6 March – 11 May, 2019 | Solo | “Saan Dung Gei” by Lam Tung Pang, curated by Abby Chen
“Saan Dung Gei” by Lam Tung Pang Curated by Abby Chen 26 March – 11 May 2019
Opening Reception: 23 March 2019, Saturday, 4 – 6:30pm Artist will be present. Conversation with artist, curator, and art historian Dr. Alpesh Kantilal Patel will take place from 4:30 to 5:15pm.
Venue: Blindspot Gallery (15/F, Po Chai Industrial Building, 28 Wong Chuk Hang Road, Wong Chuk Hang, Hong Kong) Opening Hours: Tuesday to Saturday, 10am to 6pm (Sunday and Monday by appointment only); closed on public holidays
Blindspot Gallery is pleased to present Lam Tung Pang’s first solo exhibition at the gallery, “Saan Dung Gei”, curated by Abby Chen, from 26 March to 11 May 2019. Conceived as a visual reader and a long-form novel, the exhibition consists of non-linear chapters that describe the allegorical journey of an itinerant traveler, “Eye”, who searched for, discovered and lost an anonymous novel’s manuscript. The exhibition features Lam’s latest works made in 2018-2019, with which the artist challenges his own medium and creates a three-dimensional medley of paintings, installations, video sculptures, kinetic projection, and found objects. The exhibition’s opening reception will take place on 23 March, and the artist will have a public conversation with curator Abby Chen and art historian Dr. Alpesh Kantilal Patel.
On November 2, 2018, Lam took the recently inaugurated high-speed railway from Hong Kong to Beijing. During the eight-hour journey, there was a 20-minute ride through a dark tunnel in Hong Kong’s territory. On this brief ride through the black hollow, Lam’s usual optimism yielded to a magical realist vision of anxiety and social unrest that gave birth to the title of this work, which literally translates to “the mountain hole notes.”
The audience encounters familiar iconographies in an unsettling otherness. Landscape in operation (2018) shows doctors in scrubs performing an open-chest surgery on a rocky landscape. In the video Hope (2006-2019), the flame of a struck match gives out feeble illumination, only to burn out and fizzle away as the bleached fireworks of Shining Stars in Cave (2018). Lam sees his city as suffering a monumental trauma. His yearning and desire to heal comes from a hope that is steeped in a sense of otherness—he foresees, or even wishes for an overwhelming force to intrude upon this place-to-be.
In declaring his works “the first novel on how Eye lost and found the manuscript,” Lam accentuates the volume of time that manifests in searching and forgetting. Known for his colourful and playful assemblage of images and objects, his newest work embodies a bleak, brutal blast at the present moment that marks a departure into a personal, dusky confrontation with a haunted land.
The desire to return is a chronic condition abundantly symptomized in Lam’s site-specific video installations. In A day of two Suns (2019), four projectors each superimpose a looping video on a diaphanous paper screen diptych, two en verso and two en recto. The same footages were set off against each other randomly, producing an infinite permutation of a similar fate. The uncesasing recurrence recalls the OTALEO Clock (2019) whose hands always return to the same spot at the same minute, as well as the model toy trains in Saan Dung Gei Turns (2019) that runs in futile circles around a hollow wall, always going but never close to reaching.
林東鵬:“山洞記” 策展人:陳𣈱 二零一九年三月二十六日至五月十一日
開幕酒會:二零一九年三月二十三日，星期六，下午4時至6時30分 藝術家將出席開幕酒會 藝術家、策展人及Alpesh Kantilal Patel 博士對談會將於下午4時30分至5時15分進行
地點:刺點畫廊(香港黃竹坑道 28 號保濟工業大廈 15 樓) 開放時間:星期二至星期六，上午 10 時至下午 6 時(星期日及星期一只供預約);公眾假期休息
林東鵬於刺點畫廊的首次個展“山洞記”將於三月 二十六日至五月十一日舉行，由陳𣈱策展。展覽 的構思猶如一本讀本和長篇小說，內容章節以非 線性進行，描述一個流浪旅人──「眼」的尋找、 發現並遺失手稿的寓言之旅。展覽呈現林東鵬由 2018 至 2019 年創作的最新作品，也是他挑戰媒 介的嘗試，由繪畫、裝置、錄像雕塑、動態投影 及現成物構造出三維的組曲。展覽開幕酒會將於 三月二十三日舉行，屆時藝術家、策展人與學者 Alpesh Kantilal Patel 博士將進行公開座談會。
2018 年 11 月 2 日，林乘搭剛通車不久的香港高鐵，由九龍出發到北京。在這八小時的旅程中， 有二十分鐘車程身處香港境內的黑暗隧道。這趟穿越漆黑山洞的經驗，令林的一貫樂觀角度轉化成充滿不安和社會動盪的魔幻寫實視野，也成就了“山洞記”這展覽題目──解作山洞中的筆記。
林東鵬稱作品是「第一本有關『眼』如何認領手稿的小說」，強調了尋找與遺忘中的時間跨度。他的新作與他 廣為人知的豐富色彩和俏皮模型形成猛烈反差，眼前這些極具衝擊力的荒蕪和殘酷強調了個體與一片幽險土地 之間的當下對峙。
觀眾會在令人不安的陌生感下遇見熟悉的符號。《景物手術》(2018)展示穿着手術袍的醫生們正為山嶽進行 剖腹手術。《希望》(2006 – 2019)的錄像中，劃火柴燃起微弱的火光，就如《幽幽洞裡見星光》(2018)的 微弱煙花一樣，只待烟燒雲散。林眼中的景觀猶如罹難巨大的創傷，療癒此地儼然已經迫在眉睫，甚至需要有 強大的外來力量或超體介入這注定改變的城市。
歸返的渴望蔓延於林的場域特定錄像裝置中。《一日兩天》(2019)裡，四個錄像循環投影於透薄的紙製雙屏 幕上，兩組以一正一反互相疊映。循環的片段隨機地交替重疊，營造出類似命運的永恆輪迴。不停回歸的命題 與其他作品互相呼應，《奧他利奧時鐘》(2019)中的指針每分鐘都回到同一位置;《山洞記轉》(2019)的 玩具火車無效地圍著中空的牆繞圈跑，永遠往沒有終點的前方行駛。
2018 | Art in Public | Lam Tung Pang X COLLECTIVE
Wavy Weaving Wall
Spanning the 4m x 23m wall of The Park, Lam Tung Pang and COLLECTIVE’s “Wavy Weaving Wall” takes its inspiration from Hong Kong’s textile industrial history and the myriad stories of different individuals’ personal memories of a special piece of fabric in their lives. Mimicking fabric movements, the “Wavy Weaving Wall”, welcomes the visitors to listen to these recorded personal stories and be part of the continuous shaping of the artwork through regular interactive hands-on workshops.
《跡織繪》
林東鵬與COLLECTIVE共同創作，面積約4米乘23米的公共藝術作品─《跡織繪》將於紗廠公園内展示，作品以香港的紡織歷史為靈感，交織著各式各樣與布料有關的個人故事。《跡織繪》模仿布料隨風飄揚的動態，邀請觀衆聆聽一個個關於布的回憶。觀衆更可在定期的互動工作坊參與編織體驗，延續有關布的故事。
Lam Tung Pang X COLLECTIVE, Wavy Weaving Wall (details), 2018
Date: From 2 Dec onwards (10:00am – 10:00pm daily) | Expect 06 Dec 2018 (11:00am – 5:30pm)
Venue:The Park, The Mills, 45 Pak Tin Par Street, Tsuen Wan
日期：2018年12月2日
時間：11:00am – 7:00pm | (由12月2日起每日開放)| 除了2018年12月6日 11:00am – 5:30pm
地點:CHAT六廠 香港荃灣白田壩街45號南豐紗廠
© Lam Tung Pang x COLLECTIVE/ Commissioned by The Mills
Ref:
https://www.mill6chat.org/zh-hant/event/跡織繪/
https://www.mill6chat.org/event/wavy-weaving-wall/
5 Oct, 2018 - 6 Jan, 2019 | Group Show | Sparkle! Journal of a City Foot Soldier
火花！城市行者日記
Sparkle! Journal of a City Foot Soldier
項目策展人：黃志恆
藝術家：Francis Alÿs、Gordon Matta-Clark、林東鵬、柳凱瑩、Melissa Cate Christ及Susanne Trumpf、Fabian Gutscher及吳佳儒
Project Curator：Sara Wong
Artists：Francis Alÿs, Gordon Matta-Clark, Lam Tung Pang, Kate Lau, Melissa Cate Christ & Susanne Trumpf, Fabian Gutscher & Wu Jiaru
受保羅‧奧斯特的《玻璃之城》所啓發，黃志恆從一個步行者的角度，以一系列藝術作品，園境或城市空間研究建構出一編敍事。展覽透過藝術、文學以及學術研究，引導作為現代城市居民的觀眾，自由探索和解讀關於都市的各種觀點，並對於共同生活的空間作出更廣闊的思考。
Inspired by City of Glass written by Paul Auster, Sara Wong selected artistic and landscape or urban study projects to build a narrative from the perspective of a city walker. Through works of art, literature and researches, visitors are invited to explore freely in the diverse approaches and perspectives of city and urbanism thinking, subsequently into a wider dimension of reflections about city and city living as a modern urban dweller.
展期至 Exhibition until 6.1.2019
開放時間：上午 10 時至晚上 8 時 (逢星期一上午 10 時至下午 2 時休息；公眾假期除外)
油街實現 香港北角油街 12號 (港鐵炮台山站 A 出口)
Opening Hours: 10am — 8pm (Closed on Mondays from 10am — 2pm, except public holidays)
Oi!, 12 Oil Street, North Point, Hong Kong (Exit A, MTR Fortress Hill Station)
Diary of The Curiosity Box (Hong Kong) – The Hometown Tourist pp1-10
Lam “write” the diary of his journey as a hometown-tourist in the form of imagined architectures in different scales. The “writing” process served as the second visit to the journey for the artist. Therefore, the diary is not solely the documentary/representation of the hotel space held The Curiosity Box (Hong Kong) – The Hometown Tourist, rather the artist creates images and objects on top of that journey, giving another dimensions of visiting experience both for the artist himself and audience.
《好奇匣 · 香港》之作客家鄉日記，第一至十頁
林氏以不同比例、想像式的建築作為書寫《好奇匣 · 香港》之作客家鄉的媒介，並通過書寫再次到訪當時的旅程。是次展示的並不僅僅是當時旅程的記錄或酒店內的空間，而是在當中再加上新的影像及物件，令這想像式的建築群成為新的空間經驗。
展覽及特備節目詳情 Exhibition and Special Programme Details
網頁 Web：https://www.lcsd.gov.hk/CE/Museum/APO/en_US/web/apo/sparkle_journal_of_a_city_foot_soldier.html
Facebook：https://www.facebook.com/oioilstreetartspace/
15 Dec, 2017 - 17 Mar, 2018 | Group Show | Bi-City Biennale of Urbanism\Architecture (Shenzhen)
Cities, Grow in Difference
December 15, 2017 – March 17, 2018
Theme: Cities, Grow in Difference
Chief Curators: Hou Hanru、Liu Xiaodu、Meng Yan (In Alphabetic Order)
Main Venue: Nantou Old Town, Shenzhen, China
Open from Tuesday to Sunday, closed on Monday
Tuesday to Thursday: 10:00 am - 6:00 pm
Friday to Sunday: 10:00 am - 8:00 pm
For guided tour, visiting groups (schools, companies, academic organizations) of over 20 members need to make a 3-day prior reservation by phone. Reservation can only be made during the opening hours.
Guided tour reservation:
TEL: +86 0755-83953209
Email: info@szhkbiennale.org
Traffic Guide
Metro：
Exit A\B, Taoyuan Station (Line 1). Walk along Nanshan Avenue to Shennan Avenue, turn left afteroverpass, and continue to Nantou Old Town approximately
《消失的香港藝術（三）》是一組被鋸碎的玻璃鋼材質的大碗。藝術家早年參與香港一條農村的改造過程，將經驗化成創作，並以碗的造形作為載體，承載城鄉生活共存的理念。作品原本計劃於一次公共藝術群展展出。但是開幕當天由於項目負責人與場館方面產生的分歧，導致展覽在未開放公眾參觀前剎停，作品在公共空間的圍欄內存放了12小時之後撤展。這次出人意料的溝通崩潰對林東鵬產生了很大的影響。他親眼目睹了整個事件戲劇化的經過，一方面對雙方各不相讓的態度感到驚訝，但另一方面又體會到他們各自雙方的苦衷，這令他直接感受到內心世界裡存在的各種矛盾。作品最後運回藝術家工作室，林東鵬決定將大碗割成碎片，納入他當時正在發展的《消失的香港藝術》系列，並寫下：當處境改變，藝術也被改變。
藝術家將這件「被消失」的作品存放在香港的貨櫃碼頭三年半，至二零一七年展出。
Disappeared HK Art 3 is a set of large fiberglass Chinese bowls that have been sawed apart. Earlier in his life, the artist participated in a project reforming the villages in Hong Kong, and transformed this experience into an artwork. The form of bowls was used as a carrier to convey the concept of coexistence of urban and rural life. The work was originally planned to be exhibited at a public art installation, however on the opening day, there was a disagreement between the project leader and the venue, leading to the exhibition being cancelled even before it was open to the public. The works were installed and stored for 12 hours before being dismantled. The unexpected collapse of communication has had a great impact on Lam Tung-pang. As he witnessed firsthand the dramatic unfolding of events, he was struck by the uncompromising stances of the two sides; and yet, being able to empathize with the opposing viewpoints of each side, he became immediately aware of the conflicting views that existed within himself. After the work was returned to his studio, he decided to saw the large bowls into pieces and include it in his Disappeared Hong Kong series, with his writing “when situation changes, so does art.”
The artist stored this “disappeared” piece in Kwai Tsing Container Terminals, Hong Kong for three and a half years, until it was exhibited at Chambers Fine Art in 2017.
19 Sep - 11 Nov, 2017 | Group Show | Tale of the Wonderland, Blindspot Gallery, Hong Kong
“Tale of the Wonderland”
Featured artists: Amy Cheung, Isaac Chong Wai, Chow Chun Fai, South Ho Siu Nam, Sarah Lai, Lam Tung Pang, Leung Chi Wo, Pak Sheung Chuen
19 September – 11 November 2017
Opening Reception: 16 September 2017, Saturday, 4 – 6:30 pm Artists will be present. Performance by Isaac Chong Wai will take place at 4:30 - 5:00pm.
Venue: Blindspot Gallery (15/F, Po Chai Industrial Building, 28 Wong Chuk Hang Road, Wong Chuk Hang, Hong Kong) Opening Hours: Tuesday to Saturday, 10am to 6pm (Sunday and Monday by appointment only);
closed on public holidays
Blindspot Gallery is delighted to present “Tale of the Wonderland”, a group exhibition that borrows Alice’s Adventures in Wonderland (1865), the Victorian fantasy novel written by Lewis Carroll, as the framework to construct a collective narrative of the 20 years of post-colonial Hong Kong. Having bid adieu to the colonial era, she was thrown into the rabbit hole, and in 20 years she had to re-learn how to position herself in face of an uncertain future. Her beliefs about her identity and understanding of reality collapse in Wonderland, as she approaches such identity displacement in terms of a fairy tale.
The exhibition is divided into eight chapters, each abstracting elements from the storyline of Alice’s Adventures in Wonderland. Each chapter is represented by the works of eight respective artists, who employ different methodologies and diverse mediums to interpret and realise the respective ideas. The eight chapters are “White Glove” (Sarah Lai), “The Rabbit Hole” (Lam Tung Pang), “Drink Me” (South Ho Siu Nam), “Who in the World am I” (Isaac Chong Wai), “Pool of Tears” (Leung Chi Wo), “Alice’s Adventures” (Amy Cheung), “White Rose Red” (Chow Chun Fai), and “Book – A Speechless Goodbye” (Pak Sheung Chuen).
The exhibition opens with Sarah Lai’s painting, titled White Glove, and a video work. With her signature low-contrast pale palette, Lai depicts a waving hand in a white glove. The gloved hand is devoid of warmth and ambiguous in intention: is the waving hand greeting, declining or bidding farewell? Through the symbolism of white glove, Lai reflects on the hypocritical nature of colonialism and the undecidability of politics. At the same time, Lai satirises Hong Konger’s idealised memory of the British rule during the colonial period.
Lam Tung Pang revisits a self-portrait, titled Folding (2017), created ten years ago whilst studying in the UK. The work resembles a folding screen, in which the artist upholds his empty palms, seemingly holding a cloud of air. Ten years later, Lam reinterprets this work by drilling holes on the wooden panels, visualising the unspeakable voids accumulated in a decade of emptiness. Another work of Lam’s is The Sinking World No.6 (2014), an elegant landscape on wooden panel in which weightless human figures fall without gravity.
South Ho Siu Nam’s installation titled drunken life dreaming death, which includes two kinds of beer brewed by the artist himself, a wooden table split and recombined, as well as dim illumination from hand-made lanterns. The work is a metaphor for people’s divergent memories of the past. Ho uses the bitter-sweet taste of beer as medium, creating a communal experience through the audience’s drinking, sharing, interacting, and participating. In addition, the artist has custom made a camera lens filter that contains liquid beer, transforming the tipsy state into a photographic eye to see the world.
Isaac Chong Wai painted the phrase “Is the World Your Friend?” on canvas as a response to a traumatising attack by a stranger on the street in a foreign country, which led him to contemplate one’s position in the society and in the world. Two other video works, Falling Exercise and Help! Help? Help, document the collective performances of falling and aiding. Through the cyclical processes of falling and standing up, and the reciprocal role of helping and being helped, Chong uses his performances to investigate the formation of individual and collective consciousness, as well as the consolidation of societal norms. Another featured work is an installation titled Hong Kong and Hong Kong, in which a recording plays
the gentle humming of the Chinese national anthem, while a Hong Kong SAR flag is “frozen” in a resin crystal.
Leung Chi Wo’s Untitled Waterscape series captured the variably colourful surfaces of the Victoria harbour in different seasons and times of the day, recording the temporal and mnemonic impressions unperceivable by the naked eye. Leung’s other work, Before Sunrise, is a set of 6 photographs that documents the artist’s response to Yoko Ono’s performance Morning Peace. Set to the accompaniment of Im Abendrot (At Sunset), one of the Four Last Songs Richard Strauss wrote before his death, the artist and attending audience witnessed together the twilight of sunrise.
Amy Cheung’s work documents a performance she enacted, titled 72 Hours, lasting the duration of three days starting on 30 June 2017, the day before the 20th anniversary of the handover of Hong Kong, until 2 July 2017, the day after. During the performance, the artist blindfolded herself and relied on the physical guidance of a different participant each hour to walk, trace and verbalise his or her respective narratives about self and society in the past 20 years, weaving individual stories together into a collective memory.
Chow Chun Fai will install an artwork consisting of 2046 flags, as a metaphor for the discolouration and distortion in the authoritarian rule of the Red Queen. Also featured are signature paintings of Chow’s that take their subject matters from local Hong Kong news reports, depicting scenes of iconic moments and speeches made by the various Chief Executives in the past 20 years, along with insightful subtitles.
Pak Sheung Chuen’s work Adult Library Series: LXB originates from the Library Series during Pak’s residency in New York in 2008. The artist sees the listing of the year of birth and year of death of an author in the library system as a metaphorical memorial to an author. Pak’s work thus acts as a commemorative gesture to a recently deceased writer, while reflecting on the definition of “banned books”, as well as the porously indefinable and permeable border between Hong Kong and China.
The eight featured artists began their conceptual creation at the intersection between realism and fantasy, reflecting on the coexisting dialectics of self and collective, power and freedom, reality and fiction, and past and future.
Interviews with artists are welcome and can be arranged.
About Blindpsot Gallery
For enquiries and media interviews, please contact Ms. Lesley Kwok at 2517 6238 or by email info@blindspotgallery.com
Image Captions: Pak Sheung Chuen, LXB-573.07-7263-ZGDDZZYZGZSFZ-42-A1A10, 2017, Archival inkjet print, 57 x 102.5 cm, Edition of 7 + 3AP Isaac Chong Wai, Help! Help? Help, 2016, Video, 1’53”, Edition of 5 Amy Cheung, 72 Hours, 2017, Dual-channel video, Edition of 5 (Image courtesy of artists and Blindspot Gallery)
“仙境奇遇” 展出藝術家:張韻雯、莊偉、周俊輝、何兆南、黎卓華、林東鵬、梁志和、白雙全 二零一七年九月十九日至十一月十一日
開幕酒會: 二零一七年九月十六日，星期六下午 4 時 至 6 時 30 分 藝術家將出席開幕酒會。莊偉的行為表演將於下午 4 時 30 分至 5 時進行。
地點:刺點畫廊(香港黃竹坑道 28 號保濟工業大廈 15 樓)開放時間:星期二至星期六，上午 10 時至下午 6 時(星期日及星期一只供預約);公眾假期休息
展覽“仙境奇遇”以出版於 1865 年維多利亞時期的奇幻文學小說《愛麗絲夢遊仙境》作骨幹，建構出一個有關香 港脫離殖民時期二十年的集體故事。這二十年來，她被掉進兔子洞，對前途不明感到困惑並需學習重新自我定 位。對自己的身份和周遭的現實的認知崩解後，她藉著仙境裡的童話故事重新理解自身的處境 。
展覽抽取了《愛麗絲夢遊仙境》故事中的不同元素或情 節，分為八個章節，由八位香港藝術家以不同媒介和手 法的創作演繹各章節的涵意 。展覽的八個章節包括“白 手套”(黎卓華)、“兔子洞”(林東鵬)、“醉生夢死” (何兆南)、“我在世上是誰”(莊偉)、“淚水之塘” (梁志和)、“愛麗斯的旅程”(張韻雯)、“紅玫瑰白玫 瑰”(周俊輝)和“圖書 – 無言的告別”(白雙全)。
展覽以黎卓華的繪畫及録像作開首。黎氏以一貫淡色
調、低反差的繪畫風格，繪畫了一隻穿載著白手套、在 揮動的手。被白手套遮敞的手變成了一隻沒有温度的手，手的動作意向不明 – 揮手、拒絕還是道別?通過白手 套的意涵，黎氏反思殖民主義的虛偽本質，及政治的不確定性。同時，暗地裡揶揄港人對英殖時期、經美化的
回憶。
林東鵬重新演譯 10 年前留學英國期間創作的自畫像《Folding》。作品看似一幅能摺叠的屏封，自畫像雙手懸 空，看似抱著一團空氣，裹藏在打開了的屏封當中。在 10 年後林氏重新演繹此作品的版本中，自畫像上卻鑽 了一個個的洞，10 年前無以名狀的空虛感演化成無底的空洞。而另一件創作於 2014 年名為《沉世繪(六)》 的作品，在優美的山水境致中，人們失重地墮落四方。
何兆南的裝置作品《醉生與夢死》是由藝術家親手釀製的啤酒、一張分裂後再重合的木枱，加上燈光效果組 成。何氏釀製的酒有甘、苦兩種味道，隱喻人對過去與回憶持有的不同態度。何氏以啤酒作媒介，通過喝酒、 分享、互動，介入觀眾的參與，從而營造群組的氣氛與經驗。除此之外，藝術家更特製了一個盛載啤酒的相機 鏡頭過濾鏡，透過攝影捕捉“酒後”的風景。
莊偉參展的繪畫《Is The World Your Friend?》的靈感源自他一次在外地 被街上的陌生人無故襲擊的經歷，此事件令他反思自身在社會和世界 的定位。他的兩組録像作品《Falling Exercise》及《Help! Help? Help》 紀錄了跌倒及援助的集體演出。透過跌倒及站起的過程、拯救與被救 的對立角色扮演，莊氏通過兩組集體行為，以探討自我/集體意識的 構成，及社會標準的釐定 。而最新的裝置作品《香港‧香港》(Hong Kong and Hong Kong)，在中國國歌的哼唱聲中，香港區旗被摺叠上並 「冰封」在水晶體裡。
梁志和的攝影系列《Untitled Waterscape》通過攝影記錄了維多利亞港在不 同季節、不同時段變幻無常的色彩，保存了肉眼看不見卻飽含在水中、有 關時間和記憶的印證。另一參展作品《拂曉》(Before Sunrise)是一組共 6 張的照片，記録了一次回應藝術家小野洋子作品《Morning Peace》的即場 表演，伴隨即場演奏的音樂是 Richard Strauss 在預視自己生命終結前一年 填寫的歌曲 Im Abendrot (At Sunset)，藝術家與在場觀眾共同見證了日出的 晨曦。
張韻雯的參展作品《72 小時》記錄了她從 2017.6.30 至 2017.7.2，即香港回 歸二十週年的前一天至後一天，三天內共 72 小時，蒙著雙眼，每小時跟隨 著一個參與者，到不同地點追溯參與者關於社會或自身的回憶。作品通過 不同個體的回憶拼湊出集體回憶的大畫面。
周俊輝的最新裝置作品由 2046 支旗幟組成，經手工處理後的旗幟比喻在紅心皇后的統治下，事物的變色和失 真。另外，周氏一系列取材於本地新聞的畫作，描繪出過去 20 年來歷屆香港特首在不同場合發表演說時具時 代標誌性的畫面，及發人深思的語句。
白雙全的參展作品《成人圖書館系列:LXB》延續白氏於 2008 年在美國紐約作駐留時所創作的圖書館系列。藝 術家以圖書館把作者的出生及死亡年份在搜索系統中列出，比喻為一種對作者的追念。白氏以此作品追念剛去 世的作者，同時反思「禁書」的界定，及中港兩地的無形邊界。
8 位參展藝術家通過概念化的創作從奇幻與寫實交錯的建構出發，反思自身與集體、權力與自由、真實與虛 構、過去與未來的共存而對立的關係。
歡迎媒體預約採訪。
關於刺點畫廊
如有任何查詢，請致電 25176238 或電郵至 info@blindspotgallery.com 與郭麗兒小姐聯絡
圖片說明:
白雙全，《LXB-573.07-7263-ZGDDZZYZGZSFZ-42-A1A10》，2017，收藏級噴墨打印，57 x 102.5 厘米，版本:7 + 3AP 莊偉，《Help! Help? Help》，2016，錄像，1’53”，版本:5 張韻雯，《72 小時》，2017，錄像
(圖片由藝術家及刺點畫廊提供。)
24 Jun - 20 Aug, 2017 | Solo | Lam Tang-pang: Fragmentation, Chambers Fine Art, Beijing
Exhibition Date: June 24 – August 20, 2017
Opening Reception: Saturday, June 24, 2017, 3 - 6 pm
Chambers Fine Art is pleased to announce the opening on June 24, 2017 of Lam Tung-pang: Fragmentation. Born in Hong Kong in 1978, Lam studied fine art at the Chinese University of Hong Kong, and later received his MFA from Central Saint Martins in London, England in 2004. This will be the leading Hong Kong artist Lam Tung-pang’s inaugural solo exhibition in Beijing.
Curated by Abby Chen, Fragmentation brings together a group of objects, sketches, paintings and installation works that give viewers a glimpse of Lam’s process-driven artwork––one that has become increasingly intertwined with his everyday life. An ongoing theme behind the artist’s work has been an exploration of what he calls the ‘fragmented self’ – the separate identities that co-exist within each person, at times in harmony with one another, and at others in seemingly complete opposition. Lam views this inner fragmentation as a metaphor for contemporary society, which is especially potent when applied to Hong Kong, where anxiety over the city’s relationship with mainland China has created a politically fragmented population.
Anchoring the exhibition is Disappeared HK Art 3, a set of large fiberglass Chinese bowls that have been sawed apart, the pieces scattered throughout the gallery courtyard. The bowls were originally part of a public installation in Hong Kong featuring a group of local artists. Due to a disagreement on the opening day between the venue and organizers of the project, the exhibition lasted a mere 24 hours, after which it was quickly dismantled. The abrupt and sudden breakdown in communication had a profound impact on Lam. As he witnessed firsthand the dramatic unfolding of events, he was struck by the uncompromising stances of the two sides; and yet, being able to empathize with the opposing viewpoints of each side, he became immediately aware of the conflicting views that existed within himself.
In his subsequent work, Lam has sought to explore the separate roles that he inhabits within his own life: artist, researcher, father, etc… During a 2013 artist residency in New York, he turned his apartment into a shared space of living, artmaking, archiving and socializing. This experiment continued as Lam traveled to San Francisco for “The Curiosity Box” exhibition, mutating a public space back into a semi-private studio. In 2015 Lam expanded the series in Hong Kong with The Hometown Tourist. Appropriating the role of a “tourist” within his own city, Lam checked into a local hotel for six weeks, transforming an entire hotel wing into an open, working studio, each room becoming a constantly evolving mini-exhibition.
Fragmentation brings together a compelling new body of work distilled from Lam Tung-pang’s residencies in New York and Hong Kong. Diary 20150605 is a note from his travel journal that has been enlarged onto canvas; The Outlook Is Still Positive consists of two Chinese postage stamps bearing the images of palm trees, in front of which a diminutive scale model figurine is seated upon a popular real estate market slogan: ‘the outlook is still positive’. The configuration resembles a miniature billboard advertisement; it is left to the viewer to decide what its cryptic sales pitch refers to. Lam's inquisitive, ironic and playful nature is apparent in his work, and a certain charm arises from each of his objects, large or small. There is a vulnerability to them, as the artist invites the audience to explore his inner, fragmented thoughts. Yet, taken together, the artworks gathered among the gallery and courtyard begin to coalesce, forming the vibrant stream of consciousness that encompasses Lam’s creative process.
For further information please contact the gallery at +86 (10) 51273298 or bj@chambersfineart.com
林东鹏：碎片时代
展览时间：2017年6月24日至8月20日
开幕酒会：2017年6月24日（周六）下午3:00–6:00
前波画廊北京诚挚地宣布林东鹏的个展《碎片时代》将于2017年6月24日开幕。林东鹏1978年出生于香港，在香港中文大学主修艺术，之后于2004年在伦敦中央圣马丁艺术学院获得硕士学位。此次展览由陈畅策划，也是这位香港的杰出艺术家在北京的首次个展。
《碎片时代》包括了一系列的物品、手稿、绘画和装置作品，此次展览上观众得以一窥艺术家别有深意的作品，这些作品也越来越与林东鹏的日常生活紧密地联系在一起。“分裂的自我”是林东鹏一直以来在持续探究的主题，他认为每个人同时都拥有着不同的身份，有时它们和谐共存，而有时却似乎显得格格不入。这种内在的分裂其实也隐喻着当代的社会状态，用来描述香港尤为显得妥帖，这座城市和大陆之间的焦虑关系造就了一个政治分裂的群体。
此次展览中最重要的作品《消失的香港艺术（三）》是一组被锯碎的玻璃钢材质的大碗，这些碎片散落在画廊的院子里。这些碗原本是香港当地艺术家公共艺术展中的一件作品。但是开幕当天由于项目负责人与场馆方面产生的分歧，这个展览仅仅持续了24小时，之后被迅速撤展。这次出人意料的沟通崩溃对林东鹏产生了很大的影响。他亲眼目睹了整个事件戏剧化的经过，一方面对双方各不相让的态度感到惊讶，但另一方面又体会到他们各自双方的苦衷，这令他直接感受到了自己内心世界中存在的各种矛盾。
展览的其它作品中，林东鹏试图探索自己生活中的多重身份：艺术家、研究者、父亲等。2013年在纽约参加一个艺术家驻地项目时，林东鹏把自己的公寓变成了一个生活、艺术创作、档案收集以及社交的共享空间。随后他在美国旧金山的展览《好奇匣》中继续这种尝试，他把一个公共空间变成了一个半私人的工作室。在2015年，林东鹏在香港延续了这个系列，创作了《好奇匣香港——做客家乡》。他在自己的城市中扮成了一个游客的身份，在一家酒店住了六周，把整个酒店的一边变成了一个开放的工作室，其中每个房间都变成了一个不断演变的小型展览。
《碎片时代》展示了林东鹏的一系列值得关注的新作，都是根据他在纽约和香港生活的体验而进行的艺术创作。《日记 20150605》是将其旅行日记的一篇放大到画布上；《景仍看俏》里有两张印着棕榈树的中国邮票，邮票前有一个迷你人偶坐在常见的地产标语“景仍看俏”上。这个组合类似一个迷你的广告牌宣传，留给观众一个遐想的空间来猜测这个广告到底在推销什么。从林东鹏的作品中可以明显体会到其刨根问底、极具讽刺和幽默的个性，无论作品尺寸大小都展示了一种魅力。由于艺术家邀请观者来探索他内心如碎片般的想法，因而我们也能感受到作品中柔软脆弱的一面。然而，纵观展览，展厅和院子里的所有作品渐渐合而为一，四处萦绕着其创作过程所围绕的鲜明意识。
如需更多信息，请致电画廊 + 86（10）5127 3298或发邮件至 bj@chambersfineart.com
Courtesy of Artist and Chambers Fine Arts
8 Jan - 30 Jun, 2017 | Solo | Hi! Houses, Lam Tung-pang X Old House at Wong Uk Village, Hong Kong
8 Jan - 30 Jun 2017 | Solo |Hi! Houses, Lam Tung-pang X Old House at Wong Uk Village, Hong Kong
林東鵬 X 王屋村古屋
地址︰沙田圓洲角王屋村
開放時間︰2017年1月8日起
逢星期一、三至日：上午 9 時至下午1 時及下午 2 時至 5 時 (星期二及農曆年初一至三休息)
藝術家團隊:
梁展峰＠Art Appraisal Club
片藍造
王詠思
陳蓓博士及何詠華、許曉昕
香港中文大學文學院文化管理文學士課程
Lam Tung-pang X Old House at Wong Uk Village
Yuen Chau Kok, Sha Tin
Exhibition Period: 8 January to 30 June 2017
Opening hours:
Monday, Wednesday to Sunday: 9am - 1pm and 2pm - 5pm
(Closed on Tuesdays and the first three days of the Chinese New Year)
Artist's Team:
Jeff Leung@Art Appraisal Club
Indigo 11.50
Jennifer Wong
Dr Pedith Chan, Wena Ho and Queenie Hui
Cultural Management Programme, Faculty of Arts, CUHK
網頁 Web: www.lcsd.gov.hk/apo/
Facebook: www.facebook.com/apo.hihouses
查詢 Enquiries電話 Tel: 2512 3000 傳真 Fax: 2512 3022
康樂及文化事務署主辦 Presented by the Leisure and Cultural Services Department藝術推廣辦事處籌劃 Organised by the Art Promotion Office 支持單位：古物古蹟辦事處、香港歷史博物館及非物質文化遺產辦事處 Supported by the Antiquities and Monuments Office, the Hong Kong Museum of History and the Intangible Cultural Heritage Office
7-30 Jul, 2016 | Solo | Planting Time, Tang Contemporary Art, Hong Kong
7-30 Jul 2016 | Solo |Planting Time, Tang Contemporary Art, Hong Kong
Press Release:
Tang Contemporary Art is proud to present a solo exhibition of contemporary Hong Kong artist Lam Tung Pang, the curatorial debut by renowned Hong Kong-based architect and collector William Lim. Exhibiting at their Central space from July 7 – 30, 2016, “Planting Time” will be the gallery’s first-ever collaboration with him, and solo exhibition of a Hong Kong artist.
Curatorial Statement
“Lam Tung Pang’s works, to me, are a metaphor for connecting the past with the present, crossing from Shan Shui in Song dynasty to today’s urban landscape, where viewers are directed to link the ancient with modern media. If an artist’s early creations were abandoned, given up at the time for certain reasons, were to resurface after many years – would it take on a new life? And the successful creations made then, if seen again today, would they still have life in them? Could a work made today, reviewed again in a year, potentially become a creation to dispose?
The artist uses a tense in English grammar as the work title to reference the relationship between materials and time simultaneously; the schematization of its artistic language is also likened to text-imagery, in a series of chapters. This exhibition features a 2011 representative work by the artist “Past Continuous Tense”, where he appropriates an earlier failed attempt and once abandoned idea of drawing on plywood as a visual artistic reflection on his creative progress. This has inspired the name of our exhibition, “Planting Time”.
As my curatorial debut, I am delighted to work with Lam Tung Pang and Tang Contemporary Art to share great Hong Kong art with everyone. Time has always been one of the recurring themes in my collection – here, Lam Tung Pang’s exploration of the continuity and changes in time can also be an inspiration for today’s society.”
– William Lim
About William Lim
William Lim is a Hong Kong-based architect, art patron, and collector. A graduate from Cornell University with a Bachelor and Masters degree in Architecture, he is the founder and managing director of award-winning firm CL3 Architects. A vocal supporter of contemporary art in Hong Kong, he published a book on his collection “The No Colors: William Lim Collection” in 2014.
In addition to several academic posts he holds in Hong Kong and abroad, William serves on the Gallery Advisory Committee of the Asia Society, the Asia Pacific Acquisition Committee for Tate London, is a board member of Asia Art Archive, on the advisory board for The Art Basel Cities, as well as a Council Member on the board for Cornell University Architecture, Art and Planning. He was previously co-chairman for the non-profit art space Para/Site in Hong Kong.
William has participated in Lantern Wonderland, Venice Biennale’s International Architectural Exhibition, as well as the Hong Kong & Shenzhen Bi-City Biennale of Urbanism/Architecture for his multidisciplinary art and design practice.
9 Jan - 7 Mar, 2016 | Solo | Toys Stop, K11 Chi Art Space, Hong Kong
9 Jan - 7 Mar 2016 | Solo | Toys StopK11 Chi Art Space, Hong Kong《玩具亭》，K11 Chi 藝術空間，香港
Toys Stop is a concept inspired by art x toy shop, a collaborative project by K11 and Lam Tung Pang and artists invited by Lam, to create a space for public to play and relax by transforming chi K11 art space back to its original state as a shop.
In Toys Stop, the 4 zones (Toys and Theatre, Construction as Play, Soft Sculpture Park and Reading Area) serve as different functions aiming to stimulate children’s creative thinking and to encourage family education and communication. Children are encourage to explore, question and interact instead of shopping in the space. It acts as a ‘Stop’ for family to spend time together, express their creative thinking and play with other visitors through various commission materials placing at the venue.
30 Apr – 31 Jul, 2016 | Group Show | The Shadow Never Lies, Shanghai 21st Century Minsheng Art Museum, Shanghai, China
30 Apr – 31 Jul 2016 | Group Show | The Shadow Never Lies, Shanghai 21st Century Minsheng Art Museum, Shanghai, China
“The Shadow Never Lies” will hold the opening ceremony on April 29, 2016 in Shanghai 21st Century Minsheng Art Museum (M21).This exhibition is international: designed to show how concepts and their aesthetic preoccupations cross political and cultural boundaries. It includes 34 different artists’ works in photography, video, film, animation, painting, installation and performance. The exhibition is curated by Jiang Jiehong and Mark Nash.
The Chinese word yingxiang can be translated literally as ‘shadow image’ in English. In the context of contemporary art, yingxiangrefers to visual media including both still and moving images, such as photography video, film and animation, whether produced through traditional or digital techniques.
Our shadows link us to as well as distance us from reality – they are so to speak an indexical figure that guarantees our humanity. And in art, there are different aesthetic traditions and cultural understandings of shadows between East and West. In the early 19th century, photography was born as ‘the art of fixing shadows’; and today, when our sense of the reality of the material world has been dissolved by digital technologies, shadows emphasise the fragility of our ontological distinctions between the imaginary and the real.
To many, what we see in a photograph is ‘true’, and the foremost function of yingxiangis to record this reality both visually and durationally. However, the ‘objectivity’ and the ‘materiality’ of yingxiangdo not necessarily provide ‘truthfulness’, while the practical production process, if regarded as merely mechanical, can act as a mask for its ‘objective’ appearance. Shadows are always loyal to their subjects, attached, and yet keep the ‘other’ distanced from reality. Similarly, the forms of yingxiang, artistic strategies which block, foreground or distort the relationship to actuality, offer the impression of immediate contact with the real but by their very nature prevent that. In this exhibition then, yingxiangis no longer a simple definition of a visual medium, but a particular concept, a new perspective, through which we re-experience its ‘remoteness’ and ‘otherness’. Today, yingxiangis everywhere. It has conjured up a colourful web of images that envelop us, whether true or false, they fabricate and interpret a different reality.
The exhibition will be opened to the public from April 30 to July 31.
Artists:
Poklong ANADING (Philippines), Daniel BOYD (Australia), CHEN Chieh-Jen (Taiwan), CHEN Shaoxiong (China), Anne Katrine DOLVEN (Norway), Simryn GILL (Malaysia), João Maria GUSMÃO and Pedro PAIVA (Portugal), HAN Kyung Woo (South Korea), HU Jieming (China), HU Xiaoyuan (China), JIANG Pengyi (China), JIN Feng (China), Joan JONAS (United States), Isaac JULIEN (United Kingdom), Tina KEANE (United Kingdom), William KENTRIDGE (South Africa), LAM Tung Pang (Hong Kong), LU Yang (China), Bashir MAKHOUL (Palestine), MIAO Xiaochun (China), Takao MINAMI (Japan), Richard MOSSE (Ireland), QIU Zhijie (China), Shahzia SIKANDER (Pakistan), Shaw Xu (China), WANG Gongxin (China), WANG Sishun (China), WANG Yuyang (China), WU Chi-Tsung (Taiwan), YANG Zhenzhong (China), YUAN Gong (China), ZHANG Dali (China), ZHANG Peili (China), ZHUANG Hui (China)
http://21msms.com/rest/cmsController/page/activitydetail.html?aid=2c92818851f772180153ea796f6302ca&menuId=402881e446955c7c014695a774f9002c
9 May - 30 Sep, 2015 | Solo | The Curiosity Box Hong Kong – Hometown Tourist, New Capital Hotel, Hong Kong
9 May - 30 Sep 2015 | Solo |The Curiosity Box Hong Kong – Hometown Tourist, New Capital Hotel, Hong Kong《好奇匣香港－作客家鄉》，新都酒店，香港
4 Oct 2013 – 5 Jan, 2015 | Group Show |China 8: Overview – Views of China, NRW Forum, Dusseldorf, Germany
4 Oct 2013 – 5 Jan 2015 | Group Show |China 8: Overview – Views of China, NRW Forum, Dusseldorf, Germany
4 Oct 2013 – 5 Jan, 2014 | Group Show | The Past is Continuing, Hong Kong Heritage Museum, Hong Kong
4 Oct 2013 – 5 Jan 2014 | Group Show | The Past is Continuing, Hong Kong Heritage Museum, Hong Kong
9 May - 30 Sep, 2014 | Solo | Play, Espace Louis Vuitton, Hong Kong
Play, Espace Louis Vuitton, Hong Kong
LOUIS VUITTON PRESENTS “PLAY”
SOLO EXHIBITION OF AWARD WINNING HONG KONG ARTIST LAM TUNG-PANG
Espace Louis Vuitton Hong Kong proudly presents PLAY, a solo exhibition of celebrated artist Lam Tung-pang, recent recipient of Award for Best Artist (Visual Arts), Hong Kong Arts Development Awards (2013). In PLAY, Lam utilizes toys to create large-scale paintings and installations. Toys often reflect the “utopia” of a child's mind, however for adults the perspective is often complicated through accumulated life experiences. This in turn affects the adult cognitive processes when approaching toys, and it is this very act that Lam seeks to address in this exhibition. Featuring all new works, the exhibition will run from 9 May to 30 September 2014.
“Toys allow us to understand the constructs of learning,” Lam states. As toys are among the first things that appeal to children’s senses, their choice of toys can be seen as a documentation of their learning process. However, when adults play with toys, the complexity increases, with the added burden and benefit of personal histories and memories. It is this experience that elevates the toy from a child’s object to a symbol of knowledge accumulation. Lam seeks to pose questions about artistic and creative processes through the act of playing.
The use of toys as an artistic medium has been a part of Lam’s practice for some years because “playing” is an indispensible element to the artist’s creation. Experimenting and toying with the assemblage of objects constitute a large part of his work. However, in PLAY the focus is on the toy for the first time, and represents a revolutionary advancement in Lam’s oeuvre.
The exhibition highlights Lam’s fascination with and study of materials. The artist collects toys from his private domestic environment as well as travel journeys. Curating a miniature museum that documents our systems of learning, the exhibition space features toy installations, that are a result of highly personal encounters. Playing with these found objects raises questions about growth, human experiences and the development of the adult mind, ideas which provide continuous inspiration to the artist.
Concurrently, Lam is renowned for his natural and urban landscapes, rooted in traditional Chinese ink traditions. In a reiteration of this format, the artist has surpassed his earlier conventions. Experimenting with children’s stickers for the first time, his new works create a theatrical effect, complex and layered. From afar, his artworks represent classical landscapes. Yet, by applying stickers on the surface, his works tell vivid and multiple stories while looked at up close.
Collectively, this new series of artworks demonstrate Lam Tung-pang’s highly personal artistic vision, using a distinctive aesthetic language that provokes the viewer into a reconsideration of the mundane, as well as traditional conceptions underlying Chinese ink and landscape paintings, while also confronting the cultural implications of those conventions through a subtle sense of humour.
The PLAY exhibition opens on 9 May until 30 September 2014.
Venue:Espace Louis Vuitton Hong Kong, Louis Vuitton Maison, 5 Canton Road, Tsim Sha Tsui, Hong Kong
Opening Hours: 10:00am to 10:00pm daily
4 Oct 2013 – 5 Jan, 2014 | Group Show | Hong Kong Contemporary Art Awards 2012
Special Exhibition Gallery and Contemporary Hong Kong Art Gallery (2/F)
Featuring Past Continuous Tense
Past Continuous Tense
Charcoal, image transfer, acrylic on wood
H244x1560cm
2011
Courtesy of Hong Kong Arts Centre
Wisdom from the old days sometime is just like a joke for today, What does tradition mean today? How it is perceived and what does it contribute to our contemporary life? I went back to lookup at traditional Chinese Painting, which I always failed during my school days. This work, Past Continuous Tense, is formed by those questions and copying of images of trees from ink paintings including Korean and Japanese.
對於當今來說，古人的訓話有時可能變得如笑話般。傳統是如何地被感知？與當下的關係及其作用如何？我重看以往在學時期學習得非常差勁的傳統水墨畫（包括日本及韓國的作品），再通過重畫，結合及對她們總總的問題，創作了這件「過去進行式」。
Making of Past Continuous Tense
http://www.youtube.com/watch?v=RnyFsTV6mEI
17May - 18 Aug, 2013| Group Show | The Eternal Tao | Hong Kong Museum of Art
17May - 18 Aug 2013| Group |The Eternal Tao, Hong Kong Museum of Art, Hong Kong原道——中國當代藝術的新概念
Featuring Faith moves Mountain
炭筆木本，照片及文字
炭筆木本：180 x 840 公分，照片：90 x 30公分，文字
2008
Drawing on Wood, Lambda print on dibond and Text
Drawing:180x840cm, Photo: 90 x 30 cm each, Text:
2008
Collected by Hong Kong Museum of Art
This artwork could also be viewed from
Google Art Project
http://www.googleartproject.com/collection/hong-kong-museum-of-art/artwork/faith-moves-mountain-lam-tung-pang/356071/
15 Mar – 25 May, 2013 | Solo | The Curiosity Box | Cultural Exchange in New York and San Francisco
15 Mar – 25 May 2013 | Solo | The Curiosity Box, New York and San Francisco
New York: 15 Mar – 25 May 2013 (by appointment only)
San Francisco: 3 Jun – 28 Jun 2013 (10am-6pm)
New York Asian Cultural Council Apartment
100 John Street, Apt. 2005, New York, NY 10038
Chinese Culture Center of San Francisco
750 Kearny Street, Third Floor San Francisco, CA 94108-1809
Tuesday-Saturday 10am-4pm
Supported by:
The Arts Development Fund of the Home Affairs Bureau
Government of the Hong Kong Special Administrative Region
香港特別行政區政府民政事務局藝術發展基金資助
Asian Cultural Council Hong Kong: http://www.asianculturalcouncil.org.hk
Chinese Culture Center of San Francisco: http://www.c-c-c.org
Artist: http://www.lamtungpang.com
23-26 May, 2013 | LAM TUNG PANG's projects in ArtBasel Hong Kong |
23-26 May, 2013 | LAM TUNG PANG's project in Art Basel Hong Kong |
presented by Galerie du Monde
Lam Tung-pang / One-Two-World / Installation: scale models, plants, drawing and projection on paper / Dimension variable, projection: H1.5 x 2.7m / 2013
1st – 31st May, 2013 | Group Show | Hong Kong Eye | ArtisTree, Hong Kong
1st – 31st May 2013 | Group Show |Hong Kong Eye, ArtisTree, Hong Kong
Lam Tung-pang / Vanish / Charcoal, acrylic, oils and burnt paper on plywood / 240x240x5cm (120x240cm each panel) / 2008
ArtisTree
10:00am to 6:00pm
1/F Cornwall House, TaiKoo Place, 979 King’s Road, Island East, Hong Kong
12 May-23 Sep, 2013 | Group Show | Intelligence Infinity: Inspiration through Art | Hong Kong Heritage Museum
12 May-23 Sep 2013 | Group Show |Intelligence Infinity: Inspiration through Art,Hong Kong Heritage Museum
Lam Tung-pang / Things Happened on the Island / Acrylics, charcoal, pencil, scale model and wooden toys on plywood / H 244 x 700 x W 60cm / Acrylics, charcoal, pencil, scale model and wooden toys on plywood / 2013
Participating Artists:
Chris Cheung, Cheng Kar-wai, Henry Chu, Steven Chu, Kevin Fung, Lam Mui-ling, Lam Tung-pang, Carol Lee, Lung Heung-wing, Anson Tsang, Kenneth Tse, Pacino Wan, Humphrey Wong, Wong Tin-yan, Lio Yeung, Clement Yick
17May-30Jun, 2013 | Group Show | I Think It Rains | Cattle Depot Artist Village in Hong Kong
17May-30Jun, 2013 | Group Show |I Think It Rains,Cattle Depot Artist Village, Hong Kong
May 16: Soft opening of the exhibition I Think It Rains (May 17 - June 30)
May 23: Launch of Torrent Magazine n° 1
May 24: Performance Day
October 17: Opening of the second exhibition (October 18 - December 15)
Lam Tung-pang | Disappeared Hong Kong Art (90s) - (1) Prof. Kurt Chan
Burger Collection is pleased to announce the launch of a three-year exhibition and research project developed and realized with 1a space, an independent artist-run organization in Hong Kong. The project will open in May 2013 with the multi-disciplinary exhibition I Think It Rains at the heritage site of the Cattle Depot Artist Village in Hong Kong. This first phase of the project unfolds from May until December 2013. Its major components will consist in artist residencies, panels and workshops, as well as the production of ephemera and a catalog documenting the yearlong productions. I Think It Rains brings together artists, writers, and critics invited by Burger Collection and 1a space in a tentative of creating a cross-disciplinary collaborative model. I Think It Rains will emphasize the multi-faceted practices of the participating artists and writers ranging from mixed-media work to installations, pseudo-writing, or radio-programs, and the like.
LIST OF CONTRIBUTORS
Artists and writers: Bani Abidi (b. 1971, Pakistan), Fiona Banner (b. 1966, United Kingdom), Pierre Bismuth (b. 1963, France), Muhanned Cader (b. 1966, Sri Lanka), Filipa César (b. 1975, Portugal), Alejandro Cesarco (b. 1975, Uruguay), Enoch Cheung (b. 1970, Hong Kong), Pak Sheung Chuen (b. 1977, China), Choi Yan-chi (b. 1949, Hong Kong), Ng Ka Chun (b. 1985, Hong Kong), Chow Yiu Fai (b. 1961, Hong Kong), Ryan Gander (b. 1976, United Kingdom), Florian Germann (b. 1978, Switzerland), Gao Weigang (b. 1976, China), Jon Kessler (b. 1957, United States), Kingsley Ng (b. 1980, Hong Kong), Lam Tung Pang (b. 1978 Hong Kong), Lau Ching Ping (b.1963, Hong Kong), Vittorio Santoro, (b. 1962, Switzerland), Fiete Stolte (b. 1979, Germany), Annie Lai-kuen Wan (b. 1961, Hong Kong), and Cally Yu (b. 1968, Hong Kong).
Core team members of Burger Collection and 1a space: Choi Yan-chi (artist),
Enoch Cheung (artist), Linda Jensen (curatorial assistant), Daniel Kurjaković (curator), and Cally Yu (writer).
14-27Apr 2013 | Group Show | Painting On and On 3 - Melting Pot | School of Creative Media, City University of Hong Kong
14-27Apr 2013 | Group Show |Painting On and On 3 - Melting Pot,School of Creative Media, City University of Hong Kong
Lam Tung-pang / Land escape no.6 / H2.44x4m / Acrylics, charcoal, scale model and clay on plywood / 2013