09.02 - 20.04.2010
In the past decade, 1a space has been dedicating its time in staging exhibitions which introduce to the public different genres of arts. More than that, the gallery has published quite a number of arts publications. Some are informative, some are critical. In fact, other alternative art spaces and cultural institutions have been doing the same. As of today, we have accumulated voluminous information and knowledge.
Art spaces and various cultural institutions have been devoted in building an arts/cultural environment which is unique only to Hong Kong. What have been published is precious for their historical and research value. However, in a market-driven society, these publications are constantly being marginalized. The public have been having a hard time buying them or even knowing that they actually exist.
What is equally disappointing to us is, these publications are scattered without a system for collection, research and exhibition. We have to understand that these are not only precious works in the arts and literary circles, they reflect the development of local arts and changes in the trend of research. Inventing a systematic way of processing these materials would mean that local arts and literary talents are united in one for a future. Equally important is these publications are indispensible tools for looking back and looking forward. Seeing their importance, 1a space holds the belief that the relevant publications have to be “revealed” to the public – at the very least.
1a space is not new in organizing book fairs and sharing sessions. We are planning to stage the “Art Publication” exhibition in early February, 2010. The exhibition will showcase publications by various art spaces, which include magazines of literary criticism and self-funded arts/cultural works. Part of the publications are for sale. It will be an enjoyable experience for treasure hunt and reflection. In the same period of the exhibition, 1a space will invite local artists, writers and critics for forums and seminars.
06.03 - 20.04.2010
“Sideward Narration” is a story-telling process of 6 artists through photography, sculpture, installation, painting and video. This is to echo with the “Art Publication” exhibition in the venue. In “Art Publication” exhibition, we are trying to study the collaboration and interrelation between art and publication with our displayed books, a forum, a talk and a reading club. While in “Sideward Narration”, artists are exploring a form of narration other then text and publication. Publication may be seen as a form of art. On the other hand, we may discover the delicate relations of the works by these artists and the characteristics of art publication.
The artworks displayed are for archive upon request. 1a space is a non-profit making organization aiming at promoting local contemporary visual art. We value the works by the artists, and like to encourage art collection in local community.
22.05 - 01.06.2010
1a space is proud to be Schools and Youth Partner for Art HK 2010 and educational activity packs for use by primary and secondary school students will be available from 1a space’s Stand C1.
Virgile Simon Bertrand, Chris Chan, Enoch Cheung, Jaffa Lam, Lam Hiu Tung, Lam Wai Kit, Lau Ching Ping, Laura Li, Chris Lo, Ivy Ma, Phoebe Man, Hiram To, Annie Wan and Ki Wong.
In addition, 1a space will launch the exhibition COLLECTIVITY featuring the work of Hong Kong’s most prominent contemporary artists. The exhibition will be held in two locations, at Stand C1 at the Art HK and at 1a space. Part of the proceeds of sale will be used to support 1a space’s new curator initiative which will provide talented new curators in Hong Kong with the opportunity to curate their own exhibition at 1a space.
Please join us on Thursday 27 May from 6pm at the Cattle Depot to celebrate the launch of the exhibition and the COLLECTIVITY series with a special performance by artist Kelvin Cheung.
1a space is pleased to announce “Collectivity”, a new series of events, including exhibitions, talks and other events for artists, collectors and the general public
Collectivity builds on 1a’s origins and continuing status as an artist’s collective, working to support and promote the work of artists in Hong Kong. We acknowledge the importance of collecting art as a means of enabling artists to earn a living and to support to the creation of new work. Collectivity is an initiative aimed at creating a dialogue between artists, collectors and the institutions that support the art industry in Hong Kong.
Special thanks: Davina Lee
Art HK 2010
27-30 May (thu-sun)
Stand C1, Art HK 2010, Hong Kong Convention & Exhibition Centre, 1 Expo Drive, Wanchai, Hong Kong.
From the Vanishing Point – Demolished Public Housing Estates in Hong Kong
05.06 - 18.06.2010
Partner: 1a space
Presented by Asia One Books
A photography exhibition by Eddie Chan/John Choy/Michael Wolf
On Saturday, June 5, 2010, 6-8pm, Asia One Books will host a photography exhibition – From the Vanishing Point – Demolished Public Housing Estates in Hong Kong – at 1a space. Accompanying the exhibition opening will be the launch of Lower Ngau Tau Kok Estate, a new book by John Choy.
From the Vanishing Point - Demolished Public Housing Estates in Hong Kong is a last lingering look at a disappeared Hong Kong. Eddie Chan’s images gather up fragments of life from where he grew up in Sau Mau Ping; John Choy captured the shops and neighbourhood atmosphere of Lower Ngau Tau Kok Estate in his panoramic photos; Michael Wolf went door-to-door at the Shek Kip Mei Estate to take portraits and family pictures of its residents.
The low-cost housing estates developed by Hong Kong’s then-colonial government once provided affordable accommodation for the ‘grassroots’ of the territory’s society and thousands of new immigrants. Despite the estates’ high density and spartan amenities, they gave families a chance to live in peace; an important factor in stabilising society and fostering economic growth. Life for estate residents was hard, but at least tempered by the concept of home.
But even the cramped, densely packed reality of the city is not immutable. As Hong Kong’s old estates tumble down one-by-one to the wrecking-ball, people flock to preserve them at least in image and memory; perhaps trying to record history, or simply cherishing the old days. The new public housing supplanting the estates offer better conditions in every measurable way – and yet, the community itself has become somehow colder and more alienated.
All three photographers witnessed the process of disappearance as it happened; and now they share the imprint of the experience. Each of them contributes his own version of reality – a fusion of physical surface and form, emotion and memory.
Topics: Is Documentary Photography Dead?
Speakers:Dr Lai Kin Keung, Mr Dustin Shum
Date & Time: 3-4pm June 6 (Sunday)
Topics: From the Vanishing Point — A dialogue between John Choy and Simon Chung
Speakers: Mr John Choy, Mr Simon Chung
Date & Time: 3-4pm, June 13 (Sunday)
Music Jam: Fat Kee Music Band, music producers of ’90s
Date & Time: 4-5pm, June 13 (Sunday)
About Lower Ngau Tau Kok Estate by John Choy (Asia One Books, 2010)
The Lower Ngau Tau Kok Estate was constructed in the 1960s as one of Hong Kong’s earliest public housing developments. Just prior to its scheduled demolition four decades later, John Choy was commissioned to photograph the soon-to-be deserted estate. To his surprise, Choy found himself deeply affected by the crumbling housing blocks and their residents. He became determined to create an in-depth record of not just the estate, but a unique way of life.
Created over a period of a year, Lower Ngau Tau Kok Estate gives a sense of how the human spirit transcends the narrow physical confines of the man-made environment. By keeping the spotlight firmly and intimately on the estate’s residents, Choy’s photographs build an unusually full impression of individual subjects and the bonds between them.
About the participating photographers
Eddie Chan has worked as a press photographer for more than a decade. His images often capture pivotal moments of trivial things – an approach that has won numerous awards locally and internationally. His publications include Edigest Photo Gallery, Lao Jia, Ten Years Ago and Digital SLR Photography Workshop. He is currently a guest instructor of photojournalism at the Kwun Tong Vocational Training Centre.
Currently a freelance photographer, John Choy was born in Hong Kong in 1966. From 1989 to 2001, he worked as a photographer for a series of local newspapers and magazines, as well as the government’s Information Services Department. Along the way, he encountered people from all walks of life, and their stories in turn provided him with inspiration. As a photographer, Choy is obsessed with the ‘unseen landscapes’ of the city, and documenting these using experimental new techniques and forms of expression.
Michael Wolf was born in Munich in 1954 and was raised in the USA. He studied at the University of California in Berkeley and the University of Essen (Folkwang school) in Germany with Professor Otto Steinert. He has lived and worked as a photographer and author in China since 1994. His works have been shown in museums around the globe, with many being represented in important collections. To date, Wolf has published five books on China: China im Wandel (Frederking und Thaler, 2001), Sitting in China (Steidl, 2002), Chinese Propaganda Posters from the Collection of Michael Wolf (Taschen, 2003), Hong Kong front door/back door (Thames and Hudson, 2005; Steidl, 2006). His book on Chicago architecture, The Transparent City about architecture in Chicago (Aperture, 2008) and the latest two-volume set Hong Kong Inside Outside (Asia One Books and Peperoni Books, 2009).
About the curator:
Carl Cheng graduated from RMIT University’s Master of Fine Art Programme and gained his BBA from The Chinese University of Hong Kong. As well as being an artist of note, he has since worked as a creative director and art director for the Chinese edition of Reader’s Digest. Cheng has received a number of art and design awards both locally and internationally, and displayed his works in solo exhibitions in 1998, 2001, 2008 and 2009. In the latter year, he was selected as one the ‘Bloomberg Emerging Artists’. To further promote visual art in Hong Kong, he has actively participated in major local publications such as Oasis – Artists’ Studios in Hong Kong and the Hong Kong/China Photographers series.
12.06 - 28.08.2010
Artists: Choi Yan Chi, Ivy Ma and Wai Kit Lam
Exhibition concept: ivyma
Exhibition Opening: 11.06.2010
Exhibition venue: agnès b.'s LIBRAIRIE GALERIE (1/F, 18 Wing Fung Street, Wan Chai, HK)
Co-presenters: 1a space, agnès b.'s LIBRAIRIE GALERIE
With keen perceptions of all things delicate, attuned to the realm of the miniscule and sensitive to the emotional shifts brought about by slight changes in one’s environment, the three female artists, Choi Yan Chi, Ivy Ma and Wai Kit Lam, presented in this exhibition, In Details, use their work to “pin” and carefully display – like a butterfly collector – small but significant details from their lives’ experience.
Details here refers to those particular moments that typically pass unnoticed in the course of one’s daily life; those moments in-between other moments which are easily forgotten or ignored: a fragment of a pop song heard in passing, the color of a shard of broken glass, a tiny bird hidden in the tangle of a bush, the breeze stirring the pages of a book, the sheen of water on just-washed tiles. All of these tiny “events” lie hidden in plain sight, surrounding us and playing upon us just beyond the realm of consciousness. Nevertheless they are always somehow “sensed” and when they do capture our attention they provoke moments of child-like wonder or Surrealist marvel.
In Details speaks of another way of addressing the world, reconsiders the notion of time, and challenges us with off-kilter perspectives. Here the nature of things seen takes on an alien atmosphere- sometimes dreamy, occasionally horrific. More than simply transforming such minor epiphanies into representational ‘art objects’, these artists’ practices engage in a pure pursuit of knowledge, making discoveries which are rooted in a phenomenological, sensual realm.
The artists’ emphasis on details does not consist in the too-easy (and god-like) gesture of enlarging the small but rather consists in physically getting closer to the seemingly insignificant. It’s a gesture of supplication, a humble bending and stooping that literally brings one in closer contact with the world.
Thus, Ludwig Mies van der Rohe’s famous statement “God is in Detail,” is reversed in the hands of Choi, Lam and Ma, who search not for perfection but find, in imperfection, a real beauty and a poignant echo of our very human relationship to the world. Starting from an empty place and refusing pre-conceived ideas, their work is neither “conceptual” nor “political” (though it is, in fact, both) but rather an “embodiment” or “incarnation.” Refusing to make statements (which are always, at heart, justifications), their work aspires to a condition of facticity or state of being that is, quite simply, undeniable.
Curator: New York-based artist and curator Steven Lam
Artists: US-based artists Sreshta Rit Premnath, Simon Leung, Lin + Lam
Opening reception: 14 July 2010, 7pm
Spectral Evidence, a group exhibition curated by New York-based artist and curator Steven Lam, features projects by US-based artists Sreshta Rit Premnath, Simon Leung, and Lin + Lam. Works in video, photography, and installation examine how the present contains an accumulation of traces that are often hidden or omitted by violent and oppressive forces.
As a historic term, ‘spectral evidence’ was first legally recognized during the Salem Witch Trials in Salem Town, Massachusetts, in the 17th century. In these proceedings, accusers testified that witches possessed and terrorized them in their sleep. U.S. Chief Justice William Stoughton, known at that time more for his witch-hunting than for his juridical duties, expanded the law to admit hearsay, unofficial stories, and gossip as proper material evidence. The artists in Spectral Evidence expand on these ideas, reimagining the haunted subject and its role in social and political life. Works that address the residual violence of war, colonialism, and globalization rupture conventional notions of temporality. By exploring narrative, speculation, and abstraction, as spectral witnesses to the past, projects in Spectral Evidence complicate what the present holds as self-evident.
The ghost, as the theorist Avery Gordon has eloquently written, is not merely an absent figure outside the reality of empirical certitude. Its presence suggests other forms of knowing, sensing, and seeing. “Being haunted,” Gordon writes, “draws us affectively, sometimes against our will into the structure of feeling of a reality we come to experience, not as cold knowledge, but as transformative recognition.”
Steven Lam, the curator
Steven Lam is a curator, artist, educator, and the Associate Dean of The Cooper Union School of Art in New York City, the United States. He has an MFA from the University of California, Irvine and currently teaches performance and sound theory in the Art History and Theory Department at the School of Visual Arts, NYC. Lam has developed exhibitions primarily for non-profit institutions and universities, often prioritizing his experience working in such pedagogical programs. Lam was a Helena Rubinstein Curatorial Fellow at the Whitney Museum of American Art Independent Study Program as well as a Lori Ledis Curatorial Fellow at Rotunda Gallery, Brooklyn, and was a research curator for the Third Guangzhou Triennial (2008) with Gao Shiming, Sarat Maharaj, and Chang Tsong-zung. Recent curatorial works and collaborations include “...in a most dangerous manner” with Sarah Ross at SPACES Gallery, Cleveland, OH (2010); ‘Tainted Love’ with critic Virginia Solomon at La MaMa La Galleria, NYC (2009); ‘Free as Air and Water’ with Dean Saskia Bos, The Cooper Union (2009); and ‘For Reasons of State’ with Angelique Campens and Erica Cooke at The Kitchen, NYC (2008).
The Absence of Ruins: A Conversation with Sreshta Rit Premnath and Lin + Lam
Panelists: Sreshta Rit Premnath, Lin + Lam, and Ms. Mirana May Szeto, Assistant Professor in Comparative Literature at the University of Hong Kong
Moderator: Steven Lam
Date: Thursday, 15 July 2010
Time: 6 – 8pm
Venue: Central Courtyard, Jockey Club Creative Arts Centre (JCCAC)
30 Pak Tin Street, Shek Kip Mei, Kowloon
The seminar will consider how historical memory is constructed through the development of place. By investigating how sites of heritage and commemoration are often coupled with trauma and conflict the panel suggests that artistic practice has a voice in offering alternative narratives and contestations.
Proposal for Squatting Project / Hong Kong by Simon Leung
Host/Performer: Simon Leung
Date: Sat, 17 July 2010
Time: 3 – 5pm
Venue: Osage Kwun Tong
6/F, Kian Dai Industrial Building, 73 – 75 Hung To Road, Kwun Tong, Kowloon
Between 1994-2008, Simon Leung created five ‘Squatting Projects’ in five cities: Berlin (1994), New York (1995), Chicago (1997), Vienna (1998), and Guangzhou (2008), each taking a specific form (public poster, video installation, sculpture, etc) to address the issues and concerns generated by the contexts and conditions of the site. ‘Proposal for Squatting Project / Hong Kong’ is a demonstration performance in the form of a lecture/performance/conversation/workshop, designed to investigate possibilities of making a new squatting project for Hong Kong. Audience members are invited to join the performance by participating in a workshop for the new work after the formal presentation.
About 1a space Curatorial Residency
1a space's inaugural Curatorial Residency, an initiative to elevate Hong Kong’s curatorship level and to establish an exchange platform of international standing, is finally awarded to Steven Lam, a New York-based artist and curator, out of the 20 applications received from around the globe. During his residency, Lam will co-organize with 1a space two exhibitions: Spectral Evidence and Against Easy Listening which is an exhibition on aurality and sound scheduled in November 2010 with artists from Hong Kong and the Pearl River Delta area. It seeks to introduce social and historical theories of aurality to an art world frequently moved by the display, spectacularity and dominance of visuality.
*Exhibitions, seminars and workshop during Lam’s residency are supported by the Asian Cultural Council.
（Chinese version only)
Sep 21, 2010 - Sep 28, 2010
從鏡頭內外看小社區大世界。每人心裡都有他的大世界，工作坊將給予學員一人一相機作工具 (Lomo Diana Mini)，以陌生的目光遊走熟悉的角落，把日常生活的角落作不一樣的展現。當中將穿梭個人小故事及四周的街角。
上過2-3次《Milk》和4-5次《U magazine》時尚雜誌；反對過藝術館搞LV show；中學時喜歡譚詠麟但也可接受張國榮，大學後欣賞張國榮而討厭譚泳麟；心思細密，三心兩意；2008年他終於分清誰是阿嬌，誰是阿Sa；一櫃T- shirt牛仔褲，好久沒有熨衫，志願是時裝設計師。
Simulated Alternative Realities
05.10 - 10.11.2010
Opening reception: Friday 8 October 2010 7pm
David Boyce (Hong Kong/New Zealand)
Nick Cheuk (Hong Kong)
Graeme Cooper (Great Britain)
Evangelo Costadimas & Syren Johnstone (Hong Kong/Canada/Australia)
Peter Fraser (Great Britain)
Anthony Lam (Great Britain)
Stephen Lam( Hong Kong/United States)
Noel Manalili (France)
Riddick Douglas Ning (Hong Kong)
Hiram To (Hong Kong/Australia)
Kurt Tong (Great Britain)
Bruce Yonemoto (United States)
Simulated alternative realities can take many different forms. They can be found everywhere– in the elaborate utopias and dystopias created in books, magazines and films, in our belief or denial in the existence of an afterlife, in our very dreams and aspirations. We create alternative realities for ourselves each time we imagine the things that might have been, the half-remembered past, events that never happened but we believe to be true. Simulated alternate realities make strange and unfamiliar the things that we thought we knew.
Dreamworlds, hopes and fantasies, these alternate realities are created as survival strategies
for our daily lives.
The simulated alternative realities depicted within this exhibition exploit the problematic
dialectic inherent in photography, the fallacy of photographic truth. By its very nature, a photograph will always be someone else’s version of the truth, the word “composition” an abbreviation for the complex process of subjective selection and elimination integral even to so-called “documentary photography”. Whilst we cannot authenticate reality through the photograph, at the core of each simulation is an element of the real, the point from which subjectivity and imagination combine to create a distillation of reality or a declaration of intent. Within these simulated alternate realities, anything is possible.
About DIORAMA PROJECTS
DIORAMA PROJECTS was established in Hong Kong in 2008 by Davina Lee as the exhibition and events division of Words For Pictures Limited. The objective of DIORAMA PROJECTS is to identify, develop and realize unique projects that will stimulate artistic and cultural exchange and collaboration. DIORAMA PROJECTS seeks to provide physical and virtual spaces for groundbreaking work from new and established artists. In addition to the ongoing series of monthly screenings DIORAMA PROJECTIONS, previous projects include the exhibitions Chroniques Hongkongaises, part of Festival Voies Off, Arles, July, 2010, Proxemics, Hong Kong, October 2009, The Mother of All Journeys, Hong Kong, September 2009 and Distance Decay, Festival Voies Off, Arles, 2009. At the core of each project is the desire to engage audiences at all levels, from passive observation to active critical debate.
For all enquiries regarding the exhibition, including interview availability and high resolution images please contact:
Davina Lee of DIORAMA PROJECTS
+852 9196 5934
This event is supported by
RED DESERT LTD