Hiddenfromview
23/10/2020 - 18/11/2020
The etymological origin for the Chinese word “fo2 bun6” (伙伴), or “partner”, traces back to the ancient military system. While “fo2” ( 火 ) refers to a unit of ten militants, it also doubles to mean “fire”. Indeed, the military was organised by the fire – the leader of a unit, “fo2 zoeng2” ( 火長 , literally meaning “ chief of the fire”), was in charge of cooking all meals which the team would share together. Therefore, those within one “fo2” were called “fo2 bun6” ( 火伴 ), or “partners of fire". This word was later adapted to generally mean "partners" ( 同伴 ) and was developed to be written as "伙伴” (fo2 bun6). Now, it refers to people who collaborate as part of the same organisation or activity, sharing the same practices and experiences.
Starting from 15th August 2019, Tsung Tsin Christian Academy and 1a space have joined to launch a one-year programme "Arts-in-School Partnership Scheme" initiated by the Hong Kong Arts Development Council. 1a space commissioned two artists, Kevin Ling and Debe Sham, to collaborate and explore how art knowledge can intervene secondary school students and the community through different workshops. “Hiddenfromview” – Arts-in-School Partnership Scheme Exhibition will anchor on the concept of outlining and recording space, and will allow glimpses into the interaction and transformation which the participating artists and students have undergone in the past year.
Hiddenfromview
Exhibition period: 23thOctober - 18th November 2020
Time: Tuesdays to Sundays 11 am – 7 pm (closed on Mondays)
Venue: 122 To Kwa Wan Road, Kowloon, Hong Kong
About the Participating Artists
Debe Sham
Debe Sham (born in Hong Kong) is a sculptor, researcher and educator. She received her B.A. and M.V.A. at The Academy of Visual Arts, Hong Kong Baptist University. She has been studied at M. A. Program in Philosophy of the Chinese University of Hong Kong. She is currently a Doctor of Philosophy (PhD) degrees student. Sham has joined The AVA, HKBU and The Fine Art Department, CUHK as a part-time lecturer since 2016 and 2018 respectively. Before joining the Curatorial Panel of 1a space, she was a visiting artist and research fellow at Lingnan University and Yale University. Her research interest covers a wide range of topics such as interactivity as a means of generating dialogue between art and its audience; the ambiguity of interpersonal communication in different social situations; and the history and culture of toys, games and playgrounds. Sham's site-specific sculptures and installations have grown out of the artistic exploration of the role of public art.
Ling Chung-wan Kevin
Ling Chung-wan Kevin (b. Hong Kong 1994) graduated from the Academy of Visual Arts, Hong Kong Baptist University in 2017, he was awarded the Tuna Prize at the AVA BA Graduation Exhibition 2017, shortlisted Hong Kong Human Right Prize 2018. Through community-based research and material exploration to create the simplest resonance. Alternate perspective towards urban elements can be found in Ling's work. His works concern about the relationship and connection in the community and a sense of curiosity.
Participating Students
Wong Yuk Yin
Chan Yuen San
On Ka Yam
Mo Pak Yin
Sze Yi Hin Crosley
Mok Siu Ling Yuki
Wong Tsz Lam
Chan Lok Yan
Loong Hin Cheuk
Hiddenfromview
23/10/2020 - 18/11/2020
The etymological origin for the Chinese word “fo2 bun6” (伙伴), or “partner”, traces back to the ancient military system. While “fo2” ( 火 ) refers to a unit of ten militants, it also doubles to mean “fire”. Indeed, the military was organised by the fire – the leader of a unit, “fo2 zoeng2” ( 火長 , literally meaning “ chief of the fire”), was in charge of cooking all meals which the team would share together. Therefore, those within one “fo2” were called “fo2 bun6” ( 火伴 ), or “partners of fire". This word was later adapted to generally mean "partners" ( 同伴 ) and was developed to be written as "伙伴” (fo2 bun6). Now, it refers to people who collaborate as part of the same organisation or activity, sharing the same practices and experiences.
Starting from 15th August 2019, Tsung Tsin Christian Academy and 1a space have joined to launch a one-year programme "Arts-in-School Partnership Scheme" initiated by the Hong Kong Arts Development Council. 1a space commissioned two artists, Kevin Ling and Debe Sham, to collaborate and explore how art knowledge can intervene secondary school students and the community through different workshops. “Hiddenfromview” – Arts-in-School Partnership Scheme Exhibition will anchor on the concept of outlining and recording space, and will allow glimpses into the interaction and transformation which the participating artists and students have undergone in the past year.
Hiddenfromview
Exhibition period: 23thOctober - 18th November 2020
Time: Tuesdays to Sundays 11 am – 7 pm (closed on Mondays)
Venue: 122 To Kwa Wan Road, Kowloon, Hong Kong
About the Participating Artists
Debe Sham
Debe Sham (born in Hong Kong) is a sculptor, researcher and educator. She received her B.A. and M.V.A. at The Academy of Visual Arts, Hong Kong Baptist University. She has been studied at M. A. Program in Philosophy of the Chinese University of Hong Kong. She is currently a Doctor of Philosophy (PhD) degrees student. Sham has joined The AVA, HKBU and The Fine Art Department, CUHK as a part-time lecturer since 2016 and 2018 respectively. Before joining the Curatorial Panel of 1a space, she was a visiting artist and research fellow at Lingnan University and Yale University. Her research interest covers a wide range of topics such as interactivity as a means of generating dialogue between art and its audience; the ambiguity of interpersonal communication in different social situations; and the history and culture of toys, games and playgrounds. Sham's site-specific sculptures and installations have grown out of the artistic exploration of the role of public art.
Ling Chung-wan Kevin
Ling Chung-wan Kevin (b. Hong Kong 1994) graduated from the Academy of Visual Arts, Hong Kong Baptist University in 2017, he was awarded the Tuna Prize at the AVA BA Graduation Exhibition 2017, shortlisted Hong Kong Human Right Prize 2018. Through community-based research and material exploration to create the simplest resonance. Alternate perspective towards urban elements can be found in Ling's work. His works concern about the relationship and connection in the community and a sense of curiosity.
Participating Students
Wong Yuk Yin
Chan Yuen San
On Ka Yam
Mo Pak Yin
Sze Yi Hin Crosley
Mok Siu Ling Yuki
Wong Tsz Lam
Chan Lok Yan
Loong Hin Cheuk
正 | 在 | 空間
23/10/2020 -18/11/2020
古代兵制十人為一火，火長一人管炊事，共灶飲食，故稱同火者為「火伴」，引申為「同伴」之意，後多寫作「伙伴」。現在泛指共同參加某種組織、活動的人，一起合作，一起實踐，一起經歷。
於二零一九年八月十五日起，基督教崇真中學與1a空間開展由香港藝術發展局主辦，為期一年多的《學校與藝團伙伴計劃》。1a空間邀請兩位藝術工作者 - 凌中雲和岑愷怡合作，透過不同的研習工作坊，探討藝術知識如何介入中學生，以至社區眾群。《正 | 在 | 空間》- 學校與藝團伙伴計劃展覽 ，以勾勒和記錄空間為軸，分享藝術工作者和中學生們，過去一同的互動和轉變。
正 | 在 | 空間
展覽：2020年10月23日 - 11月18日
展覽開放時間：逢星期二至日上午 11 時至下午 7 時正 (逢星期一休館)
地點：香港九龍土瓜灣道 122 號地下
藝術家簡歷
岑愷怡
岑愷怡先後於香港浸會大學，取得視覺藝術學士學位及碩士學位，曾於香港中文大學哲學系兼讀文學碩士，現於香港讀博士課程。2015年任嶺南大學視覺研究系駐校藝術家。2016年香港浸會大學視覺藝術院兼任講師。2017年獲美國耶魯大學和香港駐紐約經貿辦事處頒發雅禮藝術獎助金。2018年加入香港中文大學藝術系兼任講師。2019年加入1a 空間策展小組。岑氏以不同媒介創作，其中以雕塑、玻璃、裝置和公共藝術為主。她近年的創作以探討「觀者與作品之間的互動關係」、「玩具、遊戲與遊樂場的歷史和文化」及「人與人之間如何達致溝通和連結」為重心。
凌中雲
凌中雲1994年生於香港，在2017年於香港浸會大學視覺藝術文學士畢業，並獲得香港浸會大學視覺藝術院舊生會頒予吞拿魚獎，2018年入圍香港人權藝術獎。透過社區研究及物質上的探索創造最簡單的共鳴。凌的作品涉及社區關係、不同物質的聯繫和好奇感，觀眾從中可以發現他對城市元素的另類觀點。現為香港兆基創意書院設計與科技科教師。
參展學生
王鈺然
陳炫燊
安家蔭
巫柏延
施易騫
莫小玲
黃祉霖
陳樂仁
龍顯卓
14 June – 30 June 2019
rest things-a solo exhibition by Tom O’Dea
14 June – 30 June 2019
rest things-a solo exhibition by Tom O’Dea
rest things-a solo exhibition by Tom O’Dea
rest things-a solo exhibition by Tom O’Dea
rest things-a solo exhibition by Tom O’Dea
 National Museum or Gallery_ Oct 22, 1998 - Oct 25, 1998 |
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National Museum or Gallery?
Oct 22, 1998 - Oct 25, 1998
@1a space
Curators﹕1a space program committee
Participating Artists﹕John Batten, Nigel Cameron, Dr David Clarke, Johnson Chang, Dick Chen, Benny Chia, Victoria Finlay, Sabrina Fung, Kam Ping Hiller, Evelyna Liang Kan, Prof Kao May Ching, Alice King, Lai Kin Keung Edwin, Andrew Lam Hon-kin, Lau Kin Wai, Lee Kam Yin, Leung Man Tao, Dr Ulrich Sacker, Shum Long Tin, Tang Hoi Chiu, Estella Tong, Gerald Tsang, Yeung Chun-tong, Yim Tsim Lam, S Y Yim, Danny N.T Yung
Borrowing and extending the theme from a telecommunication TV commercial, the inaugural event was an examination on the current state of art system in Hong Kong. Invitation to participation was sent to curators, private gallery directors and art critics, who have been actively making statement on Hong Kong contemporary arts. They were invited to submit works to respond and comment on the art system, in relations to their respective positions amid the cultural industry.
Jump out of the frame to find your free space...Do you think you"ll win or I"ll win?
The premise of National Museum or Gallery? takes its motif from the television campaign of telecommunications company one2Free. Set in an architect’s gallery, the advertisement presents its characters and the television viewers with the dilemma of personal “choices” - whether its star Takeshi Kaneshiro should continue with the mundane gallery he operates, or to compete in the design contest of a national museum. Viewers are invited to phone in and cast votes to determine their decisions.
In the follow-up installment, Kaneshiro was placed in a race between intimate partners- the predicament of competing against his on-screen girlfriend in the “national museum” contest; as she said with a wry smile,"Do you think you’ll win, or I’ll win?".
1aspace has provocatively drawn on the campaign as a counter point to unveil Hong Kong’s cultural state. In borrowing the significations and to expand it’s encoded readings, National Museum or Gallery? seeks to articulate and dissect the conceptual framework of the museum, and gallery system within Hong Kong’s visual landscape. When the ideals of the White Cube have long been eroded and re-negotiated, this project poses an inquiry into advancement and stasis, and rivaling desires underlying enactments of the public (national museum) or the private (gallery).
When the delineation and choice between a “national museum” or “gallery” no longer rests between individuals, its systems or structures, where does the schema of power lie? In raising the differences in definitions and positionings, it may be that such differences are no longer resting on the boundaries of architecture or the enscripted frieze, the muse (as in museum) is on the order of taste, control, popularity, distribution and display.
Art critics, curators and administrators have been invited to participate in this investigation to demonstrate their responses to Hong Kong’s visual arts network, to trace and perform a geographical mapping of the cultural agenda.
 Painting HK Oct 30, 1998 - Nov 29, 1998 |
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Painting HK
Oct 30, 1998 - Nov 29, 1998
@1a space
Curators﹕Choi Yan Chi, Sylvia Chan
Participating Artists﹕Michael Chan, Rex Chan, Tony Chan, Chan Yuk Keung, Jimmy Keung, Jerry Kwan, Lai Tat Tat Wing, Gukzik Lau Pui Yee, David Lui, Tong Ng Kwun Lun, Wilson Shieh, Hiram To, James Wong, Yank Wong, 嘍囉
The project was curated by Choi Yan Chi and Sylvia Chan. Sixteen painters and mixed-media artists took part in a critical reflection on the notion of painting and the position of the medium in an institutional context. Two discussion sessions among the curators and artists were organized before the event. The spirit was continued in the four dialogue sessions on weekends during the exhibition, each focusing on a specific topic.
About Painting HK
Choi Yan Chi (Curator)
“Hong Kong” as in the project title is merely the starting point. It is not a focus. We simply wish to check:
1. The present situation of painting and the development of painting in Hong Kong;
2. How Hong Kong artists perceive painting and how they paint; and
3. How artists perceive Hong Kong through painting.
And, this exhibition is not intended to construct the Hong Kong cultural identity through painting.
Despite that painting is one of the popular art media and its creative ideas were once an important theme for cultural discussion, it seems that there have been fewer exhibitions commenting on painting in recent years.
Painting HK is not a response to a unique painting trend. In fact, there has not been a strong creative direction for painting since the end of the 80’s. The special background of Hong Kong’s cultural history has generated diversity in painting. Nonetheless, painters prefer working on their own. Owing to the upsurge of installation and multi-media art, painting has become even less attended to.
In addition, the ’97 issue has both consciously and unconsciously sent the creative sentiment in Hong Kong in the 90’s towards political orientation. And this tendency has been piloted by curators.
Painting HK returns to advocating creative media and the ideas of artists as the initiation for exhibition.
For the exhibitors, we have invited experienced painters, non-painters, designers, cartoonists, architects, backdrop painters and a group of young design graduates. But it is not intended to be an all-inclusive show. Our choice is to look for artists who are interested in reflecting on “painting creativity“.
By the infamous statement, “painting is dead”, Marcel Duchamp aptly revealed the difficulty encountered in the creativity of painting in this century. Painting has a long history, a rich tradition. Painting brought about several art movements. However, in facing the multi-facets of contemporary art, how to paint? What to paint? What is painting? Moreover, we are living in a digital era. When our sense is flooded with “visuals” and “objects”, how can the reticent paintings fundamentally show their charisma?
Nearly a century has passed since “painting is dead”. There are yet many more painters. Paintings make up major parts of exhibitions at art markets, galleries and museums. Both artists and audience like paintings. Paintings can be part of a household decoration. Starting from painting, we may be able to observe the more varied interactions between the community and art.
For Painting HK some artists give us some old pieces and others some new pieces. Some artists create for the exhibition. Some use billboards to display their work in the humdrum of Causeway Bay. Some respond with TV animation. Some display stage backdrop as painting. Some use colour pencil to re-arrange a painting. Different responses coming from different artists, which truly reflects the current state of creative diversity.