Hong Kong

 

Isaac Chong Wai (b. 1990, Guangdong province, China) is a multimedia artist based in Berlin and Hong Kong. He graduated from the Academy of Visual Arts at Hong Kong Baptist University with a BA in Visual Arts in 2012, and the Bauhaus-Universität in Weimar, Germany, with a MFA in Public Art and New Artistic Strategies in 2016. Chong works with a diverse range of media, including performance, site-specific installation, public art, video, photography and multimedia. Influenced by personal events and global phenomena, he engages themes of collectivism and individualism, politics of time and space, border, migration, war, identity politics, LGBTQ, public sphere and human rights. His recent solo exhibition includes Chapter A: The Rehearsal of the Futures, Apartment der Kunst, Munich, Germany, 2018, Chapter B: An Artistic Archive of Borders, Kunstraum München, Munich, Germany, 2018, and What is the future in the past? And what is the past in the future?,Bauhaus Museum, Weimar, Germany, 2016. In 2018, Chong was commissioned by M+ to produce the performance work Rehearsal of the Futures: Police Training Exercises.

莊偉 (1990年，生於廣東) 是一名活躍於柏林和香港的多媒體藝術家。2012年香港浸會大學視覺藝術院學士畢業，2016年於德國魏瑪包浩斯大學取得公共藝術及新藝術策略碩士學位。莊偉的創作涵蓋行為、裝置、公共藝術、錄像、攝影和多媒體。在他的作品裡，人體之間的張力、介入和互動被轉化為人類社會系統關係的縮影。莊的創作受各種個人境遇、社會議題和國際現象所影響，涵蓋的主題包括：集體/個人主義、時空政治、邊界、移民、戰爭、身份政治、性小眾 、公共領域和人權等。莊偉近期的個展包括德國慕尼黑Apartment der Kunst的 《Chapter A: Rehearsal of the Futures》 (2018) 、德國慕尼黑Kunstraum München的 《Chapter B: An Artistic Archive of Borders》 (2018) 及德國魏瑪包浩斯博物館的《What is the future in the past? And what is the past in the future? 》 (2016)；並於2018年，被M+特別委約創作表演作品《未來演習：警察訓練》。他近期參與的群展包括：德國柏林時代藝術中心的《影像三角志：珠江三角洲的錄像藝術》 (2018) 、德國柏林布蘭登堡基金會的《BERLIN MASTERS》 (2017) 及德國的柏林世界藝術館的《Forecast Forum》 (2017) 。 

Portrait © Innsbruck International Mia Maria Knoll

---

Christopher K. Ho (b. 1974, Hong Kong) is a speculative artist based in New York, Hong Kong, and Telluride, Colorado. He received his BFA and BS degrees from Cornell University and his MPhil from Columbia University. His practice encompasses making, organizing, writing, and teaching. He is known for materially exquisite objects that draw equally from learned material about, and lived encounters with, power and otherness in an unevenly de-colonialized, increasingly networked world. Recent solo shows include Dear John at the Brooklyn Academy of Music (2019), Aloha to the World at the Don Ho Terrace at the Bronx Museum of the Arts (2018), and CX 888 (2018) at de Sarthe Gallery in Hong Kong. His multi-component projects have been exhibit at the Guangdong Times Museum,the Queens Museum, the Cranbrook Art Museum, Socrates Sculpture Park, MASSMoCA, Para Site, Storm King, the Incheon Biennial and the Busan Biennale. He is currently co-editing an anthology for Paper Monument titled Best! Letters from Asian Americans. His work has been featured in the New York Times, Artforum, Art in America, Modern Painters, South China Morning Post, LEAP, Hyperallergic, BOMB, Art Asia Pacific, Ocula, Yishu, RanDian, and ArtReview.  

何恩懷 (1974年，生於香港) 是一名活躍於紐約、香港和科羅拉多州特柳賴德的藝術家。畢業於美國康乃爾大學及哥倫比亞大學，其實踐的創作項目包括：物件製作、寫作和教學，並詮釋特權、社群和資本相關的話題 。靈感取材於權力和「他者」文化，在不平等的去殖化並日漸追求人脈的世界進行探索。近期的個人展覽包括：在布魯克林音樂學院的《Dear John》（2019）、布朗克斯美術館的《Aloha to the World at the Don Ho Terrace》（2018）及香港德薩畫廊的《CX888》（2018）。何氏的作品曾在紐約皇后區藝術博物館，克蘭布魯克藝術博物館、 Socrates Sculpture Park 、MASSMoCA、Para Site 藝術空間、Storm King、仁川雙年展及釜山雙年展展出。他現時為《 Paper Monument 》合著一本名為《 Best! Letters from Asian Americans 》的選集。並獲Artforum、Art in America、Modern Painters、南華早報、LEAP Hyperallergic、BOMB、Art Asia Pacific、Ocula、Yishu、Ran Dian及ArtReview等刊物的報導。

---

Leung Chi Wo (b. 1968, Hong Kong) studied the culture of photography at Centro di Ricerca e Archiviazione della Fotografia in Italy in 1991 and obtained a Master of Fine Arts from the Chinese University of Hong Kong in 1997. Using photography, texts, found objects, performance and installation, Leung combines historical exploration with the conceptual inquiry to reinforce our doubts about memory, power system and the ambivalence of history. His works have been exhibited at major international museums and institutions including Tate Modern, London; NRW Forum, Dusseldorf; Museu da Imagem e do Som, São Paulo; The International Studio & Curatorial Program (ISCP) and Queens Museum, New York. In collaboration with Sara Wong, he represented Hong Kong for its first-time participation in Venice Biennale in 2001. He also participated in other biennials and triennials, such as Shanghai Biennale, Bi-City Biennale of Urbanism\Architecture, Guangzhou Triennial, China; Marrakech Biennale, Morocco; Asia Triennial Manchester, United Kingdom. He had his first survey exhibition at OCT Contemporary Art Terminal in Shenzhen, China in 2015. Leung is also the co-founder of Para Site and currently an Associate Professor at the School of Creative Media, City University of Hong Kong. 

梁志和 (1968年，生於香港) 於1991年於意大利攝影研究及檔案中心修讀攝影文化課程，並於1997年獲香港中文大學藝術碩士學位。梁氏透過攝影、文字、現成物、行為及裝置，融合歷史資料搜集及概念化的探究，驅使我們對記憶、權力體系和歷史矛盾產生懷疑。梁志和的作品曾於多間主要國際博物館及機構展出，包括英國倫敦泰特現代美術館、德國杜塞爾多夫NRW Forum、巴西聖保羅影像聲音博物館、美國紐約國際工作室及策展計畫(ISCP)及美國皇后區藝術博物館。梁志和與黃志恆的聯合創作項目，於2001年代表香港首次參加威尼斯雙年展。他亦曾參於其他年展，包括：上海雙年展、深港城市\建築雙城雙年展、馬拉喀什雙年展、廣州三年展，以及英國曼徹斯特亞洲藝術三年展。於2015年，梁志和在中國深圳OCT當代藝術中心舉辦回顧展《請按鈕……膽前顧後—梁志和個展》。梁氏是Para Site創辦成員，現為香港城市大學創意媒體學院副教授，於香港居住和工作。

---

Andrew Luk (b. 1988, New Jersey, USA) is a multimedia artist whose practice illustrates the ever-changing representation and perception of violence. Inspired by post-structuralism and Paul Virilio’s practice, Luk investigates how civilization regards itself in relation to nature. He examines civilization while studying the natural forces of entropy, anti-entropy, and preservation. In 2010, Luk graduated from the New England School of Art and Design (NESAD) in Boston, Massachusetts with a BFA while attaining his BA degree in European History at Suffolk University in Boston, Massachusetts. His works have been exhibited internationally including in Appropriate Responses for Featherless Bipeds with Broad Flat Nails, chi K11 art museum, Shanghai, China (2018); A Tree Fell in the Forest, and No One's There, Power Station of Art, Shanghai, China (2018); Practice, de Sarthe Gallery, Hong Kong (2017); “,” , Blindspot Gallery, Hong Kong (2017); At Wits’ End, Kula Bazaar ACC, Gwangju, Korea (2016); The Imaginary Order, Gallery Exit, Hong Kong (2016); The Magnet Palace, Clockenflap, Hong Kong (2015).  

陸浩明 (1988年，生於新澤西州) 是一名跨媒體藝術家，擅長使用多種材料，並致力探索「暴力」的社會歷史意義。受法國哲學家保羅・維希留的後結構主義思想影響，陸浩明在其創作中探究人類文明對自己與自然關係之間的詮釋，尤其對自然產生的熵變和存留過程感興趣。2010年他畢業於新英格蘭藝術與設計學院 (NESAD)，獲藝術學士學位；同年還獲得了薩福克大學的文學士學位，主修歐洲史。陸浩明曾在香港與海外舉辦個展與藝術項目，包括：《予有著扁平趾甲的無毛兩足動物的恰當回應》，上海chi K11美術館，上海，中國 （2018）；《林中的樹倒下而沒有人在》，上海當代藝術博物館，上海，中國（2018）；《練習》，德薩畫廊，香港（2017）；《，》，刺點畫廊，香港（2017），《百思不得其解》， 國立亞洲化殿堂Kula 市場，光州，韓國（2016）；《想像中的秩序》，安全口畫廊，香港（2016）；《磁宮殿》，Clockenflap音樂節，香港（2015）。

---

Vivian Qin, aka Xiaoshi Vivian Vivian Qin (b. 1989, Guangzhou) is an artist based between Guangzhou and Hong Kong. She graduated from Columbia University (New York) in 2015 (MFA Visual Arts) and Denison University (Ohio) in 2012 (BA, Communication and BA, Studio Arts). Her works have been shown at UCCA, Beijing (2019), Jewish Museum, New York (2014), Queens Museum, New York (2016), Savvy Contemporary, Berlin (2019), Para Site, Hong Kong (2017, 2019), Long March Project, Beijing (2019), Taikang Space, Beijing (2018), 221A, Vancouver (2015) and Artista x Artista, Havana (2019). Her solo exhibitions include Lv Hua Dai in Salt Projects, Beijing (2018) and Things to Come in Weekend, Seoul (2017). She received Sarah Sze’s nomination and was awarded the Lotos Foundation Prize in 2015. She has also participated in the artist-in-residence programs in Spring Workshop, Hong Kong (2017), Salt Projects’ OffShore residency in Dinawan, Malaysia (2019) and All the Way South, Times Museum with Artista x Artista (2019). She is the editor-in-chief of Ruthless Lantern, an art gossip magazine. 

覃小詩（1989年，生於廣州）是一位活躍於廣州與香港兩地的藝術家。覃氏2015年於哥倫比亞大學獲得藝術碩士學位，2012年於文理學院丹尼森大學獲得藝術以及傳播學學士雙學位。她的作品曾於北京UCCA尤倫斯當代藝術中心（2019）、紐約猶太博物館（2014）、紐約皇后區藝術博物館（2016）、柏林Savvy Contemporary（2018）香港Para Site 藝術空間（2017，2019），北京長征計畫（2019）、北京泰康空間（2018）、溫哥華221A（2015）及哈瓦那Artista x Artista（2019）等機構展出；個展包括《綠化帶》（北京Salt Project，2018），以及《篤定發生》 (首爾Weekend，2017）。她曾得到Sarah Sze 提名並獲得紐約 Lotos 基金會獎（2015）。她參與的藝術家駐留計畫包括：香港Spring工作室（2017）、馬來西亞金之島Salt Projects的OFFSHORE（2019），以及哈瓦那時代美術館一路向南交換計畫（2019）。她創辦了藝術八卦雜誌《無情燈》。 

---

Sara Wong (b.1968, Hong Kong) trained in Fine Art and landscape architecture. Her practice ranges across visual art, art and design education and spatial design. She co-founds Para Site and is currently a board member. She was the resident artist at PS1 Contemporary Art Center and the Bronx Museum of the Arts in New York, and the Nordic Artists’ Centre Dale in Norway. Her artistic works were exhibited in institutions and Biennials including National Museum of Singapore, Witte de With Centre for Contemporary Art in Rotterdam, Aichi Triennale, Venice Biennale and Gwangju Biennale.  

黃志恆 (1968年，生於香港) 曾修讀藝術和園境建築，並從事多領域工作包括藝術創作、藝術與設計教學和課程發展及空間設計，也是Para Site藝術空間創辦成員及現任董事。黃曾參與美國紐約 PS1當代藝術中心、布朗克斯美術館、挪威戴爾北歐藝文中心等藝術家駐場計劃。作品曾於星加坡國立美術館、鹿特丹Witte de With現代藝術中心、愛知三年展、威尼斯雙年展、光州雙年展及上海雙年展等展出 。 

---

Cici Wu lives and works in New York. Having received her bachelor degree from the School of Creative Media, City University of Hong Kong, and completed her MFA (class of Maren Hassinger) at the Maryland Institute College of Art, she has had solo exhibitions at 47 Canal, New York (2018), Empty Gallery, Hong Kong (2019), Bonnevalle, Noisy-le-Sec, France (2018), and has participated in group exhibitions at Auto Italia, London (2020), Asia Society, Hong Kong (2020), Para Site, Hong Kong (2018), and Triangle Arts Association, New York (2017). She has co-curated group exhibition Scraggly Beard Grandpa at Capsule Shanghai (2017), and co-founded PRACTICE, a studio and residency based in New York (2015). She was an artist-in-residence at Queens Museum, New York (2018-2020), Seawitch, Hong Kong (2018), and Taipei Artists Village, Taiwan (2017). 

武雨濛在紐約居住及工作。畢業於香港城市大學創意媒體學院，並在馬里蘭藝術學院取得了藝術碩士學位，指導教授為Maren Hassinger。她曾於紐約47 Canal畫廊、香港Empty Gallery、和法國努瓦西勒塞克Bonnevalle空間舉辦個展；亦在倫敦Auto Italia South East空間、香港Para Site、紐約布魯克林Interstates Project以及Triangle Arts Association等參加群展。她同時於膠囊上海聯合籌辦群展《雜毛連鬚公》，也是紐約藝術空間PRACTICE的合創人。她亦有於香港Seawitch、台北國際藝術村以及紐約皇后區藝術博物館參與藝術家駐留計畫。

---

Multi-disciplinary artist Samson Young was trained as a composer, and graduated with a Ph.D. in Music Composition from Princeton University in 2013. In 2017 he represented Hong Kong in a solo project at the Hong Kong Pavilion of the 57th Venice Biennale. Other solo exhibitions include the De Appel, Amsterdam; Kunsthalle Düsseldorf; Talbot Rice Gallery, Edinburgh; SMART Museum, Chicago; Centre for Contemporary Chinese Art in Manchester; M+ Pavilion, Hong Kong; and Hiroshima City Museum of Contemporary Art, among others. Group exhibitions include Solomon R. Guggenheim Museum, New York; Performa 19, New York, Biennale of Sydney; Shanghai Biennale; National Museum of Art, Osaka; National Museum of Modern and Contemporary Art, Seoul; and documenta 14: documenta radio; amongst others. He was the recipient of the BMW / Art Basel Art Journey Award, Hong Kong Arts Development Council Artist of the Year Award, Prix Ars Electronica, and the Bloomberg Emerging Artist Award. In 2019, he was shortlisted for the inaugural Uli Sigg Prize. His works are held in the collections of Solomon R. Guggenheim Museum, New York; M+ Museum, Hong Kong; Mori Art Museum, Japan; and the Israel Museum, Jerusalem. 

跨領域藝術家楊嘉輝出身音樂創作，於2013年獲得普林斯頓大學音樂創作博士學位。在2017年，藝術家曾代表香港參加第57屆威尼斯雙年展。此外，他曾在世界各地舉辦個展，包括：阿姆斯特丹De Appel、德國杜塞爾多夫美術館、愛丁堡大學Talbot Rice Gallery、芝加哥SMART藝術博物館、曼徹斯特華人當代藝術中心（CFCCA）、香港M+展亭和廣島市現代美術館等。並曾參與群展包括：紐約古根海姆美術館、紐約Performa 19雙年展、悉尼雙年展、上海雙年展、大阪國立國際美術館、首爾MMCA國立現代美術館和卡塞爾文獻展之卡塞爾電台廣播等。楊嘉輝曾獲多個獎項，包括：2015年寶馬藝術之旅獎項和2018年香港藝術中心藝術榮譽獎、香港藝術發展局的年度最佳藝術家獎（2013）、奧地利媒體藝術節電子藝術大獎（2012）、彭博新一代藝術獎（2007）。在2019年，他入選首屆希克獎。他的作品收藏於紐約古根海姆美術館、香港M+、日本森美術館以及耶路撒冷以色列博物館

Portrait © Studio portrait by Fritz Beck

---

Established in 2015, Zheng Mahler is a Hong Kong-based collective founded by artist Royce Ng and anthropologist Daisy Bisenieks. Together, they work on intensive, community-based and site-specific projects that unite digital media, performance, and installation to explore the complex relationships between art and anthropology. These projects have been exhibited at Johann Jacobs Museum, Zurich (2014); Gertrude Contemporary,Melbourne(2013); Artspace Mite Ugro, Gwangju (2012); Kunsthalle Gwangju, Gwangju (2011); and Nena Contemporary Art Space, Chiangmai (2009), among others.

Zheng Mahler 是藝術家吳瀚生及人類學家 Daisy Bisenieks 在2015年創立的本地藝術組織。作品喜以電子媒介、表演和裝置來連繫社區及回應空間特性，以探討藝術和人類學複雜的關係。他們的創作曾於瑞士蘇黎世 Johann Jacobs Museum (2014) 、澳洲墨爾本 Gertrude Contemporary (2013) 、南韓光州 Artspace Mite Ugro 及 Kunsthalle Gwangju (2011)，以及泰國清邁 Nena Contemporary Art Space (2009)等展出。 

Royce Ng (b. 1983, Melbourne, Australia) is a Chinese-Australian artist who makes site-specific work with an anthropological approach, organizing collaborative projects that deal with economics, politics, urban development, and aesthetics.  
 
吳瀚生 (1983年，生於澳洲墨爾本) 主要以人類學及民族音樂學角度創作場域特定作品，探討有關經濟、政治、城市規劃和美學等主題。 

Daisy Bisenieks (b. 1983, Melbourne, Australia) is an anthropologist whose research interests expand anthrozoology, sensory and multispecies ethnography, museum studies, politics, and development.

Daisy Bisenieks (1983年，生於澳洲墨爾本) 現為人類學家，主要研究人類生物學、感觀和多種族民族誌的關係、博物館研究、政治和發展等。

Chamber 1 | 展廳一

 Mountains of Gold and Silver Are Not as Good as Mountains of Blue and Green
《綠水青山不是金山銀山》 
2020
Zheng Mahler

In Mountains of Gold and Silver Are Not as Good as Mountains of Blue and Green, Zheng Mahler deals with automatons, rare earths minerals and trade wars, as a document for understanding the present by drawing historical symmetries between the geopolitics of the 18th century and the present.    

In the 18th century these geopolitical and material flows intersected through kaolin, the secret ingredient of fine bone porcelain which mystified and eluded European traders. While in the 21st century similar desires circulate because of the scarcity of rare earth elements, mined from the very same vast quarries around Jingdezhen in Jiangxi province, like cerium [Ce], lanthanum [La], gadolinium [Gd], neodymium [Nd]+ used in both electronic and green tech industries. The contradiction between the development of “environmental technologies” and ecological impacts of the rare earth industries engender the artists’ radical rethinking of what “economy” could mean.   

The work conjures a ghostly object-opera that morphs and sings through text-to-speech generators, strands of intersecting narratives within Zheng Mahler’s research through 3D technological or mineral objects generated by holographic fans as they devise clandestine strategies to escape current modes of “production-extraction” through speculative reorientations.  

作品《綠水青山不是金山銀山》中，Zheng Mahler以自動操作裝置、稀土和貿易戰作為解讀當下的拼合，描繪出18世紀地緣政治與當下的歷史對稱。

地緣政治與物料流在18世紀通過高嶺土相交，當時歐洲商人對精緻的骨瓷感到十分著迷，其中高嶺土正是當中的秘密成分。到了21世紀，相似的願景圍繞著稀土元素的稀缺而循環，這些稀土元素都是從江西景德鎮附近相同的大型採礦場開採出來，比如鈰[Ce]、鑭[La]、釓[Gd]以及釹[Nd]+，它們都獲用於電子和綠色科技產業。環境科技的發展與稀土產業的生態影響之間的矛盾促使藝術家對「經濟」的含義進行徹底的反思。

作品如同一齣鬼魅歌劇，文字轉換語音變形器對唱，配以全息影像風扇營造的立體科技產品和礦物質的裝置，交織出Zheng Mahler 研究的敘事線——設計出秘密策略，通過對「照顧性經濟」的重新定位來逃避當前「生產——開採」的模式

---

Chamber 2 | 展廳二

If Sunset Had a Voice (Doomsday Preparation Plan)  
《若問夕陽（末日預備計劃）》 
2020 
Vivian Qin 覃小詩 

If Sunset Had a Voice forms a part of Vivian Qin’s on-going doomsday preparation series, focusing on cross-cultural knowledge and stories related to the disaster preparation during uncertain time. The multimedia installation features a shadow play of the artist’s failed doomsday prepping attempts between ruins and her room staged in an artificial sunset. Real life and fantastical items are used as props in the narrative, such as pieces of glass that the artist collected during Typhoon Mangkhut from the Harbour Grand Kowloon Hotel and a pair of worn glasses left from a building as part of the Manhattan Project in New York.  A set of metal characters, with the first two sentences–“Not losing to the rain, not losing to the wind"– of Japanese writer Kenji Miyazawa’s poetry Be not Defeated by the Rain is swinging on the rebar coming out of the ruined concretes base. To the sunset, the artist asked for the power and wisdom of how we ought to keep each other alive.   

《若問夕陽》是覃小詩近年末日預備系列的其中一部分，用意了解跨文化災害預防的智慧及故事。多媒體的裝置循環放映著一齣影子戲 ：記錄藝術家在人造黃昏下，徘徊於廢墟及自己房間，進行一場徒勞無功的末日預備練習。真實的物件與幻想的素材為故事中使用的道具，如颱風山竹期間在九龍海逸君綽酒店外拾來的玻璃碎片及於紐約曼哈頓計畫遺址留下來的一副舊眼鏡。左右兩旁的金屬造文字——不畏疾風，不懼迅雨——是日本作家宮澤賢治的詩作《不怕風雨》的摘錄，文字在破損的混凝土底座長出的鋼筋下搖擺。面對夕陽，藝術家希望藉此在夕陽時也可以思考如何保持具生命力且互相扶持的力量及智慧。

Apparition Lattice of Reflexive Grappling
《本能性掙扎的幻影交織》
2020
Andrew Luk 陸浩明  

Asia Society Hong Kong Center is located at the former Explosives Magazine of the old Victoria Barracks. During the 19th century, the site was then transferred to the Royal British Navy, and its surrounding area was auctioned by the colonial government for financial support.     

More than just a physical site, Luk sees this heritage space as an elaborate system of interwoven stories and ideas that offers metaphorical meaning for its visitors. By reproducing boundary stones originally found in the periphery – used as boundary markers for the historic barracks – Luk questions the fundamental idea of boundaries in the tangible world. The stones are recreated using different materials, including water, charcoal, and copper. Rather than experiencing time as we typically do, Luk invites viewers to experience time through these recreations.  

Chronicle Compression is an on-going series created by Luk. In comparison to producing sculptures, Luk compresses large-scale architecture into aluminium sheets, retracing the original texture, detail, and tactility. Compressing space and time as if one is studying history through perceiving the contour and marks from heritage sites. 

亞洲協會香港中心座落於舊域多利軍營的前軍火庫內，這片土地在19世紀時為英國皇家海軍擁有，周邊土地被拍賣用以支持殖民政府的財政需要。  

對於這個歷史遺址，陸氏建議不僅從物質層去理解這個空間，而是將之建構成一個含不同故事和想法的系統，讓參觀者領略這個充滿隱喻的空間。通過塑造建築物外發現的幾座海軍界石，藝術家質疑物質世界中邊界的基礎概念。透過不同材料，如水、碳和銅，藝術家沒有刻意為觀眾界定時間的邊界，而是期望觀眾自己嘗試藉著時間中那在褪色的人類經驗，透過物件去經歷時間。  

《壓縮記錄》是藝術家一個進行中的創作系列，對比起創作雕塑，陸氏反而將建築壓縮成小型的平面鋁板，營造凹凸強調紋理、細節和觸感。陸氏將空間和時間壓縮，對遺跡的輪廓和標誌的感知，變化成研究歷史的方法。  

 

---

Chamber 3 | 展廳三

Falling Carefully
2020
Isaac Chong Wai 莊偉 

Isaac Chong Wai presents a body of work including sculpture, video, drawings and ready-made objects. In Falling Carefully, the action of falling is frozen volatility, duplicating the artist’s body into different positions during a fall. Each position supports other positions within a structure that allows the sculptures to stay intact. Chong attempts to radically transform the feeling of powerlessness during a fall – a condition most of us believe we cannot escape the inevitability and impossibility – into an imaginary, collective and supportive foundation.   

The philosopher John Locke once discussed the falling man above a crumbled bridge – the action of falling is involuntary. The man does not voluntarily fall, nor could the man avoid falling. The unintentional action of falling is no longer a self-autonomous movement dominated by our body and will. Resisting the automatism, Chong interrupts how we perceive the failure of standing. By questioning the unavoidable outcomes of falling, the work subverts the expected collapse attentively and considerably as the failure of falling. 
 

莊偉的作品包含雕塑、錄像、繪畫及現成物。在《 Falling Carefully 》中，跌倒的一瞬間被凝結，複製著藝術家身體而成的雕塑以不同的姿勢呈現正在跌倒的狀態。雕塑沒有散落，反之在彼此倒下的情況裡面，身體部位形成了相互支撐的結構。莊氏試圖將無力感——一種自知不受控及不可抵御的情狀，轉化為一種虛構的，集體的和支持的基礎。    

哲學家約翰·洛克曾經討論過在倒塌的橋上墜下的人，其墜落的行為是非自願的。那人的跌倒是無意識的，也不能避免。其行為動作不再受制於我們的身體及意志的支配。莊氏崇尚無意識的行為，並試圖突破我們對無力站立的看法。通過對跌倒是不可避免的立論提出質疑，這個作品著力顛覆有預謀的跌倒——有意識的預備造成失敗的跌倒。 

---

Chamber 4 | 展廳四

The World Falls Apart into Facts  
2019
Samson Young 楊嘉輝

This work derives from Young’s extensive research into the famous folk song Molihua (Jasmine Flower), as well as a fantastical account of a Togaku (Tang dynasty court music).   

Adopting artist Paul Carter’s understanding of “echoic mimicry,” Young uses the genealogy of Molihua as a case study about cross-cultural encounters. The version of the song we now understand to be synonymous with Chinese culture actually most closely resembles the version transcribed by English statesman John Barrow during his attachment to the first British embassy to China. Barrow’s tune and accompanying travelogue exploded in popularity across Europe, eventually making it back to its “native” land, before being reabsorbed into Chinese identity. With other cases of such encounters, including Kenny G’s influence on Hong Kong pop music and centuries-unchanged Japanese Togaku now used as one of few extant sources of Tang dynasty court music, Young considers what it means to hear with the ears of another and questions the notions of cultural purity and authenticity at large.  

作品構思源於楊氏對著名中國民謠《茉莉花》的深入研究，以及對唐樂（唐代宮廷音樂）的奇幻聯想。   
 
楊氏挪用了藝術家Paul Carter對「迴聲模仿」的見解，探索《茉莉花》一曲在演化過程中的跨文化邂逅。現在最廣為人熟悉的《茉莉花》「中國」版本，其實最接近英國政治家約翰 · 巴羅在十八世紀首次出訪中國時所抄寫的版本。巴羅將《茉莉花》的抄本和相關的遊記結集成書出版，在歐洲廣為流行。巴羅版本的《茉莉花》之後重新「傳入」了中國並且被中國文化所吸收。作品中，藝術家將《茉莉花》與其他類似的跨文化邂逅並置，包括：Kenny G對香港流行音樂的影響，以及從中國傳入日本並被日本樂師保留了下來、卻在本土早已失傳的唐代宮廷音樂。藝術家透過作品反思他者的聆聽差異，以及所謂「文化正統」的真實性。 

---

Annex | 偏廳 

Date Series
《日誌系列》
2017 - 2020
Leung Chi Wo 梁志和

In 2017, Leung Chi Wo began working on Date Series by revisiting bombing locations during the 1967 riots in Hong Kong on the same date, exactly 50 years apart. From these locations, he turns the camera skyward and captures the sky with black and white film.    

Since then, Leung has further developed Date Series into an on-going project that examines the violent events on the old newspapers, ranging from bombing, domestic conflicts, sexual abuse to gang fights. The collection of these events has become a social diary with a personal touch when the artist was able to revisit the sites of violence.    

In naming the images, Leung chose civil and personal events that happened on the day of the crime, bringing to the forefront coexistences of ephemeral yet notable timelines referenced by the very same images. Through polysemy and polyphony, Leung systematizes the contemplation and conception of two kinds of parallel worlds: one temporally synchronous but spatially distant, another temporally distinct yet spatially unified.    

Based on the groundwork of text and photography, the series expands to video and spoken word.  

《日誌系列》是梁志和在2017年展開的創作，藝術家重遊多個六七暴動期間發生炸彈襲擊的地點。在五十年後的同一天，同一個地點，以黑白底片拍攝同一個天空。   

系列之後發展為一個長期閲讀舊報章所載暴力事件的計劃——記錄由爆炸到家庭衝突、性侵案至幫派打鬥事件，每次藝術家均會重訪暴力現場，漸成為一部個人的社會日記。  

在照片的命名上，梁氏選擇了將襲擊發生當日的民眾及個人事件，與短暫而值得紀念的時間線並列。通過多義和複調的手法，藝術家營造出「平行世界」的思考和概念系統：兩個世界，同一地點但不同時間；另一個則不同地點卻是同一時間。  

由文字和攝影出發，作品也擴展至錄像和口述等媒介。  

My Random Diary  
《我的混亂日記》
2020 
Leung Chi Wo 梁志和

My Random Diary is a juxtaposition of the adapted description as diary entries of unrelated events from various news archives and the photos taken during the site visits of the covered violent events. The randomness is attributed not only by the chances the artist made for his personal reflection from the scenes of violence, but also the celebratory events coincidently occurred on the same day exactly 50 years ago.

《我的混亂日記》將不同報章不相關事情的報導修改成日記的形式，並置在藝術家選擇到暴力事件現場考察的攝影紀錄。「混亂」的意思不僅是對其個人對於個別暴力場景的反應，也是因為這與五十年前的慶祝活動巧妙在同日發生。   

50 Years  
《五十年》
2020  
Leung Chi Wo 梁志和

Created as part of My Random Diary, 50 Years uses audio and sound to explore the past by reconciling the difference between social and individual memories. Set against the urban landscape of Asia Society Hong Kong Center, 50 Years acts as a guide as visitors make their way towards the exhibition gallery. This work also serves as a prelude and footnote to the entire series in this exhibition. (English voiceover by Hera Chan)  

這是與《我的混亂日記》同一系列的音頻變奏，讓觀眾在前往展廳的路上細聽。作品以亞洲協會香港中心座落的都市景觀作為背景，耳旁的獨白調和著我們在回顧過去時對社會及個人記憶的差異，遇到社會和個人記憶的差異。這既是藝術家自己的註腳，也是本系列的序幕。（粵語版由藝術家本人旁白）  
 

---

 Lower Deck of Yasumoto Bridge | 康本橋低層露台

Always Stop Eating While You’re Still a Little Hungry
《當你還有點餓時就不要吃了》  
2020  
Christopher K. Ho 何恩懷  

Ho’s two-part work Always Stop Eating While You’re Still a Little Hungry consists of a miniature model theater perched on the lower deck of the Yasumoto Bridge in conversation with a large-scale window decal visible across the ravine, on the exterior windows of the Jockey Club Hall.    

The window decal features Mary Lou Retton – an iconic American gymnast who won an all-around gold during the 1984 Los Angeles Olympics,  which the USSR boycotted, and in which, for the first time since 1952, both the People’s Republic of China and the Republic of China competed. The artist highlights Retton’s ending pose, and captures the moment of her awaiting applause. With a strained smile and a well-trained body gesture, she represented a nation while simultaneously revealing discipline and struggle as an individual.

The intricate, visually disorientated patterns printed on the brass miniature theater refer to historical and contemporary American spectacles. The five primary images are derived from George Balanchine’s ballet Stars and Stripes, performed during Nelson Rockefeller’s inauguration as Governor of New York State, small-town Fourth of July parades, balloons from the U.S. Republican and Democratic National Conventions, eager spectators at the 1984 Olympics, and marches at Colonial Williamsburg, a historic American town preserved by John D. “Junior” and Abby Aldrich Rockefeller.    

Ho deliberately implies various layers of decoy through his imagery. The work alludes to the underside of nationalist spectacle which, like Magic Eyes and Mary Lou Retton’s figure, is at once euphoric and hysteric, yet celebratory and unsettling.   

何恩懷的作品《當你有點餓時就不要吃了》分為兩部分，一部分位於中心康本橋低層露台的微型模型劇院，另一部分則位於賽馬會廳玻璃幕牆上的大型裝飾。  

幕牆裝飾是著名美國體操運動員瑪麗·盧·雷頓，她獲得了1984年洛杉磯奧運會的體操全能金牌，同年運動會受到蘇聯隊伍的杯葛，並且是自1952年以來，中華人民共和國和中華民國的首次對壘。藝術家強調雷頓的完結動作，並定格於她等待掌聲的一刻。疲態時露出的笑容及久經訓練的身體姿勢形成的對比，反映出雷頓對演繹自我及擔任國家代表的糾結。  

黃銅微型劇院上的複雜圖案與美國歷史及當代的事件產生了共鳴。五個視覺素材包括：在奶路臣·洛克菲勒擔任紐約州州長的就職典禮上表演過的佐治·巴倫錢的芭蕾舞劇《星條旗》、小鎮的獨立日慶祝遊行、美國共和黨與民主黨全國代表大會上的氣球；以及位於威廉斯堡殖民地，一個被小約翰·戴維森·洛克斐勒和阿比·艾迪列治·洛克斐勒保護的美國歷史小鎮的邊界地區。  

何氏透過其圖像作品展示出各種圈套。作品暗示出民族主義的糖衣陷阱，像魔術眼和格雷的圖像的形象般，讓人興奮，卻是如此的歇斯底里，既快樂又不安。 

---

Lighting Passage |  照明廊  

Windows for Inspection
《檢查窗口》
2020
Sara Wong 黃志恆

Windows for Inspection is a site-specific installation with reference to the heritage context of the Lighting Passage in the former explosive magazine (current Miller Theatre). This passage once allowed soldiers to check on the condition of explosives safely through small windows that open into the magazine.    

Wong works on tracing the negligible marks on the granite window still, left by the removal of the window frame and the soldiers in the form of cracks and holes, while creating a room of imagination, re-enacting the story behind through visual and audio elements. Suggesting alternative way of learning the history of an architecture based on human activities, the work looks into the notion of remembrance and presence.  

《檢查窗口》是參考中心前軍火庫中的照明廊（現為麥禮賢劇場）的古蹟背景而創作的場域特定裝置，此處曾經是士兵透過小窗戶安全地檢查火藥庫內爆炸品狀況的通道。   

黃氏觀察到英軍在花崗岩窗台上留下的裂縫和孔洞等痕跡，並以視覺和聲音元素建立敍事與想像空間，暗示出一種關於人類活動與建築空間、記憶和存在的概念。  
 

---

 

The Unfinished Return of Yu Man-hon
《未完成的歸途》
2019
Cici Wu 武雨濛 

The Unfinished Return of Yu Man-hon focuses on Wu’s cultural imaginary and extensive research into the unaccountable disappearance of Yu Man-hon, a mentally disabled and autistic boy who crossed the Hong Kong-Shenzhen border into the mainland and disappeared on August 24, 2000. His case remains unsolved to this day. 

Yu’s disappearance occurred shortly after the 1997 handover in Hong Kong. His case lingers as a vivid memory for many locals - both as a prime example of the injustice inflicted on the people by the corrupted Hong Kong-Mainland legal system, and as a symbol of the gradual disappearance of the complexity of Hong Kong’s colonial memories. Yu's disability caused him not to be able to memorize his name, family and home, and at the same time lose his capacity of speech. His anonymity opened up multiple identities: a child actor, a young boy sitting in McDonald's, boys on the bus, people who left their hometown, nation, old film props, movie theater, lanterns, an alternative divine for the border. 

The work follows an abstract narrative where Man-hon returns to the material world, retrieving lost memories of his disappearance in the process. The artist’s camera floats through the city’s myriad of pedestrian spaces, lingering at certain familiar places to which Man-hon felt particular attachment –a swing set or favorite restaurant, a local supermarket or bus-depot, a ferry or market. The short film highlights the emotional fragility of our memory, attempts to challenge the familiar interpretation of Man-Hon as an embodiment of loss, and to perceive his image as an enlightened being rather than a ghost. 

《未完成的歸途》圍繞著武雨濛對庾文翰引起的文化想像和研究。2000年8月24日，患有智力障礙及自閉症的男孩庾文翰通過香港到深圳口岸，並在進入中國大陸後失蹤。 這宗失蹤案至今仍未破解。 
 
庾氏的失蹤案發生於1997年香港主權移交後不久的時間，至今對許多香港人來說仍是記憶猶新；這既是香港—大陸法律系統對人民不公的例子，也是殖民記憶多元的消逝象徵。庾氏的障礙導致他無法記住自己的名字、親人和家，同時也失去了語言能力。他的無名狀態為他的身分開啟了很多可能：一個童年的演員、一個坐在麥當勞裡的男孩、巴士上的眾男孩、一個離鄉別井的人、國家、舊電影道具、電影院、燈籠、一個另類的邊境神仙。

作品講述了庾文翰回到現實世界，尋回自己失蹤時遺失的記憶的抽象敘事。藝術家的鏡頭遊走於無數的城市行人空間，又徘徊於一些庾文翰感到親切的地方——搖椅或喜歡的餐廳，超級市場或巴士站，輪渡船或街市。最終創作了這包含記憶的具滲透力與脆弱感的影像，鏡頭下不斷流動的畫面成為了靈魂移動的隱喻。這件作品意圖挑戰將庾文翰視作失去的化身的通俗詮釋，提議我們將其視為天上的明燈，而非鬼魂。  

 

Exhibition Period

8 May 2020 - 14 March 2021
Free admission
 

Location
Chantal Miller Gallery, Asia Society Hong Kong Center
The Hong Kong Jockey Club Former Explosives Magazine
9 Justice Drive Admiralty, Hong Kong

Opening Hours
Tuesday - Sunday: 11am - 6pm
Last Thursday of every month: 11am - 8pm (28 January and 25 February 2021)
Closed on Mondays

Last admission 30 minutes before closing

 

---

 

參觀展覽 
2020年5月8日至2021年3月14日
免費參觀
 

展覽場地
亞洲協會香港中心 麥禮賢夫人藝術館
香港賽馬會復修軍火庫
香港金鐘正義道9號

開放時間
星期二至星期日： 上午11時至下午6時
每月最後一個星期四：上午11時至晚上8時 (2021年1月28日 及 2月25日)
逢星期一休館

最後入場： 閉館前30分鐘

 

 

 

The Unfinished Return of Yu Man-hon
《未完成的歸途》
2019
Video (16mm transfer to digital)  
影片 (16毫米菲林至數碼)
Courtesy of Empty Gallery and the artist
鳴謝Empty Gallery 及藝術家

 

The Unfinished Return of Yu Man-hon focuses on Wu’s cultural imaginary and extensive research into the unaccountable disappearance of Yu Man-hon, a mentally disabled and an autistic boy who crossed the Hong Kong-Shenzhen border into the mainland and disappeared on August 24, 2000. His case remains unsolved to this day.

Yu’s disappearance lingers as a vivid memory for many locals -both as a prime example of the injustice inflicted on the people by the corrupted Hong Kong-Mainland legal system, and as a symbol of the gradual disappearance of the complexity of Hong Kong’s colonial memories. Unfinished Return is a calling of imaginary return for several things: Return of a disappeared boy with spiritual power; return to the screen in a movie theater; return of a child actor to continue life on screen; return of justice consciousness. Yu's disability caused him not to be able to memorize his name, family and home, and lose at the same time his capacity of speech. His anonymity opened up multiple possibilities: a child actor, a young boy sitting in Mc Donald's, boys on the bus, people who left their hometown, nation, old film props, movie theater, lanterns, an alternative divine for the border.

Filmed in both Minneapolis and Hong Kong, the work follows an abstract narrative where Man-hon returns to the material world, retrieving lost memories of his disappearance in the process. The artist’s camera floats through the city’s myriad pedestrian spaces, lingering at certain familiar places to which Man-hon felt particular attachment – a swing set or favorite restaurant, a local supermarket or bus-depot, a ferry or market. The short film highlights the emotional fragility of our memory, attempts to challenge the familiar interpretation of Man-Hon as an embodiment of loss, and to perceive his image as an enlightened being rather than a ghost.

 

《未完成的歸途》圍繞著武雨濛對庾文翰引起的文化想像和研究。2000年8月24日，患有智力障礙及自閉症的男孩庾文翰通過香港到深圳口岸，並在進入中國大陸後失蹤。 這宗失蹤案至今仍未破解。 

庾氏的失蹤案至今對許多香港人來說仍是記憶猶新；這既是香港—大陸法律系統對人民不公的例子，也是殖民記憶多元的消逝象徵。未完成的歸途圍繞著數樣想像的回歸：失蹤男孩帶著特殊精神力量的回歸、回歸到電影院的銀幕之中、對公義的想像和敘述的新想望（公義意識的回歸）。庾氏的障礙導致他無法記住自己的名字、親人和家，同時也失去了語言能力。他的無名狀態為他的身分開啟了很多可能：一個童年的演員、一個坐在麥當勞裡的男孩、巴士上的眾男孩、一個離鄉別井的人、國家、舊電影道具、電影院、燈籠、一個另類的邊境神仙。

於明尼阿波利斯及香港拍攝，作品講述了庾文翰回到現實世界，尋回自己失蹤時遺失的記憶的抽象敘事。藝術家的鏡頭遊走於無數的城市行人空間，又徘徊於一些庾文翰感到親切的地方——搖椅或喜歡的餐廳，超級市場或巴士站，輪渡船或街市。作品意圖挑戰將庾文翰視作失去的化身的通俗詮釋，提議我們將其視為天上的明燈，而非鬼魂。

 

---

Screening with Extend Reading - Interview with Prof Jones Part I 
July 9, 2020 | 19:00 – 20:00 

Following the screening, two university students read an interview transcript between Cici Wu and Professor Carol Jones. In the interview conducted in June 2020, Professor Jones talked about the disappearance case of Yu Man-hon, and its reflect onto the idea of the rule of law and its development in the post-1997 Hong Kong.
 

About Professor Carol Jones

Professor Carol A.G. Jones gained her undergraduate and Masters’ qualifications from the University of Cambridge, and earned her PhD at the Center of Soci-Legal Studies, Oxford. Professor Jones taught law in Hong Kong from 1990 to 2002 in the University of Hong Kong and the City University of Hong Kong. She has written extensively about the role of law in Hong Kong’s history and society, with a particular interest in how law has shaped the development of Hong Kong, and vice versa. Currently teaching at Birmingham Law School, University of Birmingham, Professor Jones continues her ongoing research about the legal system in Hong Kong, focusing on Detention without Trial in Cold War Era in Hong Kong and the rule of law in China and Hong Kong. Her recent publications include Lost in China? Law, Culture and Identity in post-1997 Hong Kong (2015).

 

---

Online Screening 
August 27, 2020 | 19:00 – 21:00

Given the mandatory closure, we will cancel the in-person screening and showcase The Unfinished Return of Yu Man-hon on our Youtube channel. The viewing link will only be accessible for a limited time (19:00 - 21:00 on August 27). 
 

---

Many Imaginary Returns: Cici Wu in Conversation with Michelle Wong
October 8, 2020 | 19:30 - 20:50 

Following the screening, Cici Wu had a conversation with Michelle Wong on the making of the film, Yu Man-hon in relation to lost time and space, and the possible meaning of imaginary returns.

About the Speakers 

Cici Wu lives and works in New York. Having received her bachelor degree from Schoolof Creative Media, the City University of Hong Kong, and completed her MFA at Maryland Institute College of Art, She has had solo exhibitions at Empty Gallery, Hong Kong (2019), 47 Canal, New York (2018), Bonnevalle, Noisy-le-Sec, France (2018), and has participated in group exhibitions at 47 Canal, New York (2019), Para Site, Hong Kong (2018), and Triangle Arts Association, New York (2017). She has co-curated group exhibition Scraggly Beard Grandpa at Capsule Shanghai (2017), and co-founded PRACTICE, a studio and residency based in New York (2015). She was an artist-in-residence at Queens Museum, New York (2018-2020), Seawitch, Hong Kong (2018), and Taipei Artists Village, Taiwan (2017).

 

Michelle Wong is a PhD student in art history at the University of Hong Kong. From 2012-20 she was a researcher at AAA, with a focus on Hong Kong art history and histories of exchange and circulation through exhibitions and periodicals. She is part of the ensemble for Deliberations on Discursive Justice Kabelo Malatsie and Lantian Xie for the Yokohama Triennale 2020, artistically directed by Raqs Media Collective. 
 

---

Screening with Extend Reading - Interview with Prof Jones Part II
November 26, 2020 | 19:00 - 20:00

“One of the things I observed though since I’ve left. When I go back, I talked to people, in that period of being an increase in Cantonese culture. The Cantonese films and of course there was that reaction against mainlanders that arose when there were simply so immigrants. But what struck me was that Hong Kong culture was, people speaking in Hong Kong slang, people watching films that were very Hong Kong-based, artists, poems… All that seemed to be emerging or re-emerging and creating a kind of Hong Kong identity. People try to protect it because the law itself was very weak on protecting it.”—Carol A.G. Jones.

The Unfinished Return of Yu Man-hon focuses on Cici Wu’s cultural imaginary and extensive research into the unaccountable disappearance of Yu Man-hon, a mentally disabled and an autistic boy who crossed the Hong Kong-Shenzhen border into the mainland and disappeared on August 24, 2000. His case remains unsolved to this day.

In this program, the readers read the second part of the interview with Professor Carol Jones on Hong Kong legislation, law in underprivileged communities, and social movements around the world this year.

---

Online Screening 
January 28, 2021 19:00 – January 29, 2021 07:00

Link to the screening *The screening will be accessible on YouTube for 12 hours.

Given the mandatory closure, we will cancel the in-person screening and showcase The Unfinished Return of Yu Man-hon on our Youtube channel. Due to the constraint of the live-streaming service, the previous sessions' video compression has provided quality loss. We recommend you take this opportunity and view the work with a better setting.

Along with this screening, the artist shared the storyboards she has prepared during the production stage, which audience could have a glimpse of her creative process.

---

Further Reading | Storyboards 

The Disappearance of Yu Man-hon 
2017
mixed media on paper, set of 8
Courtesy of the artist
 

The Disappearance of Yu Man-hon (storyboard 01), 2017, Mineral pigments, glue, Japanese paper, 58.42 x 54.61 cm 
 

The Disappearance of Yu Man-hon (storyboard 02), 2017, Mineral pigments, glue, Japanese paper, 106.68 x 66.68 x 5.72 cm
 

The Disappearance of Yu Man-hon (storyboard 03), 2017, Mineral pigments, glue, Japanese paper, 57.15 x 74.93 x 3.81 cm
 

The Disappearance of Yu Man-hon (storyboard 04), 2017, Mineral pigments, glue, Japanese paper 
 

The Disappearance of Yu Man-hon (storyboard 05), 2017, Mineral pigments, glue, Japanese paper 
 

The Disappearance of Yu Man-hon (storyboard 06), 2017, Mineral pigments, glue, Japanese paper 
 

The Disappearance of Yu Man-hon (storyboard 07), 2017, Mineral pigments, glue, Japanese paper 
 

The Disappearance of Yu Man-hon (storyboard 08), 2017, Mineral pigments, glue, Japanese paper, 110.49 x 54.61 cm 
 

 

We are delighted to offer a series of learning programs related to Next Act throughout the exhibition period to engage with the community. While some programs will be held online, we welcome visitors to join us and extend their exhibition experience anytime and anywhere. 

中心於展覽期間舉辦一系列與《續章》相關的學習活動來連繫社群。大部分活動均以網絡形式發放，歡迎各位隨時隨地加入我們，延伸展覽經歷。 

 

---

Public Talk Series | 座談系列 

To gain a better understanding of the exhibition, participating artists are invited to meet the public for a series of sharing session. Moderated by art critics, art researchers and scholars, this series aims to highlight the intellectual ideas of the artworks and engage audiences in discussions on various topics, ranging from connectedness, heritage in the future, vulnerability, and technology towards the future of contemporary art in Hong Kong. The talks will be held either as live programs on-site at ASHK, or as online interactive sessions.

為加深觀眾對展覽的理解，參展藝術家將與觀眾見面，分享創作心得。座談會由藝術評論家、研究人員與學者主持，以強調藝術品的知性理論，並讓觀眾參與包括：連接性、古蹟的發展、脆弱性、科技等不同角度來探索香港當代藝術的未來。節目在亞洲協會香港中心現場或以線上互動直播的方式舉行，以便觀眾參與。

May 25, 2020：我手寫我心—從對話中探討文字與表演的關係 ｜ 藝術家對談：楊嘉輝及梁寶山對話  

The relationship between thinking and writing is inextricably linked. Words can help artists to concretize and sort out their thoughts, as well as focusing on certain topics and turning their thinking process into artistic performances and works. 

思考與寫作之間的關係千絲萬縷。文字能協助藝術家們具體化和梳理思緒，同時文字亦有助他們專注研究某些特定主題，並將其思考的過程轉化為藝術表演和作品。

Conducted in Cantonese 粵語主講

May 30, 2020: 梁志和的混亂日記

In this talk, Leung Chi Wo and Evelyn Char, art critic and author, will discuss Leung’s creations in Next Act, and the idea of systematizing parallels worlds within the work, Date Series.

梁志和與藝術評論作者查映嵐將於是次對談討論梁氏於《續章：香港當代藝術展》的創作，並探討作品《日誌系列》中「平行世界」的思考和概念。

Conducted in Cantonese 粵語主講

July 15, 2020: Collective Conversations: The Historical Art of Andrew Luk

In this talk, Andrew Luk will detail some of the concepts behind his work featured in Next Act. And he will explore some of the channels he travels through when planning and preparing for his artworks and how looking closely at history and the art of conversation between different stories and elements informs his practice. The conversation will be moderated by the independent curator Andre Chan. 

Conducted in English

August 7, 2020: Falling into Place: The Artistic Journey of Isaac Chong Wai

In this talk, Isaac Chong Wai will elaborate on some of the concepts and his research behind his work featured in Next Act. Besides the viewpoint on the future art scene in Hong Kong, Isaac will also share his experience in Berlin as an artist, and the differences between Hong Kong. The conversation will be moderated by curator Nick Yu.

Conducted in English
 

November 13, 2020: Talk with the artist - Samson Young

Trained as a composer, multidisciplinary artist Samson Young incorporates elements of experimental music, sound studies, and site-specific performance into his art practice. His research-based installations combine history, political discourse, and comments on pop music, with traditional music or self-programmed instruments. Hong Kong-based artist Samson Young is the winner of the inaugural Sigg Prize (formerly the Chinese Contemporary Art Award (CCAA)) and one of the 10 young, local artists represented with a research-driven work in the Next Act: Contemporary Art from Hong Kong exhibition.

In this program, Prof. Ming Tiampo of Carleton University will discuss a number of recent works of Samson Young’s with the artist himself, for instance, The Utopia Trilogy Series, the Possible Music series, The Immortals, as well as The World Falls Apart Into Facts, which is currently on view at Chantal Miller Gallery, ASHK.

Conducted in English

 

---

Feature Program | 特備節目

September 30, 2020: Shadow Hunter/ Sunset Catcher: Zoom Listening Party with Vivian Qin 追光捕影 斜陽獵人：覃小詩Zoom聆聽派對

The listening party is a footnote of Vivian Qin’s work in the exhibition If Sunset Had a Voice. The artist will incorporate jazz and folk-influenced melodic vocal and minimal sounds, creating a soothing listening experience in this Zoom lo-fi semi-improvisation.

Join us by snapping the sunset or a shadow cast by the sun and share it on Instagram (@shadowhunter_ashk), with hashtag #shadowhunter and #nextacthk. Selected photos will be used as the backdrops of the listening party. 

這次聆聽派對是藝術家覃小詩展覽作品《若問夕陽》的音樂註腳。藝術家以豐富多變的爵士樂，民謠歌曲中的療癒人聲，及極簡主義的聲音，演繹低保真即興音樂創作，並於網上作即時轉播。

誠邀你加入我們，一起收集黃昏的碎片，以鏡頭捕捉日落景色及太陽投射的陰影，並分享到Instagram (@shadowhunter_ashk)，加#shadowhunter #nextacthk標籤。有關照片將用作聆聽派對的背景。
 

---

Education Program | 教育活動
 

Slow Art Tour Virtual Edition │ 續章慢遊線上版

Slow Art Day is a global event with a simple mission: help more people discover for themselves the joy of looking at and loving art. In this virtual edition of Slow Art Tour, the audiences are encouraged to spend 5-10 minutes to look at the artwork closely and experience the work, and make discoveries.

作為一項全球性藝術活動，慢遊藝術日的目的很簡單：讓更多觀眾自己發現和欣賞藝術的樂趣。線上版的「續章慢遊」同樣鼓勵觀眾花5到10分鐘時間仔細觀察及體驗藝術作品，並自已發掘新發現。

Leung Chi Wo 梁志和
The Date Series, 50 Years, and My Random Diary
《日誌系列》、《五十年》及《我的混亂日記》

Andrew Luk  陸浩明
Echo Chorus, Chronicle Compression, and Apparition Lattice of Reflexive Grappling
《迴聲和唱》、《壓縮記錄》及《本能性掙扎的幻影交織》

Isaac Chong Wai 莊偉
Falling Carefully 

Zheng Mahler
Mountains of Gold and Silver Are Not as Good as Mountains of Blue and Green
《綠水青山不是金山銀山》 

Vivian Qin 覃小詩
If Sunset Had a Voice (Doomsday Preparation Plan)
《若問夕陽（末日預備計劃）》

Samson Young 楊嘉輝
The World Falls Apart into Facts

Christopher K. Ho 何恩懷 
Always Stop Eating While You're Still a Little Hungry
《當你還有點餓就不要吃了》
 

視覺藝術評賞

九月至十一月期間，亞洲協會香港中心邀請到資深藝術評賞作家阿三，給將要應付高中文憑試的視覺藝術科學生一系列的「視覺藝術評賞」工作坊。工作坊當中，導師跟同學討論觀看和論述方法，及如何結合藝術史及文化概念於藝術評賞寫作。在導師的引導下，同學以《續章：香港當代藝術展》的線上導覽作藍本，並以小組形式嘗試作藝術評賞討論，並寫一篇藝評文章。

藝術評寫分享

張沛松紀念中學 
評賞《日誌系列》，梁志和 

經過這次的活動課，認識了當代藝術家梁志和，他的作品讓我的第一眼感受是較為憂愁，因為只是從畫面中看見灰色的天，看到若穩若現的雲層，這幅作品是以記念在六七暴動的一些小歷史，雖然梁志和沒有經歷六七暴動，但是經過這麼多年，也許六七當中一些編號、一些名字都早以被人忘記，而在作品當中，在梁志和的世界當中，平日我們看似是風和日麗的景色，但從梁志和的眼中，即使是晴天，他都看成陰天。對於他而言，歷史都是沉默，但他卻喜歡把這些小碎片，為歷史去補白。而且，在他的作品都是以自由、權利為主，因為當時六七暴動，一個象徵著動盪的年份，藝術家梁志和說，當年有幾個女學生因為參與暴動，被警察拘捕，還判了監。也許在許多人眼中， 1967年的年份刻骨銘心，但又有多少人知道或記得被忽略的人和事。我最深刻的印象是作品不是有很華麗的構圖，只是很單調的陰天，但卻能表達梁志和的感受，即使面對極權，但仍然努力去爭取自己的應有的自由，在左派心中，這些女學生是女中豪傑，而右派就會覺得她們是今天所謂的廢青。雲層雖然這是若穩若現，但這就是代表當年的人仍然有曙光，在陰天的雲層反而是最耀眼，最突出。   

雖然作品中只是看到陰天，但是梁志和相信在這個天空裏有另一面的平衡世界，這個平衡世界裏沒有因再因暴動而受傷、死亡，作品的意義看似是十分沉重，甚至有人會誤解，但梁志和卻刻意不談對錯，只是用過往的歷史資料去把碎片重組，反而讓觀者可以更易感受作品的真實情感。67年除了暴動，更是越戰和冷戰時期，相信也是香港最黑暗的一年，對於當年的香港人而言，無論是什麼天色，都是陰天，但梁志和相信面對逆境，都要相信希望。一開始看這張作品都不太明白，當我看了更多資料的時候，心情更加沉重。活在今天的我們，依然面對着這種個人與歷史之間的角力，在細碎的事件中，感受着時代的洪流，以自己的方式去理解這個紛擾的年代。 

時代雖然在變遷，但歷史的時刻不忘。 
 

浸信會呂明才中學
宋卓逸 │ 宋卓熹│楊昕曦
評賞《迴聲和唱》，陸浩明

此系列的作品由跨媒體藝術家陸浩明所作，題目為《和聲迴唱》，作品分為四部份：溶解、揣測、伸展和養份。四件作品分別用了不同材質，分別為冰、紅銅、樹脂和鹽磚。四件作品放置在亞洲協會香港中心/舊域多利軍營的前軍火庫的不同位置, 反映以往的歷史和軍事地位. 

首先，《 迴聲和唱：溶解》這個作品用了冰這個材質，用了不鏽鋼製底座，作品會隨著時間推移而溶化消失，蒸發在空氣上，消散到各部份，而其邊界無法定義，顯示出有包容性的一面，是文化的一部份
《 迴聲和唱：揣測》這個作品上面印有來自中情局的兩份文件，分別為亞洲協會訪談記錄以及「香港未來」的文件，顯示出外國早已關注香港議題。

《 迴聲和唱：伸展》這作品使用了木炭，而木炭是火藥的副產品，火藥的材料也顯示到亞洲協會前身作為軍火庫的歷史。

《 迴聲和唱：養分》的作品樹立了鹽磚在野外的地方，讓不同昆蟲飽食和等待時間的溶解而歸於自然，而旁邊放了一部實時攝影機，攝影鹽磚由完整至其各階段的變化的狀況，以實時錄像放映到室內的另外一份作品：《壓縮記錄：飢餓與抵制》和另外一份作品《本能性掙扎的幻影交織》。 

總結來說，雖然可以從作品看出藝術家陸浩明對一系列作品付出非常多心血，創意令人敬佩，用冰製作藝術品的方法令作品保存期極短，令非常多的觀眾都無法親眼見到作品的真跡，也令作家的意圖難以理解，對於一般觀賞者而言，更是容易被曲解，我們仍為這些當代藝術品略欠認知，不能明白背後的深層意義，也令作者想表達的道理容易盡失。

由鹽柱製成的界石讓昆蟲潛行，雖可表達人類和自然的共生共存關係，但是如果不加以控制蟲蟻生長過程，可能會使蟲蟻過度生長，破壞周邊生態環境，影響自然生態系統平衡。我們懷疑此舉只顯得作者對蟲蟻控制和環保意識欠認知。

雖然作品有心思，但想深一層，可以想出非常多隱患問題，無論從藝術或政治藝術角度來看，均不是普羅大眾能理解，反而使人對當代藝術有所卻步。
 

浸信會呂明才中學 
黃靜琳 │曾德心 │林珈穎 │ 姚海恩
評賞《若問夕陽（末日預備計劃）》，覃小詩

《若問夕陽（末日預備計劃）》是覃小詩在2020展出的作品，作品巧妙運用錄像投影，金屬、混凝土、織物等多種素材以營造各種氣氛及達至傳意效果。展覽為一個如同房間般正四方的場地，中間則放設一個如同中國古代屏風般，帶有金屬邊、半透明的大圓投射屏幕，屏幕上在有五塊綠色帶有葉紋路的蝴蝶，分別放置在屏幕的近邊處。一段拍攝藝術家擺弄著避難包、帶塑料瓶的魚籠、字形刀和狩獵工具等，以及船在海上及樹葉倒影的影子戲循環放映在屏幕上，當太陽的場景出現時，蝴蝶彷彿向著屏幕中心的太陽飛去。另外，三面牆由白色投射背景組成，在左右牆身前各有一支鋼筋插在一塊石頭上，鋼筋上各自吊着「不畏疾風」及「不懼迅雨」的詩句，文字在破損的混凝土低座長出的鋼筋下搖逸，亦投影在兩邊的布幕上。而在場內亦不斷地播太陽及海浪的聲音，加上昏暗的環境，令觀賞者感到恬靜、放鬆。

  在技巧而言，作者使用了屏風作為投射背景，除了令作品有中國文化氣息外，也有使人於古代中式迴廊觀看展品一樣。在視覺導向上令人注視在投射的畫面，加上作者用自己在練習末日時的情況的剪影，給人平靜而温和的感覺，和一般末日，天災到臨時人們擔心緊張成很大反差。而所運用的詩句中，字面上有風丶雨兩字，直接表達和作品有關的末日，颱風，在間接上，詩句由日本作家而寫，日本自身是島國，經常受天災影響，可見作者在選用詩句上也別有用心。

  藝術家以不同的媒介去表達自己對末日有著淡然以及隨遇而安的感受。作品的表達婉約隱晦，蘊含複雜象徵。首先使用了屏風能夠令作品增添寧靜以及平穩的感覺，透過屏風去看投影亦令到畫面變得矇矇矓矓，令到投影出來的有關災難的影像變得柔和，沒有了災難原本帶給人的震撼感，反而傳遞了一種平和感。屏風亦使得整個展間有重影的視覺感，引人去感受錄像作品中所表述的議題：末日之時人類團結的必要性。藝術家在兩旁吊了一句由日本作家宮澤賢治所作的詩句：「不畏疾風，不懼風雨」，亦表達了藝術家自己對於要面對這些自然災害的淡然以及無所畏懼。投影的錄像是藝術家拿著一些災難剩餘物以及災難預備的裝備，以一種平淡無力的方式展現出來。而藝術家所作的詩：If sunset had a voice，中也提及過人類對於大自然的不理解，以上都表達出人們面對大自然災害的準備其實徒勞無功，倒不如隨遇而安。

   在這一段段的影像背後，蘊含著作者對末日的態度—不逃走、不害怕。伴隨投射在白牆上的光影，偶爾有朦朧的影子掠過，也許是作者，也許是風雨。作為觀賞者，我們旁觀作者對末日的預備，頗有百事徒然、寧靜平和之感。我們感受到了作者的淡然，未日的平靜，以及來自我們自身的聲音。觀賞作品過後，我們不禁詢問自己：末日如何？風雨如何？隨後，我們會從屏幕的兩側得到答案，懸掛在夕陽前的風鈴正叮鈴作響—不畏疾風，不懼迅雨。這一從作品刻湧來的生命力猶如屏風上的蝴蝶一朵朵渲染在觀賞者的腦海中，得以在優雅寫意的姿態下迎接末日。

  展覽名稱既為「續章」，讓人重新思考社會實况，我們將要面對甚麼、預備甚麼？也許會受傷、經歷災難，若到了那一刻，我們不妨擡頭，問問夕陽。

中華基督教會銘賢書院

評賞《日誌系列》，梁志和

《日志系列》是梁志和於2017年展開創作的作品。他重遊了多個在六七暴動期間發生炸彈襲擊的地點，並在五十年後的同一日在同一地點拍攝下同一個天空。

梁志和的作品中，我們可以看見多幅以黑白底片拍攝的天空，這些攝影作品色彩單調，予人一種彷徨飄渺的感覺。畫面中只是不斷重複著天空，雲彩。有趣的是，日常我們進行攝影時，大多都會將周遭的事物如建築物，動物一并拍攝在畫面中。但在梁志和的作品中，我們只能看見單一的天空。

黑白經常給人一種沉重陰沉的感覺。這兩種顏色被廣氾的運用在梁志和的《日志系列》作品中，再加上以單一的題材天空作爲主題。二者聯係起來，就像在敘説著我們所經歷的日子其實都是平平無奇的，日復一日，沒有了新鮮感。

作品記載了大大小小多宗的暴力事件，如記述商業電臺播音員與其堂弟遭人放火燒死：消防隊長於炸彈襲擊中身亡。同時也記錄了同日短暫且值得紀念的民衆及個人事件，如盲人園蘇姑娘由員工轉爲院友：澳洲樂隊常駐香港夜店等。藝術家將同日發生的事件聯係起來，將其時間綫并列，營造出“平行世界”的概念，表達出兩個世界：一個是同一時間，不同地點，另一個是同一地點，不同時間。

作品中也提到了大歷史與小歷史的概念。小歷史就是指“局部的”歷史，比如個人性的、地方性的歷史，日常所發生的事件：而大歷史，便是那些能爲人類研究時取得了重大成果的事件，如戰爭歷史。不同的小歷史，堆積起來便成爲了大歷史。這個想法在梁志和的作品中也有表現出來：藝術家將同日發生的小歷史和大歷史放在同一條時間綫上敘述，讓我們回顧過去遇到的社會和個人回憶的差異，記憶中，在同一平行世界下所發生的大小事件。

 

Creativity Program | 創意活動 

Audiences are invited to actively participate in a series of imaginative dialogues with the artists’ research and creations. Every two weeks, we will announce a topic corresponding to the exhibition on our webpage and social media platforms. Participants can respond to the topics in different formats, including photographs, video, drawing, audio, and installations, and share their creative output on social media with hashtags #nextacthk and #ASHK. Selected artworks will be shared on our online platform.

為了鼓勵觀眾積極參與，我們將邀請觀眾發揮想像，與藝術家的研究和作品對話。每兩星期，我們將在中心網頁和社交媒體上發佈與展覽相對關的主題直播。公眾可透過以不同的方式回應主題，包括照片、影片、繪畫、錄音和裝置藝術，並在社交媒體上使用標籤#nextacthk 及 #ASHK 來分享其創作。部分藝術品將發佈於ASHK網上平台。

Next Act Generator: Boundary | 續章延續：邊界 

Exhibition Hashtag 展覽專用標籤: #nextacthk

 

 

Leung Chi Wo, one of the participating artists in Next Act, is introducing his work, Date Series, to the press. 

We provide free regular guided tours in Cantonese and English with a capacity up to 4 people on a first-come, first-served basis. Guided tours last an hour, inclusive of a viewing of the exhibition. Additional insights will be given into the story behind the works in Next Act.

中心提供免費廣東話與英語展覽導賞團，名額最多 4 人，先到先得。 導賞團大約一小時，包括《續章》展覽介紹及作品背後的故事。
 

Every Saturday  逢星期六 

14:30 English 英語 
15:30 Cantonese 廣東話  

Every Sunday  逢星期日 

14:30 English 英語 
15:30 Cantonese 廣東話  

Every Last Thursday of the Month  每月最後一個星期四  

18:00 English 英語 / Cantonese 廣東話  


School and Group Tours 學校或團體導賞團 

School and group tours in Cantonese or English are offered during exhibition opening hours upon request. Schools, registered charities and community groups and other non-profit organizations are welcome to book the tours. Between 7 and 14 participants are needed for the group reservation.  Please make an appointment at least 2 weeks in advance by emailing [email protected]

中心為學校及不同團體提供粵語及英語導賞團，歡迎學校、註冊慈善團體或非牟利機構參加，至少7 至14人成團。請於至少2 星期前電郵至 [email protected] 安排預約。 

PRESS KIT | 傳媒資訊

Download English Press Release    |    Chinese Press Release 

Download English Media Fact Sheet    |    Chinese Media Fact Sheet 

MEDIA ANNOUNCEMENT | 媒體公告

Download English Press Release    |    Chinese Press Release

For more information, please contact: 如需要更多的相關資訊，請聯繫：
Bettina Buck 布家蔚  | Tel  電話: 21039581 Email 電郵: [email protected]

____________________________________________________________________________

April 29, 2020 | Best things to do in Hong Kong this May (in English)

May 5, 2020 | 10 Hong Kong Art Exhibitions To See In May 2020 (In English)

May 12, 2020 | Picking up the pieces (in English)

May 12, 2020 | Exhibitions to See in Hong Kong (in English)

May 13, 2020 | 三十周年展 當代藝術續章 (In Chinese)

May 13, 2020 | 三十周年展 當代藝術續章 (In Chinese)

May 13, 2020 | 非常時代 香港當代藝術家心聲 (in Chinese)

May 13, 2020 | 非常時代 香港當代藝術家心聲 (in Chinese)

May 14, 2020 | 三十周年展 當代藝術續章 (in Chinese)

May 14, 2020 | 三十周年展 當代藝術續章 (in Chinese)

May 15, 2020 | 續章 我城佳話30年 (in Chinese)

May 15, 2020 | 「軍火庫」重遇暴力記憶 (in Chinese)

May 15, 2020 | Asia Society show marks its 30th years in Hong Kong (in English)

May 15, 2020 | Asia Society show marks its 30th years in Hong Kong (in English)

May 18, 2020 | 香港當代藝術展 (in Chinese)

May 18, 2020 | 香港當代藝術展 (in Chinese)

May 20, 2020 | 墜落之時互相扶持-從對國家失望到互相守望 (in Chinese)

May 22, 2020 | Next Act: Contemporary Art From Hong Kong exhibition: May 8-September 27 (in English)

May 26, 2020 | 觀「續章：香港當代藝術展」　如歷史是重複，可否問問看看上一個文明中香港的下場 (in Chinese)

May 27, 2020 | 藝術欣賞不需「懶人包」— 談亞洲協會新展作品 (in Chinese)

June 3, 2020 | 一場集體墜落，我們相互支撐 — 《續章：香港當代藝術展》 (in Chinese)

June 3, 2020 | Reactivate Art (in English)

June 4, 2020 | 10 Hong Kong Art Exhibitions To See In June 2020 (in English)

June 15, 2020 | Next Act: Contemporary Art from Hong Kong features works by 10 local artists that respond to the shared history (in English)

June 15, 2020 | ​​"Next Act: Contemporary Art from Hong Kong"Joint exhibition (in English)

 

 

 

 

 

 

 

 

 

 

 

Next Act Exhibition Brochure 續章展覽場刊

Slow Art Day is a global event with a simple mission: help more people discover for themselves the joy of looking at and loving art. In this virtual edition of Slow Art Tour, audiences are encouraged to spend 5-10 minutes to look at the artwork closely and experience the work, and make discoveries. 

作為一項全球性藝術活動，慢遊藝術日的目的很簡單：讓更多觀眾自己發現和欣賞藝術的樂趣。線上版的「續章慢遊」同樣鼓勵觀眾花5到10分鐘時間仔細觀察及體驗藝術作品，並自已發掘新發現。

 

How to participate?

Now you can engage in Slow Art Tour from home. A series of exhibition videos are available on ASHK social media. Each artwork is captured with details and narrated by the docent. 

Each video is accompanied by artwork photos, prompts and questions to get you thinking more deeply and critically about the work. 

如何參與？

現在在家也可參與「續章慢遊」了。在亞洲協會社交網站上可以觀看一系列展覽視頻。視頻把每件藝術品仔細呈現出來，並由導賞員講解。

每個視頻均隨附藝術品的照片，提示和一系列的問題，讓觀眾對作品進行深入和批判性思考。

---

 

Sara Wong 黃志恆

Windows for Inspection《檢查窗口》

2020

---

Leung Chi Wo 梁志和
The Date Series, 50 Years, and My Random Diary
《日誌系列》、《五十年》及《我的混亂日記》
2017-2020

---

Andrew Luk  陸浩明
Echo Chorus, Chronicle Compression, and Apparition Lattice of Reflexive Grappling
《迴聲和唱》、《壓縮記錄》及《本能性掙扎的幻影交織》
2020

---

Christopher K. Ho 何恩懷
Always Stop Eating While You’re Still a Little Hungry
《當你還有點餓就不要吃了》
2020

---

Vivian Qin 覃小詩
If Sunset Had a Voice (Doomsday Preparation Plan)
《若問夕陽（末日預備計劃）》
2020

---

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Isaac Chong Wai 莊偉
Falling Carefully
2020

---

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Zheng Mahler
Mountains of Gold and Silver Are Not as Good as Mountains of Blue and Green
《綠水青山不是金山銀山》
2020

---

Samson Young 楊嘉輝
The World Falls Apart into Facts
2020