2018

 

Art@Kowloon City District - Together

06.01 - 21.01.2018  

@1a space

“Together” aims to use the participants imaginations and creativity to join the different races, languages and cultures in Tokwawan through words. The languages include Urdu, English and Chinese. Different stories are shared during the conversation and observation, giving us the opportunity to know more about each other and bring us closer to each other. This exhibition consists of 3 parts: First, “ Different Races. All Together”, this part shows the interview with Tokwawan’s ethnic minorities done by the participants. Hafeez’s family, which is a Pakistani family, shared their story of settling in Hong Kong and shared Urdu’s basic knowledge with us. Second, “Different Words. All Together”. In this part, we learn different languages through writing and drawing to build a connection between them. Third, “Different Cultures. All Together”. This part displays “13 Streets” memorable items, hoping to recall the stories of them, and to help discover the culture we had in “13 Streets”.

 

For further details, please refer to the Chinese version.

 

Making Room For_

27.01 – 25.02.2018

@1a space

 

Opening: 26th January 2018, 6:30 pm

Opening Dialogue: 26th January 2018, 7:30 pm

 

Discussants (in arbitrary order):

Benny Lam,

Cornelia Erdmann,

Jacky Y.F. Chan,

Rina Ko

On Tai

 

Honorary Guest Discussants:

Ms Corrin Chan (陳翠兒女士) , Chairlady of Hong Kong Architecture Centre,

Prof. Kurt Yu Keung CHAN (陳育強教授), Adjunct Professor, Department of Fine Arts, The Chinese University of Hong Kong

 

Host: Chang Ping-hung Wallace

 

Curatorial statement:
The idea of "room" is making room for E-pathy - Making Room for--you and me is nestling our souls in place. Making Room for the self-regulated emptiness is to create a small universe for ourselves. If architects and artists can make room for people of all kinds, it should be more than a physical containment. Rather, should Art have power, our lives within the Room of four walls and a ceiling should be owned and enjoyed by us. Nowadays, amidst the ever-condensing urban concrete jungle of Hong Kong, we are confined within our ‘luxurious’ 100-ft square footages, but our minds should step beyond these boundaries and reach out to where we are looking upon. The invited architects/ artists of this exhibition include young talents who concern our living/ dying environment.

Making Room for_ includes works of four Hong Kong and German artists. By rethinking the concepts of room, artists and curator attempt to explore the pressing social housing issue in Hong Kong. With their personal interpretation of this ‘room’, the team means to understand what and how we live and situate ourselves among given constraints or yet liberate other dimensions for hopeful lives.
 

Benny Lam has been active in a range of creative media over the last ten years, but recently has devoted his time to show, through photography, the condition of Hong Kong’s fringe communities. From affluent to fringe areas, from business to public good, he walks around the streets and alleys of older districts, using lights and viewpoints to capture scenes not usually seen in the city to record the lives of hidden communities.

 

Cornelia Erdmann focuses on the light medium, which inspires her to rethink the question of “If the eye is the window to our soul, what is the spatial opening to architecture? ” If window is not just a void that separates the inside from the outside, it will be the interface between public and private mediating between the two realms. For her, making room for the viewing sight bears burdens of emptiness; for the windows are facing Darkness, we are looking towards where we end.

 

Jacky Y.F. Chan interprets the idea of “room” in a psychological sense, demonstrates his artwork in three ways, including light & colour, visual and psychology. For him, making room for emotion combine only few architectural elements that may have an impact on our psychological senses; one space may also be read through these qualities, they allow us to delaminate spaces into layers of visual perception, in another word the physical space transforms into a perception space. The Artwork represents a space / room, in its limited boundary. There are objects for our interpretation, whether one would focus on the brighter object or the dimmer object, it is up to you, and your emotions.

 

Rina Ko explores the idea of “room” with a grain of Salt. Since salt is part of our physical make up, present in our blood, sweat, and tears. Its natural properties meant it has been used for ritual cleansing, preserving and seasoning of food, as well as antiseptic qualities for treating wounds. It is also one of the fundamental constituents of nature, and contains within it a microcosm of how our planet works. As both a natural defense and supplement for the human mankind, it signifies ritual cleansing and spiritual authenticity. The work not only wishes to celebrate the value of what has already been existed “salt” for centuries, but also the value of what life is, as a natural process and a collateral beauty. When one would be totally engaged in the work, its pure existence worth more than a thousand words.

 

On Tai wishes to tell and share the stories of Hong Kong to others. Giving chance for people to look at the living problems in Hong Kong from different perspectives. Livelihood issues like housing, student’s stress and politics etc…. He especially likes to use his works to tell the stories of the old Hong Kong, hoping to keep the diminishing Hong Kong's culture for our next generation through the miniature arts. Telling the stories of the old Hong Kong to our younger generation and exchange their stories with our predecessors …….. and so on and on …….

 

Short biographies of the artists and curator (in arbitrary order)

 

Curator:

 

CHANG Ping Hung, Wallace
Fellow of HKIA; Registered Architect in Hong Kong and China; Associate Professor, Department of Architecture, HKU; Chairman of 1a Space; Director of the Urban Place Research Unit; Visiting Scholar in Harvard-Yenching Institute, Harvard University; Advisory Committee Member on Revitalization of Historic Buildings. He is both an architectural practitioner and theorist on urban design, cultural conservation and community participation. His award-winning designs range from urban washroom to university academic building. Also, he is a social activist to promote a civil consciousness on urban environment, community conservation and sustainable planning, including his recent advocacy on the redevelopment planning and architecture of Shek Tsai Leng [Dills Corner Garden] Elderly Caring District.  He has been conducting research with exhibition in Habitat City and Bamboo Theatre.  His latest research, Kai Tak River Green Corridor Community Education Project [HKADC 2013 Award of Arts Education, International Award for Public Art 2015], focuses on cultural identity and urban sustainability issues during the urban transformation process in Hong Kong and southern Chinese cities. To recognize his contribution to the promotion of cultural conservation, he was awarded Certificate of Commendation by the Secretary for Home Affairs in 2015.

 

Participating artists:

 

Benny Lam

Benny Lam, professional Hong Kong-based photographer, graduated from the Ontario College of Art and Design, Canada. He is a member of HKIPP, works for multiple local and international brands and advertising agencies. Over the last ten years Benny has been active in a range of creative media, but recently has devoted his time to show, through photography, the condition of Hong Kong’s fringe communities. From affluent to fringe areas, from business to public good, he walks around the streets and alleys of older districts, using lights and viewpoints to capture scenes not usually seen in the city to record the lives of hidden communities.

 

For years, he has won numerous local and international awards, such as The Best Photography in HK4As Kam Fan Awards, the Communication Arts Award, Grand Prix in ADSA International Non-profit and Social Advertising Award, LongXi Awards, and Award of Excellence in Photography at Global Society for News Design Awards. His works were been published in Archive,and European Photography etc., and exhibited in the DOX Centre of Contemporary Art in Prague, Czech and Victoria & Albert Museum in London.

 

Cornelia Erdmann
Cornelia Erdmann is a German visual artist based in Hong Kong. With her background in fine art as well as in architecture she likes to blur the boundaries between creative disciplines and subjects specialising in public art and commissions.

 

She uses light as an integral medium in her pieces. The intangible light and the physical space have reciprocal qualities and depend on each other which in combination with other materials and/or technologies she employs to create playful site-specific installations that interact and surprise the audience on various levels. She enjoys to collaborate with communities to co-create public artworks that help to build and generate collective memories.

 

Jacky Y.F. CHAN
Jacky Y.F. CHAN is an artist and architectural designer with a diverse background from the U.K. and his hometown Hong Kong. He studied his Bachelor degree at the Bartlett School of Architecture, U.C.L. (U.K.) and has received his Master of Architecture at the HKU recently. Jacky’s work focuses on the interplay between light and colour, and has always questions how these qualities may inform and impact our psychology and emotions. His humanistic design approach has led him to address and look into some of the current social issues in Hong Kong. Jacky’s latest work ‘The Living Room’ – thesis exploring the perspective spectrum of a dying person through light & colour; has successfully raised awareness on the topic and was celebrated with a nomination for the RIBA President’s Silver Medal.

 

Rina Ko
Rina Ko completed her Master in Architecture in Chinese University of Hong Kong and was the recipient of the Student Medal of the Year in 2014 in the Annual Award held by the Hong Kong Institute of Architects (HKIA).  Her projects, primarily addressing on values in life, received the Best Studio Awards both in 2013 and 2014 within the School, as well as being nominated and shortlisted for the President’s Medal for the Royal Institute of British Architects (RIBA) in both years in the United Kingdom.

  

She worked as a Junior Architect in Herzog & de Meuron for two cultural projects in Hong Kong, the Central Police Station Revitalisation Project in Central and M+ Museum in West Kowloon Cultural District from 2014 to 2017.  During these few years, she has also participated as exhibitors in different events including, Bi-City Biennale of Urbanism\Architecture in 2015, and REVEAL 2 Exhibition in 2016. In earlier years, she had an apprenticeship to an Italian marble sculptor, Cynthia Sah and Nicolas Bertoux, in Tuscany, Italy in 2011. 

 

On Tai (TAI Yau On)
Born in 1979, authentic Hong Kongers

 

Hong Kong native photographer, working in photography for over 18 years. He is a person who pays attention to detail and quality. Since childhood, he has become obsessed with the miniature things. With his working relationship and dedication to detail, he has gradually become a passion for making miniature artworks. In the choice of subject matter for his artworks, because of his childhood experience and his obsession with old Hong Kong, it always appears the shadow of old Hong Kong in his interests, works and artistic creations.


The purpose of On Tai’s miniature art production, is to trace the past stories through miniature artworks, arouse people's memories of the past and pass on the feelings and culture of old Hong Kong from generation to generation.


In December 2017, On Tai has organized a “Mini Movements”, which is a voluntary visit program based on the theme of “miniature art”, and hopes to share and express the concern and care for people with mobility problems and those in need through this program. Visiting children to promote Hong Kong culture and miniature art to our next generation.


In addition to miniature art, On Tai is actively involved in the creation of various topics on old Hong Kong, including installation art, product design and photography etc, hoping that more people could know the wisdom of their predecessors, hence continuing and passing on the traditions of old Hong Kong continuously.

 
Our Bones Are Made of Starlight

24.03 – 06.05.2018

​@1a space


Exhibition Opening: 23rd March 2018, 6:30 pm

Artist Dialogue: 23rd March 2018, 7:30pm - 8:30pm

Discussants (in arbitrary order): Chris Treggiari,  Desirée Holman, Fang Lu, Fernanda D'Agostino and Justin Hoover

Honorary Guest Discussants: Wen Yau (Artist/Researcher)

Host: Nicholas Wong (Poet/ Lecturer, Department of Literature and Cultural Studies, The Education University of Hong Kong)

 

Live Performance: Desirée Holman’s “Sophont in Action” will be performed episodically during the exhibition period and the opening night.  
 

 

1a space proudly presents Our Bones Are Made of Starlight, a contemporary art exhibition curated by Justin Hoover
(胡智騰), the 1a space 21st Century Art Incubator – Open Call for Curator curatorial recipient. Our Bones Are Made of Starlight features contemporary artists Desiree Holman, Fernanda D'Agostino, Fang Lu, Ranu Mukherjee, and art group Mail Order Brides (MOB), consisting of Reanne Estrada, Eliza Barrios, and Jenifer Wofford.

 

This exhibition presents the work of seven female new media and performance artists from San Francisco, Los Angeles, and Beijing. The work range in media to include multi-channel video installation, hybrid-film animation, social practice, and hand-made objects. Together, these works question the gender biases in folk lore and capitalism, investigate cultural evolution in terms of inclusion/exclusion, redefine the rituals of love and loss, and re-envision the fantasy of technological utopia.
 
To reinvent our cultural mythologies is to express the inequities of our current global order. Layered with humor, surreal locations, and fantastical costumes, these works use the discontents of global capitalism as creative fuel. According to the exhibition curator, “Our Bones Are Made of Starlight reframes the hopes of a generation who were promised a technological utopia yet received nothing more than the trauma of collapse.” This exhibition is about speculative fiction; it is about creating new stories that rewrite our threadbare folk narratives, our misogynistic mythologies and our technological expectations.  

Next, the viewer is presented with the work of Mail Order Brides/MOB (or M.O.B. for short.) MOB (Jenifer Wofford, Eliza Barrios, Reanne Estrada) is a trio of Filipina-American artists engaged in an ongoing conversation with culture and gender. Wofford, one of the founding members, was raised in Hong Kong; much of her work deals with the intersection of multiracial identity encompassing feminist narratives and gender politics. 
 
The exhibition Our Bones Are Made of Starlight features “Manananggoogle,” a new performative installation featuring MOB as the mythical folk-nightmare leaders of a globalized tech corporation monolith presenting a new corporate “on-boarding” experience. 
 
MOB has engaged in multiple projects with an entrepreneurial bent: they are currently working as a fictitious group of bloodthirsty corporate executives, managing and leading the fictitious and shadowy tech-giant Manananggoogle (a portmanteau of “manananggal” and Google). The manananggal is a mythical, vampire-like creature of the Philippines-- a malevolent, human-eating, blood-sucking female demon capable of severing its upper torso and sprouting huge bat-like wings to fly into the night in search of its victims. It is also a story that Illuminates the deep roots of misogyny, and how injust suspicions of strong women are perpetuated through seemingly innocuous traditional folktales. MOB adapts this mythology to transform their identities into more predatory, dominant, alpha executives. In a sort of corporate culture drag, these three artists present domineering, murderous and hilarious personae that lead company “on-boarding” trainings as performances, lectures, and other industrially related activities. MOB is presenting an installation with photo, video and web components related to this theme. 
 
Ranu Mukherjee, an American of a mixed-heritage, presents the work Extracted Trilogy, a film originally commissioned by the Asian Art Museum, consisting of three individual chapters Breach, Elixir and Oracle Bones. This work in total is a fifteen-minute hybrid animation inspired by the Chinese historic text the Classic of Mountains and Seas or 山海經 . In addition, the work layers in the complex history of the American Government’s Chinese Exclusion Act of 1882 in which the US banned Chinese immigration the US for 63 years. This film interweaves visual elements from this ancient text along with elements of the histories of immigration by Chinese to America during the time of the Gold Rush period at the height of political tensions surrounding the Chinese Exclusion Act. This work destabilizes our shared origin stories and creates new narratives of otherness and creolization.  

 

Fernanda D’Agostino, is a pioneer in the use of outdoor video projections in public art, has completed twenty-five public commissions and fifteen solo exhibitions since 1984. She will present an interactive new media projection in the outdoor area as well as have a video work in the exhibition. The work she presents will be titled Peace Movements (Mudras). It will be a single channel video. 

 

"Borderline" investigates the intersection of climate change, mass migration and embodied trauma, through interactive video, creative coding, projections, live performance and sound.  The project has been conceived as a kit of parts that includes a “tarot deck” of multiple scenes of creative code manipulating video and audio files in real time. Additional code, shifting between the scenes, creates ever-changing juxtapositions of imagery open to “interpretation,” in much the same way that a “hand” of Tarot cards combines into new meanings with each reshuffling of the deck. The shifting forces shaping contemporary life are constantly in play. Creative coding in "Borderline" mimics the uncertainty of our times, keeping viewers off balance and guessing what comes next. For "Peace Movements (Mudras) " the mood of the "Borderline" programming was revisited to emphasize our power to heal each other and the planet through dedication to practices that foster inner peace, compassion and clarity. The "Our Bones are Made of Starlight" opening night projections will be fully interactive code based programming from "Peace Movements (Mudras) ". For the remaining run of the show, video loops recorded directly from live programming in "Borderline/In/Body" will act as a talisman for the Borderline project as a whole. A common thread through both versions is the notion of the body as the site of peace, healing and conversely, trauma.


Finally, the exhibition will present the work Sea of Silence, a 29-minute film by Chinese filmmaker Fang Lu, with dialogue in Cantonese and Mandarin and with English and Chinese subtitles. Sea of Silence is a work in three chapters centered on the idea of speaking about love as a form of action. Shot in the Israeli desert in 2015, three female protagonists, as three distinctive individuals, talk to the camera about their specific events and experiences encountering love. They are situated in a remote desert with elements of home life and living accommodation detailing each scene. These domestic elements such as cups and saucers, housewares, beds and the like, are positioned unprotected and uncovered in the untamed environment to establish new habitats as new spaces and forms of living. 
 
This exhibition includes a participatory social practice project that asks the audience to draw a picture of gender equity and add it to the exhibition. Space and tools to create these pictures will be provided in the gallery and all participation will be included. This social practice project is an educational element to explore the audience’s perspectives around equity, gender and current events. The project asks, “What does gender equity look like?”  
 
About the Curator:
Justin Charles Hoover (胡智騰), is the founder and principle of Collective Action Studio, an art and curatorial practice company based out of San Francisco and the Curator of the ChineseAmerican Museum, Los Angeles. Hoover works with the visual arts to explore issues of displacement, liminal languages, and cultural disjuncture. His work spans media from performance and video, to sculpture, installation and public art. His heritage is Chinese-RussianAmerican, and his work seeks to engage communities and develop collaborative and educational projects. Hoover began his curatorial career in 2004 with the founding of The Garage Biennale, and experimental art space in San Francisco and has worked with museums, festivals, fairs and cultural centers across the world. Hoover holds bachelor’s degrees in Peace Studies and French Literature from Colgate University, a master’s degree in New Genres Fine Art from the San Francisco Art Institute and a master’s degree of Public Administration of International Management from the Middlebury Institute of International Studies. 
 
Collective Action Studio (CAS) produces artwork, curates exhibitions, and develops educational projects. We work in collaboration with artists, communities and institutions to develop access, equity, and positive learning outcomes. Our goal is to advance social justice, to bolster resilient communities and enable the public to engage with the arts.  
 
Founded and directed by Justin Charles and Chris Treggiari, Collective Action Studio includes an evolving cast of artistic collaborators. Projects are often co-developed with strategic partners and include a wide range of artists non-profits, cultural centers, museums, arts commissions, art galleries, art fairs, festivals and more. 

 
Transparent Cube Space
19.05 - 17.06.2018 
@1a space
Exhibition Opening: 18th May 2018, 7:00 pm

 

The audience should follow a designated route to view the exhibition. Audiences are invited to re-experience 'White Cube' and encouraged to reconsider

The exhibition discusses on the definition of "white cube" in order to review the function of exhibition space and the trend of art presentation in the 21st century. Through this project, curator aims to reimagine and reshape the relationship between themselves, art space, audiences, art trend and the society.

1a space proudly presents Transparent Cube Space, a contemporary art exhibition curated by Cheung King-wai Reds (張景威). The project was the second phase of 1a space 's 21st Century Art Incubator. 
what
construct a viewing experience.

 

About the Curator:

Cheung King-wai Reds
Reds Cheung is an independence visual art professional, experienced in local visual arts sector with good relations contact and excellent communication skills. Beside independent practice in visual arts and culture studies, Reds is also familiar with teaching and activity organizing in art, with working experience at art gallery and visual arts institute. Specialize in community art, installation art, drawing and visual communication design. He is now exploring in the way to foster young audience in visual arts by practicing experimental art curating, and parallel to local creative industry development

 

Scenery of Dialogue – Artist In Hospital

 

29.06 – 29.07.2018

@1a space

Exhibition Opening: 3th July 2018, 3-7:00 pm

Hospital seems like a mysterious place which always inexplicably accompanied by a bit of anxiety. Is it because people habitually regard it as a taboo to talk about? We want to re-examine this deep-rooted and stereotyped image of hospital.

In the past year, “Art in Hospital” has invited five artists to 
participate the artist-in-residence project, “Artist in Hospital”. Through their interactions with medical staff, rehabilitators, patients and carers, what they experienced, and their inspiration are reflected and expressed in an artistic way. (About “Artist in Hospital” project:

https://www.facebook.com/events/271382746768631/)

In the “Scenery of Dialogue—Artist in Hospital” exhibition in 1a space, artists will present a different kind of hospital. Participating artists include Chan Sai-
lok, Cheng Shuk Yee Eastman, Ki Wong, Margaret Chu and Pak Sheung Chuen. 

 

 

"Fast Art workshop" Result Exhibition

22.07 - 09.08.2018

@1a space

Bing Lee and 40 participants

"Fast Art workshop" result exhibition

2018

Bed sheet, Spray-paint, bamboo

1.2m X 2m, 6 in total

 

"Fast Art workshop" is specially designed by Hong Kong American artist Bing Lee to allow beginners experiencing spray-painting art under his guidance. The workshop begins with a professional art demonstration by Bing Lee which participants learn to use images as visual vocabulary to communicate and gain hands-on experience to make stencil art. 

This public programme is part of Dismantling the Scaffold, curated by Christina Li in Tai Kwun Contemporary. Co-presented by 1a space and Tai Kwun.

 

In(ex)ception Summer Camp Thematic Exhibition

 

08.08 – 26.08.2018

@1a space

 

Exhibition Opening:8 August 2018, 6:30pm
Artists and Participants Sharing Session: 8 August 2018, 7:00pm -7:45pm
Live Performance: 8 August 2018, 7:50pm
 
“Milk” by Artist: Philip Liu
The performance attempts to explore the origins of ‘powerlessness’, whether it stems from ‘oneself’ or from the ‘environment’ or even if it is ‘eternal’ (that humanity always fight against succumbing to).
 
The project is initiated by Hong Kong Baptist University and 1a space. Partnering with local young and veteran artists, it aims to encourage communication among different cultural and ethnic groups through art creation. It aims to explore the vibrant world of different ethnicities by initiating a series of creative practices, thus enhancing the interaction and communication among different cultures.
The project was instructed by Hong Kong artists Ricky Yeung Sau Churk, Yu Shuk Pui Bobby and Ip Wai Lung, curated by John Erni and Louis Ho.
 
Workshop summary
 
Artistry workshop
Artist Instructor: Ricky Yeung Sau Churk 
Inspired by participant’s relationship with their family members, participants will be encouraging to express their own stories through oil painting, sculpturing and installation art. The ultimate result will integrate different elements and characteristic of each participant. 
 
 
“Book, Oh Book!” Workshop
Artist Instructor: Bobby Yu Shuk Pui
Discussing the possibility of the book from the concept: the book does not have to have words or images, and even the existing reading direction, but there are still many imaginary spaces.
In the process, students try to use different materials and combine different forms of "book", which produce more new definitions and reading methods. Ultimately, perhaps they will get the joy of making art.
 
Connecting Kowloon City District Workshop
Artist Instructor: Ip Wai Lung
Through a series of creative exercises, participants are encouraged to use objects from our daily lives in a different and accessible ways to create artworks by building and enhancing the bonding with the community of Kowloon City district.
 
 
About Artist Tutors
 
Ricky Yeung Sau Churk
Ricky Yeung Sau Churk is an artist and art educator who conducts community arts projects for diverse audiences to cultivate an appreciation for the city of Hong Kong. Yeung’s works have been shown at the City University of Hong Kong, Fringe Club, Hong Kong Arts Centre, Hong Kong Museum of Arts, Hong Kong University of Science and Technology, Hong Kong Visual Arts Centre, Para Site, Sha Tin Town Hall, and the University of Hong Kong. He is the recipient of the 2007 Chief Executive's Award for Teaching Excellence (Arts Education). 

Community engagement is central to his practice, which includes his role as chair of Video Power (1999–2002), committee member of Curriculum Development (Visual Art) Education Bureau (2004–2013), chair of Center of Community Cultural Development (2010–currently) and committee member of Society of Indigenous Learning (2013–currently). Yeung has been an art education columnist with Sunday Mingpao since 2009.
 
 
Bobby Yu Shuk Pui
Bobby Yu Shuk Pui is a visual artist based in Hong Kong making conceptual artworks, sculptures, and performances. Habitually uses the body as a medium, including hers, or borrow / hire the others (body / speech / network/ any skill) by creating situations and breaking the passivity of the spectator. She often changes, transforms the roles / identities/public appearance in her real life. Her works act like simple "games" - simultaneously outlining complicated interpersonal relationships in novel ways.

Bobby received a BA from Hong Kong Baptist University. She has exhibited her works at Listhus Gallery(Iceland); A Place Gallery & Studios(Florida); Youkobo Art Space Gallery(Tokyo); Swatch Art Peach Hotel(Shanghai); Para-site, 100ft. Gallery, starprojects, 1a Space(Hong Kong). She has completed several residencies at 3331 Art Chiyoda (Tokyo), 435 Art Studio(Taiwan) and Listhus Space (Iceland).
 
Ip Wai Lung
Born in the Guangdong Province, China, Ip Wai Lung is a local artist residing in Hong Kong now. In 1996, he moved to Hong Kong with his mother for a family reunion with his father right before the handover. As an immigrant, identity has always been an issue for him despite being educated in Hong Kong since his young age. In 2015, he went to Tibet to practise Zen Buddhism, such experience further confirmed his determination of becoming an artist. 
 
Ip is a self-learned artist who has participated in a number of local co-exhibitions and held personal exhibitions including Para Site and C&G. His artwork explores political issues, taboos and identities in a spontaneous and humorous fashion. Ip believes in the power of public art, he interferes in the existing social systems with his artwork, through the conversations with different entities he delves into the possibility of having new systems in a bid to reconstruct the imagination of society and the world from a personal perspective. He produces with various media including performance, photographs and videos.
 
About Curators
 
John Nguyet Erni
Professor John Nguyet Erni is Fung Hon Chu Endowed Chair of Humanics, Chair Professor and Head of Department of Humanities & Creative Writing at Hong Kong Baptist University. He earned his Doctorate degree specialising in Media & Cultural Studies from University of Illinois at Urbana-Champaign. Later he took a Master of Laws degree to study international human rights law at The University of Hong Kong, with the aim of mastering the philosophy and language of law so as to conduct research on social justice issues arising from intersecting legal, social, and political contexts.
Professor Erni has published in the areas of international and Asia-based media and cultural studies, human rights philosophy and politics, gender studies, youth popular culture studies, and critical public health studies. In the past decade, one of his primary studies falls on ethnic minorities in Hong Kong, due in part to his multicultural upbringing. In recent years, Professor Erni has also received a number of grants to study issues related to human rights and cultural citizenship. He is now leading several interdisciplinary cultural studies research projects in collaboration with renowned overseas institutes or universities.
 
Professor Erni has been a member of a number of civil society groups and given staunch support to many NGOs. He provides consultation to the media and speaks for the minorities. At present, he is also building an international platform to line up professionals to jointly work on international migrants’ rights issues.
 
Louis Ho
Dr. Louis Ho is Research Assistant Professor of Humanities and Creative Writing at Hong Kong Baptist University. Beyond the university, he has continued to participate in various arts and cultural organizations by serving as vice chairman of 1a Space, vice chairman of Renaissance Foundation Hong Kong, and committee member of the House of Hong Kong Literature. His research interests include cultural policy studies, cultural and creative industries, art and social innovation, museum and museology, and popular culture.
 
Co-presented by 1a space and Hong Kong Baptist University, Department of Humanities and Creative Writing.
 
This project is partially funded by the Fung Hon Chu Foundation, through the Endowed Chair Professorship of Prof. John Erni at HKBU.  
 
 

Art@ Kowloon City District: Craft-ist

08.09-28.09.2018

@1a space

The development of craftmanship was once very flourishing in the Kowloon City district. As time goes by, one can still find traces of craftsmanship in the district regardless of the rapid urban development.

 

The purpose of local craftsmanship was “earn a living”; however, it is already history. What does craftsmanship mean to us now? 

 

What are the contents of the inheritance of craftsmanship? In addition to the techniques and the conventional craftsmanship spirit, can we perceive craftsmanship to re-think the co-existence with the city? Or is it a way of communication to let us know more about the pursuits of everyone, or more?

 

Art@ Kowloon City District: Craft-ist, a group exhibition curated by Hong Kong artist Chan Po Fung, showcases artworks of five groups of artists including Cissy Chan, Coutou Woodworking studio (Yung Wing Yan), Lai Chan Kee, Victor Wong and Chan Po Fung at Cattle Depot Artists Village in Kowloon City District.

 

Positioning at Kowloon City District, five groups of artists who focus on the crafts of metal, ceramics and woodwork, takes Craft as a media for connections and communications. Artists aim to explore the values of craftsmanship in the Kowloon City District, and even the entire Hong Kong society today by different means including community participations, artist-in-residence, reuse of natural resources, the collection of stories and the experience of space.

 

This exhibition aims to project and record these five groups of artists on how they use craftsmanship to connect “people”, “happenings”, “places” and “objects” - as a way to think about who we are and how we should live, presenting the unique features of craftsmanship in Hong Kong and discovering the different aspects and values in between.

 

Events:

Opening Seminar: 7th September 2018 (Friday), 6:00 pm – 7:00pm

Speakers (in arbitrary order): Chan Po Fung, Lai Chan Kee, Victor Wong


Opening Reception: 7th September 2018 (Friday), 7:00 pm – 9:00pm

 

Guided Tour by Curator & Artists: 8th September 2018 (Saturday), 3pm

Quota: Around 30 people

 

Workshops: (including all necessary material)

Online Application: https://goo.gl/forms/ZLLn7f26Zp2XNho23

 

1. Muddy Plate

Exploring the features in the Cattle Depot Artist Village, stamp the marks on the ceramic plate and make your own textured piece. Experience the fun of craftsmanship via the ceramic making.

Host: Lai Chan Kee

Date: 15th September 2018 (Saturday)

Venue: 1a space (Unit 14, Cattle Depot Artist Village)

Timeslots:

  • Session 1: 12noon - 2:30pm

  • Session 2: 3:30pm - 6pm

Target: Aged 16 or above

Quota: 10 people per session

Materials: Clay

Tools: Ceramic tool sets, wooden boards, ceramic knife, glazes

 

2. Oh Old Wood

Ever realized old woods around you? How does an old wood transform into a board? Let’s learn more about the trees in Hong Kong via the making of wooden boards from twigs and trunks.

Host: Coutou Woodworking Studio

Date: 16th September 2018 (Sunday)

Venue: 1a space (Unit 14, Cattle Depot Artist Village)

Timeslots:

  • Session 1: 12noon - 2:30pm

  • Session 2: 3:30pm - 6pm

Target: Aged 16 or above

Quota: 10 people per session

Materials: Tree twigs and trunks

Tools: Bench clamp, chisel, saw, carpenter plane

 

3. Swap Our Words

Words can evoke imaginations and connect different things. We can use colours to describe our feelings or project our emotions on an object - turning it into a symbol of something.

Using metal-smith techniques, we are going to co-create and respond with each other, learning more about a stranger or even yourself.

Host: Victor Wong & Cissy Chan

Date: 22nd September 2018 (Saturday)

Venue: 1a space (Unit 14, Cattle Depot Artist Village)

Timeslots:

  • Session 1: 12noon - 2:30pm

  • Session 2: 3:30pm - 6pm

Target: Aged 16 or above

Quota: 10 people per session

Materials: Brass pieces in different shapes

Tools: Anvil, hammers, metal stamps, files, sandpapers, driller

 

4. Forging Marvels -Metal Forging of Sound Installation (Parent-child workshop)

Through the story of a metal master’s metal-making experience started from 50s’, to introduce Hong Kong style of metal crafting, tools and history.

With the understanding of the difference between sounds produced by different metal pieces, participants will finish a piece of sound installation together using metal forging techniques.

Date: 23rd September 2018 (Sunday)

Venue: 1a space (Unit 14, Cattle Depot Artist Village)

Timeslots:

  • Session 1: 12noon - 2:30pm

  • Session 2: 3:30pm - 6pm

Target: For children aged 7-14 accompanied by 1or 2 of their parents

Quota: 5 families per session

Materials: Brass pieces

Tools: Anvil, hammers

 

Chan Po Fung

Chan Po Fung focuses on the transformation of materials and the creations of mechanism. His artworks explore the connections of metal-smithing and the relationships between individual and communities. Meanwhile he eagerly takes part in different community art projects, discovering the relation between craft and community.

 

Artist statement:

Via the telling of the experienced metal-smith master’s story, this set of artworks is an exploration of the traditional Hong Kong style of metal-forging craftsmanship. Surrounded by the clangs of forging works in the Cattle Depot Artist Village, the neighbors and learners get to know more about the history, techniques and tools of local metal-forging.

From a piece of metal sheet to a forged object, everyone can make their own marvelous piece. Triggering the interactions of different people in this area by the forging processes, enormous vitality emerges among the happenings.

 

Cissy Chan

Cissy Chan graduated from HKBU Academy of Visual Arts in 2014, major in Contemporary Jewellery. She uses some daily object as material, such as toothpicks and straws, to create jewellery. She believes that “beauty” exists everywhere, even in small objects, and could be a contemporary jewellery.

 

Artist statement:

For me, jewellery making is a way to connect people because I love sharing my unique and funny jewellery with my friends. Especially, I like turning some small daily objects into jewellery with metal techniques.

I believe the idea of “sharing” could be my intention to create jewellery pieces. That will bring my friends or some have not seen for long time and me together again.

 

Coutou Woodworking Studio (Yung Wing Yan)

Yung Wing Yan studied visual communications in France and trained woodworking in Taiwan. Established Chingchun Warehouse and Coutou Woodworking Studio, she wanders between the community and wood-crafting and think about the possibility of bringing changes to the society with her hands. Currently she is practicing a project of the availability of Hong Kong woods — believing every piece of wood has its practical usage.

 

Artist statement:

Making wooden cups with the Hong Kong woods as a way to show their different veins, hardness, texture and colors, they are also containing more possibilities of how we can do with the Hong Kong trees.

As an experiment of Hong Kong woods library, it is also a test of the possibility of setting up a wood resources warehouse in Hong Kong. Setting up an exchange corner in the Cattle Depot, everyone can just give and take the woods here. The cups made with different Hong Kong woods show the uniqueness of each tree.

 

Lai Chan Kee

Lai Chan Kee means “tiny”, “fragmented”. It can be spread into the air. It flutters in our daily life.

“Dust” means little pieces of clay in Chinese meaning. Clay can form pottery as a container of every bit of our life. They believe that ceramics creation is not constrained in studio as indoor activities, thus they actively step into the community, sharing the joys and happiness of clay works.

Recently, they bring along their newly created machine, “Mobile Kick-wheel” to travel around the city to demonstrate ceramics wheel throwing, sharing this art to public. Clay is originally from the nature of the earth; therefore, they want to back to the original method of pottery making, just kicking the non-electrical throwing machine to create anywhere instead of staying indoor in the studio. They hope that everyone gets the chance to try and experience that fantastic process.

Besides that, they love collecting second-hand ceramics and give them a second life via upcycling to spread the message of “Use less, waste less”. Last but not least, they hold workshops to teach ceramics and share the fun.

 

Artist statement:

The idea of this coming artwork is based on the craftsmanship we found in community, starting from the “Yelling” Project or any second hand abandoned objects, pieces of ceramics being collected from the society, we try to examine the history and the stories related to the ceramics products, playing a project with the redesign and up-cycling concepts, it may back to the community with a new approach, or it may be interesting process with the people in the city. There are two ideas in progress, one is the “restaurant approaching project - reuse the old good things”. We reached some small scale stores, providing the second-hand ceramics wares and pieces, giving them the second chance to back to the “Function” and treasure the flawed beauty of Nostalgia and the craftsmanship.

 

Victor Wong

Graduated from multi-media design and visual arts, Victor Wong focuses on contemporary jewellery throughout the years and participated in various Hong Kong and overseas exhibitions.

Taking metal-smithing as a starting point, he explores the different perspectives of different crafts.

 

Artist statement:

People and things vanish along with the change of time and surroundings; does it turn the “experience” into “history” or just eventually blend them into daily life? When craftsmanship returns back to a hand-making object, no matter long the making process is, how much of it can be revealed on the piece of work?

A piece of furniture left behind 10 years ago when I moved my house—it is so worn and tore almost to be dumped. Via the deconstruction and reconstruction of it, it is an exploration of the hidden time and stories.

 
Mat6 Gwai1 Yun4 Jyu2 – A Solo Exhibition by Debe Sham
 

03.10 – 30.10.2018

Venue: 1a space
 
1a space proudly presents Mat6 Gwai1 Yun4 Jyu2 – A Solo Exhibition by Debe Sham. The solo exhibition aims to epitomize the artist ‘s residency experience in USA and expecting to share with Hong Kong audience the artist’s research and experience in Yale University. The exhibition sums up the artist’s residency experiences ranging from workshops carried out in American public schools, collaboration with Eli Whitney Museum (New Haven, Connecticut), the final artwork result - New Haven Green & I showed in public parks during the Pop-Up Festivals and International Festival of Arts and Ideas, as well as the process of making a new series of work.
 
The exhibition presents the findings of this research-based art project that the artist developed in New Haven, USA which the artist hope to share the artist dialogue with audiences in Hong Kong.
 
 
Mat6 Gwai1 Yun4 Jyu2 – A Solo Exhibition by Debe Sham
Opening Reception: 12th October 2018, 7pm-8pm
 
“New Haven Green & I” Book Launch & Artist Dialogue: 12th October 2018, 6pm-7pm
Guests: Miss CHOI Yan-chi & Miss WONG Lai-ching, Fiona
 
 
Artist Statement
History is reincarnation. It repeats, changes and touches human soul. I am so pleased to live in one and become part of it. Current global political situation fluctuates without rules, only facts; no patterns, only preferences; no sequences, only prejudice. “Prophecy” comes from today’s happenings. At this very moment, I insist on believing the existence of the certain fact, for instance, interpersonal relationship. Mat6 Gwai1 Yun4 Jyu2 is my vainly attempt towards the eternal time.
 
 
Short biographies of the artist
Debe Sham graduated from the Hong Kong Baptist University in Visual Arts (B.A. 2011 & M.A. 2013). She then has taught as a visiting artist at the Department of Visual Studies, Hong Kong Lingnan University. Debe has joined the Academy of Visual Arts, HKBU as a part-time lecturer since January 2016. She received the Hong Kong Economic and Trade Office (New York) Yale-China Art Fellowship 2017 and served as a research scholar at Yale University (U.S.A.). Currently, she is based in Hong Kong and joined the Department of Fine Arts in Chinese University of Hong Kong as a part-time lecturer.
 
Debe is a sculptor and an interdisciplinary artist, usually works with metal and glass. The performative sculptures and site-specific installations she has developed in the past several years have grown out of the artistic exploration of the role of public art. Specifically, she has focused on 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.
 
http://www.debesham.com/
 
Co-presented by Burger Collection and 1a space.
 

“Breeding in the Last Room”  Multimedia Art Exhibition

28.07 – 26.10.2018

Venue: 1a space (Multi-purpose Room)
 
Chapter One. A Bronze Nap
Artist: Untrou-art
Exhibition Period: 28 July - 26 August 2018
 
Chapter Two. The Darkening Planet
Artist: Liu Wai-tong
Exhibition Period: 1 - 23 September 2018
 
Chapter Three. Put Something Somewhere at a Certain Time
Artist: Chen Pai'an
Exhibition Period: 29 September - 26 October 2018
 
Exhibition Introduction
 
"However, if you don’t want it to be completely closed and dark, you can still imagine. Imagine there will be three stories breeding in the last room."
 
Curated by untrou-art, this exhibition attempts to present an invisible book which is composed of three independent stories, featuring the works of untrou-art, Liu Wai-tong and Chen Pai'an. The stories will be made of “text”.
 
Exhibition works are broken from origins (original work, prototype or a complete discourse)  into pieces of name, phrase, installation, video, sound, photo,object and painting,etc. They flow, combine or are against each other in a multi-dimensional space. At last, there are no origins but works which are decentralized and cannot be classified clearly. They become their own “text” .
         
Exhibition Events

Opening Sharing Session: 28 July 2018 | 2:30pm
Opening Reception: 28 July 2018 | 5pm | Welcome to bring your own drinks
Guests: Cat Ha (Curator) | Siu Go (Artist)
 
Poetry and Music:  25 September 2018 | 5pm
Guests: Liu Wai Tong (Poet) | Siu Go (Artist)
 
Sharing Session:  29 September 2018 | 5pm
Discussants: Chen Pai'an (Artist) | Cat Ha (Curator)
 
Curatorial Information

Curator: Cat Ha
Curation: Untrou-art
Curatorial Assitant: Myra Chan
Organizer: kubrick and 1a space
 
Breeding in the Last Room: An Invisible “book”
Curatorial Statement
Cat Ha

Prologue

What will happen in a small room at the end of a place? Besides small, hot and stuffy, perhaps nothing happens. Still and silent.
The last room acts like a dispensable tail, appearing outside or before legitimacy/ authority as a floating and temporary living place.
Actually, a small area is not necessarily disastrous or miserable. It has its diversity and breeds quietly until someone finally seal it like a can.
However, if you don’t want it to be completely closed and dark, you can still imagine. Imagine there will be three stories breeding in the last room.
 
Content
Chapter One     A Bronze Nap  |  Untrou-art
Chapter Two     The Darkening Planet  |  Liu Wai-tong
Chapter Three   Put Something Somewhere at a Certain Time  |  Chen Pai'an

Epilogue
 
1. Exhibition Structure: An invisible “book”  formed by three independent “stories”. The “stories” are made of “text”
 
2. Exhibition Concept: “Text”. Works are broken from origins (original work, prototype or a complete discourse)  into pieces of name, phrase, installation, video, sound, photo,object and painting,etc. They flow, combine or against each other in a multi-dimensional space. At last, there is no origin but works which are decentralized and cannot be classified clearly. They become their own “text”.
 
Chapter One     A Bronze Nap  |  Derived from the title of a story inside the novel The Desire of Dog 《欲望之狗》
Chapter Two     The Darkening Planet  |  English Title of Liu Wai-tong’s newest Photography Book
Chapter Three   Book and Phrases will be the medium of visual artwork. It is a visual artwork or a story.
 
Artist and Curator Information
 
Untrou-art

"Un trou" literally means a hole in French. Untrou-art, Black Hole Art, is an independent art team in Hong Kong, with Cat Ha and Siu Go as the core members. Founded in 2013, Untrou-art has curated art exhibitions and projects while at the same time created art with the emphasis of literature in art.

Untrou-art is striving to create art across different mediums and forms by exploring the relationship between city, space and human. Including but not limited to art museums and galleries, Untrou-art has organized exhibitions in different “out of place” sites like city space and Internet in order to promote multimedia art.

Untrou-art has organized 11 exhibitions so far. Major exhibitions: “You were swallowed-When the idea was a whirlpool”(Redtory, Guangzhou), “A path to escape” (PuGallery, Guangzhou ), “Who ate your border? ”( Shantou University), “Home is an exhibition space”(untrou-art, Internet exhibition, Hong Kong), “Hong Kong is a contemporary art museum - Some key words” (Tong 3 Space and Kowloon Streets, Hong Kong) , “Hoarding items, and the things bring up” (2018 Fotan Open studios, Hong Kong).

Cat Ha

Hong Kong writer and independent curator. Has published 9 novels. Starting from 2011, Cat Ha breaks the conventional form of novel and writes mini-novel. Mini-novels: Sweet Black Hole (Cat Ha X Eric co-authors),  Ishoku Orange and The Dog of Desire. She has curated 11 exhibitions so far.
 
Kou Chin Ngai (Siu Go)
 
Hong Kong artist, Cross-media creation. Member of Untrou-art, has planned and participated in many art projects. Siu Go’s  work “A Mass of Things” was shortlisted for nomination in Hong Kong Contemporary Art Awards 2012. He has mainly participated as artist in exhibitions and planned exhibitions for in recent years.
 
Liu Wai-tong
 
Poet, writer and photographer. Liu Wai-tong has been awarded several literary prizes in Hong Kong and Taiwan, including the China Times Literary Award, the United Daily News Award, and the Hong Kong Arts Development Award for Best Artist (Literature).
 
He often receives invitations to participate in local and international literary events, including Poetry International Rotterdam in 2013 and Singapore Writers Festival in 2016.
 
Since his debut in 1995, Liu has published 13 collections of poetry: Cherry and Vajira, The cup of spring, and Wandering Hong Kong with Spirits etc. Also he is a photographer with several works In Search of Tsangyang Gyatso Lonely China, Paris: Photos de scène sans titre etc.
 
Chen Pai'an
 
Born in Guangzhou, China, 1988. Graduated from sculpture department of Guangzhou Academy Of Fine Arts in 2013, currently based in Guangzhou. Chen Pai'an always works with digital image editing, literature, digital drawing and video. His experience of working for an advertisement company, a decoration company and a fast fashion company makes him realize symbiotic relationships among well-promoted product, perfect-rendering commercial advertisement and deluded consumer. His humorous visual language and logic brings his works a very special sense of story-telling to represent symbiotic relationships.
 
Major exhibition experience: "2017 Bi-city Biennale Of Urbanism / Architecture", Shenzhen, China (2017) ; "Chen Pai'an, Huang Shan, Lai Zhijie, Lai Cheuk Wah, Wen Junjie", Canton Gallery, Guangzhou, China (2017) ; "What You See Is Not What You See", Fort Mason Festival Pavilion, San Francisco, America (2017) ; "Rhythm-analysis", OCAT Library, Shenzhen, China (2017) ; "3rd CAFAM Biennale, Museum of CAFA", Beijing, China (2016) ; "2016 Westbund Art & Design", Canton Gallery, Shanghai, China (2016) ; "Aint No Chicken Outside The Canton", Reformer Space, Shanghai, China (2016) ; "Capillaries Of The Field", Museum of GAFA, Guangzhou, China (2016) ; "InstitutionProduction" Ecology Investigation of Contemporary Art of Young Guangzhou Artists", Guangdong Museum of Art, Guangzhou, China (2015)
 
Listen Up?!
10.11– 30.12.2018
Venue: 1a space

1a space proudly presents Listen Up?! , thematic symposium and exhibition. 

 

1a space’s finding exhibition, “National Museum or Gallery?” has provocatively drawn on the campaign as a counter point to unveil Hong Kong’s cultural state. In borrowing the significations and to expand its 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.

 

Despite the reform and reinterpretation of alternative art space, the development of Contemporary Art consistently challenges traditional artmaking convention. With 1a space’s 20 years of experience in 2018, we firmly believe that this attitude should be concurrently discussed and considered. 

 

The title Listen Up?! comprises multiple layers of meaning. It could be understood as a progress in action of obedience. The punctuation ‘?!’ itself also refers to a questioning manner of this ideas, representing an open-end question for ideas exchange and mutual communication. It denotes and introspects the framework of conventional impression of independent art space and art practitioners. 

 

Foreseeing this thriving development in Hong Kong art, the project aims to deliberate and question artistic milieus from independent art space, emerging artists and art practitioners by encouraging forward discussions, exhibition and publication. 5 characteristics of an independent art space/artists/art practitioners will be emphasized in the discussions: 

 

 

  • Dallying

  • Living hand to mouth

  • Cynical

  • Grouping & Forming Party

  • Play Fast & Loose

 

 

Symposiums

10/11 3pm5pm  Dallying

Panelist: Lo Yin Shan, Ricky Yeung Sau Churk, Luke Ching Chin Wai

 

11/11 3pm5pm  Living Hand to Mouth

Panelist:  Debe Sham , Wen Yau, Wong Ka Ying

Discussant: Kacey Wong

 

17/11 3pm5pm  Cynical

Panelist: C&G Artpartment, Tang Siu Wa, Pia Ho

Discussant: Ricky Yeung Sau Churk

 

18/11 3pm5pm  Grouping & Forming Party

Panelist: Orlean Lai, Tang Kwok Hin, Yim Sui Fong

 

24/11 3pm5pm  Paly Fast & Loose

Panelist: May Fung, Wong Tin Yin, Chris Chan

Exhibition Participating Artist (in no particular order) :

 

Matthew Tsang

Matthew Tsang Man Fu (b. 1973) is a Hong Kong visual artist. He completed his BFA in 2008 and MFA in 2015, both with RMIT, Australia. His works investigate the relationship between time, change, process and materiality. He works mainly with a variety of natural materials including wood, ice and charcoal and utilises processes including burning, melting and freezing. His artworks are presented in installation, video, photographs and sculptural objects. Tsang has exhibited in Hong Kong and Australia, including his solo show Where the End is the Beginning (2016), World and Heaven: the Hong Kong Sculpture Biennial, 2016 and Harbour Art Sculpture Park ,2018. In 2010 he was invited to join the East Kowloon Art and Cultural Initiation Scheme as the tutor of the sculpture course. Since 2012 he has been a lecturer at Hong Kong Art School.

 

Lee Wing Ki

Lee Wing Ki is a photographer and visual artist based in Hong Kong. Lee read History of Art at University of Hong Kong, and received a postgraduate degree in Photojournalism and Documentary Photography at London College of Communication, University of the Arts London, supported by a British Chevening Scholarship. Lee’s works are informed by history, document and visual archive; and through practice-based research he explores the feasibility and application of photographic image, its history, cultural root and technical aspect, to address contemporary issues. Lee’s photography works exhibit in Austria, Germany, Hong Kong, Latvia, Taiwan and the UK. His work ‘Tsang’s Odyssey’ is selected as a Finalist of the WMA Master Awards (Mobility) in 2017/18. Lee is also a researcher and writer in history of photography and visual and material cultures. His writings are published in museum’s monograph, gallery and art festival catalogue, magazine as well as peer-reviewed international academic journal. Lee is currently an assistant professor at the Academy of Visual Arts, Hong Kong Baptist University.

 

Debe Sham

Debe Sham graduated from the Hong Kong Baptist University in Visual Arts (B.A. 2011 & M.A. 2013). She then has taught as a visiting artist at the Department of Visual Studies, Hong Kong Lingnan University. Debe has joined the Academy of Visual Arts, HKBU as a part-time lecturer since January 2016. She received the Hong Kong Economic and Trade Office (New York) Yale-China Art Fellowship 2017 and served as a research scholar at Yale University (U.S.A.). Currently, she is based in Hong Kong and joined the Department of Fine Arts in Chinese University of Hong Kong as a part-time lecturer.

 

Debe is a sculptor and an interdisciplinary artist, usually works with metal and glass. The performative sculptures and site-specific installations she has developed in the past several years have grown out of the artistic exploration of the role of public art. Specifically, she has focused on 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.

http://www.debesham.com/

 

Chung Wai-ian

Hong Kong based artist. Chung Wai-ian received her BA from Hong Kong Baptist University in 2009.  She works with sculpture and installation. She concerns space and habit in human living situation and explores the contradiction in daily culture. Her works have been invited to be presented in exhibitions including  “Both Sides Now - Somewhere between Hong Kong and the UK” in Osage (HK, 2014),  “Macau city Festival -Parade in Inner Harbour” (Macau, 2011),  “Walking to Canton X Canton Canton” in Fei Gallery  (Guangzhou, China, 2010).  In 2013, she has invited to participate in a residence program “ [en]counters 2013: powerPLAY” organized by ArtOxygen, India.

 

NG Ka-chun

NG Ka Chun (b.1985) received his BA degree in Visual Arts from Academy of Visual Arts, Hong Kong Baptist University in 2008, currently is living and working in Hong Kong.

His art unsettles city dwellers' relationship with nature. In many of his works, he puts a spin on ready-made objects, presenting an alternative perspective that challenges the commonly accepted way of life. He also responds to social issues concerning fast-paced development in the city and preservation with interventional installations. His works have been presented in exhibitions in Hong Kong, China, Australia and Korea including Goethe-Institut Hongkong, OpenSpace Bae and etc. In the summer of 2014, he participated in an artist residency in OpenSpace BAE, Korea.In recent years, he has participated in several public/community art projects in Hong Kong.

Now he is also one of artistic committee member of 1a Space in 2014

http://www.hei-ngkachun.blogspot.hk/

 

Cheung King-wai Reds

Reds Cheung is an independent visual artist, curator and arts teacher. He survived in local art community for several years, also being recognized by teaching in local art institutions, project administration, protestor etc, after received BA visual arts and MA visual culture studies. He creates art mainly start from following the given situation,provide intuitional responds through artworks/creative solutions. Currently he is focuses in education matters and schooling system, symmetrically to his practical works in teaching as art, thinking the use of ambiguous in art education. Reds is a member of 1a space’s artistic panel and visual arts teacher in HKICC School of Creativity.

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1a space @1998-2019

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