the Sands China Ltd. Located at The Parisian Macao, Shoppes at Parisian, Level 3, Shop #320, the exhibition runs until June 28 with daily opening hours from 12:00 PM to 7:00 PM. www.afamacau.com.作為展覽延伸活動，三位藝術家假澳門巴黎人舉辦「既視感——法國錄像藝術大師班」，分享他們錄像創作中「虛擬記憶」的詩意張力，並與學員共同探索錄像藝術與在地情感的深度連結。「鏡像฀迴路฀生成」——從錄像藝術到人工智能專題展覽之二將於八月二十一日至三十日移師法國巴黎Espace Temps畫廊，延續中法藝術的跨域對話，誠邀全球觀眾見證記憶與科技的光影續章。「『既視感』——中法藝術交流三人展」獲澳門文化發展基金贊助及金沙中國有限公司場地支持。展覽位於澳門路氹金光大道連貫公路澳門巴黎人，巴黎人購物中心三樓320號舖，展期由即日起至六月二十八日，展覽廳開放時間為每日下午十二時至晚上七時，歡迎各界人士參觀。

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52MC MC MAY /JUN - 2025MAY /JUN - 202553A CELEBRATION OF PORTUGALArtyzen Grand Lapa Macau and Amagao Gallery proudly unveil Portuguese Art • Creativity Dialogues, an excep-tional exhibition showcasing over 50 contemporary art-works by 24 Portuguese artists. Officially opened on May 29 in celebration of the Month of Portugal, the exhibition is a visual and cultural homage that invites viewers to explore the unique artistic landscape of Portugal while also reflecting on global cultural connections and contrasts.“There could be no better way to inaugurate June, Portugal Month in the Macau SAR than with the opening of the Portuguese Art • Creativity Dialogues, a vibrant celebration of contemporary art that not only illuminates Portugal’s artistic scene but also invites reflection on the themes that connect and distinguish us in today’s society,” commented Ms. Patrícia Ribeiro, Director of Instituto Português do Oriente (IPOR) at the opening ceremony. “This exhibition brings together the spirit of unity, creativity, and cultural dialogue that defines our community here in Macau.”ARTS藝術澳門雅辰酒店聯同 Amagao 藝廊呈獻《葡萄牙藝術展創作力的對話》，展覽並於2025年5月29日正式開幕。適逢六月葡萄牙文化月，是次展覽雲集24位葡萄牙藝術家，呈獻逾50件精彩作品。展覽不僅展現葡萄牙藝術的創意火花與文化魅力，更引領觀者探索獨特的葡萄牙藝術景觀，同時反思全球文化之間的聯繫與對比。東方葡萄牙學會會長聶欣雅女士於展覽開幕活動分享: 「『葡萄牙藝術展·創作力的對話』完美地迎接在澳門的六月葡萄牙文化月。這場當代藝術盛會不僅展現葡萄牙的藝術風貌，更邀請我們深思在今日社會中連繫與區別我們的主題。此次展覽凝聚了團結、創意與文化對話的精神，正是我們澳門社群的核心價值。」雅辰酒店集團澳門區營運副總裁兼澳門雅辰酒店總經理溫誠睿先生表示 : 「我們非常榮幸慶祝與酒店內 Amagao 藝廊合作邁入第三年。今年的展覽對我們別具意義。作為一所擁有東西方文化交匯的酒店，我們自身的故事與葡萄牙藝術的深厚文化層次緊密呼應。這次展覽不僅為客人呈現這份文化交融的魅力，更與澳門社區共享這份藝術盛宴。」共慶葡國藝術

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54MC MC MAY /JUN - 2025MAY /JUN - 202555Portuguese Art • Creativity DialoguesDate: 29 May – 29 June 2025Venue: Amagao Gallery, Lobby of Artyzen Grand Lapa MacauAdmission: ComplimentaryEnquiries: +853 6881 0170Email: amagao@yahoo.comCake of the Quarter – “João Paulo Inspired Creation”Date: 1 June – 30 September 2025Venue: The Cake Shop, 2/F Artyzen Grand Lapa MacauPrice: MOP288 nett for 1 pound; MOP558 nett for 2 poundsEnquiries: +853 8793 3810《葡萄牙藝術展創作力的對話》日期：2025 年 5 月 29 日至 6 月 29 日地點：澳門雅辰酒店大堂 Amagao 藝廊入場：費用全免查詢：+853 6881 0170 / +853 2856 7888電郵 : amagao@yahoo.com本季度主題蛋糕 - 靈感源自 João Paulo 藝術創作日期：2025 年 6 月 1 日至 9 月 30 日地點：澳門雅辰酒店大堂 2 樓餅店價格：淨價澳門幣 288 (1 磅) ; 淨價澳門幣 588 for (2 磅)查詢：+853 8793 3810Mr. Rutger Verschuren, Area Vice President, Macau and Hengqin of Artyzen Hospitality Group and General Manager of Artyzen Grand Lapa Macau, added: “It’s a real pleasure to mark our third year of partnership with our in-house Amagao Gallery, and this year’s exhibition feels especially close to our heart. As a hotel shaped by East-meets-West heritage, there’s a deep connec-tion between our own story and the rich cultural layers found in Portuguese art.”To further celebrate Portuguese heritage, Artyzen Grand Lapa Macau is proud to take part in the Comer e Beber à Portuguesa cu-linary programme. In conjunction with the art exhibition and in honour of Portugal’s National Day, Café Bela Vista presents a spe-cially curated Portuguese Set Dinner Menu. Created by the hotel’s Portuguese culinary team led by Chef Jaime Pedroso, the menu is available every Monday to Thursday from now until June 30.為進一步慶祝葡萄牙文化遺產，澳門雅辰酒店更參與「品嚐葡萄牙」美食之旅活動。配合藝術展覽並慶祝葡萄牙國慶，薈景閣餐廳特別呈獻由葡萄牙籍主廚 Jaime Pedroso 率領團隊匠心打造的「尋味葡韻匠心晚宴」風味套餐，每週星期一至星期四供應，直至 6 月 30 日止。此四道菜套餐精選多款地道葡萄牙經典美食，包括大西洋章魚沙律、葡國黑毛豬火腿、自家製馬介休球、傳統葡式薯蓉青菜湯；主菜提供葡式雜錦海鮮燴飯或紅酒燴牛小排兩款選擇，並以傳統精選葡式甜品。三道菜套餐為澳門幣308起，四道菜套餐為澳門幣348起，均包括一杯葡萄牙紅酒或白酒。為慶祝活動注入創意與甜美驚喜，澳門雅辰酒店的餅店特別呈獻本季度主題蛋糕，這款獨特作品由 Amagao 藝廊與酒店行政甜品主廚 Fredrick Sui 攜手創作。靈感源自葡萄牙藝術家 JoãoPaulo 的奇幻畫作，描繪夢境中意境，將神話故事透過潛意識的手法巧妙呈現於甜品創作之中。主廚詮釋藝術家的創意構想，巧妙呼應畫作的結構美感。蛋糕結合當季黑芝麻、梨子及柚子層次，締造細膩豐富的口感與味覺體驗。這款蛋糕是對葡萄牙藝術家 João Paulo 奇幻世界與神話元素的甜美致敬，讓藝術與美饌在此完美交融、相得益彰。The four-course menu features the most popular Portuguese favourites, including Braised Atlantic Octopus Salad, Portuguese Pata Negra Ham, Homemade Codfish “Bacalhau” Cakes, Caldo Verde (traditional Portuguese vegetable soup); a choice of Wet Seafood Rice or Prime Beef Short Rib braised in red wine, and tra-ditional Portuguese desserts. The menu is priced at MOP308+ for three courses, and MOP348+ for four courses, including a glass of Portuguese red or white wine.Adding a creative and delicious twist to the celebration, The Cake Shop at Artyzen Grand Lapa Macau presents its Cake of the Quarter, a collaborative creation between Amagao Gallery and Executive Pastry Chef Fredrick Sui. The cake draws inspiration from the artwork of Portuguese artist João Paulo, whose fantas-tical piece depicts dreamy spirits, knights, dragons, nymphs, and mythical tales brought to life through the subconscious. It features seasonal layers of black sesame with pears and yuzu, offering a harmonious blend of textures and flavours, while blending art and gastronomy in perfect synergy.

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56MC MC MAY /JUN - 2025MAY /JUN - 202557為人而寫的傳記大家讀得多了，為一本書寫的傳記不知大家又是否讀過？這本特別的傳記就是《尋找〈局外人〉：加繆與一部文學經典的命運》（Looking for The Stranger: Albert Camus and the Life of a Literary Classic）。《尋》的作者愛麗絲•卡普蘭（Alice Kaplan）是美國耶魯大學法語系主任、教授，著名法語文學研究者、譯者，她在耶魯大學開設法語文學閱讀課，講授加繆、普魯斯特的文學作品。在這本書裡，她展現了出色的史料挖掘和梳理能力，找來加繆及師長友人的書信、日記、手稿，以及電影、報紙、雜誌專欄、地方誌、出版史等各種文獻和資料，細緻入微地梳理《局外人》這本小說從醞釀、創作、出版以至成為經典的不凡軌跡，尤其是描寫加繆早年作為記者，如何從日常法庭案件的報導中接觸社會各個角落，從現實中取材，並慢慢拼湊起《局外人》的各種素材和創作脈絡，見證了作家化平凡為神奇的創造力。如果讀者是加繆及《局外人》的粉絲，相信必定能從閱讀該書過程中獲得極大樂趣和滿足感，即便並非如此，也能從這本小說走過的曲折路徑中，管窺一個距我們並不遙遠的大時代的命運曲折。比如，常被世人忽略的重要一點就是，小說《局外人》的出版時期，正值法國出版史的至暗時刻：1942年，巴黎被納粹佔領，法國出版界風雨飄搖，當時書籍出版需要得到德國佔領軍批准，而只有擁護納粹統治或支援德國文化的作品才有機會獲批，因此，《局外人》的出版過程，本身已是一個驚心動魄的故事，更是當年法國知識界抵抗運動的縮影。也許在某種意義上，這也提醒了我們「書籍」的意義所在：人類壽命有限，再偉大的作家也終有離開人世的一日；時代動盪無常，戰爭、政治運動、意識形態紛爭……各種無法預測也難以掌控的風波時有發生，大時代的一粒小灰塵，落在個人頭上，就是一座無法挪動的大山，因此，書籍出版的意義就在這裡：書，能將那些偉大頭腦中的思考和掙扎化成文字，凝固在歷史中，傳承於後世，偉大的作品往往比它的寫作者活得更長久，甚至能達致永恆。小說《局外人》1942年出版後，它的故事並未就此結束，即便來到近百年後的今天，這本書的故事看來還將繼續下去，故此，本文用《尋》中這段話來結尾或許再合適不過：「一個作家，不論多有權勢，多有影響力，都無法左右他的作品的命運。在某一點，作品離開作者的視野，進入未知的領域……一部作品的生命延續多代，作者在作品中的所思所想會與千百種他人的聲音和看法交匯。」JOE’S READING LIFE作家及劇作家AUTHOR AND PLAYWRIGHT Joe Tang We have all read biographies written about the lives of people, but I wonder if you have ever read a bi-ography written about the life of a book. This particular biography is Looking for The Stranger: Albert Camus and the Life of a Literary Classic, detailing the story behind Camus’ famous masterpiece The Stranger.Alice Kaplan, author of Looking for The Stranger, is a professor and chair of the Department of French at Yale University, and a renowned researcher and translator of French literature. She offers a French Literature Reading Course at Yale University, where she teaches the literary works of Camus and Proust. In this book, she demonstrates her excellent ability to excavate and sort out historical materi-als, finding letters, diaries, manuscripts of Camus, his teachers and friends, as well as films, newspa-pers, magazine columns, local magazines, publish-ing histories and other documents and materials, to carefully sort out the extraordinary trajectory of The Stranger from its incubation, creation, and publica-tion to becoming a beloved classic. In particular, Kaplan describes how Camus, as a reporter in his early years, came into contact with various corners of society through daily coverage of court cases, and thus drew materials from reality, and slowly pieced together the various bits of infor-mation and the creative network of The Stranger - a testament to the writer’s creativity in transforming the ordinary into the miraculous. If you are a fan of Camus and The Stranger, I be-lieve you will get great pleasure and satisfaction from reading this book. And even if you are not, you will still be able to get a glimpse of the twists and turns of the destiny of an era not too far from ours by following the twisting and turning path this novel has travelled.For example, an important point often overlooked by the world is that the publication of The Stranger co-incided with a dark moment in the history of French publishing: in 1942, when Paris was occupied by the Nazis, the French publishing industry was in a state of turmoil. At that time, the publication of books had to be approved by the German occupation forces, and only works that embraced Nazi rule or supported German culture had a chance of being authorized. The publication of The Stranger is therefore a gripping story in itself, and a microcosm of the French intellectual resistance movement of those years.Perhaps in a sense, this also reminds us of the sig-nificance of ‘books’: with the limited lifespan of man-kind, even the greatest writers have to leave this world one day; the turbulence of the times, wars, political movements, ideological disputes ... all kinds of unpre-dictable and difficult to control storms occur from time to time.So the significance of publications lies here: books are the thinking and struggles of those great minds condensed into words, solidified in history for future generations. Great works often live longer than their authrors, and can even achieve eternity.After the publication of The Stranger in 1942, the story did not end there. Even today, nearly a century later, the impact of the book seems to continue, so it may be appropriate to conclude this article with these words from Looking for The Stranger: “No matter how powerful and influential a writer is, he or she cannot control the fate of his or her work. At a certain point, the work leaves the author’s vision and enters uncharted territory... The life of a work lasts for many generations, and what the author thinks in the work will intersect with a thousand voices and views of others.”評論OPINION尋找經典的足跡：偉大的作品比作家活得更久Finding the Footprints of the Classics: Great works live longer than their writersspecialists in residencial & commercial樓字物業仲介. 租賃. 買賣. 管理房地產專業顧問

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60MC MC MAY /JUN - 2025MAY /JUN - 202561How did you approach the process of reimagining the show and what are some of the new elements that have been introduced?Reimagining House of Dancing Water gave me an incredible opportuni-ty to fully write for the first time a complete story for the show and bring my creative and artistic vision to life without limitations.A major focus of the reimagining process was deepening the emo-tional depth, individuality and personality of each character. I wanted every character to feel more human, more appealing, and more emo-tionally engaging for the audience. Their actions now carry clearer mo-tivations, and their relationships are more nuanced and meaningful.For example, Princess Aani has evolved from a symbolic figure into a fully realized heroine, driven by love, courage, and a sense of destiny. Her journey is now layered with emotional growth and personal sacri-fice, which gives her nature far more weight and resonance.Jean the Stranger, too, has been given more depth. No longer just an ordinary survivor by accident, his internal conflicts, bravery, and transformation are more visible and emotionally grounded.One of the most exciting additions is Salvador the Sailor. He brings a completely different energy to the story. He is playful, unpredictable, and charmingly unreliable. His presence not only adds humor and exu-berance, but also introduces a new dynamic to the narrative.The relationship between Jean and Salvador is particularly mean-ingful. Rather than a solitary hero’s journey, Jean now shares key mo-ments with Salvador, creating a surprising and heartfelt friendship. Salvador becomes a kind of reluctant companion, sometimes unreliable, often charming, but ultimately loyal. Their evolving connection adds both emotional texture and fun to the story, showing how even the most unlikely individuals can form a duet through shared confrontations.This creative freedom also became my artistic key to unlocking brand-new scenic worlds and experiences never seen before. ‘The Magic Garden’, ‘Aqua Cage’, and ‘City of the Future’ are striking examples that illustrate a narrative driven by timeless themes of love, destiny, hero-ism, and spectacular adventures.Other significant additions include symbolic elements like the po-etic and precious Anni stone ‘Heart of Water’, the mystical ‘Sword of Water’, and the immersive ‘World of the Waters’.The show also features flamboyant new choreography, cut-ting-edge stage effects, dynamic lighting and laser, video projections, and a completely reorchestrated musical score, creating an experience that feels more cinematic than ever before.Last but not least, visually, the show has undergone a complete transformation. We’ve introduced new costume designs for a total of 300 costumes, along with revamped hair and makeup featuring daring, dramatic, and expressive touches, ensuring every performer looks as stunning as the performance itself.你如何重新構思這部作品？新增了哪些元素？重新構思《水舞間》給予我絕佳機會，讓我能夠首次為演出創作完整的故事線，讓藝術創意不受拘束地躍然舞台之上。改編過程的核心在於深化每個角色的情感層次與人格特質。我希望每位角色都更具人性魅力，能與觀眾建立更深層的情感連結。現在他們的行為動機更清晰，人物關係也更加細膩和深刻。例如，安妮公主從象徵性角色蛻變為飽滿的女英雄形象，她的旅程如今有了為愛勇往直前、背負命運的情感成長與自我犧牲的深刻意義，使其角色更具重量，引起觀眾共鳴。同樣地，異鄉人Jean這一角色也更加有深度。他不再只是偶然存活的普通人，他的內心掙扎、勇氣與轉變都更鮮明且情感豐沛。最令人耳目一新的新角色當屬水手Salvador。他為故事注入了截然不同的氣質——玩世不恭、難以捉摸又充滿魅力。他的出現不僅增添幽默與活力，更為敘事帶來全新動態。Jean與Salvador的關係尤其耐人尋味。Jean的旅程不再是孤膽英雄之旅，而是與Salvador共擔苦樂，逐漸建立起真摯友誼。Sal-vador最初不情不願地成為了他的拍檔，雖然時常表現得散漫不羈，卻總在關鍵時刻展現出耿耿忠心。他們之間不斷演變的關係為故事增添了豐沛的情感張力和趣味，證明即使是兩個截然不同的靈魂，也能在並肩戰鬥中形成羈絆，成為堅不可摧的最佳拍檔。這種創作自由也成為我打造前所未見場景的藝術鑰匙。「魔法花園」、「水之囚籠」與「未來城市」等新場景，完美演繹了關於愛、命運與英雄主義的永恆主題。其他重要的新元素還包括象徵性元素，包括詩意的「水之心」寶石、神秘的「舞之劍」，以及沉浸式場景「水之世界」。演出更融入華麗新編舞、頂級舞台特效、動態燈光激光、錄像投影，以及全新編曲的配樂，營造出比以往更富電影質感的體驗。最後不得不提的是視覺效果的顛覆性升級。我們重新設計了全劇300套服裝，以及大膽、極富戲劇性和表現力的髮型和化妝，確保每位演員的造型都與演出本身一樣令人驚艷。

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62MC MC MAY /JUN - 2025MAY /JUN - 202563How challenging was it to integrate these new elements into the existing storyline?Integrating new elements into an already iconic original production like House of Dancing Water was both a creative challenge and a great artistic responsibility. The original show had its DNA and was beloved by audi-ences around the world, so the task was to evolve it without losing its soul and respecting this DNA.The biggest challenge was finding the right balance while introduc-ing fresh and significant layers of storytelling and meaning, characters, and environments. Every new element, whether it was a character like Salvador The Sailor, or a setting like the ‘City of the Future’, had to feel organically woven into the narrative, not added on.Approaching this by rethinking the storyline from the ground up really guided me and helped me ensure that the emotional journey re-mained coherent and compelling. The goal was not just to add spectacle for its own sake, but to deepen the emotional stakes, elevate the storytell-ing, and enhance the audience’s sense of wonder and unique experience.Technically, integrating new scenic elements like flying chandeliers, immersive projections, and dynamic water effects required re-engineer-ing parts of the stage and show flow. It demanded close collaboration between creative, technical, and performance teams to ensure that these innovations felt and natural within the world of the show.Ultimately, these challenges became opportunities to innovate, to reimagine, and to push the boundaries of what House of Dancing Water could be. The result is a production that feels both new and familiar at the same time, offering audiences a deeper, more immersive and emo-tionally powerful experience.How have the changes enhanced the experience for the audience?Enhancing the audience experience begins with immersing them in a rich, emotionally driven story that feels timeless and plays with their imagination. By reimagining House of Dancing Water, I focused on creating a more cinematic and emotionally engaging journey, one where every element, from visuals to sound, works in harmony to draw viewers into the world I’ve created.As I introduced new scenes, environments, and characters that surprise and captivate, such as those previously mentioned like the ‘Magic Garden’, ‘Aqua Cage’, and ‘City of the Future’, these settings are not just spectacular to look at, they are essential to the storytelling and deepen the emotional resonance of the show.Technically, I’ve pushed boundaries to deliver a more dynamic and immersive spectacle. This includes a stunning symphonic re-orchestrated score that surrounds the audience with powerful sound-scapes, heightening emotional moments and driving the story forward.The aerial acts, including the upgraded ‘Human Chandelier’, now feature enhanced movements and breathtaking visuals that make the audience feel as if they are part of the performance.The layered approach to character development allows the audi-ence to connect more deeply, not just with the spectacle, but with the people at the heart of the adventure. These aren’t just performers on stage; they are living, feeling characters whose relationships reflect real human emotions: love, trust, hate, conflict, redemption. That’s what truly elevates the experience.Finally, the redesigned costumes, hair, and makeup create a more evocative and theatrical visual identity. Every character looks as ex-traordinary as their role in the story, ensuring the audience is contin-ually surprised, inspired, and emotionally connected from the first mo-ment to the last during the journey.這些改變如何提升觀賞體驗？提升觀眾體驗始於讓他們沉浸式感受一個情感豐沛、激發想像的雋永故事。透過重塑《水舞間》，我致力打造更具電影感與情感共鳴的旅程——由視覺至音效，所有元素協同作用，引領觀眾深入我構築的綺麗世界。當引入「魔法花園」等新場景、環境與角色時，不僅帶來視覺震撼，更是敘事的重要載體，能強化情感力量。技術層面，我們突破界限以呈現更動態沉浸的奇觀。全新交響配樂以磅礴音效包圍觀眾，既昇華情感呈現，又推動劇情發展。包括升級版人形水晶吊燈在內的高空特技，透過精進的動作設計與驚艷視效，讓觀眾彷彿也成了表演的一部分。多層次的角色塑造使觀眾能更深入共情，這些角色不只是舞台上的表演者，更是有血有肉、情感豐沛的角色，他們之間的關係反映了真實的人類情感：愛、信任、仇恨、衝突與救贖。這才是真正令體驗昇華的關鍵。最後，重新設計的服裝、髮型及妝效創造出了更富戲劇張力的視覺身份。每個演員的造型都與其角色定位完美契合，確保觀眾從開場到落幕始終保持驚艷，讓感動與情感連結持續整場。將這些新元素融入現有故事線有多困難？將新元素融入《水舞間》這樣的經典之作，既是創意挑戰，亦是極大的藝術責任。原版演出擁有獨特的DNA，深受全球觀眾喜愛，因此我們必須在創新的同時守住其靈魂精粹。最大挑戰在於找到平衡點，同時引進全新且重要的故事層次、意義、角色和環境。每個新元素，無論是像水手 Salvador 這樣的角色，或是像「未來之城」一樣的設定，必須自然融入敘事脈絡，而非生硬添加。我們透過全面重構故事線來確保情感體驗的連貫性與吸引力。目的不只是增添華麗場面，更要深化情感張力、提升敘事層次與觀眾的驚奇感和獨特體驗。技術層面，整合飛翔水晶燈、沉浸式投影等新場景元素，需要對舞台機械與演出流程進行重新設計。這要求創意、技術與表演團隊緊密合作，確保創新元素與演出渾然一體。最終，這些挑戰都成為創新的契機，推動《水舞間》突破既有框架。成果是一部既熟悉又新穎的作品，為觀眾帶來更深刻、更具沉浸感的情感衝擊。

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64MC MC MAY /JUN - 2025MAY /JUN - 202565What are you most proud of regarding this new version of the show?What I’m most proud of is that I was able to creatively and artistically re-imagine House of Dancing Water while respecting its original DNA. I was never afraid to surprise, be innovative and move the show into a new era. I took something iconic and beloved, and brought it to a next level through deep storytelling, artistic risk-taking, and technical innovation. This gives the show from my point of view, fresh life and a new meaning and has always been intended to offer the spectator an unforgettable and unique experience.I’m especially proud of the emotional depth we’ve added to the show. Characters like Princess Aani, Jean The Stranger, Lilith The Dark Queen and Salvador The Sailor as well as others now have clearer motivations and roles.Also, symbolic elements like the ‘Heart of Water’ precious stone or the ‘Sword of Water’ and ‘The World of Waters’ add poetic and spectacular lay-ers that connect more powerfully with the audience.Every decision, from choreography to costume, music to set design, was made with the intention of telling a completer and more resonant story.I’m also incredibly gratified by the collaborative spirit that made all of this possible. The passion, resilience, and dedication of the teams from artists, technicians, designers to crews were extraordinary. Together, we created a show that is not only visually spectacular, but also emotionally unforgettable and that everyone can be proud of.Ultimately, what fills me with the most pride is hearing from audiences that they feel transported, moved, and inspired.That’s the magic of live performance, and that’s the soul of this reimag-ined House of Dancing Water.What were some of the major challenges faced when bringing the show back to life?Bringing House of Dancing Water back was a monumental under-taking, filled with creative, technical and logistical challenges. After a couple of years away, we weren’t just reviving a show and reawakening a world, but challenged to first reimagine it and then rebuild it from the inside out based on my new artistic vision.One of the biggest challenges was reuniting and retraining a global team of artists, technicians, and creative professionals. Some had worked on the original production, while others were entirely new to this world. Aligning everyone around a renewed vi-sion, while maintaining the precision and safety required for such a technically complex show, demanded immense coordination, patience, and dedication. Team building and working as one was critical.Another major challenge was reinventing the show to meet today’s audience expectations in a global digital world. Spectators now look for more immersive, emotionally engaging experiences, so we had to rethink the pace, the storytelling, the scenic transi-tions and the visual impact of every scene. This meant reorches-trating music, redesigning costumes, introducing state-of-the-art technology, and reworking choreography, all while preserving the show’s emotional essence.From a technical standpoint, revitalizing a massive, pur-pose-built theater after a long interruption was no small program. For example, we had to conduct extensive testing and adjustment of the water stage, lifts, and flying systems among other key ele-ments to ensure everything met the highest standards of safety and performance.Finally, reintroducing the reimagined show in a post-pandem-ic world brought its own unique set of challenges, from changing audience behaviors to shifting expectations around live entertain-ment. But in many ways, this also became a source of inspiration: a chance to offer something joyful, breathtaking, and deeply human at a time when people need it most.In overcoming these challenges, the entire teams came to-gether with incredible passion and resilience, proving that this show, like the water and the precious stone at its heart, is always evolving and always full of life.重啟演出面臨哪些挑戰？重啟《水舞間》是一項浩大工程，充滿創意、技術與後勤方面的挑戰。停演數年後，我們不只是要復活一場秀，不是要重新喚醒一個世界，而是要重新想像這個世界，然後根據我新的藝術願景由內到外實現它，挑戰之大可想而知。首要挑戰是重組並培訓來自全球的藝術家、技術人員與創意團隊。既要讓老班底適應新構想，又要帶領新成員理解這個世界。在維持複雜技術表演所需的精準度及安全性的同時，要讓每個人都圍繞著新的願景一起努力，需要極大的協調能力、耐心和奉獻精神。團隊建設與默契合作至關重要。另一挑戰是讓演出符合數字時代觀眾的期待。現代觀眾追求更有沉浸感、情感濃度更高的體驗，因此我們必須重構表演節奏、敘事與轉場方式，這意味著從音樂編排、服裝設計到高科技運用與編舞的全方位革新，同時保留演出打動人心的情感核心。技術角度而言，重啟《水舞間》專屬劇院是龐大的工程。我們必須對水舞台、升降系統、飛行系統等關鍵設備進行全面檢測調整，確保一切符合最高安全標準。最後，在後疫情時代重新推出改版的演出也面臨獨特挑戰，包括觀眾行為模式的轉變、對現場娛樂期待的變化等。但這也成為靈感的來源——在人們最需要的時候，獻上一場充滿歡樂、驚奇與溫情的盛宴。克服這些挑戰的過程中，整個團隊展現出了驚人的熱情與韌性，證明這場演出正如其核心的水與寶石意象一般，永遠進化，生機勃勃。關於新版演出，你最自豪的是甚麼？最令我自豪的是能在尊重並保留原作DNA的前提下，以藝術創意重新詮釋《水舞間》。我從不害怕出人意料，熱愛創新，致力將這部經典帶入新時代。透過深入淺出的故事、藝術上的冒險和技術上的創新，我將故事中的經典元素帶至新境界。從我的觀點來看，這賦予了演出新的生命和意義，希望為觀眾帶來難忘而獨特的體驗。我們為故事增添了情感深度，對此我感到特別驕傲。像安妮公主、異鄉人Jean、黑皇後、水手Salvador等角色現在都有了更清晰的動機和更強的角色魅力。而「水之心」、「舞之劍」等象徵元素，則為演出增添詩意層次，強化觀眾共鳴。由編舞至服裝、音樂至佈景，每個細節的目的都是為了講述一個更完整、更動人的故事。團隊的合作精神也讓我深感欣慰。藝術家、技術人員及設計團隊展現出的熱情與專注令人動容。我們共同創造的不僅是視覺奇觀，更是觸動心靈的藝術傑作，讓每一個參與的人都引以為傲。當聽到觀眾表示被演出深深感動時，我們的成就感無以倫比。這正是現場表演的魔力，也是《水舞間》新章的靈魂所在。

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74MC MC MAY /JUN - 2025MAY /JUN - 202575《城市的遺跡》是佩德羅·帕茲的首次個展，以獨特而獨到的視角探索澳門這座城市。展覽由三個系列組成《你的郵件到了》、《框架中的無形》和《混沌與色彩的相遇》，揭示出這座充滿歷史和對比的城市的痕跡與記憶。這些作品呈現出一種獨特的視野，沒有人的存在，引領我們在整個展覽中以不同的方式反思和觀察澳門的城市日常生活，將那些常常被忽視的細節轉化為具有美學衝擊的詩意構圖。佩德羅·帕茲僅使用手機作為工具，揭示了攝影的真正本質不在於複雜的器材，而在於捕捉許多人認為普通的「差異」的敏感性和能力。作者的作品超越了瞬間：他將現實的片段永恆化，賦予它們深度，突顯出逃避城市居民匆忙目光的日常細節。受到馬里奧·金塔納語錄的啟發“攝影師的功能與詩人相同：永恆化瞬間”佩德羅·帕茲將每一個城市日常生活的“片段”轉化為持久的事物。他的作品揭示了可見之中的不可見，並提出對現實深層次的反思，在這裡，平凡與短暫被永恆化。佩德羅·帕茲於1979年出生於里斯本，擁有歷史學學位及藝術與文化遺產的輔修。自童年以來熱愛攝影，他在1997年之前居住在澳門，並於2012年重返這座城市。在走過標誌著他童年的歷史街道和小巷時，他重新發現了遙遠過去的元素，記錄下構成澳門視覺記憶的城市風景、質感和細節。觀察和反思這些照片提供了一種超越觀看的體驗，這是一種冥想的邀請。每一幅影像都邀請我們重新發現日常小事的意義和美。WHEN CHAOS MEETS COLORRemains of the City is Pedro Paz’s solo debut, presented recently at the Portuguese Bookshop, a visual exploration of the city of Macau from a unique and singular per-spective. The exhibition is made up of three series – You’ve Got Mail, Frame the Invisible and When Chaos Meets Color – which reveal the traces and memories of a city rich in history and contrasts. The work proposes a unique vision, without human presence, inviting us to reflect and observe Macau’s urban daily life in another way, where details that often go unnoticed are transformed into poetic compositions with an aesthet-ic impact. Using only his cell phone as a tool, Pedro reveals that the true essence of photography does not lie in the sophistica-tion of the equipment, but in the sensitivity and ability to capture the “difference” of what many consider common.The author’s work goes beyond the instant: immortaliz-ing fragments of reality, giving them depth, highlighting everyday details that escape the hurried gaze of the city’s inhabitants. Inspired by Mário Quintana’s phrase - “the photographer has the same function as the poet: to immortalize the moment that passes”, Paz transforms each “fragment” of urban daily life into something lasting. His work reveals the invisible in the visible and proposes a reflection on the deep layers of reality, where the banal and the ephemeral are eternalized. Born in Lisbon in 1979, Pedro Paz has a degree in History, Minor in Arts and Heritage. Passionate about photography since childhood, he lived in Macau until 1997, later returning to the city in 2012. As he walked through the historic streets and alleys that marked his child-hood, he rediscovered elements of a distant past, recording the urban landscapes, textures and details that make up Macau’s visual memory. Observing and reflecting on these photographs offers an experience that goes beyond looking. It is an invitation to contemplation, each image inviting us to rediscover the meaning and beauty of the little everyday things.《混沌與色彩的相遇》

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76MC MC MAY /JUN - 2025MAY /JUN - 202577DESTINATION MACAO作家 AUTHOR WWW.CHINARHYMING.COMPaul French目的地澳門評論OPINIONErnest K Gann 筆下的悲情澳門《江湖客》（1954）Ernest K Gann’s Sad Macao - Soldier of Fortune (1954)Today Ernest K Gann’s 1954 novel Soldier of Fortune is best remembered for the movie version (1955), part-lmed in Hong Kong and starring Clark Gable and Susan Hayward. Famously Hayward refused to leave America, which created some issues editing the mov-ie. Hayward’s character, Jane Hoyt, is searching for her husband, a photojournalist jailed in China as a spy. In Hong Kong she can’t help but fall in love with shipping magnate and smuggler Hank Lee (Gable). Lee does the decent thing and eventually heads to Guangzhou to res-cue Jane’s husband. He then gallantly retreats to allow them to restart their stalled marriage. Along the way Jane gets a tip that a man in Macao may know of her husband’s whereabouts. She heads to the Portuguese colony – in the movie a Hollywood set with the char-acter actor Mel Welles playing a gambler and “white slaver” Rocha.Though the lm remains pretty well know Gann’s 300-page novel hasn’t been reprinted since the 1980s. Which is a shame as it’s a good read with much more detail than the movie (for which Gann also wrote the script). Ernest Kellogg Gann hailed from Lincoln, Nebraska. His father was in the telephone business and as a young man he got a job in Hong Kong installing telephone lines. On weekends he visited Macao and thought he should really get out of the telephone business and into the novel writing game penning something set in Hong Kong and Macao. But life overtook his dreams. He spent some time making newsreels, and then as an airline pilot, with a stint ying the “hump” over the Himalayas to China in World War Two. Post-war he eventually rented a junk and sailed around the South China Seas writing Soldier of Fortune. *Jane takes the four-hour ferry, the Fat Shan, to Macao, having hired former Nationalist General Po-Lin, who claims to know Macao well. Her quest is to nd Fernand Rocha, “a no-good Portuguese”, but a man who may know something of her husband’s fate. General Po-Lin suggests Jane sightsee, but she is adamant she must nd Rocha. ‘But you will be agreeably surprised with Macao. Time rather stands still there…as it has done for centuries…a feeling of tranquillity always comes over me when I am in Macao.’ The Fat Shan briey enters Chinese waters and is stopped mid-way between Hong Kong and Macao, the Chinese Navy board and take General Po-Lin away to his death. Shaken by losing her guide Jane rides in a taxi through the city – ‘owers tumbled o the walls which lined the streets, and wrought iron gates only partly obscured the gardens before the houses’ – and checks into the (now sadly) demolished Riviera Hotel that used to be at the tree-lined intersection of the Avenida de Almeida Ribeiro and the Praia Grande, but was sadly demolished to make way for the Nam Tung Commercial Building.Rocha runs a bogus language school, the Lingua Casa, on the notorious Rua da Felicidade. His “school” is nothing but a bare oce with lthy curtains. He claims to know the whereabouts of Jane’s husband and tries to extort a “nders fee”. Jane does pay him several hundred American dollars for information. Locking her in his shabby lodgings he promptly heads to the casino at the Hotel Central just over the Avenida de Almeida Ribeiro. The Central is run down, long past its pre-war heyday – ‘here the workers of Macao could play fantan and chuck-a-luck, or sit at long dice-tables lacking only a wheel to duplicate the roulette tables Rocha remembered from his youth in Estoril.’ On oors above reside girls, a danceoor, and a Chinese band playing American jazz. Higher still ‘a seedy oor show and an overabundance of hostesses who besieged any male who ventured through the plush-curtained doorway.’ Back in Hong Kong Hank Lee hears Jane is trusting Rocha and paying him. He’s not happy – ‘that sonofabitch Rocha!’ In Macao Hank confronts Rocha, collects Jane, and agrees he’ll rescue her husband. *In Soldier of Fortune Ernest Gann oers us a largely nocturnal tour of Macao – from the rened suites of the Riviera to the louche and debauched interior of the run-down Central Hotel via the dubious enterprises and denizens of the Rua da Felicidade. Macao is all Hollywood sets, down to the Portuguese street signs and fado guitarist. Gann’s Macao is a gloomy place, an economically down-at-heel colony of secrets and hidden vices. As with so many American portraits of Macao Gann contrasts this to the bustling and dynamic neighbouring British Han 1955) take to the (invented) Havana Hotel. But the Macao of Gann’s novel, though just as exotic and orientalised, is ultimately a sad and forlorn place. Used copies of Soldier of Fortune are widely available on the Internet. The movie version is on YouTube. 如今，Ernest K Gann於1954年出版的小說《江湖客》(Soldier of Fortune)因1955年的同名電影而廣為人知。電影由奇勒基寶及蘇珊希活主演，部分場景在香港拍攝。值得一提的是，由於蘇珊希活拒絕離開美國進行境外拍攝，給電影剪輯造成了一些難度。影片中，她飾演的Jane Hoyt是一位攝影記者的妻子，丈夫因被懷疑是間諜而在中國遭到扣押。為營救丈夫來到香港的Jane，卻情不自禁地愛上了航運大亨兼走私犯Hank Lee（奇勒基寶飾）。為人正派的Lee最終前往廣州救出 Jane 的丈夫，並紳士風度地退出三角關係，希望Jane和丈夫重修舊好。在尋找丈夫的過程中，Jane曾獲悉澳門有一個叫Rocha的人可能知道她丈夫的下落。於是她前往這個當時的葡萄牙殖民地——場景實際於荷里活搭建，見到了由Mel Welles飾演的賭徒兼「白人奴隸販」 Rocha。儘管這部電影仍頗具知名度，但Gann這本長達300頁的小說自1980年代以來就未再版。其實這本小說的細節比電影（Gann 亦為電影擔任編劇）詳盡得多，值得一讀。Ernest K Gann來自內布拉斯加州的林肯市，父親從事電話生意。年輕時，他曾在香港做過一份安裝電話線路的工作，週末經常去澳門遊玩。他覺得自己應該轉行投入小說寫作，以香港和澳門為背景進行創作，但生活擠壓了他的夢想。他曾經製作過新聞短片，後來成為航空公司機師，在二戰期間曾執飛「駝峰航線」翻越喜馬拉雅山，向中國運送物資。戰後，他租了一艘戎克船在南海航行，在此期間寫出了《江湖客》。故事中，Jane聘請了聲稱對澳門很熟悉的前國民黨將軍Po-Lin，搭乘四小時的「佛山號」渡輪前往澳門，尋找可能知道她丈夫下落的「無惡不作的葡人」Fernand Rocha。Po-Lin將軍建議Jane順路在澳門觀光，雖然她一心只想找到Rocha——「澳門會讓你驚喜，那裏的時間仿佛靜止……就像幾個世紀未曾改變……我在澳門的時候，總會感到平靜。」然而「佛山號」短暫進入中國水域、位於香港和澳門之間時被截停，Po-Lin將軍被中國海軍帶走並處決。失去向導後，Jane彷徨了。她搭乘的士穿過澳門，「街道兩旁的牆壁上，鮮花剝落，鑄鐵門遮住了房屋前的花園」。她住進了利為旅酒店——原址位於綠樹成蔭的新馬路和南灣大馬路交匯處，後來因興建南通商業大廈而被拆毀。Rocha在惡名昭彰的福隆新街開辦了一所掛羊頭賣狗肉的語言學校 Lingua Casa。這間「學校」只是一間掛著污糟窗簾的空辦公室。他聲稱知道 Jane 丈夫的下落，並試圖勒索一筆「尋人費」。當Jane付給他幾百美金資訊費後，他卻立刻把Jane鎖在房間裡，徑直前往位於新馬路中央酒店的賭場。中央酒店已經破落不堪，早已沒了戰前鼎盛時期的繁華——「在這裡，底層工人玩番攤和骰子擲好運贏錢遊戲，或者坐在長長的骰桌前，只差一個輪盤就與Rocha年輕時在埃斯托利爾見過的的輪盤賭桌一樣。樓上駐有舞女和演奏美國爵士樂的華人樂隊，更高層則是「露骨的娛樂表演和眾多女招待，圍繞著任何冒險走過帷幕門簾的男性」。在香港的Hank Lee得知Jane付錢給臭名遠揚的Rocha 尋夫後破怒罵——「那個賤人！」Hank立刻赴澳門與Rocha 對質，解救了 Jane，並答應幫她尋找丈夫。在《江湖客》中， Gann 生動描繪了澳門夜景——從利為旅酒店的精緻套房，到破落的中央酒店的紙醉金迷，再到福隆新街的陰暗商舖和可疑居民。荷里活搭建的場景還原了澳門風貌，甚至連葡文街牌和法多結他手等細節也不例外。Gann筆下的澳門是一個陰鬱的地方，一個充滿隱秘之惡、經濟落後的殖民地。正如很多美國作家對澳門的描述一樣，Gann將澳門與鄰近的英屬香港的繁華與活力形成鮮明對比。儘管如此，澳門的賭場、廉價酒吧和週末度假酒店仍被描繪成既罪惡又浪漫的意象——如同韓素音的《生死戀》（同樣拍攝於1955年）中那對命運不濟的戀人週末到訪（虛構的）哈瓦那酒店的情景。但Gann小說中的澳門，雖然同樣充滿異國情調和東方色彩，最終呈現的卻是一個令人惆悵的悲情之地。*《江湖客》的二手書在網絡上仍易購得。電影版本可於YouTube 觀看。

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78MC MC MAY /JUN - 2025MAY /JUN - 202579GOURMET美食In early May, renowned Chef Alfon-so Iaccarino visited Macau to pres-ent exclusive new menus at his two restaurants, Casa Don Alfonso at Grand Lisboa Hotel and Don Alfonso 1890 at Palazzo Versace at Grand Lis-boa Palace in Cotai.As we talk, the 78-year-old recalls the stories of his colourful life, the rich testimonies typical of someone who grew up in the world of hospitality and discovered from an early age what he describes as his ‘mission’ in life, rather than just a profession. The three generations that preceded him dedicated themselves to hospitality and spread the Iaccarino sur-name from their humble origins in Sant’Agata de’ Goti, in the Campania region, to the rest of Italy and, nally, the world. Alfonso and his wife Livia decided to take a different path and turn their lives into a love letter to the Medi-terranean diet with their home restaurant Don Alfonso 1890, planted on the Amal coast. The rst location was followed by other venues with the same name around the world, in locations as far apart as Canada, Portugal and Macau - still the only representation of the family in Asia.The décor of the restaurant of the same name at Palazzo Versace at Grand Lisboa Palace Resort was de-signed by Versace, ensuring a sophisticated atmosphere for ne-dining meals. Casa Don Alfonso, at the Grand Lisboa Macau, lives up to its name with a cozier concept (“no less rened, just more relaxed”, hastens to add Chef de Cuisine Francesco Magni) and a greater connection to comfort food, such as pizzas cooked in the huge wood-red oven that immediately catches the eye when you enter the space. The differences in the aesthetics and presentation of the two restaurants do not, however, alter the philosophy common to all the Iaccarino family’s projects: pure, or-ganic food, slowly cultivated in soil that respects the sea-sons and persists, with rm roots, in a world dominated by multinationals and the fast-food and ultra-processed food industries.5 月初，名廚Alfonso Iaccarino 重訪澳門，在他的兩間餐廳——澳門新葡京的當奧豐素意式料理及澳門上葡京Palazzo Versace 的當奧豐素1890，呈獻獨家全新菜單。在訪談中，這位78歲的廚界傳奇人物娓娓道來他豐富多彩的人生故事。自幼成長於餐飲世家的他將款待賓客視為人生「使命」，而非只是職業。Iaccarino家族三代人投身於餐飲事業，將這個姓氏從坎帕尼亞大區Sant'Agata de' Goti小村的一間食肆帶到意大利各地，最終更揚名國際。Alfonso與妻子Livia另闢蹊徑，將生活譜寫成一首獻給地中海美食的情詩。他們在阿馬爾菲海岸創立的家族餐廳當奧豐素1890如今已發展成為跨國餐飲集團，分店開到了加拿大、葡萄牙及澳門——後者目前是在亞洲的唯一據點。位於上葡京Palazzo Versace內的當奧豐素 1890由Versace設計裝潢，營造精緻優雅的用餐氛圍。而位於新葡京酒店的當奧豐素意式料理則主打溫馨舒適的用餐體驗（主廚Francesco Magni補充道：「並非不考究，只是氛圍更輕鬆」），特別注重令人愉悅、撫慰心靈的美食，例如餐廳中央那座引人注目的焗爐中現烤的拿坡里薄餅。 A Passion for Quality當奧豐素意式料理於澳門開業近二十年後，傳奇名廚 Alfonso Iaccarino 再度親臨澳門，為饕客獻上最地道的地中海美饌Almost two decades since the opening of Don Alfonso restaurant in Macau, Chef Alfonso Iaccarino returns to the region to once more presentthe best of Mediterranean cuisine爐火純青文 BY CAROLINA BALTAZAR / 譯 TRANSLATION DAISY WONG / 圖 PHOTOS ELOI SCARVA

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80MC MC MAY /JUN - 2025MAY /JUN - 202581“Don’t talk to me about Michelin stars,” Alfonso comments when the conversation inevitably turns to the countless honours he has received over the years - including, yes, these coveted stars. The family patriarch prides himself on not tting into the pre-established molds of the haute-cuisine world.“We’re a small company and everything we do, we do ourselves. The space, the team, everything belongs to us. I’m very proud of this”. He guarantees: Don Alfonso is and always will be a family business, including the family he acquires along the way.He and his wife Livia Iaccarino have been insepara-ble friends since childhood, and this year celebrate 56 years of marriage, which has also produced two sons, Ernesto and Mario, who are heirs to the family business. Chef Alfonso comes from a family that has been in the hospitality industry for generations. “I’m the fourth generation: it started with my great-grandmother, then my grandfather, my father... and now me. The new generation are my sons, Ernesto and Mario, but also the people we work with. Chef Fran-cesco, for example, is like a son to me - he does a phe-nomenal job in the kitchen and keeps everyone happy, both the staff and the customers.”“In my case, I started cooking out of passion. I’ve always been passionate about food and very curious about my surroundings. And, above all, I entered this world because I have enormous respect for the kitchen. I’ve never stopped honouring my Mediterranean roots: we’ve always used extra virgin olive oil, fresh vegeta-bles, sh, pasta, pizza... From the very beginning, this has always been our Italian tradition.”Pizza has a reputation, perhaps unfairly, of being an unhealthy food, but not Chef Alfonso’s.“Our version is different. It’s the original, very Italian. It comes straight from our house and is freshly made with organic tomatoes and mozzarella from our region. The dough is left for two days to rest and rise naturally, without chemicals. When the pizza is good, you can even tell by the smell... In our restaurant people come in, see the oven, feel the Italian atmosphere, the aroma... the difference is obvious.” 儘管兩間餐廳在美學與呈現方式上各具特色，但都秉持Iaccarino家族一貫的理念：甄選純淨、有機的時令食材，在這個被跨國連鎖、速食與過度加工食品主宰的時代，堅守傳統飲食文化的價值。「別只談米芝蓮星級，」當話題不可避免地轉向多年來獲得的眾多榮譽，包括那些令人稱羨的米芝蓮星時，Alfonso如是說。這位家族掌門人最引以為傲的，是他從不拘泥於高級餐飲的既定模式。「我們是小型家族企業，所有事情都親力親為。從場地到團隊，一切都屬於我們。這點讓我深感自豪。」他強調，當奧豐素現在是、未來也永遠會是家族事業，這包括他們一路收購的其他家族企業。他與妻子Livia Iaccarino從小青梅竹馬，如今已結婚56週年，育有兩子Ernesto和Mario，都是家族事業的接班人。Alfonso主廚出身於一個世代從事餐飲業的家族。「我是第四代：從曾祖母開始，然後是祖父、父親……現在輪到我。新一代是我的兒子Ernesto和Mario，此外還有我們的合作夥伴。」「比如Francesco就像我的兒子一樣——他在廚房表現出色，讓每位員工和客人都感到開心。」Alfonso分享道：「就我而言，烹飪始於熱情。我一直對食物充滿熱愛，對環境保持好奇。我進入這行的初衷就是對廚房的崇高敬意，這一點至關重要。我尊重地中海飲食的根源：我們堅持使用特級初榨橄欖油、新鮮蔬菜、魚肉、意粉及薄餅……發揚意大利美食的悠久傳統。」雖然意式薄餅常被貼上不健康的標籤，但Alfonso主廚的出品絕非如此。「我們的薄餅與眾不同，純正意大利風味，採用我們家鄉的有機番茄和新鮮mozzarella水牛芝士製作。麵團經過兩天自然發酵，絕無添加化學物質。優質的薄餅只由香氣就能辨別……在我們的餐廳，客人一進門就能看見焗爐，感受意式氛圍與香氣，絕對與別不同。」Iaccarino家族在索倫托半島擁有自家農場「Peracciole」，種植各色蔬果。「意大利是一個非常之獨特的地方，能依季節種植各種作物。餐廳大部分食材都直接由意大利進口。」當奧豐素1890 Don Alfonso 1890: (853) 8881 1390當奧豐素意式料理 Casa Don Alfonso: (853) 8803 7722

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82MC MC MAY /JUN - 2025MAY /JUN - 202583The family has their own farm, ‘Peracciole’, on the Sor-rentine peninsula, where they grow their own fruit and veg-etables. “In Italy, we live in a very special part of the world: we can grow a bit of everything, depending on the season. Most of our ingredients come directly from Italy.”“This is also why we have enjoyed working with SJM for so many years: they put the quality of the food above everything else. They’re not like other big companies, where at the end of the month all that matters is the money. Here we have the free-dom to choose the best. We also enjoy working with all our local team - they are very hard-working, responsible and loyal people.”Is that why he chose Macau for his rst restaurant in Asia?“Partly, but it was a combination of factors,” Chef ex-plains. “Forty years ago, I came to Hong Kong with Livia. We were curious to discover the history of the region, not least because we knew that Italian Jesuits had been sent by the Por-tuguese to spread the Christian faith. We ended up staying one or two nights in Macau to discover the culture and found something very different from inland China: a real mix, from the architecture to the food on offer.“Twenty years later, a gentleman [Stanley Ho] walked into our restaurant and told us about a new hotel he was opening in Macau. He asked me if I’d like to open a place in Macau and I said yes, without hesitation!”「這也是我們長期與澳博合作的原因：他們將食物質素置於首位。不像其他大企業，只重視月底營收報表。在這裡，我們能自由選擇最佳食材。我們與本地團隊的合作亦非常愉快——他們都非常勤奮、負責且忠誠。」這就是他選擇澳門開設亞洲首店的原因嗎？「部分是，但也是多重因素使然，」主廚解釋道。「四十年前，我和Livia首次造訪香港。我們渴望了解港澳地區的歷史，尤其是知道葡萄牙曾派遣意大利耶穌會士來到港澳傳教之後。我們在澳門停留了一兩晚，探索當地文化，發現澳門與中國內地大不相同：從建築到飲食，都展現了真正的文化交融之美。」「二十年後，一位紳士（何鴻燊）走進我們的餐廳，告訴我們他計劃在澳門開設一間新酒店。他詢問我是否願意來澳門開設餐廳，我毫不猶豫地答應了。」

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84MC MC MAY /JUN - 2025MAY /JUN - 202585THE REAL DEALAt the heart of Avenida da Praia Grande, one of the busiest streets in Macau, you can visit a slice of real Portugal just by stepping through a doorway. The shop can be identified from metres away by the un-mistakable Manteigaria logo and a bell that sounds every few min-utes, announcing the arrival of a new batch of steaming hot pastel de nata. Inside, the aromas of hot butter, cinnamon and coffee min-gle in a way that is reminiscent of the typical cafés in the centre of Lisbon, where the pastel de nata is sweet and crispy and always accompanied by a caneleiro and a bica.Egg tarts have long been one of Macau’s most famous symbols, along with the iconic façade of the Ruins of St Paul's. On every street corner, there are eateries selling the famous tarts with a soft filling, similar to steamed egg yolks, wrapped in a crumbly pastry. Despite the obvious differences in the texture and flavour of the Macau and Portuguese varieties, some shops choose to label their products as ‘pastéis de nata’ or ‘Portuguese egg tarts’, perhaps to give them a more exotic sound. The authentic Portuguese pastel de nata however, with its intensely creamy, buttery flavour and puff pastry texture, is much harder to find.“I can’t claim that we have the only authentic pastel de nata in Macau, but we are guaranteed to be the best,” says Diogo Vieira, manager of Manteigaria. 不只葡撻：「曼撻格利亞MANTEIGARIA」為澳門帶來全方位的葡萄牙風情體驗MORE THAN PASTEL DE NATA: MANTEIGARIA WANTS TO OFFER MACAU AN IMMERSIVE EXPERIENCE OF WHAT IT MEANS TO BE PORTUGUESE.在車水馬龍的南灣大馬路上，一扇門後隱藏著純正的葡萄牙風味。遠遠就能看見「曼撻格利亞Manteigaria」的招牌。每隔幾分鐘響起的清脆鈴聲，宣告著新一爐熱騰騰的葡撻出爐。店內瀰漫著牛油、肉桂與現煮咖啡交織的香氣，瞬間將人帶到里斯本街頭的傳統咖啡館——那裡總有剛出爐的脆甜葡撻配上葡式caneleiro或bica咖啡。作為澳門的美食符號，葡撻的代表性地位不亞於大三巴牌坊。街頭巷尾隨處可見售賣葡撻的餅家，鬆軟的酥皮包裹著嫩滑如蒸蛋的餡料。儘管澳門蛋撻與葡萄牙蛋撻在口感和味道上有明顯差異，但有些澳門餅家還是將自家產品稱為「葡式蛋撻」或「pastéis de nata」，也許是為了增添一絲異國風情。然而，要找到正宗葡式風味蛋撻卻非易事——那種忌廉香味濃郁、酥皮層次分明的傳統口感。「我們不敢說全澳門只有我們賣正宗葡撻，」店經理Diogo Vieira坦言，「但我們敢保證是最美味的。」事實上，曼撻格利亞周邊不乏經營數十年的老字號蛋撻店，更符合亞洲口味——甜度較低、蛋香突出。葡韻魅力文 BY CAROLINA BALTAZAR譯 TRANSLATION DAISY WONG 圖 PHOTOS ELOI SCARVAGOURMET美食84

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86MC MC MAY /JUN - 2025MAY /JUN - 202587Actually, there are competing shops just a few minutes walk away, many of which have had loyal customers for de-cades, serving up a light, slightly sweet flavour that focuses more on eggs than cream, designed with attention to the Asian palate. “Compared to the local offerings, we’re no better or worse,” Diogo emphasises. “We’re just different from what they offer. They call it a ‘Portuguese egg tart’, which technical-ly isn’t the correct name actually; visually it’s very similar, but it has a different consistency, more like a pudding, and a com-pletely different flavour to ours. There are other local bakeries that may even have Portuguese pastel de nata, but they don't have the same recipe or quality as ours.”It’s not just the pastel de nata that represent Portugal at Manteigaria. On the drinks menu, as well as Americanos and lattes, it’s the espressos, port wine and a sour cherry liqueur (Ginja) that solidify the Portuguese identity of the shop and arouse the curiosity of customers who may not be familiar to these products. “Our Ginja is a Portuguese product produced specifically for Macau by a local brand, Ginja do Senado. We want to part-ner with small local businesses to encourage community spirit and mutual help.”Alternatively, customers who are more rooted in old hab-its can opt for a homemade ginger, mint and lemon tea. “We also try to have more localised drinks for this market, which meet Asian tastes and tea culture.”Providing warm hospitality and friendly service is also im-portant for Diogo.“In many local pastry shops there’s a habit of putting the products on the shelves and letting the customers serve themselves. But this means that there is limited direct inter-action between customers and staff. We try our best to give a Portuguese experience as a whole, including Portuguese-style service. It’s something I try to instil in my team: a genuine de-sire to interact with the customer, to ask how they are, how their day was... It’s part of our ‘Portugality’ and our way of being.”The shop area has been designed so that the whole cre-ation process is visible and customers can see the pastry chefs at work. There are no tables or chairs: although it’s possible to eat on the spot while taking an opportunity to admire the method used to make this famous Portuguese sweet from scratch. And perhaps to take a few photos for social media.One of Manteigaria’s main quality seals is the guarantee that everything is made instantly by the hands of their expert pastry chefs, from weighing the flour to baking. “The whole process is manual; nothing is automated.”The number of trays is managed according to the day’s demand, ensuring that the time between leaving the oven and being consumed by the customer is as short as possible. “The pastries sold in the afternoon weren’t baked in the morning. We bake for periods of one or two hours, which al-lows us to stock up for the day from eight in the morning until around eight in the evening, when we close,” says Diogo.「這不是孰優孰劣的問題，」Diogo解釋，「而是風味差異。很多所謂的『葡式蛋撻』嚴格來說並非正統。確實看起來非常相似，但它們的質地更接近布甸，味道也與我們的完全不同。其他店也可能有葡撻售賣，但他們的配方和品質都跟我們的不一樣。」曼撻格利亞的葡萄牙元素遠不止於葡撻。飲品單上除了美式咖啡及拿鐵咖啡外，亦有濃縮咖啡、砵酒，特別是專為澳門調製的Ginja do Senado酸櫻桃甜酒，盡顯葡萄牙特色，並激起賓客的好奇心。「我們的酸櫻桃甜酒是特意與本地品牌Ginja do Senado合作生產的葡萄牙酒，透過與本地中小企業的合作，促進社區互助共榮，」Diogo續說。店內亦貼心準備了薑茶、薄荷檸檬茶等符合亞洲人喜好的飲品。「我們正在開發更多符合亞洲口味和茶文化傳統的本地化飲品。」對 Diogo 來說，熱情款待和友善服務也很重要。「很多本地餅家採用自助模式，需要客人自取，但這意味著客人與店員之間的互動很少，」Diogo說，「我們盡力提供全方位的葡萄牙體驗，包括葡式服務——真誠問候、親切交流，聊聊今天過得如何……這是我們『葡式』的一部分，亦是我們的生活之道。」開放式廚房設計讓整個製作過程一目了然。店內沒有桌椅，但顧客可以一邊就地享用，一邊欣賞製作葡撻的全過程。也許還可以在社交媒體上發佈幾張相片。從秤料到烘焙，全程由師傅手工完成，是曼撻格利亞的一大特色。「整個製作過程都是手工完成，沒有任何自動化的步驟」。烤盤的數量根據當天的需求動態調整，以確保從出爐到食用的時間盡可能短。「下午賣的絕非早上烤好的存貨。我們每1到2個鐘就會現烤一批，這樣由上午八時至晚上八時，一整天都有新鮮葡撻供應，」Diogo表示。樓上，點心師傅們正手工折疊裹入牛油的酥皮，然後送入雪櫃。技術總監Pedro Quintaneiro從店鋪籌備期間就負責訓練廚師，此刻他正透過玻璃幕牆密切指導，不時走進廚房與大家交換意見。與葡萄牙人相比，中國客人對甜度的接受度較低。為了適應他們的口味，店家將葡撻的原始配方稍作改良。

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88MC MC MAY /JUN - 2025MAY /JUN - 202589Upstairs, the pastry chefs work on the puff pastry, wrap-ping it in a thick block of butter, which is then sent to the fridg-es. Pedro Quintaneiro, who has been responsible for training the pastry chefs since the start of the project, keeps an eye on what’s happening on the other side of the glass and occasion-ally pops in to exchange a word or a piece of advice. The original recipe for the pastel de nata has been slightly adapted to suit the Chinese palate, which is less tolerant of sweet desserts than the Portuguese. “Before we opened the project, we carried out tests with groups of local and Chinese customers to gauge how receptive they were to the Portuguese recipe. We concluded that the rec-ipe we use in Lisbon is too sweet for the local market and we had to make a sugar adjustment, with a 50 percent reduction. The process and ingredients remain the same and it has turned out to be a good, well-balanced recipe,” he emphasises.Even the ingredients are imported directly from Lisbon, with the exception of those that can be bought in Macau, with-out compromising the quality of the final result, such as sugar or lemons.Though the business has only been running for a few months, Diogo already has plans to open a second store on the busy Rua do Cunha in Taipa Village - an area with lots of tourists, great visibility and strategic proximity to Portugália restaurant, owned by the same group. No matter where they go, the ambition is always the same: to create a bubble of ‘Portugueseness’ inside the shop, for cus-tomers to enjoy the true culture and flavours of the country.「在開店之前，我們特別對本地和內地客人進行了測試，以評估他們對葡撻原始配方的接受程度。結論是，我們在里斯本使用的配方對本地市場來說太甜了。因此我們將糖分減半，不過製作過程和配料維持不變，結果證明改良後的配方反響不錯，」他強調。除了在澳門可以買到的優質原料，例如糖或檸檬外，其他原料都是直接從里斯本進口，確保最終的品質上佳，風味純正。開業僅數月，曼撻格利亞已計劃在氹仔官也街開設分店。那裡遊客眾多，人流暢旺，亦毗鄰同集團的葡多利餐廳。但無論身在何處，他們的初心不變：在澳門打造「葡式味覺泡泡」，讓每位推門而入的顧客，都能體驗最地道的葡國風情。Manteigaria Avenida da Praia Grande, Edifício Man Seng II, No. 598, R/C, E, Macau

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90MC MC MAY /JUN - 2025MAY /JUN - 202591Tequila Don Julio has announced a new creative partnership with world-renowned DJ, producer and culture powerhouse Peggy Gou. As part of this global collaboration, the brand is launching Don Julio 194 구 (pronounced ‘Gou’) a limited-edition bottle. Don Julio 194 구 is the first-ever global collaboration from Tequila Don Julio 1942, celebrating and sharing the renowned Mexican product around the world. In collaboration with Peggy, the bottle stands as the ultimate statement piece, perfectly em-bodying her signature aesthetic (a blend of high-end fashion and bleeding-edge street style) while pushing the boundaries of artistry and craftsmanship. It’s the perfect complement to the ultra-smooth, luxurious taste of Tequila Don Julio 1942, with its exquisite notes of caramel and oak and its lingering sweet warmth. Peggy’s striking take on the iconic Don Julio 1942 bottle masterfully fuses heritage with modern touches like its lush mint-green and deep purple colorways. The contrasting holo-graphic “194 구” label melds Peggy’s signature branding with Don Julio’s recognizable iconography. With its sleek reflective finish, the elevated chrome cap adds a refined touch that’s befit-ting of a creative partnership between two titanic tastemakers. In a nod to Peggy’s eclectic sense of street style, there is a hand-drawn illustration inset on the carton of each box, incor-porating an alluring “shimmer” effect on her jewelry and nails to add a welcome touch of glamour and mystery. The inside of the box is emblazoned with a personal message from Peggy, sharing her passion for this one-of-a-kind collaboration. “When it comes to design, balance is so important,” says Peggy Gou. “Sometimes less is more. Sometimes more is more. I wanted to create a bottle that stops you in your tracks the mo-ment you see it. I’m so grateful for the opportunity to collab-orate with Tequila Don Julio 1942, because this collaboration offers supporters a taste of a superior tequila and a taste of my own personal aesthetic, all in one stunning package that I was fortunate enough to design.” This latest offering from Tequila Don Julio debuts with digital spots directed by acclaimed filmmaker Nabil Elderkin. Known for merging art, music and culture, Nabil brings a future-forward vision to life in a striking film that captures the essence of Don Julio 194 구. Every frame reflects the sleek, modern aes-thetic of the collaboration while honoring the brand’s legacy of luxury and craftsmanship. Filmed in high-contrast settings, the campaign blurs the line between reality and a dreamlike night-life fantasy. Accompanying still imagery by renowned Korean photographer Hong Jang Hyun and longtime partner of Peggy Gou, further elevates the campaign’s refined visual identity. Founded on the pioneering agricultural principles of Don Julio González and his personal pursuit of perfection, Tequila Don Julio revolutionized the tequila industry and set the stan-dard for ultra-premium tequila. Tequila Don Julio, Mexico’s orig-inal luxury tequila, uses only the highest caliber, fully matured and ripened Blue Agave that has been hand-selected from the rich, clay soils of the Los Altos region of the state of Jalisco. 龍舌蘭品牌Don Julio隆重宣佈與國際知名DJ、製作人、潮流時尚達人Peggy Gou合作，激發創意火花。是次合作橫跨國際，品牌特意推出限量版龍舌蘭酒 Don Julio 194구 (구發音為「Gou」)。 Don Julio 194구是Don Julio 1942首個國際合作項目，與世界各地分享這墨西哥的著名產物。與Peggy共同合作，Don Julio 194구酒瓶設計完美體現出她的個人標誌性美學，帶出高端時裝與時尚街頭服飾的混搭風格，將藝術與工藝的界限推得更遠；與極臻順滑、風味奢華的Don Julio 1942龍舌蘭相輔相成，展現出 Don Julio 1942龍舌蘭醉人細膩的焦糖和橡木調子，以及其香甜餘韻。Peggy為經典的Don Julio 1942酒瓶換上大膽創新的外型，設計糅合傳統與現代的元素，例如運用明亮的薄荷綠色和深邃的紫色，時尚奪目，是極致的收藏品，裏裏外外體現奢華。「194구」上的幻彩貼紙用色對比鮮明，將 Peggy 的個人風格與 Don Julio 的經典品牌圖像無縫融合。瓶蓋則選用鍍鉻設計，鏡面效果簡約雅緻，為這兩個創作巨頭的創意合作目項目添上一抹精緻優雅。向Peggy的多元街頭時尚風格致敬，每個 194구 酒瓶盒內均印上手繪插畫，畫中Peggy所配戴的首飾、手上指甲的「閃爍」效果更顯神秘及華麗。盒蓋內更印有Peggy的親撰訊息，為大家分享她對是次合作的熱衷。Peggy Gou表示:「設計十分講究平衡。有時候少即是多，有時候多即是多。我希望創作出一個令人一看為之驚艷、不得不立刻駐足細看的酒瓶。我很高興有這個機會與 Don Julio 1942 合作，並很榮幸能參與是次聯乘設計，讓大家在品嚐頂級龍舌蘭滋味的同時體驗到我的個人美學風格。」是次 Tequila Don Julio 聯乘特別邀得著名導演Nabil Elderkin操刀執導數碼影片，宣傳發佈這最新產品。Nabil擅長糅合藝術、音樂及文化元素，作品極富未來感，帶來視覺震撼，同時展現了Don Julio 194구的精髓。短片中每個畫面均看到聯乘酒瓶的簡約線條及現代美學，亦詮譯了品牌的經典奢華與精湛工藝。短片運用高對比色彩拍攝，模糊了現實與夢幻夜生活之間的邊界。此外，韓國著名攝影師、Peggy Gou長久合作伙伴Hong Jang Hyun為活動拍攝了一輯相片，深化這個聯乘產品的視覺感官刻劃。Don Julio建基於Don Julio González前瞻性的農業原則和他對完美的個人追求之上，革新整個龍舌蘭酒行業，並樹立了頂級龍舌蘭酒的標準。作為墨西哥地道的精品龍舌蘭酒，Tequila Don Julio只使用由哈利斯科州洛斯阿爾托斯地區內，肥沃的黏土土壤中手手採摘最高質量、完全成熟的藍龍舌蘭。CREATIVE PARTNERSHIPSTEQUILA DON JULIO 1942 PARTNERS WITH SUPERSTAR DJ AND STYLE ICON PEGGY GOU 創意聯乘DON JULIO 1942龍舌蘭與超級DJ女皇及時尚達人PEGGY GOU 攜手合作 CLOSER CELLAR特寫酒窖

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92MC MC MAY /JUN - 2025MAY /JUN - 202593好好過日子活著 ‧ 笑著 ‧ 愛著LIVE ‧ LAUGH ‧LOVE評論OPINION龔善欣 Juliana Kung法國國際美食協會埃科菲廚皇協會澳門洋酒協會澳門區會員LOCAL MEMBER OF CHAÎNE DES ROTISSEURSDISCIPLES ESCOFFIER INTERNATIONALWINE SOCIETY MACAUInstagram: @julesbitesSince early April, I’ve asked myself about 20 times, “why didn’t I visit Cancun, Mexico even once, in the decade that I lived in Los Angeles?” It was such an easy-breezy ight from the City of Angels; and I had to wait until this year, when I was in Winnipeg, to make a trip there (still easier than ying from Macau!)It was a very memorable trip and I would not trade the experience for anything in the world. That’s because I went on this trip with the few people who mean the most to me in this life - my parents, my sister and her part-ner. We spent almost a week in a villa at the Westin Lagu-namar Ocean Resort Villas & Spa, where we were greeted by the Caribbean Sea every morning. As we walked into our villa, the second thing that impressed me, was the view of the ancient Mayan ruins of Yamil Lu’um a.k.a. the Scorpion Temple, which sits atop a knoll between our hotel and the one next door. The government of Cancun instructed both hotels to create a path to the site, accessible for the general pub-lic, in exchange for the land-use of the hotels. What a great way to build tourism around an ancient heritage site with guaranteed trac. But we didn’t need to do the walk; we had a perfect bird’s eye view of the ruins just standing on the balcony of our villa, while looking out at the glistening blue waters of the Gulf of Mexico (I am not calling it what No. 47 calls it!)Yamil Lu’um, quite dierent from its translated name, was not intended to be a place of worship. Rath-er, it was built as an outpost, an observation deck for the Mayans, who were already savvy voyagers and traders in the prime of their civilisation (250 AD to c900 AD) a.k.a the “Classic Period”, way before they met their demise with the Spanish Invasion in 1600 AD. However, the more ancient civilisation of Maya began around 2000BC. These were the people widely known for their special Mayan calendars, which include two cycles that calculated time based on celestial cycles and the Sun. According to studies, “The tzolk’in, or ‘count of days’ lasted 260 days. The ja’ab’ was made up of 18 periods lasting 20 days each, plus ve ‘unlucky’ days, adding up to 365 days, approx-imating the solar year.” And they built one of the world’s most well-preserved archaeological monuments to count the 365 days.Named as one of the New Sevens Wonders of the World in 2007, Chichén Itzá, located in Yucatan, is believed to have been built by the Mayans in 400AD. This ancient settlement was once home to a population believed to be around 15,000, and houses about 20 ruins, consisting of a football court, temples, ceremonial ground, soldier’s bar-racks and the main El Castillo, or more widely known as the Pyramid of Kukulcán, where the 365 steps on the sides of the pyramid also reect the wavering serpent spectacle during the spring and summer equinoxes. Our breath was taken away as we stood in front of the Pyramid, which stands tall at 79 feet against the cloud-less, bright blue sky. Around us we heard groups of people clapping their hands, to experience the unique echoing sound eect against the Pyramid that mimics the chirp-ing of the quetzal bird. But this enchantment was soon clouded as we learnt about the darker side of the histo-ry of this civilisation. It turns out that being a citizen of Maya and remaining alive, seems to have been one of the hardest challenges of everyday life for this people. There were about 20 dierent ways to die, including ghting in battles, punishment for committing a crime, or for a more noble reason – such as a becoming a human sacri-ce (usually babies and young females) to the Gods, for the greater good of the people. We were told by the tour guides that the Mayan ball games held at the expansive Gran Juego de Pelotas could last up to ve days non-stop. Led by one captain with ve players each on two competing teams, these men would embark on a game of survival or end up as a sacrice. The losing team would all be hanged (which was expected), but what caught us o guard, was that the captain of the winning team would be decapitated on-site by the priest (as shown on the carved stone-wall at the ball court), then skinned, and his esh oered to the king and queen. This was seen as an honorable human sacrice. I couldn’t help but think to myself, if that was the norm of everyday life, then what happened on those ve “unlucky days” per year? Good Lord! On a Good Day…自四月初以來，我反問過自己不下二十次：「在洛杉磯居住的十年間，為什麼我從來沒去過墨西哥坎昆？」從「天使之城」飛往坎昆原本輕而易舉；我卻偏偏要等到身處加拿大溫尼伯時，才終於踏上這趟旅程（不過還是比從澳門飛去便利多了！）這是一次極之難忘的旅程。因為與我同行的是此生最重要的人——我的父母、妹妹和她的伴侶。我們下塌在Westin Lagunamar Ocean Resort Villas & Spa的別墅近一週，每天清晨都能享受加勒比海海景。走進別墅時，第二個令我驚豔的景觀是馬雅Yamil Lu’um的遺址（又名蠍子神廟）。這座小丘上的遺跡正好坐落於我們的酒店與隔壁酒店之間。作為批准酒店用地許可的條件，坎昆政府要求兩家酒店共同修建了一條通向遺址的公共步道，這種既能保護古蹟又能帶動觀光的做法實在巧妙。不過我們無需徒步——只需站在別墅的露台，就能將遺址盡收眼底，同時眺望無際墨西哥灣（我可不會使用某第47任總統的稱呼方式！）的碧藍海水。Yamil Lu’um其實並非祭祀場所。這座建於馬雅文明鼎盛時期（公元250-900年，即「古典期」）的建築，實際是瞭望哨站。在1600年西班牙入侵導致文明衰亡前，擅長航海與貿易的馬雅人就已在此活動。更古老的馬雅文明可追溯至公元前2000年。這是一個以曆法聞名的民族，採用兩套根據天體與太陽運轉的計時系統。研究表明，馬雅曆法中的卓爾金曆以260天為週期，哈布曆則由18個20天的月份，加上5個「凶日」組成365天，近似太陽年。馬雅人更建造了世界保存最完好的歷史遺跡之一來計算這365天。2007年入選世界新七大奇蹟的奇琴伊察遺址位於尤卡坦半島，據信建於公元400年。這處古聚落曾容納約15,000人，擁有20餘處遺跡，包括球場、神廟、祭壇、兵營，以及最著名的庫庫爾坎金字塔（又稱El Castillo）。金字塔四側各有365級台階，在春秋分時節更會呈現蛇形光影奇觀。當看到無雲的蔚藍晴空下高達79呎的金字塔時，我們瞬間屏住了呼吸。周圍的旅客不斷拍手，體驗金字塔獨特的回聲效果——彷彿鳳尾綠咬鵑鳥的鳴叫響。但當了解這個文明的陰暗面後，這份驚嘆很快蒙上了陰影。原來在馬雅文明中，光是「存活」已經是極為艱難的挑戰。在這古文明的社會上可有超過廿種喪命的方法：戰死沙場、犯罪伏誅，或是更「崇高」的理由——成為獻祭神靈的人牲（多為孩童與年輕女性）以換取族群福祉。導遊告訴我們，在宏偉的球場舉行的馬雅球賽可持續五天五夜。每隊由一名隊長率領五名球員，雙方的競技關乎生死存亡。落敗隊伍全員絞死（這還算意料之中），但令人錯愕的是，勝方隊長將由祭司當場斬首（球場牆面石雕有相關場景的刻畫），繼而被剝皮取肉獻予國王與王后。這是被視為至高榮耀的人祭。我不禁暗想：若這已是日常生活常態，那每年五個「凶日」裡又會發生什麼事情呢？天啊！

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94MC MC MAY /JUN - 2025MAY /JUN - 202595 HOME AFFAIRS家居文 BYSUZANNE WATKINSON 譯 TRANSLATION DAISY WONG 圖 PHOTOS ELOI SCARVAHARRy’S HOUSE聖美基街32號與建於十六世紀的澳門天主教望德堂相距不遠，是一幢歷史悠久的建築，前身是私人住宅。2000年代，業主移居海外，並將其分租給親友。由於位於文物保護區內，嚴禁拆除或重建，因此保留建築物成為出租的首要條件。但隨著時間流逝，房子的結構問題逐漸惡化。2011年9月，「天鴿」颱風將屋頂瓦片掀開，導致嚴重漏水和地板下陷。這些狀況讓租戶無法忍受，紛紛遷出。就在這個時候，望德堂區創意產業促進會接管了這棟物業。室內設計師 Leo Yuen（袁偉業）在這個區域度過童年，在與協會見面後，他提出了一個遠遠超出純粹翻修以解決現有問題的方案。後來，這棟曾經殘破不堪的樓宇不僅得以修復，更活化為一個對公眾開放的文化空間「G32影藝廊」。這項修復工程是對澳門歷史和傳統的延續。屋內陳設六十年代的裝飾和物品，描繪了當時澳門本地居民的生活。Leo憑藉對周邊文化的深刻理解，在保留原汁原味的基礎上，不遺餘力地對建築物的外牆和內部進行修繕。樓宇重新開放四年多後，本地居民及晶石行業權威Harry Chan（陳希林）曾受邀在影藝廊做過一場演講。Harry回憶道：「當時我一走進去，就愛上了這個空間，不知為何，我知道有一天這裏注定會屬於我！」。更多年過去了，Harry經常想起這裡，想象自己可以如何讓它重現生機。2023年，一位認識原業主的朋友告訴Harry，業主想要出售這棟樓。Harry 抓住了這個機會。「不只是喜歡這裡的裝潢，也不只是為了做生意。每層樓都有不同的功能，共同組成了一棟活力十足的建築，深得我心。」買下這裏並不容易，必須得到文化局的許可，因為它具有重要的文化意義；此外，沒有銀行會為如此老舊的物業提供抵押貸款。「所以必須全額付清。我用盡了畢生積蓄，現在很窮，但內心卻感到非常富有！」Harry笑道。一切都彷彿是命中注定。幾年前曾參與大樓修復工程的室內設計師Leo亦是Harry的多年好友。Harry說：「我完全信任 Leo。」「我們見了四次面，Leo向我解釋了他的方案，既改造空間而又不失其歷史精髓，我也告訴了他我的想法和期望。施工期間，我一次也沒有去看過。」Just a short distance from Macau’s 16th centu-ry St Lazarus Catholic church, number 32 Rua de Sao Miguel is a building with an interesting past. Formerly a private residence, in the 2000s the owner emigrated overseas and sublet it to relatives and friends. Located in a designated cultural area where demolition and reconstruction are strictly prohibited, preservation of the building became the primary leasing condition. But as the years passed, structural problems grad-ually worsened, and then in September 2011 typhoon Hato ripped away roof tiles causing serious water leaks and subsiding floors. These conditions became too much for the tenants to contend with and they moved out. This is when the St. Lazarus Parish Creative Industry group took over the property. Interior design-er, Leo Yuen Wai Ip, having spent his childhood years in the district, met with the group and presented a propos-al that went significantly beyond a mere renovation to address existing issues. The result was that the once-di-lapidated building was restored and revitalized into a cultural space open to the public, G32 Gallery. Set in Macau’s historic St. Lazarus district and tucked within a row of two-storey wooden houses lining a narrow one-way street lies number 32 Rua de Sao Miguel. The house had fallen into disrepair, but the foresight and passionate determination of Macau resident and entrepreneur Harry Chan Hei Lam and interior designer Leo Yuen Wai Ip resulted in a year-long renovation project to bring the home back to life again.舊居新生在澳門望德堂區一條狹窄的單行道上，坐落著一排兩層高的木屋。當中位於聖美基街32號的一棟樓原本年久失修，但澳門居民、企業家Harry Chan（陳希林）和室內設計師Leo Yuen（袁偉業）憑著遠見卓識和熱情決心，用一年時間進行翻新，讓它重現生機。

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96MC MC MAY /JUN - 2025MAY /JUN - 202597The restoration project was a respectful effort to maintain Macau’s past and heritage. Furnished with 1960’s decor and items, the house depicted the life of a local Macanese inhabitant from that time. Leo used his deep cultural understanding of the surroundings and worked tirelessly on restoring the building’s façade and interior while preserving the original flavour. Four or so years after the building reopened, local res-ident and preeminent authority on crystals, Harry Chan Hei Lam was invited to give a presentation in the Gallery. “I walked in and fell in love with the space and some-how knew that one day this property was destined to be mine!” says Harry.More years passed and Harry frequently thought about the house and how he would love to bring it back to life. Then in 2023, a friend who knew the building owner told Harry that the owner wanted to sell. Harry jumped at the chance. “Not only for decoration, not just for my business. Each separate floor had a different function, and com-bined together into one live building it connected to my heart.” The purchase wasn’t easy; permission had to be given by the Cultural Affairs Department because the area is of cultural significance, and no bank would offer a mortgage on such an old property.“So I had to pay for it fully. I used my whole life savings, so I’m a poor man, but my heart feels so rich!” Harry smiles. And as if things were just meant to be, Harry’s long-time friend is Leo Yuen, the same interior designer who had worked on the building’s restoration a few years earlier. Engaging his services for the next renovation, “I had com-plete trust in Leo” says Harry. “We met four times and Leo explained to me his vision of transforming the space without losing its historical es-sence and I told him about my thoughts, my aspirations. I never once visited during construction.” Leo adds: “It was better that Harry stayed away and let me get on with it! I was clear about the structure, about ev-ery detail of the building and Harry’s goal for the space – the main point was to create an interior that adds functionality across each separate floor to support a new business opera-tion model, while inspiring a new, personalised lifestyle for Harry.” Beautifully restored after a year of renovations, the house is now a base for Harry’s business, Chio Hei Tat Trading, where he sells crystals, agate and incense, while also being a comfortable home. Born in Guangdong, Harry moved to Macau at the age of eight, together with his parents and brother to join his grandfather who was already here running a shoe business. Harry’s father is a doctor in western medicine, who after over 45 years continues to this day to run his clinic in Macau. “My major at the University of Macau was in commu-nication and marketing. After graduating, my first - and last - job was for the Macau Jockey Club where I worked full time in the membership department and part time as the photo-finish judge for the races. After six years at MJC, I left to follow my hobby and passions and set up my business selling crystals. My first shop, 26 years ago, is one of the oldest crystal shops in Macau. Back then there were eight shops, now there’s only two that have survived, and mine is one of them.”Entering the building by an arched doorway off the street, one is welcomed by the perfumed air of burning incense. The ground floor has ceilings of over five meters high; this together with the scaling design and the layout solution makes the small space feel light and airy. The orig-inal front door was even kept, retaining the building’s au-thenticity and vintage feel. Leo續說：「Harry不監工，讓我放手發揮，這樣更好！我很清楚這裡的建築結構、細節以及Harry對它的構想——重點在於增加每個樓層的獨立功能性，支持新的商業運作模式，同時適合Harry的生活方式，為他度身訂造。」經過一年的翻新，樓宇華麗重生，現已成為Harry的超希達貿易行貿易公司總部。他在這裡銷售晶石、瑪瑙和沉香，同時作住家使用，溫馨舒適。Harry出生於廣東，八歲時與父母和弟弟一起移居澳門，與在澳門經營鞋業的祖父團聚。Harry的父親是一名西醫，在澳門經營診所已超過45年，直至今日。「我在澳門大學讀書時，主修傳播和市場營銷。畢業後，我的第一份亦是最後一份工作，是在澳門賽馬會，全職在會員部工作，兼任賽事完場照片評判。工作六年後，我離開馬會，追隨興趣和熱情開設了一間專營晶石的店舖。第一間店開設於26年前，是澳門歷史最悠久的晶石店之一。當時城中有八間晶石店舖，現在只有兩間存活下來，我的店就是當中之一。」從街邊的拱形門進入店內，迎面而來的是線香燃燒的芬芳。地面層的天花板超過五米高，再加上縮放設計和佈局方案，讓原本狹小的空間顯得輕盈通透。原本的前門得以保留，增添真實性和復古感。老舊的地磚——1960年代的幾何圖案磚，經過歲月的洗禮後顏色變得淺淡，增添了滄桑的氣息——亦幸運地被保留下來。施工團隊小心翼翼地掀起地磚，修補其下搖搖欲墜的木地板後，再將地磚放回原位。「我認為應當保留與歷史的聯繫，」Harry解釋道，指著掛在入口處的中世紀掛鐘和前住客留下的清朝櫃櫥。在地面層的陳列櫃和牆面架之後，是一間冥想室。Harry每天至少會在這裡待上半個鐘，靜心沉思，透過天花板上的圓形天窗仰望上方的露台和他收藏的植物與草藥，與大自然默默對話。天窗的設計仔細考慮了物業的朝向，以最大限度地將自然光引入冥想室。接著，可以沿著陡峭的復古樓梯拾級而上來到一樓。這裡的木質結構、欄杆和扶手都保留了房屋原有的樣貌。主廳兩側陳列著精緻的櫥櫃，裡面擺滿了各式藝術品，暖色調的櫥櫃燈光更為空間增添了幾分溫馨。Harry將他多年珍藏的寶貝都收藏於此，通常只對親密好友開放。不過若是遇到真正懂得欣賞這些藏品的人，他也樂意割愛。「我們不過是這些物件的暫時保管者，況且年紀大了，總不能帶著它們入土吧！」一樓同時也是澳門香學文化協會的註冊地址，Harry擔任協會主席。「目前我們有154位會員，包括企業主和私人愛好者。我對香學的興趣始於2000年初SARS疫情期間，當時我開始研究保健品。我在店裡和家中燃香淨化空氣，但發現傳統香的氣味刺鼻，於是翻閱大量古籍，還專門拜訪澳門老字號香舖，向製香師請教，逐漸掌握了很多不同的配方。」日積月累，Harry創立了「澳門品牌」，親自研發了15種以上香品配方，涵蓋保健養生、祈福祭祀、環境調節、節慶聚會等用途，既有值得收藏的高端精品，也有適合新手的入門產品。他常參加各類展覽，更代表澳門遠赴海外推廣香學文化。一樓設有開放式廚房，連接著採光天井的小露台（透過天井玻璃能看到下方的冥想室）。盆栽的薄荷、迷迭香、佛手柑、檸檬樹，還有中式綠豆沙中常見的食材臭草散發著幽幽清香。最特別的是陽台與室內之間的剪刀窗——讓Harry可以坐在戶外，朋友則坐在室內，雙方都能在開闊的空間中交談。

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98MC MC MAY /JUN - 2025MAY /JUN - 202599The old floor tiles - their geometric design from the 1960’s and colours muted over the years, adding to the time-gone-by atmosphere - have thankfully been pre-served, painstakingly lifted so as to repair the crumbling wood floor underneath and then carefully put back in place. “I believe in keeping a connection with the past,” Harry explains, as he points to the mid-century wall clock hanging at the entrance and small Ching dynasty cabinet that were left by the previous inhabitants. To the back of the ground floor, behind the display counter and wall shelves, is a meditation room where Harry spends at least half an hour each day in calm con-templation, connecting with nature through the circular glass ceiling panel that looks up on to a terrace above and his collection of plants and herbs. This skylight took care-ful consideration of the property’s orientation to optimise the amount of natural light entering the meditation room throughout the day.Visitors are then guided up a steep vintage staircase, the wooden structure, banister and spindles all original to the house, to the first floor. Cabinets line both lengths of the main room and are filled with artefacts. The warm cabinet lighting further enhances the ambience. It is here that Harry keeps his personal collection of treasures gath-ered over the years. Open to close friends he is willing to sell items if the person really wants and appreciates them. “We are only caretakes of things, and besides, I’m getting old, I can’t take these with me!”The first floor is also the registered address for the Associação da Cultura do Incenso de Macau (Macao Incense Culture Association), of which Harry is Chairman. “We currently have 154 members made up of business own-ers and private users. I became interested in aroma culture during the SARS epidemic in the early 2000’s when I started looking into health care products. At the time I was burning incense in my shop and at home to cleanse the air. I found the traditional incense had a horrible smell, so I read a lot of ancient books, met and talked with sellers in old aroma shops in Macau, and learned many different recipes.” Gradually Harry created “Brand Macau” aroma products, de-veloping his own recipes for more than 15 kinds of incense tailor made for healthcare, prayer sacrifice, regulating the environment, gathering festivals, both high-end collection-level products and also general entry-level products. He attends fairs and exhibitions and represents Macau overseas at other business opportunities to educate and to encourage the culture of fragrance. The first floor has an open kitchenette that leads out to a teeny terrace with a lightwell underfoot (through which the meditation room below can be seen). Pots of mint, rosemary, bergamot, a lem-on tree, Cau Cou (臭草) - used in a green mung bean Chinese dessert - give off a gentle scent. A scissor window between the terrace and the interior enables Harry to sit outside and a friend to sit inside, both being able to chat over the open space.為了確保整體設計風格的統一，一樓地面特別選用德國進口的淺色原木地板。而天花板的木材則全部採用來自馬來西亞的舊木料，這些木料表面自然氧化形成的銅綠色澤，散發著獨特的歲月質感。「我們保留了兩根原來的橫梁，其他的都是新的。」廚房的鋼框窗戶和手工折疊門都是原始物件，完好地保存了下來。在裝修過程中，工人意外發現了一個隱藏的壁龕空間。經考證，這裡原本是通往相鄰房屋的門廊。設計團隊決定保留這個意外驚喜，以灰色磚牆重新修飾，巧妙轉化為實用的書架空間。為了與對面建築的色調相呼應，還特別選用了深赭黃色作為特色牆的主色調，使新舊建築互相輝映。再上到二樓，是Harry的私宅，包括臥室、浴室和製香室。「我按照自創的配方，結合亞洲和現代的材料，將檀香、沉香、琥珀岩以及各種樹皮、樹根和乾果磨成粉末，然後送到內地的一間工廠製成線香。這區域的地板設計別具匠心：裝修時先鋪設了厚實的新松木作為底層，再精心覆蓋上原有的古老雪松木地板。這些雪松木地板歷經歲月淬鍊，獨特的木紋與古銅色澤令人嘆為觀止。與之形成鮮明對比的，是採用淺色桑拿木打造的室內隔板與房門。推開這扇門，是一個抬高的平台——這裡既是一個私密的鞋履收納區，也可作為禪修冥想的靜心之所，甚至能容納一張矮床。兩扇現代化的天窗將溫暖的自然光引入室內。繼續向上，樓梯通往屋頂花園，這裡不僅有更多綠植空間，還設有休閒區，可360度飽覽望德堂區的絕美風光。作為澳門保存最完好的歷史街區之一，眼前鋪滿方格瓷磚的街巷總讓人恍若置身里斯本舊城區。如今翻新工程已圓滿落幕，Harry也已正式入住。談及未來計劃，他充滿熱情：「我希望能透過教育計劃、專題展覽和工作坊，持續推動澳門香道文化的傳承與發展。此外，我還計劃在一樓為協會會員開設呼吸與冥想課程。」Leo Yuen

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100MC MC MAY /JUN - 2025MAY /JUN - 2025101divider and door made of pale sauna wood. Opening to a raised platform, this is a shoes-off, intimate, inner sanc-tum accommodating a low bed and a meditation space. Two modern skylights introduce warm, natural light. One final staircase up to the roof there is space for more plants and a sitting area to enjoy the glorious 360-degree views of the St Lazarus Quarter. One of the best-preserved historical neighbourhoods in Macau, its calcada-tiled streets and little lanes are reminiscent of the old parts of central Lisbon. Now the renovations are complete and Harry has moved in, what’s the plan for the future? “I’m excited about continuing to support and foster Macau’s aroma culture, through education programmes, exhibitions and workshops. And I later plan to offer breathing and meditation courses on the first floor for our association members.” To ensure the design remains coherent, flooring on the first floor is pale engineered wood imported from Germany. The ceiling is all real wood – old stock from Malaysia with a beautiful patina. “We were able to save two original beams, the others are new.” The steel framed window in the kitchen and the handmade folding doors on the windows are all original to the building. An interesting alcove, uncovered unexpectedly during construction, has been retained, lined in grey brick and serving as more shelf space; it is understood to be originally a doorway to the adjacent house. A feature wall of deep ochre yellow was chosen as a cohe-sive reflection of the buildings opposite. Up another flight of stairs to the second floor is a private resi-dence consisting of a bedroom, bathroom and a main room where Harry mixes his incense ingredients.“I grind up different combinations of sandalwood, agarwood, amber rock and various other tree bark, roots and dried fruits into powders using my own recipes, combining Asian and modern ma-terials, which I then send to a factory in China that specializes in making joss sticks.” The flooring in this area is notable; during renovation the un-der flooring was replaced with new, thick sturdy pine and then the original old cedar wood (caam muk) with its stunning wood grain and patina, laid back on top. Standing in stark contrast is a room 如需聯繫Harry Chan（陳希林），請發送簡訊至 +853-6661-8669 希達貿易行貿易公司澳門香學文化協會室內設計師 Leo Yuen（袁偉業），請電郵leoyuen.mr@gmail.comTo contact Harry Chan, message +853-6661-8669 for Chio Hei Tat Trading and the Macao Incense Culture Association.Interior designer Leo Yuen: leoyuen.mr@gmail.com

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102MC MC MAY /JUN - 2025MAY /JUN - 2025103心嚮INNER HARMONy評論OPINIONGanaa AvilaSOUL HEALING MACAU整體治療師,靈氣修行者,聲音治療師HOLISTIC THERAPIST, REIKI PRACTITIONER, AND SOUND HEALERInstagram: @soul_healing_macauAs a little girl, I always felt dierent from others. I could sense energy in ways that were sometimes overwhelming. I would feel people’s emotions, their thoughts, even their sicknesses and negativity - it wasn’t easy to handle. Manifesting came naturally to me, and I quickly realized that my thoughts often turned into reality. Both sides of my family have strong healing traditions with my Mongolian heritage rooted in Shamanism and spirituality. My ancestors were healers, and I always felt something inside me guiding me toward continuing their legacy.Even within my family, I was chosen to be the next female Shaman called a Udgan. But for me, this was a heavy burden to accept. Being a female Shaman Udgan meant devoting myself en-tirely to the spiritual path, and I wasn’t ready for it. I ignored the calling for many years, trying to nd my own way. In 2008, my life changed forever. I lost my mother in a tragic car accident in Coloane Macau - I was driving the car. My rst son was only 16 days old at the time. It was the most devastating mo-ment of my life, one that brought immense grief and trauma. Two years later, I lost my father as well, leaving me with a profound sense of emptiness. Losing both parents at such young ages left me feeling adrift. The guilt and pain from the accident stayed with me for years. I couldn’t drive anymore - it was as though the trauma had locked that part of me away. For 16 years, I avoided it. But looking back now, I see how my mother’s love and strength saved her grand-son. It was as if she gave her life to protect him and changed our family’s path. During the pandemic, my husband gently encouraged me to drive again. He bought me a small electric car, thinking it would be a good way to start. Sitting alone in that car for the rst time, I was overwhelmed by panic. Memories of the accident came ooding back - I cried, vomited, and felt like I couldn’t breathe. I called my husband, begging him to return the car. But his support and patience guided me through the fear. He promised to drive with me, to make sure I wasn’t alone. Slowly, with his encouragement, I healed from the trauma. I reclaimed the strength within me and let go of the pain I had carried for so long. In 2022, I found myself reecting deeply on my life’s purpose. I realized that I had always felt a calling in my mind, a feeling that I wasn’t meant to live a simple life. Deep inside, I knew I wanted to do something meaningful, something that could inspire others and bring light into the world. I understood that before I could up-lift others, I needed to embark on my own journey of self-discov-ery and self-healing. This marked the true beginning of my path.At home, I isolated myself for 21 days of meditation. I embraced a vegetarian lifestyle to connect more deeply with my inner self and focus on my healing. During this time, I took my rst Reiki course online with a Mongolian Reiki Master. I reected deeply, asking myself if this journey felt right. Trusting my instincts, I knew Reiki was the path I needed to follow. This clarity led me to take the next step and deepen my connection by traveling to Nepal. While my Reiki journey began at home, it deepened when I travelled to Kathmandu. There, I completed my Reiki courses in a serene, spiritual atmosphere that amplied my connection to the universal life force. The teachings I received in Nepal opened my heart and mind to the transformative possibilities of Reiki - not just for others, but for myself. I realized that all healing - whether through Shamanism, Reiki, or other practices - comes from the same universal source, simply known by dierent names in dierent traditions. When my teacher told me I could become a Reiki Master after completing the courses, I knew it wasn’t about rushing to get a title or build a business. I wanted to practice Reiki authentically, to help real people with real challenges. I decided I would complete 100 healing sessions before pursuing the path of a Reiki Master. Reiki has taught me that healing starts within ourselves. It’s not just about xing what’s broken - it’s about connecting to life, to joy, and to the love that exists in every moment. Encouraging You to Let Go and Heal If you’re holding onto pain or trauma from your past, I want to encourage you to release it. It’s hard, and it takes time, but car-rying that weight will only hold you back from living the life you deserve. Life is a journey, not a destination. Along this path, you will face challenges that seem insurmountable, but within you lies a strength greater than you know. It’s never too late to rewrite your story, to heal, and to grow into the person you dream of becoming. Don’t wait for the ‘Perfect Moment’. Start now. Love yourself, forgive yourself, and embrace life with open arms. Every sunrise brings a chance to begin again, and every choice you make is a step toward the life you want. You are powerful.When we choose to heal, we don’t just heal ourselves, we be-come the light that helps others nd their way.Live fully. Live meaningfully. And never stop inspiring others to rise.Thank you for taking the time to read my little story. I am deeply grateful to share my journey with you, and I hope my words bring reection, healing, and inspiration into your life.童年時期，我便感知到自己與別人不同。我可以感應到那些在空氣中流動的能量，他人未說出口的情緒、想法，甚至隱藏在肉體下的病痛與負面情緒——這種過於敏銳的覺知，曾讓年幼的我無所適從。但奇妙的是，我發現自己的意念常常會化為現實，我似乎有與生俱來的顯化能力。我父母的家族血脈中都流淌著蒙古薩滿的古老智慧，歷代祖先都是療愈師。我總覺得內心有一種聲音在引導我延續他們的遺產。但當長輩們指定我為下一任「Udgan」（女薩滿）時，我卻畏縮了。那神聖的頭銜太過沉重。成為女薩滿意味著要將自己完全投入靈修之路，而我還沒有準備好。年輕的我選擇逃離這份使命，試圖在世俗生活中尋找自己的路。命運總以最殘酷的方式喚醒靈魂。2008年，我駕駛的車輛在澳門路環發生嚴重事故，當時出世僅16天的我的長子也在車上。我的母親永遠留在了那一天。那是我生命中最慘痛的一刻，留下痛徹心扉的創傷。兩年後，父親也離世，令我更覺空虛與迷茫。年紀尚輕的我失去了雙親的庇佑，心中漂泊之感無可逃脫。那場意外所帶來的內疚感和痛苦一直揮之不去。軚盤從此成為夢魘——整整十六年，我無法駕車。但是現在回想起來，我看到了母親的愛和力量是如何拯救了孫子的生命。她用自己的生命保護了我的兒子，並改變了我們家庭的軌跡。疫情期間，丈夫為我購入了一輛小巧的電動車，溫柔地鼓勵我重新駕車。第一次獨自坐上駕駛座時，我感到驚慌無措。我又哭又嘔，呼吸困難。我顫抖著撥通丈夫的電話，求他把車退掉。但是他的支持和耐心讓我克服了恐懼。他答應和我一起駕車，確保我不是孤身一人。在他的鼓勵之下，我慢慢地從創傷中恢復過來。我找回了內心的力量，放下了背負已久的痛苦。 2022年，我發現自己在深刻思考自己的人生目標。內心的聲音終於清晰可聞：我注定要走一條不尋常的路。內心深處，我知道我想要做一些有意義的事情，一些能夠啟發他人並為世界帶來光明的事情。我明白，在啟發他人之前，我需要踏上自我發現和自我療癒的旅程。這是我人生道路的真正開端。在家中，我進行了21天的閉關冥想，素食主義的清淨讓靈性愈發澄明。在此期間，我還第一次接觸到了靈氣（Reiki），在線上參加了由蒙古靈氣大師教授的課程。我無數次叩問自己，這趟旅程是否正確。最終，我選擇相信直覺的指引。這種清晰的感覺引領我踏出下一步，前往尼泊爾繼續修習靈氣。在加德滿都修習靈氣課程的日子裡，我沉浸於寧靜、靈性的氛圍中，進一步加深了我與宇宙生命力的連結。在那裏接受的教導開啟了我的心靈和思想，讓我看到靈氣賦予的改變的可能性——不僅對他人，也對我自己。頓悟的瞬間突然降臨：薩滿、靈氣或其他療法，原來都是同一道宇宙源頭的不同顯化，只是在不同的文化傳統中有不同的名稱而已。我婉拒了老師在課程結業後授予我「大師」頭銜的提議。真正的修行不在名相，而在實證——我立誓先完成100次真實療程。靈氣教會我最深刻的真理：治癒他人之前，必須先修復自己。那些在能量流動中釋放的淚水，最終澆灌出我內在的完整。這不僅僅是要修復生命的創傷，更是要與生命、與喜樂、與存在、與每一刻的愛建立深刻的連結。致正在閱讀的你：或許你仍對過去的痛苦或創傷無法釋懷，但請相信，每道傷痕都是光進入的縫隙，試著放下吧。這很困難，也需要時間，但背負著那份沉重的負擔，只會讓你無法過上應得的美好生活。人生是一段旅程，而不只是一個目的地。這條路上，會遇到看似無法克服的陰影，但在你的內心蘊藏著無比強大的力量。重寫您的故事、痊癒、成長為你想成為的人，永遠都不晚。不要等待「完美的時機」。現在就開始。愛自己，寬恕自己，張開雙臂，擁抱生活。每一次日出都是一次重新開始的機會，你所做的每一個選擇都是朝著理想生活邁出的一步。你是有力量的。當我們選擇療癒時，不僅拯救了自己，亦能為迷途的他人照亮方向。活得充實。活出意義。永遠不要忘記為他人傳遞療愈的能量。感謝你撥冗閱讀我的人生故事和心路歷程。希望我的文字能為你的生活帶來思考、療癒和啟發的契機。Healing Hands, Open Hearts:My Reiki Journey: From Healing Myself to Helping Others療愈之手，開放之心：我的「靈氣」之旅：從療癒自己到幫助他人

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104MC MC MAY /JUN - 2025MAY /JUN - 2025105The 11th Gala Dinner of the Macau European Chamber of Commerce (MECC) was held at the Grand Pavilion at the Grand Lisboa Palace Resort Macau on May 16, with 330 guests in attendance. Representatives of the Central Government and the Macau SAR Government attended the gathering along with members of the European diplomatic corps and business and community leaders. The Gala Dinner was supported by its Platinum Sponsor SJM Resorts, S.A., marking another year of its steadfast support of the MECC’s mission to facilitate economic and cultural exchange between Macau and Europe. This year’s event was themed “Waves of Portugal”, paying tribute to Portugal’s rich maritime heritage and culture, as well as to the country’s new waves of economic and technolog-ical development, greenenergy, and leadership in the blue economy. Joining the annual MECC Gala Dinner for the first time was Ambassador Harvey Rouse, Head of the European Union Office to Hong Kong and Macau. Mr. Christian Buggelsheim, President of the MECC General Assembly, presented Ambassador Rouse his certificate of appointment as the Honorary Chairman of MECC. In his speech Amb. Rouse noted that the EU is Macau’s sec-ond-largest trading partner in goods, accounting for 27 percent of the city’s total trade.The MECC was founded in 2013. Its members are drawn from eight European chambers of commerce in Macau, namely Austria, France, Germany, Ireland, Italy, Portugal, Romania and the United Kingdom, as well as from other organisations and individuals with an interest in developing friendly commercial relations between Europe and Macau. MACAU EUROpEAN CHAMbER OF COMMERCE 11TH GALA DINNER澳門歐洲商會第十一屆周年晚宴於 2025 年 5 月16 日假澳門上葡京綜合度假村上葡京禮堂舉行，共有 330 位嘉賓出席。澳門特別行政區政府代表、中央政府駐澳門代表、歐盟多國外交使團成員和一衆商界及社會賢達參與是次盛會。鉑金贊助商澳娛綜合度假股份有限公司大力支援晚宴，再度展示其對商會促進澳門與歐洲經濟文化交流的使命的堅定支持。晚宴以《葡風藍浪》為主題，藉此向葡萄牙豐富的海洋遺產和文化，以及葡萄牙在經濟和科技發展、綠色能源和藍色經濟領域的新浪潮致敬。去年就任歐盟駐香港及澳門辦事處主任的盧效偉（ Harvey Rouse ）大使首次出席澳門歐洲商會周年晚宴。會員大會主席金沛（Christian Buggelsheim）先生向盧效偉大使頒發了委任其為名譽主席的證書。盧大使在隨後的演說中指出，歐盟是澳門第二大貨物貿易夥伴，佔澳門貿易總額的 27%。澳門歐洲商會於 2013 年成立，成員來自奧地利、法國、德國、愛爾蘭、意大利、葡萄牙、羅馬尼亞和英國等八個歐洲國家在澳的商會，以及其他有意發展歐洲國家與澳門之間友好商業關係的組織和個人。澳門歐洲商會舉行十一屆周年晚宴PEOPLE人物

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