Octopus
2011.9.22 - 2011.11.20
Hanina Contemporary Art, Tel Aviv, Israelhttp://www.hanina.org/
Curated by Amir Pollak / Jonathan Hirschfeld
參展藝術家 / Participating Artists:
智海 Chihoi / 江康泉 Kongkee / 何倩彤 Ho Sin Tung / 林東鵬 Lam Tung Pang / 麥盛豐 Vincent Shing Fung Mak / 陳素珊 Sushan Chan / 梁嘉賢 Joey Leung Ka Yin / 鄧國騫 Tang Kwok Hin / 謝炎安 Tse Yim On
Folie à deux
2011.9.16 - 2011.10.4
Curated by John Batten
Experimenta (香港中環荷李活道89-95號地下B室 / Shop B, Basement, 89-95 Hollywood Road)
http://www.experimenta.hk/
何倩彤的最新錄像作品，八十分鐘的影像，由十七個人的朗讀片段組成（附中英文字幕），他們自選一段文字章節，取景室外室內，拍攝地點遍香港、中國內地和澳門。
片中讀者包括：區凱琳、區華欣、約翰．百德、陳素珊、崔征、何比、何淑賢、劉錦紅、劉美兒、劉瑋、李可穎、梁穎君、李以進、羅家恩、岑倩衡、黃倩怡、黃慧妍。
這貌似簡單的錄像，實際有著與標題相符的心理張力——Folie à deux，意指一種共有的感應性精神病，由兩個情感具親密聯繫的個體所分享。在何倩彤的錄像中，這種親密關係當然是指背向鏡頭的朗讀者和觀者本身。每一個人都藉著朗讀這個舉動，如像告解般揭露他們內在那羞於言明的部份，以至靈魂。而觀者則在凝望裡慢慢的認同著他們所讀的一切。
何倩彤於二零零八年在香港中文大學藝術系畢業，並在二零一零年在漢雅軒舉辦了首次個人展覽《日頭彌留》。除此以外她亦參與許多聯展，並在二零零八年獲鮮浪潮短片競賽學生組最佳創意獎。
Ho Sin Tung’s new 80-minute video shows a sequence of 17 people reading a passage* from a book they have chosen themselves, at different indoor and outdoor locations in Hong Kong, the mainland and Macau.
Readers in the video include: Au Hoi Lam, Au Wah Yan, John Batten, Sushan Chan, Cu Zheng, t t Ho, Alice Ho, Lau Kam Hung, Eli Lau, Liu Wei, Michelle Lee, Leung Wing Kwan, Joao Li, Aenon Loo, Iris Sham, Sindy Wong, Wong Wai Yin.
This deceptively simple video, however, has a psychological tension reflected in its title, Folie à deux, a term describing “a condition in which symptoms of a mental disorder, such as the same delusional beliefs or ideas, occur simultaneously in two individuals who share a close relationship or association.” In Ho’s video, the intimate relationship is between the reader and the on-looking viewer, heightened by each reader filmed with their back to the viewer. The view becomes an almost confessional as each read passage reflects an intimate and potentially embarrassing part of the personality or ‘soul’ of the reader; viewers listening, identifying with the reader.
Ho Sin Tung graduated from the Chinese University of Hong Kong in 2008 and held her inaugural solo exhibition, Don’t Shoot the Messenger, at Hanart TZ Gallery in 2010. She has participated in group exhibitions and received the Best Creativity Award (Student Division) at the 2008 Fresh Wave Short Film Competition.
* the video has full Chinese & English subtitles
《城市烏托邦：若且唯若》Urban Utopia: if and only if
德意志銀行和歌德學院聯合呈獻：城市烏托邦
若且唯若：何倩彤與鄧國騫聯展
Co-presented by Deutsch Bank and Goethe Institute: Urban Utopia
"if and only if" exhibition by Ho Sin-tung and Tang Kwok-hin
2011.5.24 - 2011.7.2
http://www.goethe.de/ins/cn/hon/kue/en7454828v.htm
一五一六年，湯馬斯‧摩爾自創了烏托邦一詞。希臘原文兩個字根有互相矛盾的雙重涵義：「樂土美地」和「烏有之邦」，它是一個無法實現的理想國度。如果藝術能夠呈現現實難以達至的願景，那麼，至少在創造異想的腦海，或在眼前種種承載著視覺語言的物象裡，我們都可以在烏托邦的跟後拼命地追。
摩爾筆下的烏托邦，由小國寡民的階級分工構成，由規整的公民意識所充滿。在在就是下一個世紀不少思想家都在試圖顛覆的一個慨念。來到今天，提到烏托邦，所想及的，盡盡都是紀律、審查和權力宰制。而都市發展在帶來眾多好處的同時亦必須迎來相應的惡果，然卻並不排斥高科技，提倡人對於技術須具有自覺的選擇能力，以在文明與原生間達至心智健全。
鄧國騫運用在廢墟垃圾站收集的棄置木器具。騫移去木廢置品的所有色彩及木材以外的部分，以消減追尋樹木原初的肢體。在當下社會，惡果如高度發展所必然伴隨的過盛消耗，正是鄧國騫關注的議題。
何倩彤在紙張和畫布上填上密密麻麻的訊息，這次，刪除和掩蓋是主題。在這個四月準備展覽，已沒有力氣去幻想甚麼奶與蜜之地。提到城市，只有輻射、被失蹤、末日論。歌舞昇平太假，坦白從寬又不夠和諧。馬賽克也不過是一道牆，而牆後的東西，一直都在。
展覽命名為“若且唯若”，是由於原先兩位藝術家各走一方的做法所引起，從而聯想到“↔”這符號。經查證後，它表面象徵相異的同時，在數理學則專有地解作“物質對等”。不單不極端，相反，是全然的相同，即“若且唯若”，本展覽的名字。這仿似雌雄同體的印象，一方面啟迪藝術家倆就加減前後對物象本質的特性是改變還是維持有更深一層想法以外，更重要的，是令人重新記起，那如佛教哲學般的思想。物質並不會轉變，變的，是人的意識。
Thomas More invented the word "utopia" in 1516. In Greek, the word utopia actually means eu-topia and ou-topia, which reveals the absurd nature of utopia. If art can render vision of imagination to reality, then, at least in our creative mind, or confronting objects carrying various visual languages, we can still heel to reach behind Utopia desperately.
Thomas More's utopia is a perfect state constructed by strict class structure, education and governing. This "civilized state" was then challenged by many thinkers in the next century. Utopia is criticized for its control, discipline and censorship. Among which, Ecotopia depicts a new way of how to co-exist between human society and nature. Believing while urban development bring scores of benefits, at the same time it ushers corresponding dreadful consequences in reverse, However, the concept does not exclude high technology, for it suggests having ability of conscious choice by human beings to gain heath both mentally and physically between civilized and primitive situation.
In society nowadays, everything highly developed accompanies with a must of excessive consumption, one of the dreadful consequences being concerned in this exhibition. Hin uses the collected abandoned wooden objects from ruins and refuse depots. The artist removes all the color and non-wooden parts from the collected objects to trace the original limbs of trees.
Preparing this exhibition titled "Urban Utopia" in April, you can hardly come up with anything like milk and honey. There's 2012, radiation and white terror happening all around. If you want to obtain your own peace of mind, you can only cover them up or simply delete it. This is the theme of Tung's works in this exhibition. mosiac is put on things too sensitive to prevent disturbance. Although mosiac is just another wall. Things behind the wall are always there, still.
The exhibition is named “If and only if”, firstly enlightened by the extreme approaches of the two artists and the intention thereby prompt them to think about the symbol “↔". After verification, “↔" exclusively means “materials equivalent” in mathematics. This is absolutely not extreme. On the contrary, it means completely the same, equal to “if and only if”, the name of this exhibition. This seemingly androgynous impression, on the one hand inspires two artists deeper thoughts towards essence of objects which are being added or reduced. Does meaning change? Or remain afterwards? Before and after recalls us, philosophy like Buddhism. Materials do not change. Men change it.
摩爾筆下的烏托邦，由小國寡民的階級分工構成，由規整的公民意識所充滿。在在就是下一個世紀不少思想家都在試圖顛覆的一個慨念。來到今天，提到烏托邦，所想及的，盡盡都是紀律、審查和權力宰制。而都市發展在帶來眾多好處的同時亦必須迎來相應的惡果，然卻並不排斥高科技，提倡人對於技術須具有自覺的選擇能力，以在文明與原生間達至心智健全。
鄧國騫運用在廢墟垃圾站收集的棄置木器具。騫移去木廢置品的所有色彩及木材以外的部分，以消減追尋樹木原初的肢體。在當下社會，惡果如高度發展所必然伴隨的過盛消耗，正是鄧國騫關注的議題。
何倩彤在紙張和畫布上填上密密麻麻的訊息，這次，刪除和掩蓋是主題。在這個四月準備展覽，已沒有力氣去幻想甚麼奶與蜜之地。提到城市，只有輻射、被失蹤、末日論。歌舞昇平太假，坦白從寬又不夠和諧。馬賽克也不過是一道牆，而牆後的東西，一直都在。
展覽命名為“若且唯若”，是由於原先兩位藝術家各走一方的做法所引起，從而聯想到“↔”這符號。經查證後，它表面象徵相異的同時，在數理學則專有地解作“物質對等”。不單不極端，相反，是全然的相同，即“若且唯若”，本展覽的名字。這仿似雌雄同體的印象，一方面啟迪藝術家倆就加減前後對物象本質的特性是改變還是維持有更深一層想法以外，更重要的，是令人重新記起，那如佛教哲學般的思想。物質並不會轉變，變的，是人的意識。
Thomas More invented the word "utopia" in 1516. In Greek, the word utopia actually means eu-topia and ou-topia, which reveals the absurd nature of utopia. If art can render vision of imagination to reality, then, at least in our creative mind, or confronting objects carrying various visual languages, we can still heel to reach behind Utopia desperately.
Thomas More's utopia is a perfect state constructed by strict class structure, education and governing. This "civilized state" was then challenged by many thinkers in the next century. Utopia is criticized for its control, discipline and censorship. Among which, Ecotopia depicts a new way of how to co-exist between human society and nature. Believing while urban development bring scores of benefits, at the same time it ushers corresponding dreadful consequences in reverse, However, the concept does not exclude high technology, for it suggests having ability of conscious choice by human beings to gain heath both mentally and physically between civilized and primitive situation.
In society nowadays, everything highly developed accompanies with a must of excessive consumption, one of the dreadful consequences being concerned in this exhibition. Hin uses the collected abandoned wooden objects from ruins and refuse depots. The artist removes all the color and non-wooden parts from the collected objects to trace the original limbs of trees.
Preparing this exhibition titled "Urban Utopia" in April, you can hardly come up with anything like milk and honey. There's 2012, radiation and white terror happening all around. If you want to obtain your own peace of mind, you can only cover them up or simply delete it. This is the theme of Tung's works in this exhibition. mosiac is put on things too sensitive to prevent disturbance. Although mosiac is just another wall. Things behind the wall are always there, still.
The exhibition is named “If and only if”, firstly enlightened by the extreme approaches of the two artists and the intention thereby prompt them to think about the symbol “↔". After verification, “↔" exclusively means “materials equivalent” in mathematics. This is absolutely not extreme. On the contrary, it means completely the same, equal to “if and only if”, the name of this exhibition. This seemingly androgynous impression, on the one hand inspires two artists deeper thoughts towards essence of objects which are being added or reduced. Does meaning change? Or remain afterwards? Before and after recalls us, philosophy like Buddhism. Materials do not change. Men change it.
法興銀行中國藝術獎 | Societe Generale Chinese Art Awards 2010
準入圍藝術家巡迴展覽
All finalists will be in tour exhibition
2010.12 - 2011
opening photos:
http://www.sgchineseart.com/pdf/The_Journey.pdf
法興银行（www.societegenerale.com）自1987年便已開始支持和培養藝術人才，和全世界年青藝術家分享繪画、素描、攝影、音樂领域的魅力和激情。法興银行一直積極的支持歐洲各大藝術活動。從1995年至現在，法興银行已建立了屬於本集團所屬的當代藝術收藏館，收集的藝術品逾千件。部分藝術品現在巴黎總部展出。www.collectionsocietegenerale.com
2010年，法興银行開始籌辦法興银行中國藝術獎。以鼓勵大中華區的新進當代藝術家為目標，為他们提供展示才華及創意的平台和創建國際知名度。今年首届當代藝術獎接受所有中國大陸、中華台北(台灣)、香港特區、澳門特區的合法居民参賽，年齡最大不超過35歲。参賽者可以提交一件繪画、素描、攝影、錄像作品，另附上相關信息如藝術日記等以表明作品内容。
Since 1987, Societe Generale (www.societegenerale.com) has been nurturing talents and sharing passion with young artists around the world in the fields of paintings, sculptures, photography, music etc. Actively sponsoring numerous art events in Europe, Societe Generale has built up its own contemporary art collection since 1995 which has now grown to over 1,000 artworks with some currently displayed at the Paris headquarters. www.collectionsocietegenerale.com
In 2010, Societe Generale is proud to pioneer the Societe Generale Chinese Contemporary Art 2010 with aim to provide the gateway for emerging chinese contemporary artists to widely showcase their talents and gain international visibility. This first ever youth contemporary art awards is open to citizens of China P.R.C., Hong Kong S.A.R., Taiwan and Macau S.A.R. with an age limit of 35 years at the point of entry. Contestants can submit one piece of painting, drawing, photography and videography with some supporting information to show their art path, for example, an arts diary.
巡迴展日程表 Schedule of the tour exhibition:
北京 Beijing
798創意廣場，位於北京798藝術區 798 Originality Square at the 798 Art District in Beijing
2010.12.10 - 2010.12.22
上海 Shanghai
上海圖書館 Shanghai Library
2011.1.8 - 2011.1.16
台北 Taipei
華山1914文創園區 Huashan 1914 Creative Park
2011.2.19 - 2011.2.24
香港 Hong Kong
ArtisTree
2011.3.23 - 2011.3.30巴黎 Paris
Galerie Paris-Beijing
2011.4.15 - 2011.4.30
新加坡 Singapore
莱佛士碼頭一號#02-00北塔 One Raffles Quay, #02-00 North Tower
2011.6.9 - 2011.6.15
無啦謂勁架勢無聊發明預展 | Preivew of The superb Meaningless invention exhibition
參展藝術家：唐納天、小克、周俊輝、朱卓慧、何文聰、何倩彤、林東鵬、劉明進、梁御東、文念中、莫少宗、吳鋌灝、Joao Paiva、彭健兒、Samuel Swope 、鄧國騫、 黃照達、黃國才、黃倩怡、淡水
Participating Artists: Nadim Abbas, Siu Hak, Chow Chun-fai, Margaret Chu, Homan Ho, Ho Sin-tung, Lam Tung-pang, Ron Lau, Ocean Leung, Man Lim-chung, Mok Siu-chung, Ng Ting-ho, Joao Paiva, Pierre Pang, Samuel Swope, Tang Kwok-hin, Justin Wong, Kacey Wong, Sindy Wong, TamShui
2011.1.29 - 2011.2.15
http://www.lcsd.gov.hk/CE/Museum/Apo/b5/programmes20110101_5a.html
廢屋文學館 | Literature Museum in the ruin
廢屋文學館@菜園村
策展：廖偉棠+陳世樂+鄧小樺@香港文學館工作室
2011.2.5 - 2011.2.6
參展藝術家 / Participating Artists:
廖偉棠〈菜園村的頒獎禮〉
何倩彤〈THIS BITTER EARTH〉+〈WHAT FRUIT IT BEARS〉+〈合泥掩港鐵〉
朗天〈廢園的散文——向梅洛．龐蒂致敬〉
陳麗娟〈田納西的華爾滋〉+〈土地不懂復仇〉
謝傲霜〈團年飯〉+〈租霸填字遊戲〉
鄭家駒〈拆〉
陳世樂（阿三）〈齊聲爆句新年「 」〉
游靜X黃衍仁〈給我滾——致青年〉
鄧小樺〈菜園斷句〉
謝曉虹〈廢墟辭典〉
陳雲X葉浩麟〈怨偶〉
「廢屋如何同時喜氣洋洋又鬼影幢幢？沒錢沒電連天花板都沒有，能建起一間文學館嗎？摸黑仍在寫字貼紙撿垃圾的作家和藝術家們，嘗試告訴世界：廢墟—生產—意義，死滅與爆發的並置辯證。一朵綻一朵飛，請在新春見證廢屋文學館，近乎見證維納斯誕生於泡沫。
「香港文學館工作室」的前身是「香港文學館倡議小組」，現時成員包括董啟章、陳雲、司徒薇、廖偉棠、馬家輝、潘國靈、朗天、陳世樂（阿三）、謝傲霜、鄧小樺（召集人）；工作室顧問包括：劉以鬯、李歐梵、梁秉鈞、鍾玲、黃子平、張珮瑤、顏純鈎、葉輝、關夢南、張灼祥。工作室在年初成立，是次參與「新春糊士托．菜園滾滾來——大型廢墟文化節」，是第一次公開活動，策展閃電成事，是文學X視藝X時事的一次化學試驗。」鄧小樺
策展：廖偉棠+陳世樂+鄧小樺@香港文學館工作室
2011.2.5 - 2011.2.6
參展藝術家 / Participating Artists:
廖偉棠〈菜園村的頒獎禮〉
何倩彤〈THIS BITTER EARTH〉+〈WHAT FRUIT IT BEARS〉+〈合泥掩港鐵〉
朗天〈廢園的散文——向梅洛．龐蒂致敬〉
陳麗娟〈田納西的華爾滋〉+〈土地不懂復仇〉
謝傲霜〈團年飯〉+〈租霸填字遊戲〉
鄭家駒〈拆〉
陳世樂（阿三）〈齊聲爆句新年「 」〉
游靜X黃衍仁〈給我滾——致青年〉
鄧小樺〈菜園斷句〉
謝曉虹〈廢墟辭典〉
陳雲X葉浩麟〈怨偶〉
「廢屋如何同時喜氣洋洋又鬼影幢幢？沒錢沒電連天花板都沒有，能建起一間文學館嗎？摸黑仍在寫字貼紙撿垃圾的作家和藝術家們，嘗試告訴世界：廢墟—生產—意義，死滅與爆發的並置辯證。一朵綻一朵飛，請在新春見證廢屋文學館，近乎見證維納斯誕生於泡沫。
「香港文學館工作室」的前身是「香港文學館倡議小組」，現時成員包括董啟章、陳雲、司徒薇、廖偉棠、馬家輝、潘國靈、朗天、陳世樂（阿三）、謝傲霜、鄧小樺（召集人）；工作室顧問包括：劉以鬯、李歐梵、梁秉鈞、鍾玲、黃子平、張珮瑤、顏純鈎、葉輝、關夢南、張灼祥。工作室在年初成立，是次參與「新春糊士托．菜園滾滾來——大型廢墟文化節」，是第一次公開活動，策展閃電成事，是文學X視藝X時事的一次化學試驗。」鄧小樺
伙炭工作室開放二零一一 | Fotanian Open Studio 2011
火炭環球工業大廈八樓十七室「覓絲米地亞」
"MiSiMiDiYa" Room 17, Floor 8, World-wide Building, Fotan
2011.1.8,9,15,16
參展藝術家 / Participating Artists:
何倩彤 Ho Sin Tung / 蘇綽玲 Zon So / 謝振聲 Tse Chun Sing / 胡偉寛 Gladys Wu Wai Foon
在工廈被宣告已淡出香港歷史舞台，被政策強勢「活化」之際，自2001年 起舉辦的「伙炭」藝術村開放日起已踏入第一個十年。今年將以「伙炭十年」為主題，舉行盛大的藝術工作室開放日，參與藝術家及工作室更是歷來最多，來自70 多個工作室的藝術家背境各異，除一眾本地視覺藝術家外，今年更有不同國籍、更多的藝術形式聚首於火炭，標誌這重要的里程碑。
Despite claims of the fall of industrial estates, Fotanians celebrate the 10th anniversary of the Fotanian: Open studios event. Accordingly, the theme this year is “Ten Years of Fotanian”. The number of studios and artists involved has hit a record high this year and there will be plenty of exhilarating cultural events throughout the year. The Fotanian community has developed from a handful of art studios to a community of 70+ studios ran by artists of all disciplines, not to mention the international artists who have been attracted by this unique community and decided to settle here. Ten years ago, the open studio event did not receive much public attention, but it has grown and flourished - it has now become the highlight of the city’s cultural calendar, with the number of visitors increasing every year.
http://fotanian.com
