All posts tagged: Brady Ng

Reina Sugihara 杉原玲那

Published by Brady Ng

Respirare /Empty Gallery /Hong Kong /Dec 8, 2024 – Mar 1, 2025 / Everyone experienced the Covid pandemic on different terms. There were forced lockdowns for some and productive isolation for others, social pods and cautious public encounters, with a constant reminder of strained medical systems and an immense loss of life. For Tokyo-based painter Reina Sugihara, that era provided an opportunity to slow down and start a new hobby. Like many millennials around the world, she picked up bird watching. That was one of the kernels for Respirare, an exhibition of paintings by Sugihara at Empty Gallery. After a bout of sickness that affected her breathing, the artist came across an article about a bar-tailed godwit that set a world record by flying nonstop for 11 days, covering 13,559 kilometres between Alaska and Tasmania. Sugihara began to consider how birds breathe. Unlike human lungs, which move air in and out through the same pathway, avian respiration enables a one-way air flow, making it an efficient system that enhances oxygen uptake. This is crucial for …

Christopher K Ho 何恩懷

Published by Brady Ng

I Am a 70-Year-Old British Sculptor /PHD Group /Sep 14 – Nov 30, 2024 / Christopher K Ho isn’t a septuagenarian; he’s a couple of decades years younger than that. Ho isn’t British either; he was born in Hong Kong, and his upbringing and education were primarily in the United States. He’s an artist who splits his time between Hong Kong and the US, and an arts administrator who is the executive director of Asia Art Archive. For his show at PHD Group, I Am a 70-Year-Old British Sculptor, Ho made 30 brass and aluminium sculptures forming one series, Return to Order, over the past three years. The full set was shown alongside 10 new drawings, each of which corresponds to one of the hefty three-dimensional works. Ho’s creative process behind the artworks was anchored by an architectural exercise that starts with nine squares in a grid. By beginning with an arrangement of three rows or columns of three squares, architects make adjustments to introduce complexity to a space. The squares can be resized, reshaped …

Liao Jiaming 廖家明

Published by Brady Ng

Melting Suns on the Screen /DE SARTHE Gallery /Hong Kong /Aug 31 – Sept 28, 2024 / As a preamble to his exhibition Melting Suns on the Screen, Liao Jiaming set up The Arcana Intelligent (2023), an interactive installation meant to simulate interactions with a sacred digital entity. Participants visiting de Sarthe Gallery sat or knelt on a cushion placed on the gallery’s floor, looking up at a nude, seemingly genderless avatar. Its barrel chest and awkwardly outstretched arms gave it an inhuman quality. Behind it was a vast vista of urban towers – blocky, dense, unclear whether they were part of an idealised, futuristic cityscape or a place at the end of civilisation. The avatar and participant spoke to one another, their brief interactions culminating in a question posed by the visitor, the bigger the better. Silicon and software cogitations would yield an oracular response in the form of a dynamically generated tarot card. Do this on the right day and someone, such as artist Amy Tong, was present to decipher the image and …

Samuel Swope

Published by Brady Ng

Nervous Thrasher / Current Plans / Hong Kong / Feb 3, 2024 The way drones glide through the sky looks effortless, even elegant. But the mechanics behind it are anything but. Propellers turn the rotary motion of blades into linear thrust, creating a disruptive wake. A raw display of power aside, the noise is raucous. All of that comes together in Samuel Swope’s art practice, which he demonstrated for an audience in February at Current Plans, hosted at Spring Workshop in Wong Chuk Hang, as the inaugural project of UnderCurrents, a “year-long series of experimental happenings”. The event was called Nervous Thrasher and, in Swope’s words, was a performative installation involving acts of real-time sonification of airborne sculptures, in which data is collected and mapped into audio form. One sculpture was a column of six black balloon-like vessels filled with helium, with a drone as its base in a visual nod to Sputnik, the first human-made satellite, which was launched by the USSR in October 1957. During his performance, Swope approached it to plug in …

Howie Tsui 徐浩恩

Published by Brady Ng

When Howie Tsui and his family settled in Canada’s Thunder Bay, a sparsely populated, blue-collar corner of northern Ontario, his connection to Hong Kong was getting stretched. It was 1984, after a few years in Lagos. But like many members of the Hong Kong diaspora who were born in the 1970s and 80s, one medium dropped him back into the city’s orbit: its pop culture and entertainment. It arrived on videocassettes, mailed from Hong Kong and flown across the Pacific Ocean before it landed in the city, situated by Lake Superior. For young Tsui, that connection had a particularly personal layer: to satisfy the requirements for being new immigrants, his father had started a videocassette manufacturing business in Canada. The tapes that his uncle used to record programmes in Hong Kong could have been products made by the family business. On these tapes were slapstick comedies, wuxia action flicks and other output from a golden age of Hong Kong cinema, starring the likes of Andy Lau, Tony Leung, Stephen Chow and Michael Hui. There were …

Mrinalini Mukherjee

Published by Brady Ng

mould the wing to match the photograph / Asia Art Archive / Sep 20, 2023 – Feb 29, 2024 / Humans use knots to keep records, create decor, bind one another and fasten objects. Tying knots is an inherently violent process that strains the rope, bending and crushing its fibres until one day in the future, it snaps under the tension of uneven forces. Our knotting introduces weakness to a cord, slowly draining its strength to serve our goals. The late artist Mrinalini Mukherjee (1949–2015) formed her art practice around knotted, woven hemp fibre. Her sculptures are monumental, meant to evoke “the feeling of awe when you walk into the small sanctum of a temple and look up to be held by an iconic presence”, as the artist said. To present her work in Hong Kong, Asia Art Archive’s team installed one sculpture by Mukherjee, Pari (1986), at the entrance of its library. The rest of the showcase highlighted the modernist sculptor’s career and an archive created by indexing nearly 2,400 pieces of media, including …

Frank Walter

Published by Brady Ng

Pastorale / David Zwirner / Hong Kong / Sep 14 – Oct 28, 2023 / When Frank Walter was born in Antigua in 1926, the British had freed slaves on the island roughly 90 years before. Yet the wounds of humans owning humans had merely been scabbed over; the aches were persistent. Children and grandchildren of former slaves were part of a system of labour that still rhymed with the treatment of their forebears. Case in point: 22 years later, Walter was the first black man to become a manager at the Antiguan Sugar Syndicate. He wanted to improve the industry and give his fellow Antiguans fair pay and better working conditions. It was not a smooth path, but Walter did everything he could to make his homeland a better place, including tolerating the bigotry of racial prejudice in England, Scotland and Germany when he sought to learn new ways to farm. It’s easy to imagine that, upon returning to Antigua, Walter’s act of putting that knowledge into practice picked at those wounds. How do …

Szelit Cheung and Olga Grotova

Published by Brady Ng

Door to Door / The Shophouse / Hong Kong / Jul 15– Aug 13, 2023 / Doors open memories. Portals from our past are linked to significant locations or major milestones – the entrance to our childhood home or the gate leading into a campus where we embarked on intellectual explorations, for instance. When we think about important moments that we’ve experienced, those journeys can be traced through doors too, each entryway a marker for consequential junctures in our lives. For its summer show, Tai Hang’s The Shophouse organised a four-week artist residency and open studio programme that led up to a month-long exhibition, Door to Door. The two artists involved were Hong Kong painter Szelit Cheung and London-based Russian artist Olga Grotova, who created new artworks that drew from The Shophouse’s architectural heritage and, more broadly, the city in which the gallery is situated. In Cheung’s section of the presentation, Door I (all works 2023) showed four rotating panels opening up to let beams of natural light into a muted blue space, the rays …

Myth Makers — Spectrosynthesis III

Published by Brady Ng

Tai Kwun Contemporary / Hong Kong / Dec 24 – Apr 10, 2023 / There’s a quote that aspirational content creators like to share online: “Those who tell stories rule the world.” It’s often attributed to Plato or Aristotle, while some say it is wisdom passed down by the Hopi or Navajo Native Americans, but nobody can pin down its origins. Perhaps the line is a modern piece of prose attached to the distant past to feign legitimacy, or maybe thinkers from different eras and geographies landed on the same thought. In any case, it’s branded into the collective consciousness of 21st-century storytellers, giving a semblance of meaning to the words and images they generate. This is precisely how myths are seeded, their origins eventually lost but tales retold with embellishments and new interpretations injected in each iteration. Maybe those who make myths don’t rule the world, but they certainly shape it. The third edition of the Sunpride Foundation’s Spectrosynthesis exhibitions, presented at Tai Kwun and curated by Inti Guerrero and Chantal Wong, involved artworks …

Sin Wai Kin 單慧乾

Published by Brady Ng

Even if you don’t like boy bands, chances are you know the lyrics to at least one song that topped the charts, with harmonised backing vocals by four or five young men in their 20s, each with a different haircut and colour, each dressed in a distinct style: sporty, refined, street-smart, bad boy, whatever. Maybe one raps, maybe one is a crooner, and the others are just kind of there to add a few layers of audio complexity to their tracks and for visual completion. As fans, we project our expectations or desires onto them. These identities, each one a trope, are sculpted to sell records, move merch and pull millions of paying fans into arenas for concerts. As receptacles of fantastical fancy, or delusion, every member of a boy band not so much offers the emotional gratification that so many people are after, but simply functions as an imagined companion that radiates affection. This peaked in 1997, when the Backstreet Boys sang I don’t care who you are / Where you’re from / What …