A Study of Hong Kong Alternative Art Community 17.01 - 10.03.2009
A Study of Hong Kong Alternative Art Community
Jan 17, 2009 - Mar 10, 2009
Curator/Researcher﹕Tse Yin Mo
Responding Artist﹕Au Wah Yan (HK/Sg Section)
Working Team﹕Pang Tsz Wai Venus, David Tse, Chong Man Lin
1a space Archive﹕ Fong Wan Chi Vangi, Ho Tze Ki, Wong Yee Nei Natasha
A Study of Hong Kong Alternative Art Community (Parallel with Beijing/ Singapore)
Curator / Researcher: Tse Yin Mo
Responding Artist(s): Au Wah Yan (HK / Sg Section)
Documentary Exhibition Opening Reception
16 Jun, 2009 (Fri), 6:30pm - 8:00pm
(1) Hong Kong: From Oil Street to Cattle Depot / Beijing: 798 Art Zone
(2) Condensation of alternative art community: Hong Kong / Singapore
Book Launching and Tea Forum
7 Feb, 2009 (Sat), 3:15pm - 5:15pmC&G Artpartment, 3/F, 222 Sai Yeung Choi St. South, Prince Edward, Kln
Dialogue speakers: Oscar Ho, Choi Yan Chi
Host: Tse Yin Mo
Education and Promotion Programme: Around the Art World in Half a Day1
Mar, 2009 (Sun), 2:30pm - 5:30pm
Hong Kong Heritage Museum Seminar Room / Cattle Depot Artist Village
The three Asian cities - Hong Kong, Beijing and Singapore - each embraces different paths in the progression of contemporary art. Little is thought of the intertwining relationships between the three art arenas, especially in the field of alternative art spaces. From 17 Jan, 2009, 1a space invites audiences to travel along the historical tracks of respective alternative art communities.
A Study of Hong Kong Alternative Art Community (Parallel with Beijing/ Singapore) -Documentary Exhibition
This exhibition is the result of a study initiated by Tse Yin Mo, which was carried out during 2007-2008. Mo attempts to find out how Hong Kong alternative art community was cohered in parallel with that in Beijing and Singapore. Information collected for this documentary exhibition could be important references to Hong Kong art practitioners, as well as those who wish to carve out the vision of contemporary art from a historical point of view.
The exhibition is divided into 2 parts:
Hong Kong‧From Oil Street to Cattle Depot / Beijing‧798 Art Zone
By investigating the rising history of alternative art communities in Hong Kong and Beijing, the exhibition reflects the historical mission of Cattle Depot as well as its value to Hong Kong contemporary art.
Condensation of alternative art community: Hong Kong / Singapore
By taking reference from Singapore’s alternative art community - which shares with Hong Kong a similar historical background- the exhibition reviews the strength of Hong Kong’s alternative art community, and repositions its historical roles and values.
Book Launching and Tea Forum
Mr. Oscar HO and Ms. CHOI Yan-chi are cordially invited to conduct this dialogue. The two honorable guests both contribute immensely to the development of Hong Kong art. Apart from witnessing the debut and growth of Hong Kong contemporary art, they have been participating actively in policy decision-making regarding the future direction of Hong Kong art culture. What will they see and comment, from a holistic view, on the art ecology and culture in Hong Kong? Following up, what are the gaps and limitations? What is the value of existence and future direction of alternative art spaces in the course of the development of Hong Kong contemporary art?
Chinabear and Chinaman
10.03 - 26.04.2009
Chinabear and Chinaman
Mar 10, 2009 - Apr 26, 2009
Chinabear and Chinaman - LAM Hiu-tung’s Exhibition
10 Mar 2009 - 26 Apr 2009
Presented by Art Products Promotion (APP)
Co-presented by 1a space
The “Chinabear and Chinaman”, a venue-rental programme jointly promoted by 1a Space and the Art Products Promotion (APP)*, is the next thematic exhibition after the documentary exhibition in 2009. The show centered around LAM Hiu-tung’s artistic concepts on promotion and collection of an artwork.
LAM Hiu-tung is a local art educator. LAM studied and pursued his career in design earlier in Hong Kong, and continued his studies in France in the 1990s. He obtained his Master of Fine Arts and Master of Education from the Chinese University of Hong Kong and the University of Hong Kong respectively. He is now serving at the Hong Kong Education Bureau.
LAM says, “It’s an exhibition about a man and a dream.”
LAM attempts to make use of succinct symbols and reconstructed metaphors to reinterpret his individual observations on life and living, as well as to invite audience to extend their thinking on the essence of art and the context of art itself. His works unfurl delicately / liberate minds from the unforgettable heaviness in life by pinning down the lightness artistically.
“It is also a concrete action, a series of activities derived from the exhibition, so one can re-read and reflect on the culture of local exhibitions”, quoted from LAM. Through the study and promotion on the ways of presentation and collection of an artwork, he explores the possibilities of future development in Hong Kong art culture.
When people are all interested in and discussing about the “new record high” and “uniqueness” of an artwork, LAM thinks in the contrary to contemplate “how many people” could own his work to make it “popular”. To be willing to share, possess or further elaborate on the artist’s ideas and sentiments - should always be the core of an artwork’s value and the focus of discussion, not its market price. It is what LAM believes.
The fore part of the exhibition has been taken place from 20 to 25 January 2009 at counter no. 64, Victoria Park at the Lunar New Year market. The latter part of the project will be resumed at 1a space, Cattle Depot Artist Village from 13 March to 26 April 2009.
Work in Sculpture
09.05 - 14.06.2009
Work in Sculpture
May 09, 2009 - Jun 14, 2009
Curator: Jaffa Lam
Participating Artists: Jaffa Lam, Jamsen Law, Anthony Yeung
Programme: Exhibition Opening Reception 8 May, 2009 (Fri), 3:00pm - 6:00pm
Artist Talk with Performance and Exclusive Tour:9 May, 2009 (Sat), 3:00pm - 6:00pm
1a space proudly presents an alternative sound sculpture exhibition Work in Sculpture this May, curated by sculpture artist Jaffa Lam. Opening reception will be held on Friday, May 8, 2009. The next day after the opening (9 May / 3:00p.m. – 6:00p.m. ) will be equally eventful that holds audience in eager anticipation. There will be artist talk, a sound performance and an exclusive tour leaded by the artists*.
Work in Sculpture brings together some of the most prominent artists in their respective fields. The exhibition features sculpture artist Jaffa Lam, video artist Jamsen Law and sound artist Anthony Yeung – all having a longstanding interest in their specialties and a sharp appetite for meaningful cross-disciplinary collaborations. Revolving around the theme of “sculptures”, they will join hands to transform the gallery space into a large scale sculptural landscape. You are cordially invited to witness this site-specific, intermedia and time-based mega sound sculpture, and to experience the art of experimental interaction. Catalogues will be published after the exhibition, which will be construed as an extended inquiry.
*Quota applies to the exclusive guided tour, we welcome public to make reservations in advance / Announcement will be made if there are changes to the program details.
“Sculptures” is not, per se, an unacquainted word to the Hong Kong audience. In all likelihood, the greater part of the public, prone to initially associate the word to certain “object(s)” at a park, on a street or in front of a building.
The symptoms of China Fever are spreading to Hong Kong in the form of Individual Visit Scheme. Patchy art projects initiated by property tycoons are chain reactions to the sudden boost of tourist trade – as well as the fervent response sparked by the West Kowloon Cultural District project. Artists are commissioned to create art for a variety of private spaces such as shopping malls, hotels and luxury estates. Among others, three-dimensional sculptural arts have become one of the focal points.
Definitions of sculptures have evolved through ages. What is meant by “sculptures” in the contemporary art world? Are they exhibits in museums, objects in public spaces or art undertakings to be fulfilled? Are there alternatives for sculptures as an art form?
As a metropolitan city, Hong Kong’s art/cultural scene is experiencing yet another revival. Being one of the most important genres in contemporary art, sculptural arts are on a mission to make some noises to reflect the needs of our time – both artistically and educationally.
Programme Introduction: Artist’s Bio:
Jaffa Lam received her BA and MFA degrees, and her Diploma in Education from The Chinese University of Hong Kong in 1997, 1999 and 2000 respectively. Lam specializes in site-specific work with sculpture installation; woodcarving mixed with alternative material, water, light, sound, plastic, soft materials and metal. Always pushing boundaries, she interacts with cultures and assets of civilization at a specific time and place. Her work was selected and showed in Hong Kong Art Biennial Exhibition 2005, 2003, 2001and 1996 respectively. She was invited to show her work in Paris (1997), Auckland University (2000), Singapore (2002) and Macau (2003). Over the year, she has been invited to participate in numerous international shows and residencies: 2003 Hualien (Taiwan) International Artists’ Workshop, Wasanii (Kenya) International Artists’ Workshop (2004), Shanghai Pottery Workshop (2004) and the Britto Arts Trust, Bangladesh (2005), Lam received the Asia Cultural Council Fellowship in 2006 and was granted the Urban Glass Visiting Artist Fellowship in New York in 2007. She was researching public art project in New York for 6 months. She is co-founder and chair of The AiR Association, a registered charity in Hong Kong that aims to initiate, stimulate and reinforce cultural exchange and public art exploration.
Law is a prominent experimental artist in Hong Kong. Before his graduation from the Chinese University of Hong Kong and the University of Hong Kong, he has already actively participated in theatrical and video productions and was one of the core members of a multimedia art group, 20 Beans + A Box. Their works include Every Single Other Territories (My Own Idiosyncrasy Garden) in Hong Kong Arts Festival 1998. His independent video works have been exhibited in festivals in Europe, Asia, North and South America. He also had his solo screenings in Toronto, Tokyo, Busan and Hong Kong. He taught at the School of Creative Media in City University of Hong Kong between 2000 and 2004, at the same time, he gave guest lectures and workshops in other local institutes. After his research on media aesthetics in Institute of Advanced Media Art and Science in Japan between 2004 and 2006, he has been teaching at Hong Kong Art School and is now Curator at Hong Kong Art Centre, Guest Lecturer at the Chinese University of Hong Kong.
Anthony Yeung graduated from the School of Technical Arts at the Hong Kong Academy for Performing Arts in Theatre Sound Design and Music Recording in 1991. He has worked with City Contemporary Dance Company, Hong Kong Ballet, Hong Kong Art Festival, Ching Ying Theatre, Radio 4 Radio Television Hong Kong, Chinese Music Virtuosi, Chor Fung Ming Theatre Company, Emperor Stage and so on. In 2003, He received the ‘Best Sound Design’ award at the 12th Hong Kong Drama Awards with the Chung Ying Theatre Company’s production, ‘Little Shop of Horrors’ and participated in the 50th Venice Biennale with Para/Site Collective. During June to July 2007, collaborated with Dr. Shiu Ka Wai, he was commissioned a sound installation work ‘Still Moving’ in the event ‘in midair’. Yeung currently works as a CD-Mastering Engineer for major record labels and artists, his new Mastering Studio was opened in July 2008. He also teaches at the Hong Kong Academy for Performing Arts.
27.06 - 19.07.2009
Jun 27, 2009 - Jul 19, 2009
Artists: Alessandro Carboni
Performers: Song Nan, Mayson Tong, Ivy Tsui, Cheung King Sau
What Burns Never Return (WBNR) platform #8: Hong Kong– From Objective Map to Subjective Mapping
1a space is pleased to present the much anticipated exhibition ‘WBNR#8 – From Objective Map to Subjective Mapping’ by Alessandro Carboni from 27 June through 19 July 2009. Opening reception and live performance will be held on 26 June, 2009 (Friday) at 7:30p.m-9:30p.m.
Taking up the cross-disciplinary roles – an urban researcher, a media artist, a theorist and a software programmer - Carboni combines his artistic talents with his technical competencies. The exhibition will be the eighth platform after touring different cities from Europe to Asia. It is a site-specific project, which studies the disappearing urban spaces in Hong Kong - Kai Tak River, Kowloon Walled City and To Kwa Wan. To be sure, the project is a meaningful cognitive experience exploring local urban sciences, choreography and visual arts.
The subsequent symposium (27 June, 2009, 11:00a.m. – 1:00p.m. @ 1a space) and 2-day workshop (27 June, 2009, 2:00p.m. – 5:00p.m. / 28 June, 2009, 2:00p.m.-5:00p.m. @ 1a space) are equally intriguing.
‘WBNR#8 – From Objective Map to Subjective Mapping’ is part of the project of ‘Kai Tak River: The concept of Human Landscape – Building Community –Creativity & Creative Community-Building’, which is initiated by 1a space. Stay tuned.
Symposium: Hong Kong city: dynamic land for use and art interpretationVisual / media artists, choreographers and urban planners - including Choi yan-chi (Experienced Visual Artist), Prof. Chang Ping-hung (Architect) and Xing Liang (Resident Artist, City Contemporary Dance Company) - will sit down face-to-face with Carboni, and openly discuss the curious relations between urban transformation and different art practices.
Workshops: LaDU_HK (Multimedia Lab of Urban Density) Inspired by the article ‘Terrae Incognitae: The Place of Imagination in Geography’ by John K. Wright, Carboni aims to explore new methodological modalities in examining the relations between choreography, urban geography and generative code.
Alessandro Carboni is a choreographer and multidisciplinary artist who divides his efforts between different art disciplines. His focal interest is on body movement and its relation to the surrounding spaces. For several years now, Carboni has been working on creating a new methodology VCCT for dance performance, which combines elements of choreography, mathematics and system theory. At present, he is expanding the scope of this research, which incorporates the activities of ‘LaDU: Multimedia Laboratory of Urban Density’ at the University of Architecture in Caglian.
Carboni teaches ‘Methodology and Performance Practice’ for a Master course in Performance Design and Practice at Central Saint Martins in London. He also teaches ‘Digital Performance’ for the Master course Digital Environment Design at NABA in Milan.
Complaints Choir of Hong Kong
09.08 - 31.08.2009
Complaints Choir of Hong Kong
Aug 09, 2009 - Aug 31, 2009
Why all this fuss about complaining?
“Complaining” is not an uncommon mechanism to express discontentment and dissent. Quite often, it is perceived as an irrational act of individual/group prejudice.
When grievances are translated into musical notes, the mere act of complaining has a deeper meaning to fulfill. The unifying force of singing speaks of the indignation, strength and optimism of the local citizens. We see the same among Complaints Choirs worldwide.
“In a society which lacks confidence in the pro-activism of the right to complain, Complaints Choir is a voice that speaks the otherwise.”
As a community project, Complaints Choir files a counter-statement: Complaining can be a positive act with positive energy to change things.
The idea of a Complaints Choir originated from the Finnish artists Tellero Kalleinen and Oliver Kochta‐ Kalleinen. The first Complaints Choir was initiated in Birmingham (UK) in 2005, which was a great success. The generality of the act of complaining and that Complaints Choir is “positively” critical enrich its appeal to the audience. Complaints Choirs naturally emerge worldwide.
In recent years, the general atmosphere in Hong Kong “advocates” that everything is better off if “in tune with harmony”; to put it simply, complaints disturb the harmony of the world we live in. Inspired by the performance of the World Complaints Choirs, four young people from ‘Pep!’, a non-profit arts events group - Vangi Fong, Thompson Tong, Haze Cheng and Jamie Wu to stage an exclusive local version of the Complaints Choir, hoping that the society can reflect on the true meaning of complaints. Trailers of World Complaints Choir were exhibited; the team collected complaints in the hustle bustle city Mongkok and categorized complaints. More to come, a lyrics-writing workshop has been set up, and an open performance was staged on July first. The humorous style of the Complaints Choir and its straightforward lyrics attracted the attention from the public. In order to probe into the creativity of this community art initiative, 1a space will present a premier of the performance and a forum.
Opening, premiere and Live Performance
The exhibition runs from 9 August to 31 August; opening and Live Performance will be held on 8 August (Sat) at 6p.m. – 9p.m.
The video art of Hong Kong Complaints Choir will be publicly released for the first time on the opening night. The full version of the video “Complaints Choir World Wide” on loan from Tellero Kalleinen and Oliver Kochta will also be on.
1a space attempts to reveal the local and global complaining phenomenon by exhibiting music and lyrics of Complaints Choirs worldwide. Complaints Choirs speak for the specific as well as the global language phenomenon. These seemingly unconnected music pieces will work in chemicals and bring on a mega complaints show.
The exhibition will also feature documentaries of Complaints Choir of Hong Kong, including the complaints and photos collected from the public in recent 6 months. Some of these complaints may speak for you; maybe not. In either cases, we welcome new complaints from the audience during the exhibition period.
‘Complaints Choir of Hong Kong’ is a contemporary art project to sing citizens’ complaints in chorus. The Choir was established to provoke public reflections on the general narrative: ‘Complaints is a turbulence of social order’. In addition, the Choir also serves as a bridge to encourage interactive dialogues between different social parties.
Now the local Complaints Choir has invited scholars, writers, artists, critics and media workers to discuss various complaints in our city, e.g. art and cultural development, media and popular culture, social and political problems, etc. Together with the dialogues between the public audiences and the guest speakers, the Choir sincerely hoped the interactions would stimulate new thoughts on our ‘Complaints Culture’.
There will be altogether TWO forums with different topics and guest speakers. Details are as follow:
Forum 1. Believe in Social Order
Date: August 30, 2009
Time: 3pm – 5pm
Prof Lo Kwai Cheung (Associate Professor, Department of English Language & Literature, HKBU)
Dr Chan Sze Chi (Senior Instructor, Department of Religious and Philosophy, HKBU)
Dr Leung Kai Chi (Part-time Lecturer, Department of Geography, HKU / Department of Cultural Studies, Lingnan University)
Mr Tse Chi Fung (Executive producer, Radio Television Hong Kong; Host of the City Forum)
Forum 2. Complaint! Complaint! Complaint! – The (im)possibilities of complaints
Date: August 30, 2009
Time: 3pm – 5pm
Ms Tang Siu Wa (Writer and Cultural Critic)
Ms Li Wai Yi (Artistic director, V-Artivist)
Ms Clara Cheung (Representatives from Hong Kong Art Discovery Channel (HKADC) hkadc.blogspot.com)
Domestic Affairs: Malmö, Sweden - Hong Kong 12.09 - 27.09.2009
Kristina Matousch Oil on Plexiglas
Mathias Kristersson Cut books
Kristina M�ntzing Plaint scarves Image courtesy of the artist
Kristina Matousch Punched aluminium
Mette Hansen Video 4 mins Image courtesy of the artist
Magnus Thierfelder Plastic pipes Image courtesy of the artist
Domestic Affairs: Malmö, Sweden - Hong Kong
Sep 12, 2009 - Sep 27, 2009
Curator: Pontus Kyander & Göran Green
Supporter: Kultur Malmö & Statens kulturråd
Participating Artists: Mette Hansen, Leif Holmstrand, Mathias Kristersson, Kristina Müntzing, Magnus Thierfelder, Kristina Matousch
Malmö is a city in a state of strong transition. Since 2000, it is connected to the Danish capital Copenhagen by a bridge, which in effect is starting to merge the two cities. Economy has been booming, population growing, a collective identity as a working class city (for some decade in recession) and actually the departing point of Swedish workers movement has been changed to something much different. More confident, more youthful, more boisterous, maybe. The latter is being reflected in recent architecture, where Santiago Calatrava’s Turning Torso, the tallest building in Sweden, has dramatically changed the cities previously rather flat skyline. A new university adds to the swing from working class and blue collar identity to a much more gentrified population. At the same time, a huge inflow of immigrants has also changed the cities demographic outlook, with Malmö today accommodating the largest Muslim community in Northern Europe, adding very visible segregation and social denigration to the cheerful prospects of the ”new” Malmö.
With a recently established and prospering art academy, several important public galleries and independent art spaces in and around the city, the art scene has also been changing rapidly. So while identity issues in Hong Kong might be about grasping changing political issues and aspects relating to language and other differences with Mainland China, the art scene in Malmö is more affected by the changes in social structures and in the relationship to the history of the Swedish ”welfare state”, which has been under strong deconstruction. Social issues, given Sweden’s former role as a welfare Utopia, have a central position in Swedish debate, and in Malmö many of them are made extremely visible.
There is a strong tendency in young Swedish art to work with current realities, everyday objects, but with a drive towards the ornamental as well as the surreal and poetic. Expression is often kept low key, while materials are simple, and motives usually found in contemporary phenomena. This description does actually also ascribe to the young Hong Kong scene. But since local realities differ just as much as individuals differ, the two parts of the project will mirror some quite contrasting approaches, collectively as well as individually.
GREEN - through the Kai Tak River
11.10 - 13.12.2009
Kai Tak River � a cultural recovery from eco-amnesia Wallace Chang & Marta Bohlmark 2009
Sonic Meditation Exercise II: Kai Tak River Anson Mak 2009
Tam Wai Ping 2009
Scene from camera obscura
Choi Yan-chi 2009
Overlapping discrete boundaries. Re-mapping Kaitak River, Hong Kong according to my personal geography. Alessandro Carboni 2009
GREEN - through the Kai Tak River
Oct 11, 2009 - Dec 13, 2009
Project Director: Wallace CHANG Ping Hung
Curator: Choi Yan Chi
Co-curator and project planner: Tse Yin Mo
Participating Artists: Wallace Chang Ping Hung & Marta Bohlmark, Choi Yan Chi, Alessandro Carboni, Anson Mak Hoi Shan, Lukas Tam Wai Ping and FORMLESS
TSE Yin Mo, Thickest CHOI Chi Hau, WONG To Hin and Marta BOHLMARK
Project coordinator: Kiki HO
1a space working team: Vangi FONG, Donald YEUNG and Reds CHEUNG
Translation: Donald YEUNG, Rebecca LIU and Natasha WONG
Exhibition design: CHOI Yan Chi, LI Wing Hong
Helpers: Sindy SIU, Charlize LEE, Stacie WONG and Stanley CHU
Volunteer: Members of ‘U Can’ of British Council
1a space is pleased to announce its participation in the Kai Tak River Project, an ongoing multi-disciplinary project that builds upon the successful environmental rehabilitation of the Kai Tak River, formerly known as the Kai Tak Open Nullah.
The Kai Tak River at 3km is the longest waterway in East Kowloon and runs through some of Hong Kong’s oldest districts including Wong Tai Sin and Kowloon City. Recent efforts by the Environmental Protection Department have successfully transformed the nullah, formerly polluted by industrial discharge from factories and untreated domestic sewage, into a natural habitat populated by growing numbers of freshwater fish and birds. The Kai Tak River Project began in 2006 and has been shaped by the participation of the different groups involved in the project, including community groups such as the Community Alliance of Kai Tak Development, local schools and the Department of Architecture of the Chinese University of Hong Kong which undertook a research project led by Professor Wallace Chang Ping Hung. The Kai Tak Project underlines how shared environmental concerns can stimulate community development.
Looking at how art can become part of this process of sustainability and community development, 1a space will be holding GREEN - through the Kai Tak River, an exhibition curated by Choi Yan Chi, featuring the work of Wallace Chang Ping Hung and Marta Bohlmark, Choi Yan Chi, Alessandro Carboni, Anson Mak Hoi Shan and Lukas Tam Wai Ping. Drawing upon the diverse practices of each artist and a shared sensitivity to the environment the exhibition attempts to take the first steps towards reestablishing the lost connection between man and the natural landscape.
1a Space’s programme will also include a seminar on public art How to Say Green? which will begin the process for public art proposals for the Kai Tak River District, a forum: City Planning and the Cultural Landscape to be held at the end of October with speakers Chan Koon Chung, Bono Lee Chiu Hing, Long Tin, Wallace Chang Ping Hung, Choi Yan Chi, and Chan Yuen Han, and the community-wide Windmill Festival 2009 involving workshops, seminars, a competition and an exhibition of shortlisted entries to be held in November 2009.