In many cultures, the age of 30 often signifies a milestone for personal growth. According to the Confucian philosophy, while education and self-development is a lifelong journey to attain personal virtue, 30 represents a gateway of maturation where a person crystallizes his or her intellectual stance for the next 30 years of their life. Nowadays, turning 30 also signifies a person’s maturity in adulthood – a personal turning point as we learn from our past, prepare ourselves in the present to move forward into a more promising future.
Coinciding with Asia Society Hong Kong Center’s 30th anniversary in 2020, we also resonate with this sentiment through reflecting our work in art and culture alongside Hong Kong’s social and historical development. As an educational organization that builds bridges between Asia and the rest of the world, we expand our focus to explore and present a sophisticated development in contemporary art that interweaves with theoretical knowledge.
Next Act: Contemporary Art from Hong Kong features research-based works by 10 local artists that respond to the shared history and collective memories of Hong Kong. Throughout the creative process, each artist focused on different research methodologies as a starting point for their inspiration and thinking process. This process culminates in a collection of exciting works that are visually impactful, interactive, and performative. We encourage visitors to open their senses and imagination when viewing the works by delving into the past to form new perspectives, savor the present, and contemplate what the future holds.
Next Act highlights the critical dimension of these creative practices by pivoting away from the conventional perception that art is a sensual form of truth. Instead, the final works make the creation of art a journey of critical thinking. The exhibition also opens up new areas of possible arts and culture programs that are immersive and educational. Whatever the future holds, we remain passionate about moving forward to provide an inclusive platform that encourages collaboration across different disciplines.
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 exhibited at 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 working on projects for Eaton House in Hong Kong and the Times Museum in Guangdong that draw from his lived experience as a Western-educated member of the Chinese diaspora. His work has been featured in the New York Times, Artforum, Art in America, Modern Painters, 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。他現時為香港Eaton House及廣州時代美術館籌備以其受過西方教育的華人身份的生活經歷為題材的創作。並獲Artforum、Art in America、Modern Painters、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). This fall, she will participate in Seoul Mediacity Biennale 2020 in South Korea.
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。這個秋天，她將參加南韓首爾的 Mediacity Biennale 2020。
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
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)
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.
Apparition Lattice of Reflexive Grappling
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.
Chamber 3 | 展廳三
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。
Chamber 4 | 展廳四
The World Falls Apart into Facts
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.
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
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.
My Random Diary
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.
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)
Lower Deck of Yasumoto Bridge | 康本橋低層露台
Always Stop Eating While You’re Still a Little Hungry
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 and China boycotted. 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.
Lighting Passage | 照明廊
Windows for Inspection
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.
The Unfinished Return of Yu Man-hon
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.
8 May - 27 September 2020
Chantal Miller Gallery, Asia Society Hong Kong Center
The Hong Kong Jockey Club Former Explosives Magazine
9 Justice Drive Admiralty, Hong Kong
Tuesday - Sunday: 11am - 6pm
Last Thursday of every month: 11am - 8pm (28 May, 25 Jun, 30 Jul, 27 Aug and 24 Sep, 2020)
Closed on Mondays
Last admission 30 minutes before closing
每月最後一個星期四：上午11時至晚上8時 (2020年5月28日, 6月25日,7月30日, 8月27日及9月24日)
The Unfinished Return of Yu Man-hon
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 a 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.
19:00 – 20:00 | Last Thursday of the month 每月最後一個星期四
Miller Theater (Former Magazine B) 麥禮賢劇場 (軍火庫B舊址)
July 9, 2020
*The screening on June 25 has been postponed onto July 9.
Following the screening, a performer will read a transcript of Wu’s interview with Professor Carol Jones on Yu’s case and its reflect onto the idea of rule of law and its development in the post-1997 Hong Kong.
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).
Reading session will be conducted in English. Please click here for seat reservation.
July 30, 2020
August 27, 2020
September 24, 2020
Free Admission. Online Registration required.
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.
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.
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.
Conducted in Cantonese 粵語主講
May 30, 2020: 梁志和的混亂日記
In this Artist 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.
Conducted in Cantonese 粵語主講
Education Program | 教育活動
Slow Art Tour│續章慢遊
Throughout the Slow Art Tour, visitors can deeply engaged with the four works from Next Act: Contemporary Art from Hong Kong.
This tour encourages audiences to spend 5 to 10 minutes in front of each artwork to look closely and experience the work with a new approach. Led by our experienced docents, visitors are invited to explore different perspectives through viewing and discussing art in the gallery.
Creativity Program | 創意活動
Audiences are invited to actively participate 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。
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 7 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.
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
05.28, 06.25, 07.30, 08.27, 09.24
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 firstname.lastname@example.org
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@example.com 安排預約。
8 May - September 27 2020
In the News 媒體
PRESS KIT | 傳媒資訊
For more information, please contact: 如需要更多的相關資訊，請聯繫：
May Tam 譚嘉怡 | Tel 電話: +852 2103 9559 | Email 電郵: mediahk @ asiasociety.org
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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)
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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)
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June 15, 2020 | "Next Act: Contemporary Artfrom Hong Kong"Joint exhibition (in English)