2001

 

Blow Up

Dec 22, 2000 - Jan 17, 2001
@1a space

Blow Up

Curator﹕Kary Kwok
Participating Artists﹕Three Form 5 girls from Ying Wah Girl’s School

The exhibition Blow Up is a continuation of the “Student Art” project which is curated by Kary Kwok. It aimed at researching the popular trend of Hong Kong teenagers and students. The photo -booth stickers is provided by three Form 5 girls from Ying Wah Girl’s School, whom have been participated in the Student Art Project.

The exhibition is presented by 1a space, www.studentarkhk.com and Ideal School, and sponsored by Hong Kong Arts Development Council. The venue is supported by Broadway Cinematheque. 1a space is a registered charity in Hong Kong supported by the HKADC, private corporations, individuals and art workers.

 

Behind the Eyeballs - Non-Visual Exhibition

Dec 29, 2000 - Jan 18, 2001

@1a space

Curator﹕ Choi Yan Chi, Irene Ngan, and Luke Ching  
Participating Artists﹕Jaffa Lam, Lam Wai Kit, Robert Loh, Ricky Tse, Kacey Wong and Cecilia Yau

You hear, you touch, you feel, you ask -- you can simply close your eyes...

Behind The Eyeballs is a collaboration between artists Jaffa Lam, Lam Wai Kit, Robert Loh, Ricky Tse, Kacey Wong, Cecilia Yau and curators Choi Yan Chi, Irene Ngan, and Luke Ching. The audience are blind-folded to re-reinterpret what “visual” art can mean. The project attempts to start from non-visual aspect of art and eventually to expand the rhetoric of creativity and exhibition. Guided tours were organized for public and visually impaired groups and schools.


Foreword to the Exhibition
Irene Ngan (Curator)

The institutional exhibition world customarily applies the explicit "look, but please don’t touch" to art exhibit. The art work is to be "worshipped" in a sacred setting and the viewer is denied the tactile experience and long conditioned to be satisfied with just contemplating the work. Sometimes the viewer may even have to be excluded from the exhibition space. It is this that inspired theories of a kind of voyeurism.

We have conceived this project as an "anti-exhibition" - viewers are invited not to see. On the contrary, viewers are encouraged to wear blindfold and slowly walk around to recognize that they are confronted to very sensual and original works. They are invited to touch the objects, or even move them around. An ambiguity of confrontation is placed into space and further enhanced by the sound, smell, material and surface of the sculpture-installations challenging a different approach to the work.

The idea behind is not only to free us from our ingrained notions, but also to show that regardless of how knowledgeable we are about art we still need to awaken the mind to all sorts of possibilities. Dealing with art exhibition was until now linked with the sense of seeing. But indeed, the field of vision does not have such a form: eye.

The participating artists attempt to go beyond the purely optical, making art that is variously interactive. The works of these artists are perhaps opening new ways of dealing with creativity in art without the use of sight and inverting the codes of visual communication to prevent anything from being taken for granted.

Without the active reception of the viewer, the work here would remain somehow unfulfilled. So go ahead.

 

 

 

Expectation to Expectation

Aug 31, 2001 - Oct 14, 2001
@1a space

Expectation to Expectation

Curator﹕Lam Hiu-tung

Participating Artists﹕Suzuki, Snake Yu, Kam Wing-man, Domin, Chow Chun-fai, Kwan Sheung-chi, Fok Sui-tong, Miranda, Agnes Chan, Sam, See, Liam, Chan Kwok-tung, Lwa Tin-lok, Jim Wing-yee, Jacqueline, Tang Siu-nam, Castaly Leung, Elisa Pang, Cho Siu-yee  

Guests﹕ Danny Yung, Choi Yan Chi, Kith Tsang, Kam Chi Keung, Yu Shu Tak, Edward Lam, Jessie Ho, Ho Siu Kee, Wucius Wong, Leung Man Tao, Chan Yuk Keung, Kwok Mang Ho, Warren Leung Chi Wo, Wing Shun Kit, Wong Yue Wai

13 young artist units, 13 solo exhibitions, 13 dialogue sessions with special guests on their expectations towards art education, institutions, creation and audience. In the gap between education system and art system, where are these young artists situated?

 

 

IN-BETWEEN: International Conference-Exhibit Program on Independent Art Space

Oct 16, 2001 - Nov 18, 2001
@1a space


Interaction In-Between Community
Initiatives and the Establishment
By Choi Yan Chi

In November 2001, the Cattle Depot Artist Village officially opened. About a year ago, 1a space, foreseeing this new development in Hong Kong art, started to plan IN-BETWEEN: International Conference-Exhibit Program on Independent Art Space with the objective of bringing forward discussions on the topic of independent art spaces. IN-BETWEEN is the first conference of its kind in Hong Kong. 1a invited twenty-two art organizations from fifteen regions to join. During the one and half day conference, links were made among all participants and plans and ideas were suggested for exchanges thereafter.
Our chosen title, “in-between”, denotes frames of reference. “In-between” could be paraphrased as “between the two”; a search of ways to go from one point to another; being in an ambivalent state, opened and nonconformist; or exploring more than one possibility. “In-between” implies feasibility in the choices of ideas. Perhaps many art spaces are at the state of “in-between” and are the same time searching for and experimenting with more “in-between” ideas.

The history of “independent art spaces” in Hong Kong is not long. Discussions could even begin with terminology. “Independent, “alternative”, “non-profit”, “self initiated:, etc., are terms describing different designations of art spaces. These terms define their objectives. They indicate aspirations behind each formation. After sitting through meetings and discussions on the 17th and 18th of November 2001, we are considering another term: “community initiated” art spaces, which may be a more appropriate term, suggesting a more comprehensive view.

The development and cultural positioning of “community initiated” art spaces in Asia are different from that of Europe and North America. The 1990s in Asia has been a period of rapid growth for “community initiated” art spaces, while in Europe and North America, the intervention of cultural policy, art trends and changes in the art market as well as the economic shift of the 1990s have led to numerous revisions and re-examinations. In the exchange of information during the two-day conference, we have realized that “independent” and “alternative” art spaces in many areas have developed under different modes of formations and operations. How they operate and survive reflect the cultural climate of the place or artistic trends of the culture in question. There are spaces subsidized fully or partially. Some are partly non-profit and pertly commercial. In the latest developments, “community initiated” art spaces are proposing various roles. They are more than a rival or alternative to the art market, mainstream or the establishment. At times, they are the main budding grounds of new waves or the laboratories and testing fields of innovative ideas. Regardless of their ideology and conception, “community initiated “art spaces are forces generated from within the community and the people. They are not formulated by or through governing systems. Hence taking “community-initiated” as a discussion parameter, we can easily access the driving force of the community and the artistic group.

An art space is not a venue for exhibition. It is also an important “in-between” bridge linking art workers to the making of art, art promotion, and finally to the cultural market. Furthermore, it is the nurturing bed for art lovers and critics and thus fosters art appreciation. An art space could make or build many “in-between” pathways. These pathways are not “one way”. They are varied so as to evoke different resolutions, trend and directions. Hence an art space is an “in-between” body. Such a body could openly or indirectly cultivate and influence creativity. It is one of the essential components of the cultural arena.

1a space has two objectives. One is to operate and flourish as a proper exhibition venue; the other is to ensure quality curatorship. The lack of appropriate venue has been an obvious hindrance to Hong Kong modern and contemporary art. The evolution of modern culture in Asia has always been in deviant interruptions. Throughout the entire twentieth century, modernism has been wrangling with traditionalism in most Asian countries. Traditional doctrines have always been invaded by modern ideas which have brought forward rebellious thoughts and the questioning and re-examination of old values. Therefore, Asian authoritative structures take modernism and contemporary arts with great caution. This may be more so in China with Hong Kong in a similar situation. However, the new age in Asia in the 1990s has erupted with the fast pace of a non-stop express train. This suddenness has alerted all cultural theorists and policy makers. To catch up with this speeding train, in the early 1990s, many Asian cities, such as Hong Kong, Taipei, Shanghai, Beijing, Singapore and Seoul, are all building new museums and national galleries. Most are monumental with sizeable funding from the government. They are the new cultural settings signifying the revival of art and culture of their respective cities. Yet the institution of the national gallery or museum also originates from the West. Some of these new government-funded museums are operating behind closed curtains with questionable practices. These are museums in China renting and during its first years of operation, it lacked sufficient and appropriate professional support. Artists soon realized that these institutions were just cultural facades. Art spaces for new cultural developments would have to be generated through different means. The opening of the Cattle Depot Artist Village is setting a good example in Hong Kong. The artist village is not an incidental outcome of the art community. It began with forceful demand and a series of protests and then dialogues with the government. Having secured the venue, the art spaces of Cattle Depot are now tenants of the government. The spontaneous liberated advocacy of the artist groups is most valuable. The entire process has been an experience showing the interaction between community initiatives and the establishment. There are openings in-between the two for cooperation. In this conference, we have also been exposed to examples of many other different modes of organizations. “Community-initiated art space” has proven the potential for diversified development.

By using the former Cattle Depot, abandoned warehouses, vacant hospitals, bars or whatever kinds of places that can be found for art, will art spaces become more about “living” and going with the “community”? Will other types of agitations and co-relations be derived from art production, exhibition, viewing and viewers? We believe that this may be a new topic for discussion in the next stage of development.

 

Synchronize: Time-baesd Art from China and Germany

Dec 06, 2001 - Dec 23, 2001
@1a space

Synchronize: Time-baesd Art from China and Germany

Curators: Wu Meichun and Angeliha Stephen  
Participating Artists: Liu Wei, Qiu Zhijie, Zhang Peili, Thorsten Hallscheidt, Andreas Schmid and Erik steinbrecher

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T: +852 2529 0087 | E: info@oneaspace.org.hk 

Unit 14, Cattle Depot Artist Village, 63 Ma Tau Kok Road, To Kwa Wan, Kowloon, Hong Kong