All posts tagged: Trevor Yeung

Trevor Yeung 楊沛鏗

Published by Caroline Ha Thuc

Courtyard of Attachments /M+ /Jun 14 – Oct 12, 2025 /Caroline Ha Thuc / Courtyard of Attachments, Trevor Yeung’s exhibition at M+, constitutes the Hong Kong iteration of the artist’s presentation for the 2025 Venice Biennale. Distributed across three rooms, one of which is devoted to video documentation, the exhibition has been reconfigured to suit the institutional context of the museum. The original installation featured four site-specific works that incorporated two distinct bodies of water: seawater outdoors and freshwater sourced from the Venice canal indoors. Central to the project is the notion of relationships explored through absence, mostly articulated through the presentation of 74 uninhabited fish tanks. At M+, this absence is intensified: not only are the fish missing but the water itself has also been removed. The exhibition thus distances visitors even further from the living ecosystems that once animated the installation. Consequently, issues such as water quality, ecological interdependence and human-aquatic relationships are displaced. Instead, questions of care and attachment are replaced by an encounter with their impossibility. The exhibition ultimately stages a …

Trevor Yeung 楊沛鏗

Published by Jessica Wan

Where does the water come from? Who is inside these empty aquariums? These questions linger in my mind as I enter the courtyard of a building in Venice’s historic Castello district, encountering Trevor Yeung’s site-specific installation Pond of Never Enough (2024). Created in response to the area’s aquatic identity and maritime characteristics, the work, part of the exhibition Courtyard of Attachments, consists of fishless tanks that extract water from the Grand Canal and filter it back to the Lagoon. Reminiscent of fish farm breeding pools or tanks in seafood restaurants, the aquariums symbolise the exertion of systemic control to produce commodities or desired outcomes. Highlighting how physical infrastructure impacts the ecosystems we inhabit, the water cycle hints at the deliberate support the system demands to maintain itself. From Hong Kong to Venice, the proximity of waterways and densely built urban spaces forms a connection that permeates our interactions with nature and social ecology. Often departing from his personal memory and experiences, Yeung offers a sensuous perspective on how we live with and relate to others. …

Trevor Yeung

Published by Artomity Magazine

The Darkroom That Is Not Dark Magician Space Beijing Dec 17, 2016 – Feb 26, 2017 Nooshfar Afnan Trevor Yeung has explored voyeurism since his earliest works, such as the Sleepy Bed series, in which he took photographs, without permission, of sleeping hostel roommates. But in his solo show he no longer focuses on photographic images of voyeuristic subjects; instead, fleeting glances immediately blur the lines between who is watching whom, as the audience uses an L-shaped, mirror-clad locker room at the entrance of the show. Artist Studio Party (2012), a digital projection work, continues this theme. Faced with the image of a couple embracing, audience members might feel they are intruding on an intimate moment, as did the artist when he took the photo, causing them to quickly move along the hall, past the image and into the next room. The work touches on the key Yeung theme of audience control, and throughout the show the audience is manipulated in its movement through the exhibition space, stopping, slowing down and kneeling, and is sometimes also manipulated …