香港當代藝術獎2012 | Hong Kong Contemporary Art Award 2012
香港藝術館
Hong Kong Museum of Art
4 Oct 2013 - 5 Jan 2014
Framed: Ai Wei Wei and Hong Kong Artists
Heterotopia
Exhibition Hall, SEMA Nanji Residency, Seoul
23 Sept - 27 Sept 2013
semananji.seoul.go.kr
HETEROTOPIA – Discourses of Space ● Almost all aspects of human existence could be described by different concepts of space. Among others historical memory could distinguish physical or metaphysical, private or communal, sacral and profan, real and virtual spaces. Although the four foreigner exhibitors have their own individual art practice, method and artistic purpose still all of them would seek (sometimes in a critical way) the special relationship between contemporary space and artwork. In fact, the space hasn't possessed anymore constant and obvious definitions, now it has more transitional overlapping meanings. Since timelessness of 20th century has been replaced by acceleration and unpredictability, artwork itself hasn't been already the symbol of eternity rather an instantaneuos impression of transformation. The rapid flow of information has changed our perception of time that's why the spatial seems more relevant than ever. ● Michel Foucault was one of the first philosophers who claimed that our age is the age of space. His 'heterotopia' conception refers to spaces of otherness, which are neither here nor there, simultaneously physical and mental and above all heterogeneous. Foucault's concept distinguishes between utopias, which are sites with no real place, and heterotopias, which are places absolutely different from all the sites that they reflect and speak about. Heterotopia is a non-linear sense which is inherent in contemporary societies. We have to accept that almost all cultural phenomenons thus the libraries, museums, galleries and perhaps the residency programs are also heterotopic. ■ Noémi Szabó
I have built an installation out of visitors' feedbacks during the SeMA Nanji Residency Program. I surveyed the visitors of the Seoul Museum of Art and collected their feelings concerning their relationship with the museum. My question was: "What the Museum means for you?" I created a space which people are able and allowed to enter. The personal definitions are appearing and thus the walls open and the thoughts are projected into the real space. My project is questioning whether art can influence our daily life. There is a certain change when we enter a museum, because the context of the place influences our view. ● I intend to analyze this change of our view of the world through different eyes. If a museum as a place can modify our mind, then what happens if we find our daily life there? ■ Tamás Szvet
"The less any thing is, the less we know it: how invisible, how unintelligible a thing then, is this Nothing." (John Donne) ● For the past three months in Nanji, I have been exploring a convergenge of ideas and events in a series of partly erased drawings. I'm aware of the presence of artists such as; Rauschenberg, Auerbach, Friðfinnson and more that anchor this enterprise in a genealogy of art practices. The implicit theme of disappearance or destruction is however far from exclusive to that realm. Under closer scrutiny - the act of removing or erasing in all its permutations turns out to permeate the natural world and its human endeavour respectively. ● "It becomes apparent then, if the emergent nature of consciousness is at all times, painted upon everything (as we have been promised), that when you raise yourself up and enter the plateau, you will be under the surveilance of tigers. They might at any given moment come through that door Huxley mounted for us on reality – and tear our little frames to shreds in an act of profound annihilation. The cognitive operation that drives us out on the plane to begin with, comes with the price of awareness of the emptiness that will take our shape." (Stanislav Boca) ■Karl Omarsson
-A photograph, taken from a bird-eye's view, depicts the following: On the bottom left a wooden stairs, next to that a yellow fridge with white paper, some bubble-wrap and a brush on top of it. In the top right a small kitchen with cupboards and a counter with various bottles and cups, two sinks, two closed window blinds, a desk with headphones, white paper, a red book, an apple laptop and some white paper with writings. On the top wall are two photographs, one consisting of nine subsections and one color-photograph. Stuck on the right wall are white papers with text on it and part of a black square is visible. Below that is a sideboard filled with books and various other objects. On top of the sideboard is a black bag, some white paper and a square piece of white cardboard with drawings on it. The central section of the grey-tiled floor is covered by a large text which has been taped down with masking tape. The text is a description of various works, things and actions. At the bottom one can see the white support of the platform from which the photograph has been taken with some bubble-wrap next to it. ■ Luuk Schröder
Ho Sin Tung borrows the narrative style of the classic point-and-click computer game "Escape Room" - an adventure seeking truth or escaping from imprisonment – and interwines her daily experiences and readings about space into a series of drawings. ● She quotes from various books, including The Poetic of Space by Gaston Bachelard, A Room of One's Own by Virginia Woolf, Ruined Map by Kobo Abe, and The Geography by Alfred Hettner. These quotations will be hidden in different dark places within her drawings of the architecture of the residency. By displaying the drawings together, the ghostly gaze of the artist investigates the space without the limitations of linear time and narrative. Memory inhabits space in the same way – it also randomly scatters like an echo of a murmur. ■ Ho Sin Tung
浮得永生 | The Floating Eternity
Para Site, Hong Kong
15 Sept – 10 Nov 2013
Adam Bobbette & Seth Denizen
BREAD Studio
Moosje M. Goosen
Grieve Perspective
何倩彤
The Estate of Charles LaBelle
劉秀儀
Maha Maamoun
Araya Rasdjarmrearnsook
王虹凱
「浮得永生計劃」展覽以2012年BREAD Studio的一個香港離岸骨灰龕建築計劃為出發點。這個計劃旨在舒緩對本港土地短缺及人口老化日趨急切的情勢，以及這些議題對本地「往生經濟」（economy of the afterlife）的影響。考慮到香港人對死亡的避諱，BREAD Studio構想出一個能容納37萬個骨灰龕的浮動平台，所有龕位坐位一致，皆為價錢相宜的風水吉地。龕場平日會留在香港離岸海域，需要時才會回航，停泊在岸邊。
透過新近委約及現有建築計劃書、文字與香港和國際藝術家的錄像和裝置作品，展覽探索土地短缺的概念、在生者與往生者的公共和私人空間，以及「悼念地景」（Memory Landscapes）的形成過程。所謂「悼念地景」，從本地喪葬禮儀傳統如盂蘭盆節及香港墳場墓葬歷史可見一斑。香港墓葬歷史可追溯至1850年首個非法華人墳地（位於Para Site現址普仁街，舊稱墳墓街），以至香港在相關方面舉足輕重的角色，例如由十九世紀末開始，透過東華義莊等機構團體，幫助在外身故的中國僑民，將其靈柩、骨殖或骨灰運返原籍安葬。
「浮得永生計劃」展覽將連同一系列公眾活動舉行，包括兩場電影放映及一場聲音展演。電影放映由策展人及劉秀儀聯合策劃，分別於10月5日及10月19日Para Site舉行，探索回憶的形成與空間，以及香港電影文化中幽靈和超自然事物的表現手法。聲音展演「Terrestrial Excursions」為王虹凱的作品，9月15日下午3點Spring Workshop演出。
聲音展演「Terrestrial Excursions」使用對話為機制，探索回憶的過程和技術。王虹凱由台北開始，將自己跟台灣作曲人張永智有關清明節的交流討論錄音。根據這段討論的錄音文稿，演員及協作者許敖山、楊嘉輝及林妙玲應邀將對話重新演繹。他們的演繹構成一種干預，也是一種面向觀眾的揭示，揭示如何運用受環境和語境所塑造的語言將回憶展開。
Para Site藝術空間獲香港特別行政區政府「藝能發展資助計劃」的躍進資助。
活動內容並不反映香港特別行政區政府的意見。
Adam Bobbette & Seth Denizen
BREAD Studio
Moosje M. Goosen
Grieve Perspective
Ho Sin Tung
The Estate of Charles LaBelle
Venus Lau
Maha Maamoun
Araya Rasdjarmrearnsook
Hong-Kai Wang
Para Site proudly presents The Floating Eternity Project, a group exhibition featuring Adam Bobbette & Seth Denizen, BREAD Studio, Moosje M. Goosen, Grieve Perspective, Ho Sin Tung, The Estate of Charles LaBelle, Venus Lau, Maha Maamoun, Araya Rasdjarmrearnsook, and Hong-Kai Wang.
The Floating Eternity Project takes its point of departure from a 2012 architectural proposal by BREAD Studio to create an offshore columbarium to alleviate the pressing concerns over Hong Kong’s critical land scarcity and greying population as well as the implications of these issues on the city’s economy of the afterlife. Taking into account Hong Kong’s belief systems, BREAD Studio conceived of a temporary platform that would contain over 350,000 niches of equal auspiciousness for individual human remains, vital to the concerns of the Chinese fengshui tradition and at an affordable price. This columbarium was planned to be anchored in the outer waters of Hong Kong and to return to the shore when needed.
Through newly commissioned and existing architectural proposals, texts, videos and installations by Hong Kong and international artists, the exhibition explores notions of land scarcity, private and public spaces attributed to the living and the dead, and the formation of memory landscapes. The latter is informed by the traditions of death and mourning such as the Hungry Ghost Festival and the history of graveyards and burial rituals in Hong Kong. This history ranges from the establishment of the first unauthorized Chinese burial site on Cemetery Street (now Po Yan Street, on which Para Site is situated) in 1850 to the pivotal role Hong Kong played in facilitating the return of remains of members of past Chinese diasporas through institutions such as the Tung Wah Coffin Home from the late 19th century to the present. The Floating Eternity Project is curated by Qinyi Lim.
This exhibition is accompanied by a series of public programmes. These include film screenings at Para Site exploring memory formation and space, as well as the representation of specters and the supernatural in Hong Kong film culture (on 5 October and 19 October 2013), co-curated with Venus Lau; a sound performance by artist Hong-Kai Wang, Terrestrial Excursions at Spring Workshop on 15 September, 15.00 hrs. The sound performance, Terrestrial Excursions, will use conversation as a mechanism to explore the process and technology of reminiscence. Starting in Taipei, Wang recorded an exchange between herself and Taiwanese composer Yong-Chih Chang discussing their memories of Ching Ming day - a tradition linked with tomb sweeping. Based on the transcription of the exchange, actors and collaborators Steve Hui, Miu-Ling Lam and Samson Young are invited to re-enact the conversation and intervene as a way of revealing to the audience the process of unfolding memories in a language shaped by circumstance and context.
ParaSite Art Space is financially supported by the Springboard Grant under the Arts Capacity Development Funding Scheme of the Government of the Hong Kong Special Administrative Region.
The content of this programme does not reflect the views of the Government of the Hong Kong Special Administrative Region.
素描：表達與限度 | Drawing: Expression and Limit
南京藝術學院美術館二號展廳
Hall 2 of Art Museum of Nanjing University of the Arts, Nanjing
18 Sept - 10 Oct 2013
http://www.njarti.edu.cn/s/1/t/678/6a/b6/info27318.htm
AMNUA素描系列展/
Ⅰ素描·表达与限度
Ⅱ伟大的素描——与大师同行
出品人/李小山
策展人/王亚敏
时间/艺术家
Ⅰ素描·表达与限度2013年9月18日—10月10日
陈侗 陈天灼 关小 高波 何倩彤（香港） JNA 赖志盛（台湾） 廖斐 梁昊鹏 牟雪（荷兰） 尚一心 孙逊 宋拓 唐晖 王韬程 谢墨凛 徐喆 烟囱 于艾君 周轶伦
Ⅰ素描·表达与限度——当代艺术中的素描方式
由素描的方式，汇集艺术家的创作，展出作品则分别涉及绘画、装置、影像等素描的变异呈现形式。展览亦将由参与艺术家在展览中相对独立地呈现其个人的“素描”系统，共同装置出当代艺术实践中的素描方式。展览从表达与限度的视角梳理呈现中国当代艺术中素描的方式，呈现其中的观念和实践。就素描来说，我们通常所认为的素描的基础性，应当重新落实到素描观念的正本溯源上，即素描本身就是本质的方式，是直接表达。表达限度之自我意识的强调，则通过对素描方式的不间断不确定地放纵或束缚而表症出来，是当代表达之动力模式的转换形式之一，由此也将素描的方式基于时间而置入当代，成为“时间的同志”。就素描的展示来说，展览将被置入从西方到现代的素描展示（《伟大的素描—与大师同行》）中，各个艺术家的创作亦将被同时并置在展示现场，通过诸多层面的时间和空间、个体系统和整体系统的相互镶嵌，共同表演呈现一个素描的景观，目的是为了将素描重新落实到其真正的观念基础上——素描要成为当代的。
AMNUA Drawing Show Series /
Ⅰ Drawing·Expression and Limit
Ⅱ Great Drawings·Dancing with Virtuoso
Producer / Li Xiaoshan
Curator / Wang Yamin
Duration&Participating Artists/
Ⅰ Drawing·Expression and LimitSeptember 18, 2013 - October 18, 2013
Chen Tong Chen Tianzhuo Guan Xiao Gao Bo He Qiantong（Hong Kong)
JNA Lai Chih-Sheng(Taiwan) Liao Fei Liang Haopeng Mu Xue( the Netherlands) Shang Yixin Sun Xun Song Ta Tang Hui Wang Taocheng Xie Molin Xu Zhe Yan Cong Yu Aijun Zhou Yilun
Ⅰ Drawing·Expression and Limit
- Drawing Modes in Contemporary Chinese Art
By the way of “drawings”, the exhibition will bringing together artists’s different pracices. Exhibited works could be painting, installation, video and other kinds of medias, which are the metamorphoses of drawing now. To install the drawing modes in contemporary art practices, Artists’ shows of their personal "drawing" systems will be relatively separate. By the perspective of expression and limit, exhibition will show the drawing modes in Chinese Contemporary Art with it’s ideas and practices. As for the drawing, The fundamentality of drawing,which we generally assume, should be re-implemented by tracing the idea history of drawing, which could result that drawing itself is essentially a way to express, a direct expression. The emphasis on self-consciousness of the expression and limit is represented by uninterrupted and indefinite indulgence or restraint of drawing modes, which is one of the conversions of stimulating models of contemporary expression. So, according to time, drawing modes is put into the contemporary as "time’s comrades." On the drawing show, the exhibition will be placed into the show of western drawings from classical to modern Age（Great Drawings·Dancing with Virtuoso). The artists with their works will also be juxtaposed at the same time on the scene. Through many levels of time and space and the mosaic of individual systems and the overall system, the exhibition show a landscape of drawing by performing together, which aims at reconstructing drawing on the base of it’s ideas’ essence, namely drawing should to be contemporary.
一夕空亡 | The Void of Course Monday
Para Site, Art Basel Hong Kong
23 May - 26 May 2013
占星術語「無相月」（Void of Course Moon，徒勞無功的月亮），意指月亮由一個星座移到另一個星座之間，不在主相位的時間。何氏引用這個術語為題，她受邀Para Site之邀做的的作品也同樣沒有正面敘述藝術空間的任何歷史文獻。是次計劃探索藝術家對剛接到邀請時的異樣疏離感（一個年輕的藝術家首次與香港歷史最悠久的當代藝術機構合作），以及某些敘事角度的既定缺席，例如星期一，以及這些缺失的星期一裡面包含未知的故事──隱喻著無數未曾寫下的藝術與藝術機構的層面。 對一般大眾而言，星期一是Para Site眾所周知的休息日。
不過，何氏就跟這些年來跟Para Site有關的人合作，紀錄他們對藝術空間星期一的依稀記憶，把這些日常用的紙製掛曆的不同記憶縫拼起來。觀眾受邀帶自身的故事一起前來。這些都跟藝術空間某個星期一的閉路電視錄影放在一起，連同一個以手為對象的錄像展演，那是在Para Site在裝修和轉換展覽的期間拍攝的。
次展由DSL Collection慷慨資助。
Taking its point of reference from the astrological term “Void of Course Moon” which marks the period of time between the last aspects of the moon while transiting from one astrological sign to another, Ho’s presentation departs from Para Site's invitation to work with the art space’s archive. The project explores the initial sense of alienation she felt upon the invitation (as a young artist collaborating with the oldest institution of contemporary art in Hong Kong for the first time) and also, the presumed absence of certain narratives such as the mention of Mondays and the undiscovered stories that these omitted Mondays tell - a metaphor for the many unwritten layers of art and its institutions.
To the general public, Mondays are known as the gallery's day off. However, working with different people associated with Para Site along the years and their loose memories of the art space on a Monday, Ho stitches together multiple episodes that take shape as everyday pulp paper calendars. The public are invited to take sheaves of stories with them. These are coupled with CCTV footage of a Monday in the art space as well as with a video performance of hands, shot at Para Site during a period of renovation and changeover of exhibitions.
Ho's solo presentation is generously supported by DSL Collection.
Hong Kong Eye
Saatchi Gallery, London
5 Dec 2012 - 12 Jan 2013
Artistree, Hong Kong
1 May - 31 May 2013
https://www.facebook.com/hongkongeye
Hong Kong Eye presented by Prudential features key works by 18 emerging artists from Hong Kong, in the largest touring international showcase to date of Hong Kong's contemporary art. The majority of works in the exhibition have never been shown outside Asia, giving crucial recognition to Hong Kong's contemporary art scene on the international stage. The exhibition will run 5 December 2012 to 12 January 2013.
Artists exhibiting are; Amy CHEUNG, CHOW Chun Fai, Silas FONG, HO Sin Tung, KONG Chun Hei, KUM Chi Keung, LAM Tung Pang, LEUNG Kui Ting, Otto LI, LUI Chun Kwong, Florian MA, Joao Vasco PAIVA, Hector RODRIGUEZ, Angela SU, Annie WAN, Adrian WONG, Justin WONG Chiu Tat and Fiona WONG Lai Ching.
The exhibition offers insight into the contemporary art scene in Hong Kong through a diverse range of artworks. A number of artworks engage with and reinterpret traditional media and techniques, such as Fiona Wong's hand made terracotta clothing and Leung Kui Ting's large-scale hanging ink scrolls.
Visitors can experience a sense of city life in Hong Kong through Silas Fong's immersive video installations featuring Hong Kong's iconic outdoor escalators, and Joao Vasco Paiva's installation which brings five Mass Transit Railway turnstiles to London. Hong Kong's ever-changing landscape and rapid urbanisation is explored in one of Ho Sin Tung's mixed media works, with others mapping real and imaginary journeys. When placed alongside Chow Chun Fai's paintings of famous Chinese movie scenes, they ask questions about cultural identity and film histories iconic to the city. Other spectacular works display the imagination of Hong Kong artists, such as Amy Cheung's full-size wooden toy tank, which visitors can climb into and operate, and Adrian Wong's large-scale animatronic soft sculptures.
