All posts tagged: Hong Kong

Statue of Sun Yat-sen on National Day, Shek Tong Tsui, Hong Kong, 1 October 2018

Seemingly facing the flags of China and the Hong Kong Special Administrative Region, the statue of nationalist leader Sun Yat-sen is itself overlooked by the hovering presence of the nearby mainland Liaison Office’s distinctive sphere-topped office building. Photographed six months before government-proposed extradition legislation that triggered mass demonstrations, the statue itself was later graffitied amid widespread anti-government street protests. This formal scene does not anticipate the outbreak of Covid-19 and the momentous introduction of the mainland-imposed national security legislation to ensure that in the future only “patriots will run Hong Kong”. 民族領袖孫中山的塑像看似面向中國國旗和香港特別行政區區旗,倒被附近座落中聯辦獨特的圓頂辦公樓俯瞰。攝於政府送中條例風波引發大規模示威之前六個月,照片中雕塑完好無損,但在大型的反政府街頭抗議中被塗鴉。從這個景象裡,未能預計疫情的爆發,以及由中國大陸推行的國安法的重大實施,去確保將來只有「愛國者治港」。 Photo: John Batten

Seafront assemblage, Peng Chau island, Hong Kong, 9 December 2020.

On the small, carless island of Peng Chau (pop: 6,487), this is a typical scene: the contents of a ground floor apartment spilling onto adjacent public space, absorbing it as its own. Seen in the distance is Hong Kong’s largest island, Lantau; and, with a lovely seafront position the affects of offshore winds can give ‘dynamic movement’ to a photograph, but has battered the blue-striped multi-use tarpaulin, whose shards now roughly cover surplus hardware, furniture, and appliances, but miss a set of ‘musical’ chairs, and a washing-machine mouthing “Oh!”  在無憂無慮的小島坪洲(人口:6487)上,有這麼一幕典型場景:底層單位的傢俬散佈至畔鄰的公園區域,將其納為己用。身在此處,能眺望到香港最大的島嶼,大嶼山。於此絕佳位置,照片看起來有一層離岸海風吹拂的動感效果,但同時也令藍條紋的多用途防水布變得破舊不堪。這塊布如今草草的遮蓋在多餘的五金用品、傢俱和電器上,卻忽略予一對「音樂」椅子和一架「O咀」的洗衣機。 Photo: John Batten

‘Jesus’ graffiti in Arcadia (lazing lovers, roped-off picnic area next to waterfall), near Mui Wo,Lantau Island, Hong Kong, August 14, 2020. 

After summer rain, this peaceful park has a cascading waterfall and a full water hole. Groups of young people lounge in the late afternoon sun after a swim. A languid couple relax, chatting, the only people caught in the photograph.  Another place is demarcated by the padlocked BBQ pit and roughly erected, frequently ignored security tape roping off seating and tables. Covid-19 social distancing rules are still loosely prescribed, even in this isolated spot. In this year of coronavirus, the graffiti on display is  alternatively a wailed cry to Jesus or one of disdain – “Jesus!” – concerning the restrictions imposed in Arcadia. 一場夏季雨後,這個寧靜的公園出現了一個傾注的瀑布和一個完整的水洞。一群年輕人在池中暢泳後,在夕陽下悠然自得。照片中唯一的人物就是一對從容的情人,兩人神情輕鬆,你一言我一語。另一個地方的燒烤爐被鎖起,旁邊的椅桌由保安膠帶隨意圍起,但市民大都漠視。即使在這個偏僻的地方,2019冠狀病毒的社交距離規則仍然在目,雖然人們只勉強遵守。疫情嚴峻的一年,展出的塗鴉是一個對上帝的哀號,亦是怒喊——「耶穌!」,對遠離塵囂仍存在的枷鎖表態。 Photo: John Batten

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 …

Bruce Nauman 布魯斯·瑙曼

This year marks the 80th birthday of American artist Bruce Nauman. Following on from a recent Tate retrospective is Presence/Absence at White Cube, the first exhibition in Hong Kong for the pioneering video artist, featuring five works: two single-channel pieces, from 1999 and 2001; and three dual-screen projections made in 2013. The artist is present in all but one of them. Many of Nauman’s earlier works are about time and endurance: his own as an artist, as he pushes himself to physical limits; and the audience’s, as they try to sit through videos of maniacal clowns (Clown Torture, 1987), and of the artist performing mundane tasks. In one of several early videos from 1968, we see him bouncing off the wall (Bouncing in the Corner I), making the viewer dizzy in the process. In another, Walk with Contrapposto (1968), he walks back and forth in a narrow corridor, exaggeratedly swinging his hips side to side. Similarly, in Walking in an Exaggerated Manner Around the Perimeter of a Square (1968), he places one foot in front …

Tai Kwun Contemporary: INK CITY | Portals, Stories, and Other Journeys

Tai Kwun Contemporary: INK CITY | Portals, Stories, and Other JourneysApr 23 to Aug 1, 2021 1/F JC Contemporary & F Hall, Tai Kwun10 Hollywood Road Central, Hong KongTue – Sun: 11am – 7pm (Closed on Mondays) Tai Kwun Contemporary has opened two new exhibitions! INK CITY and Portals, Stories, and Other Journeys will be on view from Apr 23 to Aug 1, 2021. INK CITY sets out an expanded vision of ink art firmly grounded in current social, political, and aesthetic concerns, featuring artists inspired by immediate encounters with contemporary life. Often caught between an overwhelming urbanism and intimate brushes with everyday life, the artists offer keen observations, commentaries, and sometimes even deconstructions of contemporary culture and society through their artworks. ArtistsLuis Chan, Chen Shaoxiong, Chu Hing-Wah, Sherry Fung Hoi Shan, Frog King Kwok, Lam Tung Pang, Joey Leung Ka Yin, Li Jin, Wilson Shieh, Sun Xun, Frank Tang Kai Yiu, Tao Aimin, Walasse Ting, Tsang Tsou-Choi (King of Kowloon), Howie Tsui, Evelyn Taocheng Wang, Wei Dong, Yang Jiechang, Zhang Yanzi Curated by Katherine Don and Tobias Berger Portals, Stories, and Other Journeys stems from Asia Art Archive’s research …

Rodel Tapaya at Tang Contemporary Art

Random Numbers /Apr 22 – May 15, 2021 /Opening: Apr 22, 6 – 8pm / Tang Contemporary Art10/F, H Queen’s, 80 Queen’s Road CentralCentral, Hong KongTu-Sa 11am – 7pm tangcontemporary.com Random Numbers is the latest solo exhibition by Filipino contemporary artist Rodel Tapaya at Tang Contemporary Art Hong Kong showcasing the artist’s most recent body of work. Rodel Tapaya is one of the most prominent contemporary Filipino painters working within the international art world today. Early in Tapaya’s career, he came to regional and global prominence through his now signature body of work, the Folk Narrative paintings. During this phase, the artist drew direct inspiration from pre-colonial mythology and Filipino folkloric tradition in order to fuse the otherworldly imagery with the impressions from the contemporary daily life. This enabled him to establish a unique contemporary, neo-traditional artistic form of myth-making. In these works, numerous pictorial fragments within muralist compositions are devoid of traditional perspective, and meticulously pieced together to form epic stories filled with allegorical references. Tapaya became renowned for his celebration of Filipino culture while communicating urgent universal ideas concerning civilization, colonization, capitalism and globalization. In this …

Various artists

Yummy Gummy / Eaton / Hong Kong / Aug 23 – Sep 1 / Ellen Wong / Yummy Gummy, curated by Wong Ka Ying, was the most eclectic of the programmes and activities dedicated to celebrating women in this year’s lineup at Women’s Festival Hong Kong. For starters, Ho Sin Tung’s I’ve often sailed in her (2019) could be seen in the lift – not the ideal place spacially to display the piece, but one that attracteda larger crowd than would normally attend a gallery exhibition thanks to its location in the Eaton Hotel. The way in which the curator, the Eaton Hotel team and the artists worked together to appeal to a wider crowd is valuable for future reference. Alysa Chan’s Just cut it! (2019) outside the exhibition venue within the hotel was a companion piece to Sadako’s My Personal Feelings (2016-2019) inside the venue. Both used techniques superficially associated with mass media to raise issues related to minorities, and both were somewhat straightforward in their approaches. Chan’s work questioned the relationship between hair length and impressions of primness through the poster format, …

Max Hattler

Receptive Rhythms / Goethe-Gallery / Hong Kong / Sep 4 – 28 / Valencia Tong / Squares. Circles. Colours. Repetition. These are the words that come to mind as the visitor tries to comprehend the sensory overload unfolding before the eyes in the small exhibition space in the lobby of the Goethe-Institut, located in the Hong Kong Arts Centre. With a focus on the claustrophobia-inducing aesthetics of the high-rise architecture of Hong Kong’s residential estates and the geometrical patterns found on the city’s streets, the show brings to the fore fleeting images from our contemporary existence as city dwellers, and re-examines often neglected, mundane experiences through the lens of abstraction.  Hong Kong-based German video artist and experimental filmmaker Max Hattler explores the interplay between film animation and photographicimage in the exhibition, Receptive Rhythms, for example in the rapid transitions in the video Serial Parallels (2019), highlighting the vertical nature of the architectural landscape found in the densely populated urban metropolis. Moving images of each nearly identical rectangular components, which represent the facades of apartments stacked against each other, create a mesmerising effect reminiscent …

Marcel Dzama

Crossing the Line / David Zwirner / Hong Kong / Jan 22 – Mar 9 / Katherine Volk / If artists are historians of our times, Marcel Dzama represents the present. Canadian-born, New York-based Dzama references the contemporary climate in the US under Donald Trump’s presidency; this was paired with influences from elsewhere, in particular Hong Kong, for his recent show at David Zwirner, which spanned both floors of the gallery. Dzama departs dramatically from his earlier approach of sparse characters on plain paper, with his style morphing into colourful, large-scale works that are bold and chaotic but meaningful. The new approach was influenced by the work and looser approach to creation of his friend Raymond Pettibon, as well as Dzama’s time living in and visiting large cities such as New York and Hong Kong, and the vibrancy and crowded energy of these places. The neon lights of Hong Kong aren’t Dzama’s only inspiration; the city’s iconic horse racing also features as a prominent theme across multiple works, including Ghost riders (or Watch out he don’t fall on …