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

1999
![]() Bad Rice Dec 12, 1998 - Jan 10, 1999 |
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Bad Rice
Dec 12, 1998 - Jan 10, 1999
@1a space
Curator﹕Hiram To
Participating Artists﹕Choi Yan Chi, Kary Kwok, Jo Law, Patrick Lee, Phoebe Man, Scott Redford, Wilson Shieh Ka Ho, V.C + K.H (Cheung King Hung and Vera Chan)
The project was an attempt to construct bridges for an alternative identity by Hong Kong artists in the post-1997 cultural void. It was originally created for Next Wave Festival, Melbourne in May 98 and subsequently also seen in Sydney. Curated by Hiram To, 8 Hong Kong and Australian artists took part in the program. An artists dialogue and a talk on Western Australian art practices were organized on weekends. The project at 1aspace was co-presented by the Australian Consulate General in Hong Kong.
The source for the title of this exhibition--Bad Rice arrived vis-a-vis the 1950’s Hollywood adaptation of Han Su-yin’s Love is a Many-Splendored Thing. In a scene from the film, Su-yin (played by Jennifer Jones) and Elliot (William Holden) contemplated their fate and destiny on the crest of a hill overlooking Hong Kong harbour, set against a time of impending political change--the 1949 Communist takeover of China.
Su-yin relayed the Chinese superstitions where when peasants had a new-born son, they would dress him in girl’s clothes and gave him a girl’s name as they were afraid that the jealous Gods would take him away; and similarly when the crops in the fields were bountiful, they would stand in ditches, shake their heads and cry out aloud "bad rice! bad rice!" Su-yin’s desire to deceive the Gods mirrors her wish that she would not be noticed; for the Gods might descent one day and take her luck away.
Bad Rice, in the current context, offers a more multi-textual reading than handed-down superstitions or nostalgic romanticism. This exhibition is originally curated in-mind for an audience in Australia, the selection of artists from Hong Kong and Australia do not necessarily articulate the representation of a Chinese, or Hong Kong identity, or functioning as the rather hackney notion of cultural exchange. The thrust is more hinged on the artists’ personal assertions of placement and positioning in the schema of contemporary cultural production.
Over the period I have been putting Bad Rice together, one of my concerns has been how it would function as an export cultural package, to be destined for a audience bearing another cultural perspective. Bad Rice is hence not in any way a representative, or a survey exhibition of Hong Kong art; for the project’s inception specifically sets out to undermine the nature of such “national” travelling shows. From my standpoint, although all the artists in Bad Rice have achieved recognition for their work in varying degrees, their work could not be centrally placed as occupying the position of the art institutional mainstream. It could be that, intrinsically, the playful, bad nature of the work by these artists, and at times, the culturally "problematic" themes adopted by them are often far too slippery for the public and the art-world at large.
It is precisely the sense of oscillation between ambiguousness and the direct play of themes which contributes “bad-ness” to the artists in Bad Rice. Like the scene played out by Su-yin and Elliot, the artists in Bad Rice all exercise a sense of “deception” or calculated denial of their “fate” -- the question of “inevitability” in what type of roles they take as artists amid the plight of the visual arts in Hong Kong in its post-1997 void. When the currency of identity crisis and the heated attention from the outside are exhausted, what subjects are left for Hong Kong artists to tackle? Bad Rice pro-offers its position of badness through a plurality of distinctly non-conforming stance.
![]() HKUST Artist-in-Residence Program Water Market Feb 27, 1999 - Mar 28, 1999 |
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HKUST Artist-in-Residence Program Water Market
Feb 27, 1999 - Mar 28, 1999
@1a space
Participating Artist﹕Ichi Ikeda
The installation exhibition by Japanese artist Ichi Ikeda invited the viewers to be "Water Senders", sending water, one of the Earth’s most precious resources, to future generations. Photo documentation of Water Senders from Hong Kong and Japan constituted main part of the work. Outdoor performance and installation piece at the seafront of the former Government Supplies Department premises were staged at the exhibition opening, followed by a talk hosted by the artist. The project was a joint presentation with the HKUST Center for the Arts and was sponsored by the Japan Foundation and Shiseido (Japan) Company Ltd.
![]() Too Much, Too Little, Too Late Apr 03, 1999 - May 02, 1999 |
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Too Much, Too Little, Too Late
Apr 03, 1999 - May 02, 1999
@1a space
Curator﹕Kary Kwok
Participating Artists﹕ Angus Chan, Chan Kam Keung, Silvio Chan, Chiang Ka Wah, Almond Chu, Mark Chung, Jolans Fung, Lewis Ho, Rensis Ho, Carol Kwok, Winifred Lai, Kim Lam, Wher Law, Deryck Lewis, Louis Ma, Wing Shya, Ringo Tang, Hiram To, Timon Wehrli, Wong Yue Wai, Ann Woo and Matt Woo
The project attempts to review the state of Hong Kong fashion imagery amd to investigate fashion photography as a form of expression beyond commercialism. The exhibition was curated by fashion photographer and 1a Program Committee member Kary Kwok. 22 Hong Kong fashion designers, fashion photographers and visual artists contributed to the project. Their works were shown on individual lightboxes which created an unique installation piece in the gallery.
![]() SiXhibition May 19, 1999 - Jun 13, 1999 |
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SiXhibition
May 19, 1999 - Jun 13, 1999
@1a space
Participating Artists﹕ Raymond Chan, Howard Chang, Derek Kwan, Angus Yip, Gary Yeung and Terence Wong
Six architecture graduates--Raymond Chan, Howard Chang, Derek Kwan, Angus Yip, Gary Yeung and Terence Wong--built a model of 1aspace (scale=1:1.2, which was slightly smaller than the original) and placed it inside the space itself. By overlapping the two spaces, the project reviewed the relations of conceptual space and physical space. The issue of architectural representation was called into question. The project transformed 1aspace into a new concept and experience, and re-defined exhibition/space.
In conjunction with the exhibition, an Architecture/Education Forum was held on 29 May. Architects, respresentative from Government Architectural Services Department, Architecture educators and Principals from secondary schools discussed architectural design of education institutions at various levels and architecture education in high education.
![]() Home Affairs Jun 18, 1999 - Jul 12, 1999 |
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Home Affairs
Jun 18, 1999 - Jul 12, 1999
@1a space
Curator﹕ Siu King Chung and Howard Chan
Participating Artists﹕ Amazing Twins, Craig Au Yeung, Chen Miji, Choi Yan Chi, Afa Chiang, Fan Yuk-ki, Freeman Lau, Evelyna Liang Kan, Connie Lam, Benny Ding Leong, Tang Tin Chai & Billy Chiu, James Wong,Sara Wong, Wu Wing Yee, Eva Yuen and 20F Art Organization
The Provisional Regional Council Cultural Ambassador Scheme Home Affairs invited 16 households to form partners with 16 Hong Kong artists. Each pair was to create an unique piece of work in the home of the household participant. Through the "intrusion", this project tried to nurture a dialogue between artists and the public, and a joint development towards artistic collaboration and participation.
Who are “artists”? Who are “the public”? The identity of “artists” can be drawn from social and historical systems (such as education background and participation in exhibition) which belong to the public sphere. Whereas public’s imply means “non-artists”. Does categorization of this kind bring convenience or polarization? To most people, and art institutions most of all, “arts” associates with “artists”; those who have never received art training or held exhibition are denied of such title. As far as “art”. is concerned, they can only be labeled audience or target for outreach programs. Being remote from everyday creativity, “arts” makes no relevance to the “public”. “Arts” and creativity, which should come first?
From the very beginning, Home Affairs is designed not as an educational (in its narrowest definition) or social servicing activities. Both genres in fact draw clear boundary between host and guest “recipient” Who educates whom? Who services whom? If the differentiation between “artists”. and “public”. is a making of the mainstream art system, we cannot but question this host-recipient relationship. We cannot deny the value and good will of “bringing art to the community”, but what we concern here are whether the “community”. and artworkers can understand each other on an equal basis during the interaction, and whether they are able to rationalize the process and make mutual adjustment.
Home Affairs invites members of 16 households to become partners to 16 Hong Kong artworkers. Each pair is to create a unique piece of work in or about the particular “home”. As an “experimental ground”, “home” is at the opposite pole of public exhibition space. Public are hosts and artists become guests in this most personal setting. The partnership emphasizes collaboration so as to deepen and personalize the artist-public interaction. Because of the infinite variables, the outcome is unpredictable. We realize the possible issues arise when artists, who use to work in public space, “intrude” into the personal space. But at the same time, it is full of possibilities -- can it suggest a new format of artworker-public relationship? “Home” is both the theme and the catalyst.
We have avoided calling Home Affairs an exhibition. The most essential part of the project is the collaboration between the artists and household participants. In addition, if the works are home-specific, the public exhibition can only be a compromise. The ideal way of presentation would have been opening up the 16 homes for visitors. Only because of privacy issues, we have to go back to conventional exhibition venue and follow the less adventurous host-guest allegory. In fact, no matter artists or public, each person has a home. Every household has its own unique history, collection and creativity. Each home can be an exhibition in itself. If we can all open up our home, each of us can then be host and guest at the same time.
![]() Video Ensemble Jun 26, 1999 - Jul 18, 1999 |
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Video Ensemble
Jun 26, 1999 - Jul 18, 1999
@1a space
Curator﹕ May Fung
Participating Artists﹕ Mark Chan, Olive Leung, Makin Fung, Ip Yuk-yiu, Ng Tsz-Kwan, Ellen Pau
Video Ensemble invited 6 artists to each create his/her own music or "sound" for 4 images, to be displayed in 4 monitors. All 24 sound channels were orchestrated by the 6 artists together at the exhibition opening. Visitors were welcome to create their own sound pieces by manipulating the sound volume of the TV sets with remote controls.
![]() loopaloop Sep 02, 1999 - Oct 03, 1999 |
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loopaloop
Sep 02, 1999 - Oct 03, 1999
@1a space
Participating Artists: Chan Lai Ping, Katherine Chan, Sam Hui, Kong Kee, Vicky Lai+On On Yeung and Sevenfourseven
After four months" open recruitment and screening, six young Hong Kong artists, Chan Lai Ping, Katherine Chan, Sam Hui, Kong Kee, Vicky Lai+On On Yeung and Sevenfourseven, met for the first time in July and together they discussed the theme for the exhibition. With "loop" as the common theme--it can be a narrative, a form or a concept, the artists create works that are shown simultaneously in 1aspace and the Fringe Club. During the process of the creation, a loop of dialogue sessions has been organized between the artists.
flash! Emerging Artists Series is a regular project that aims at providing exhibition environment and opportunities for local young talents.
![]() All you can eat Oct 09, 1999 - Oct 24, 1999 |
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All you can eat
Oct 09, 1999 - Oct 24, 1999
@1a space
Curator﹕ Robert Loh Suk Yuen and James Wong
Participating Artists﹕ Annie of Woon, Craig Au Yeung, John Batten, K Y Chan, Cedric Chan, Naomi Chan, Anna Marie Davies, Eddie & Pamela, May Fung, Hui Lok Yung, Kwan Pak Huen, Kwok Mang Ho, Lu Lu Lam , May Lam, Alan Lau, Julian Lee, Anthony Leung, Zoe Li, Benice Ma, Clifford Ma, Angela Man, sevenfourseven, Siu King Chung, Tsui Pui Wan, Hay Young, Peter Yung and more
All You Can Eat is a project about "eat", "food" and "recipe". Artists and public were invited to create with their own interpretations of the themes. The resulting works include text, painting, mixed-media work and internet project. A conceptual banquet was held on 24 October, in which artists prepared creative dishes including selected recipe from open submission.
![]() Open_Closed Nov 27, 1999 - Dec 24, 1999 |
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Open/Closed
Nov 27, 1999 - Dec 24, 1999
@1a space
Since mid-1998, many Hong Kong artworkers moved in the Former Governemnt Supplies Department in Oil Street, making "Oil Street" the first art village in Hong Kong. The tenants were notified by the Hong Kong Government in mid-October that their tenancy would be terminated in mid-December.
While fighting for the course of art village, the artworkers there as a response organized Big Act in Oil Street--Towards A Cultural Metropolitan City. The event had no specific closing date. Open invitation was announced to the art community. The result was a large-scale art event featuring over 120 art groups and artists, and covering a wide range of artforms.
Open/Closed exhibit in 1aspace is the focus of the event. The main entrance to the venue was strategically closed, as SAR Chief Executive Mr Tung Chee-Hwa was unable to officiate the opening ceremony. Visitors had to access through the side door to the exhibition, which featured 21 prominent Hong Kong contemporary artists.
Retrospective normally works within a timeframe to affirm achievement of some kind. From the first day we moved in the former Government Supplies Department, time has been always a key deciding factor. Nevertheless, there exists a cluster of more than 30 art organizations, individual artists, photographers and architects, making the premises the first conglomeration of creative industry in Hong Kong. With over 100 art activities and 20,000 visitors, "Oil Street=Art Village" is recognized by Hong Kong and international art communities over the short period of 16 months.
In planning Big Act in Oil Street--Towards a Cultural Metropolitan City, we would like to keep it as open as possible -- in terms of time, space and participation. In this sense, the Art Village has transgressed the conventional definition of "village", and becomes a experimental ground and converging point of creativity. If the notion of retrospective is confined to certain framework of time and object, Big Act is set out to transgress this notion.
"Village", in relation to city, is a closed conception. What kind of village is Art Village? Open or closed? What are the possible relationship of (Oil Street) Art Village and the local and international art communities? What is the possible interaction with its environment, such as politics, economics and cultural planning? "Oil Street" is an issue that goes beyond the wall of its premises.
According to the Government, Oil Street is soon to close. But will the experience of Oil Street open up to other possibilities?
![]() Bad Rice (Taipei) Nov 30, 1999 - Dec 04, 1999 |
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