Author: Artomity Magazine

Another Garden of Remembrance 另一個紀念花園

By John Batten / So, you have entered the Garden of Hong Kong.  (Something like) ‘How to…’ instructions (with extra comments) to listen to a DVD, or appreciate a broken washing machine or refrigerator, in Lee Kit’s Hong Kong Garden:       Be comfortable and confident as you walk in the garden.       Walk around to get a good overview of what’s inside.       Don’t touch, just look.       Listen, to the music. There’s not much, but it’s everywhere.      And there is thumping. Thumping.             Thump thump thump.       Can’t hear it? Listen again.      It’s quiet, and only heard intermittently, near the two swans’ video.            Thump thump thump       (I remember the banging of hands or sticks or anything hard against the       city’s street-signs and steel barriers, just like this, a strong tinny-steel thump).       Don’t walk in bare feet.      There are smashed-up bits of washing machine …

Distances in Three at Anita Chan Lai-ling Gallery, The Fringe Club

Distances in Three  距離‧有仨Jason Lam Chung Yin, John Chan Chun Yue, Dave Ho Lok ChungAug 2 – 9, 2021Opening: Monday, Aug 2, 6 – 9pm Anita Chan Lai-ling Gallery, The Fringe Club2 Lower Albert RoadCentral, Hong Kong http://www.hkfringeclub.com Far, near, unrealistic and intimate are adjectives that express the physical and emotional closeness between each other.  We can quickly judge the distance between certain things based on our intuition.  But what is the basis for judging distance?  Do various judgments imply certain values? The “Distances in Three” exhibition shows the “distances” between the three artists and their respective concerns and issues.  Jason Lam explores the unclear line between digital technology and traditional art,  John Chan’s photos reveal his feelings about the living environment of the grassroots community, and Dave Ho uses sculpted materials to ponder how he constantly gets through in this small land of Hong Kong, and the question of  “Where is home?”. The artists discussed their philosophies and feelings in different “distances” based on their own agendas.  Through each stroke, each quick move, each construct and …

The world is a show for my chosen eye’s delight 臆想錄

Gallery Exit / Hong Kong / Mar 13 – Apr 30, 2021 / Tiffany Leung / In times of crisis like these, taking time to look at art can seem something of a luxury. In some ways it is – the pandemic, along with the pressure to uphold productivity, has relentlessly consumed our mental capacity in the past year. But time and again we are reminded that the more our real life distracts us from looking at art, the more closely we should be looking at it. The group exhibition The world is a show for my chosen eye’s delight at Gallery Exit reiterates this idea – a need for stopped time to examine and reflect on our experience from new perspectives. The show takes its name from the title of a manga novel by Japanese artist Suehiro Maruo, who is known for employing dark humour and gory aesthetics as a metaphor for absurdity in society. “It not so much a direct response or tribute to Maruo’s work,” says Hilda Chan, gallery manager of Exit. “The reference is loose and alludes to his spirit …

Maurice Benayoun 莫奔

By Caroline Ha Thuc / A pioneer of new media art, French artist and theorist Maurice Benayoun began experimenting with 3D animations in 1987 and interactive VR installations in the early 1990s. Since then, he has developed a complex multimedia practice that combines digital technologies with a conceptual approach. Benayoun, also known as MoBen (莫奔), arrived in Hong Kong nine years ago to teach at City University of Hong Kong’s School of Creative Media. There he established the Neuro Design Lab, a studio where he and his team develop and produce his art projects. CHT: Since 2018, you have been working on a very ambitious project, Value of Values, which aims to evaluate the relative value of human values such as freedom, love and power. What triggered this idea? MB: This project arose from a series of questions. We have seen recently how much various governments based their pandemic-related decisions on values: protect the elderly or the economy? Compassion or money? But what does that mean today for individuals? With the Mechanics of Emotions series, I created large urban screen …

Hong Kong Baptist University Academy of Visual Arts BA (VA) Graduation Exhibition 2021

Jun 12 – 27, 2021128 graduates from AVA Academy of Visual Arts, HKBUKai Tak Campus, AVA, HKBU51 Kwun Tong Road, KowloonChoi Hung MTR, Exit A2 Due to current restrictions the exhibition is open to the public under limitations. For on-site visits please fill in the registration form two days in advance. Public tours are available every Sunday from 12 to 2 pm. A confirmation email will be send after successful registration. Register here: https://forms.gle/A3WoFTsaEcxoM4Bc7 avabagradshow.com.hk

The Moon is Leaving Us 月逝無聲

By Aaina Bhargava /  Roughly 300 years ago, after studying ancient records of eclipses, British astronomer Edmond Halley conceived of a theory that the moon was in fact physically moving away from the Earth. The moon’s recession was later confirmed in the 1970s by laser beams bouncing off mirrors placed on the moon by American and Soviet astronauts. Caused by drags in ocean tides, which slow the Earth’s spin rate, the accelerated rate compensates for the loss of angular momentum, and the moon gradually pulls away at a rate of 3.78 cm a year – about the rate at which our fingernails grow.  Upon learning this, Hong Kong artist Phoebe Hui’s existing fascination with the celestial body gained newfound urgency. “For some reason, this matters to me, despite the fact it doesn’t affect us during our lifetime,” she says. Initial inspiration struck when the artist’s visited Le Brassus in Switzerland, home to Audemars Piguet’s headquarters, just after she was selected to fulfil the Fifth Audemars Piguet Art Commission, the first to be exhibited in Asia. During a …

Rolex Presents: William Forsythe’s Nowhere and Everywhere at the Same Time No. 2

Jul 4 – 19, 2021 (Multiple sessions per day)Early bird tickets: $120 – discount available till Jun 21No handling fee. Concessions at 50% off and family packages available. Freespace, Art ParkWest Kowloon Cultural District(MTR Kowloon Station Exit E) http://www.westkowloon.hk/williamforsythe This summer, The Box at Freespace transforms into an interactive gallery space. Come dodge and weave through a shifting obstacle course of hundreds of pendulums suspended from automated grids that swing and sweep according to set patterns. As you navigate this labyrinth, ensuring not to bump any of the swinging orbs along the way, you realise you are creating your own unique dance. For the first time in Asia, experience the undulating world of one of the 20th century’s most iconic artists. William Forsythe has been creating works for stage, screen and galleries over nearly half a century, transforming ballet from its classical repertoire to a dynamic contemporary art form. Originally created in an abandoned building on New York’s historic High Line, the installation has been developed in contexts as diverse as the monumental industrial architecture of the Turbine Hall …

Rodel Tapaya 羅德爾·塔帕亞

By Caroline Ha Thuc / Random Numbers, the new exhibition by Filipino artist Rodel Tapaya, depicts a chaotic, dense reality where a multitude of fragmented objects and living creatures entwine and decompose. Inspired by Filipino and Mexican mural painters, but also by surrealist artists, Tapaya draws a carnivalesque portrait of the Philippines and, beyond, of our contemporary societies driven by excesses and never-ending consumption. Born in 1980 in Montalban, in the Philippines’s Rizal province, Tapaya is known for his neo-traditional paintings inspired by Philippine mythology, folk tales and beliefs, which he converts into allegories for our times. Scrap Paintings, the artist’s new series of works, is a departure from this, instead focusing on the concept of disaggregation. The nine paintings presented at Tang Contemporary Art are based on relatively small collages from magazine cut-outs, mostly from the National Geographic, that the artist enlarges and turns into acrylic works on canvas. He uses different coloured whiteboard markers to erase some pigments from the original images, playing with their glossy surfaces and printing ink to obtain various textural effects. …

trust & confusion at Tai Kwun Contemporary

trust & confusion /May 5 to Dec 5, 2021 / 3/F JC Contemporary, Tai Kwun10 Hollywood Road Central, Hong KongTue – Sun: 11am – 7pm (Closed on Mondays) http://www.taikwun.hk/en/programmewww.trusting.hk trust & confusion is about the conversation of certainty and chance; the transformative power of bodies, intangibles, and ephemeral encounters; music and magic; and the luck of being alive, with all the concerns that come with it. Evolving, accumulating, the exhibition unfolds over several episodes, on site and online, from now to the end of the year. trust & confusion transforms the white cube space into a fluctuating environment that hosts activities and sensations; it transforms this space in favour of movements, interactions, and deep listening for ears and bodies. There are several visible performances taking place as you enter, and several invisible ones, mostly new commissions from an intergenerational, international, and cosmopolitan group of artists. The exhibition is an invitation to observe how things emerge in relation to each other—sounds, gestures, smells—and to be a part of it, being surprised and giving attention to your inner landscape while a …

Donald Moffett at Whitestone Gallery

NATURE CULT / May 18 – Jun 26, 2021 /Opening: Saturday, May 15, 2 – 6pm / Whitestone Gallery8/F, H Queen’s, 80 Queen’s Road CentralCentral, Hong Kong http://www.whitestone-gallery.com/exhibitions Whitestone Gallery Hong Kong is pleased to present NATURE CULT, the first solo exhibition of American artist Donald Moffett in Asia. Coinciding with Art Central Hong Kong, Moffett’s exhibition highlights his recent works characterised by a provocative minimalism, glossy surfaces and uncanny forms exploring subjects on nature, the body and desire. The show at the gallery in H Queen’s will also feature works from across Moffett’s oeuvre, including He Kills Me, 1987; an iconic work by the artist made in New York at the height of the AIDS epidemic. In the past two decades Moffett has developed a unique application of paint in which orifices and bristled surfaces invite implications of the human body, botanical and molecular forms, as well as bullet holes. The emergence of this extruded series marked a major shift in Moffett’s work and challenged traditional notions of painting. In Moffett’s recent NATURE CULT series, from which the show …