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Chris Huen Sin Kan

Of Humdrum Moments
Pilar Corrias
London
19 May – 17 Jun, 2017
Alex Quicho

Hong Kong artist Chris Huen Sin Kan exhibited eight large paintings at London’s Pilar
Corrias gallery, each dedicated to a fleeting everyday moment – moments that Huen believes are forgotten in the narrative of our everyday lives.

These are drawings more than paintings: painted in oil, colours nonetheless appear as distinct, as if from a marker pen. As confidence underpins shakiness, something about Huen’s style seems purposely naive. Observing the convergence of so much movement to reveal unspoiled white ground raises questions about the mechanisms of his apparent spontaneity.

Once undervalued, the snapshot finds itself prized today. From Wolfgang Tillmans to Juergen Teller, many artists have found the exalted in the in-between, fine-tuning our whittled attention spans to appreciate otherwise neglected details. In Huen’s work, the freeze-frame quality of mercurial surfaces – the water in a kiddie pool, the twist of dense foliage, a restless dog’s sudden gaze – hints at photographic reference material. The snap of a shutter seals an otherwise fleeting instance into something that can be obsessed over. Huen’s line work is dizzying and always active, finding movement of light, texture and shadow in even the smoothest of tile. It fits the paintings’ charged domesticity:
a still life, resplendent with houseplants, isn’t still but vibratory, with smatterings of outline, vine and shadow commingling to form an energetic whole.

In her most recent book, Staying with the Trouble, theorist Donna Haraway suggests “making kin” with other creatures as a productive, paradoxical way to reassert our own humanity. Huen sees a dog or a tree as equally worthy of attention as any grand theme. In one piece, his wife and son are represented with a light touch, their bodies primarilymade from the white void of canvas. The banana tree behind them holds the most material weight, shaded in a deep, verdant green that feels true to life. Otherwise, the work feels richly brittle, with hallucinatory blurred bounding lines. If the work suggests that the mundane is important, it’s not through over-exalting what would otherwise be forgotten. Instead, Huen emphasises the fragility of time, and of the myriad small energies contained within it.

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Wang Gongxin

Sep 6 – Nov 11

1995-Unseatable(low res)

Image courtesy White Cube.

The gallery is pleased to present Rotation, a solo exhibition by Chinese multimedia artist Wang Gongxin – his first in Hong Kong. This is the first presentation of the artist’s early installation works, as well as new works.

The exhibition presents artworks from the period immediately preceding Wang’s first uses of video and projection in 1996. Most of the exhibited works were originally conceived of or created between 1993 and 1996, a period of fervent artistic experimentation inseparable from Wang’s later video practice.

Born in 1960 in Beijing, Wang is a pioneering media artist, being one of the first in China to use digital editing. He was also, in 2001, the founder of Loft, the earliest media art centre in China. Wang began his career as a painter, but his experiences and in particular the art education he received in the US between the late 1980s and early 1990s encouraged him to broaden his artistic language, evidence of the energy and vitality within his practice.

White Cube

50 Connaught Road, Central
(852) 2592 2000
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Tu-Sa 11am to 7pm

The first of White Cube’s galleries to be located outside of the UK, White Cube Hong Kong is situated at 50 Connaught Road, in the heart of Hong Kong’s Central district. Since its inception in March 2012, the gallery has hosted a varied programme of exhibitions including Gilbert & George, Anselm Kiefer, Damien Hirst and Cerith Wyn Evans. The gallery provides an interior exhibition space of 550 m2 (6000 sq ft) which is set over two floors and has a ceiling height of over 4.5 metres. The building was designed by London based architects Maybank and Matthews.

‘Jockey Club New Arts Power’ grand debut!

Our Talents, Our Pride

Organised by Hong Kong Arts Development Council (HKADC) and funded by The Hong Kong Jockey Club Charities Trust, Jockey Club New Arts Power was officially launched at the Hong Kong Cultural Centre on Tuesday, September 12. Since its conception in 1995 the HKADC has been actively promoting local art overseas, introducing outstanding Hong Kong artists to the global arts scene. The presentation of 18 artists and performance groups in the inaugural Jockey Club New Arts Power celebrates and showcases a selection of Hong Kong’s most internationally celebrated artists, bringing their excellence back to their home city and allowing the Hong Kong community to appreciate their creativity and talent.

Jockey Club New Arts Power focuses on five major art forms – modern dance, music, theatre performances, media art and visual arts – and brings over 160 diverse events to the public, including public previews, forums, sharing sessions, workshops, school and outreach programmes, and 19 ticketed art performances and two exhibitions. The project promotes outstanding local artworks at community level, encouraging participation from each and every Hong Kong citizen.

In the past two years, HKADC has brought artists to the Performing Arts Market in Seoul (PAMS), the Busan International Dance Market (BIDAM), Gwangju Biennale in Korea, Internationale Tanzmesse NRW in Düsseldorf, Germany, OzAsia Festival in Adelaide, Australia, Shenzhen Theatre Biennial and Kuandu Arts Festival in Taipei. Overseas arts practitioners and general audiences abroad have the chance to enjoy the most lively and finest works of arts from Hong Kong.

A new arts power in the international arena made up of Hong Kong’s home-grown artistic talents now return after their fruitful overseas journeys, bringing pride back to their hometown. Having been inspired through their experiences abroad, these artists are ready to inspire more people with their works in further developed forms and contents. Come and join this grand arts festival, spanning across over half a year and pooling together 18 units of artists, and be proud of our local talents!

Participating artists
Chen Kai, Hugh Cho, Victor Fung, Ivanhoe Lam, Jabin Law, Li De, Justyne Li x Wong Tan-ki, Kingsley Ng, Annie Wan, Chloe Wong, Jing Wong, Rebecca Wong, Yang Hao, Alice Theatre Laboratory, Cinematic Theatre, GDJYB, SIU2, Yat Po Singers

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Angela Su

The Afterlife of Rosy Leavers
Blindspot Gallery
May 20 –  Jun 30, 2017
John Batten

Among the first people to experiment with electronic synthesisers in the early 1970s were British band Curved Air. Their music captured the heady atmosphere of the era, while the cover of their 1972 album Phantasmagoria, drawn by prominent illustrator John Gorham, featured a long, curly title running from edge to edge, with a hooded figure in the background smoking a hookah.

The album’s title was inspired by Lewis Carroll’s poem Phantasmagoria, meaning a fantastic sequence of haphazardly associative imagery. Carroll’s poem – the longest he ever wrote – is a comical, nonsensical conversation between a ghost and a Mr Tibbett. The ghost arrives intending to take up residence in Mr Tibbett’s home, but after a series of conversations and explanations of why he is there, eventually realises that he is at the wrong address; he should be at a Mr Tibb’s home. The poem reflects the Victorian era’s interest in the supernatural, the world of psychics and mediums who employed showmanship and what novelist Hilary Mantel recently described as “canny psychology”. The album’s title track linked Carroll’s story to the psychedelic culture of the early 1970s, with lyrics that allude to hallucinatory drug experiences.

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The Afterlife of Rosy Leavers by Angela Su, Single channel video, 14 min 35 sec, edition of 5 + 2AP, 2017.

Angela Su’s exhibition continues these interests, particularly the excellent title video, the faux-biographical documentary The Afterlife of Rosy Leavers, about Rosy Leavers and her influences. Su doesn’t extol 19th-century curiosity about the afterlife or the drug-altered consciousness of the 1970s, but questions our perception of reality using her own research on mental illness and social control, and recurring visual motifs from her work. Su takes centre stage for a “self-reflexive journey” as an animated alter ego named Rosy Leavers. In another video, The Interview, a disorientated version of Angela Su – or her doppelgänger – is interviewed on television.

Su uses a variety of media: video, drawing, appropriated photography and installation – notably a bed, possibly a counsellor’s or patient’s, with an embroidered sheet of text using hair and a row of protest placards. Su is best known for her pseudo-anatomical drawings on paper, featuring imagery often built in layers using translucent drafting paper. In this exhibition, however, her drawings are used sparingly but specifically complement two visual motifs seen throughout the exhibition: the spiral and the double. Her symmetrical Rorschach Test series of drawings are intricate floral patterns but the viewer will also use a “deeply intuitive side of the human psyche” to see patterned sex organs.

01 OUT

Please tell me what’s been bothering you (detail) by Angela Su, Digital print on paper, set of 27, installation size variable, 21 x 28.5 cm each, 3 + AP, 2017.

These drawings expand on the hypnotic video Rosy has a spinning twin, which begins with autistic children playfully spinning in a room, but morphs into permutations of spiralling and then symmetrical Rorschach patterning. Meanwhile the video’s voiceover tells us that “Rosy has a spinning twin”, and continues in a rambling series of word slippages, including “Rosy has seen her kin”, “Rosy has split her chin” and “Rosy has split her grin”, the verbal transformation mirroring the visual one.

The video complements twin/pin/spin and split/snip/slit, two inkjet prints of found images of doubling from nature, such as identical twins and symmetrical butterfly wings. The doubling images are shown alongside images of spiral patterns, most notably satellite images of typhoons. In a brilliant extension of these visual motifs, the double appears in split/snip/slit as people with a physical deformity, for example the symmetry of a double amputee exposing his identical stumps. The spiral is represented gently by images of plant dissections under a microscope, and violently by various bloodied cuts and incisions into the skin.

The latter relates to Su’s two Rosy Nobody drawings that depict a single limb, respectively an arm and a leg, attached to a spindly array of tissue and arteries. Removing a single limb destroys the body’s symmetry and begs the artist’s question: what is an arm or leg without a body? It prompts an awareness of physicality, disability and the consciousness of adaptability, acceptance or failure.

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Rorschach Test No.1 by Angela Su, Ink on drafting films 155 x 110 x 5 cm, 2016.

Throughout the exhibition, Su emphasises her scepticism about medical treatments for mental illness – the psychiatrist’s couch, medicine, the induction of hallucinatory states and theories of reality. In Please tell me what’s been bothering you, a sequence of 27 digital prints separated into individual conversation panels, Su constructs a therapy session between herself and a first-generation artificial-intelligence psychotherapist from the 1960s. The computer program is basic and the conversation quickly melts into banal questions and stock answers; the computer eventually merely repeats programmed keywords and parrots the patient’s answers, mirroring the patient to effectively become her doppelgänger.

A Reminder to Myself is a set of eight protest banners emanating from Su’s research into 1970s German radical patients’ reform group the Socialist Patients’ Collective (SPK). In a wake-up call to the medical establishment, the SPK wanted to “turn illness into a weapon” to demand change to medical practices and systems – particularly the treatment of patients in psychiatric institutions. The impetus for the SPK’s actions was the arbitrarily labelling as sick of arrested political radicals at the time. The SPK intended to challenge the very heart of the state’s institutions of social control.

This outstanding exhibition dealt with both big, universal themes and smaller, personal issues with visual alacrity and modest strength. The video anime image of Angela Su/Rosy Leavers flying through the air, in a pose reminiscent of Astro Boy, should be a totem for strong female Hong Kong artists for years to come.

Hong Kong Philharmonic Orchestra

Concert Hall, Hong Kong
Cultural Centre
Apr 22, 2017
Ernest Wan

Mahler’s Symphony No 6 constituted the bulk of this concert by the Hong Kong
Philharmonic Orchestra with music director Jaap van Zweden – but the premiere of Conrad Tao’s swallow harbor that preceded it was just as interesting: a work inspired by Hong Kong is a rarity on the programmes of the city’s flagship ensemble. Born in Illinois to Chinese parents, the 22-year-old composer visits Hong Kong infrequently and, as he has said himself, his “portrait” of the city is based on his impressions during a short sojourn at the end of last year.

Another influence, according to Tao, is Varèse’s early works, especially Amériques. In swallow harbor, there is no confluence, as one might expect, of western and eastern aesthetics à la Chou Wen-chung, a protégé of Varèse who is the grand dean of Chinese-American composers. Yet, sure enough, it employs a wide array of percussion instruments, begins with a sound incorporating a lion’s roar, from a friction drum, and abounds in fragmentary bursts of timbres and other explosive gestures — all characteristic of Varèse’s own evocation in Amériques of an unfamiliar land. The imaginary conflict said by the composer to arise from Hong Kong’s “alluring” but “odd” blend of the urban and the natural is represented by turns by dismal murmur and agitated cacophony, and at length reaches a deadlock of sorts, a climactic passage marked by a pounding pulse. There is no denouement, and the 15-minute piece ends in an ever-crescendoing thick mass of sound that feels as if it has submerged an entire city.

There was no let-up, as the piece was followed by the Mahler symphony, one of the bleakest in the repertoire, where all struggle leads to defeat and destruction. Not only was the ensemble tighter and tidier performing this work than before, but the musicians also played with a conviction that would have increased swallow harbor’s impact – seen at the very start in the ferocity with which the strings began the opening march. The following scherzo moved at a similarly spirited clip, without unnecessary ritardandi impeding the grim, inexorable progress. This straightforward approach is typical of the
conductor, but using slower tempi at times might have provided more breathing room and contrast, as in the scherzo’s delicate altväterisch (“old-fatherly”) and grazioso (“graceful”) episodes.

Van Zweden’s andante was predominantly serene rather than emotional, and waiting until the final climax for an impassioned outburst worked well. The finale was charged with a compelling intensity, particularly in the passage leading to the point where the third and last fateful hammer blow was removed by Mahler after the work’s premiere. While not the most harrowing performance of this symphony, this was a taut, focused, no-nonsense and thus effective account, commendable for its refusal to indulge in extremes or do things not specified in the score – something, unfortunately, that seems especially tempting with this composer’s music.

Do Ho Suh

Passage/s
Lehmann Maupin
Hong Kong
Mar 20 – May 13, 2017
Margot Mottaz

Every now and then you encounter an artist who resonates so deeply with you that they become a reference against which you assess all others. Do Ho Suh is one of them for me. I first discovered his work at his first Hong Kong solo exhibition, here at Lehmann Maupin, when his ongoing Specimen Series, small apartment fixtures and appliances replicated in translucent nylon, were displayed there in December 2013.

Many artists tackle questions of home, displacement and personal space, but few do it with as much finesse, simplicity and beauty as Suh. Initially as a result of his move from his native South Korea to the US in the 1990s, his work seeks to apprehend the fundamental question of belonging and by extension identity. Now based in London with his family, his endeavour has remained the same but the premise has developed to include the complexity of fatherhood.

His daughters played a key role in the creation of each work in his recent exhibition. Rarely portrayed, their presence is implied and suggested through traces and sounds. The show’s title piece, Passage/s: The Pram Project (2015), for example, is a three-channel video filmed on GoPro cameras attached to the sides and top of a pram, capturing the immediate environment of the streets of London and Seoul from a child’s perspective.

“It’s a father and daughter collaboration,” said Suh at the show’s opening. “I moved to London about six years ago and that coincided with the birth of my first daughter. We were both new to London and my daughter was new to the world. Together, we’re exploring and discovering the streets of London.”

Disorienting and strangely familiar, the promenade encapsulates many explorations at once: of his new home in the United Kingdom and his cultural roots in South Korea, of fatherhood and, for his daughters, of the world at large. Suh has edited the clips to make London and Seoul almost indistinguishable, with English and Korean spoken interchangeably. The video culminates with Suh taking his daughters to see an exhibition by his own father, Suh Se Ok, one of South Korea’s leading modern painters. In a sense, this single moment crystallises Suh’s entire practice: dissolving the boundaries between countries, cultures and generations.

In the adjacent room, 11 small whimsical sketches and preliminary drawings provide a welcome respite from the immersive, noisy video installation. Here, for the first time, Suh has traded in the threads and watercolours used in previous illustrations for his daughters’ glittery, rainbow-coloured gel pens, now banal objects in his everyday life. This is the gesture of an artist who, unable to dissociate life from work, masterfully combines them. A labyrinth of colourful houses hangs between a figure carrying a chapel on its head and another running up a winding staircase, each hinting at the ever-fleeting definition of home.

The exhibition is like seeing the world through the eyes of a child again, even if innocence has naturally been replaced by the inevitable self-questioning that age brings. Between his first solo exhibition in Hong Kong and this one, Suh’s practice has evolved with determination and coherence, highlighting his

greatest strength: the ability to take in and digest his personal experiences, and exteriorise them as universal truths.

Howie Tsui

Retainers of Anarchy

By Elliat Albrecht

There was a time when lawlessness was king and opposing forces lived, plotted, colluded and fought out their differences without the intervention of authorities. Virtue was valued but bravery and resourcefulness were crucial above all else. Such an anarchic atmosphere was characteristic of both the now-levelled Kowloon Walled City in Hong Kong and the stories of wuxia, known in Cantonese as mou hap, a genre of fiction centred around martial-arts figures in ancient China. Hong Kong-born, Vancouver-based artist Howie Tsui drew from both for his solo exhibition Retainers of Anarchy at the Vancouver Art Gallery. His was one of three presentations in Vancouver by Hong Kong artists that marked the approach of the 20th anniversary of Hong Kong’s handover from the UK to China in 1997; in addition, the Vancouver Art Gallery also hosted group show Pacific Crossings: Hong Kong 

Artists in Vancouver, and Tsang Kin-Wah presented three public works around the city. The centrepiece of the exhibition was the eponymous Retainers of Anarchy (2017), a 25-metre-long digitally animated scroll painting made from more than 100 of Tsui’s handmade drawings. The work depicts disparate scenes including torture, punishment, fantastical creatures and an imagined cross-section of Kowloon Walled City where nefarious goings-on are visible: a combination of real and imagined, rural and urban, and ancient and contemporary.

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Retainers of Anarchy by Howie Tsui, Key frame drawing for algorithmic animation sequence, 2017.

Typically set during the final days of the Song dynasty (960–1279), the characters of wuxia often originate from the lower social classes of Chinese society and fight for righteous values while remaining independent of aristocratic rule. Scholars have suggested that the stories were originally based on real characters and events. While evidence of wuxia stories dates back 2,000 years, during the 20th century the genre re-emerged as a symbol of personal freedom at the same time as a widespread break with Confucian values. Wuxia has been banned at times in mainland China due its fantastical themes and fears that it could conjure anti-government sentiment. In many cases its writers moved to Hong Kong and Taiwan to continue publishing. Perhaps its best-known modern master is Louis Cha, aka Jin Yong (b.1924), whose widely read writings have inspired television shows, theme parks, films – and Tsui’s artistic output.

Tsui was born in Hong Kong and lived in Nigeria for several years before relocating to Thunder Bay, Canada; having left the city aged six, his memories of Hong Kong were faint. When he was a child in Africa, receiving shipments of cassette tapes from relatives in Hong Kong and reading wuxia stories provided a link to the culture of his birthplace. After graduating from the University of Waterloo in Canada in 2002, against his tutors’ advice Tsui embraced his desire to draw cartoon-like imagery, which he does with humour and numerous cultural references. Projects such as Horror Fables (2009) drew from ancient Asian ghost tales and supernatural family anecdotes to underline the cult of fear in contemporary life. Similarly, his 2.5-metre-long scroll-like work on mulberry paper The Unfortunates of D’Arcy Island (2013) explored de-individualisation, political compliance and conformity through zombie culture.

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Retainers of Anarchy by Howie Tsui, Key frame drawing for algorithmic animation sequence, 2017.

Tsui’s starting point for Retainers of Anarchy was a visit to Hong Kong in 2010, his first since childhood, where he encountered the 120-metre-long digitally animated scroll River of Wisdom at AsiaWorld-Expo. The state-commissioned work, which was unveiled in Shanghai at the China Pavilion of Expo 2010, is a remake of one of China’s most famous paintings, Along the River During the Qingming Festival by Zhang Zeduan (1085–1145). It depicts an idealised scene in which intellectuals, monks, peasants and scholars lived together in prosperous harmony. The animation was billed by state-media sources as reflecting “ancient Chinese wisdom about cities”, and regarded by critics as a form of soft power and propaganda. In 2007 the original painting had been lent to the Hong Kong Museum of Art as a celebration of the 10th anniversary of the handover, in an attempt to encourage nationalistic pride in Hong Kong citizens – and no doubt to discourage growing pro-independence sentiments.

Setting out to explore the medium of the digital scroll, Tsui also borrowed inspiration from Italian-born Qing dynasty court painter Giuseppe Castiglione’s One Hundred Horses (1728), which combined Chinese painting techniques with western perspective rules. Retainers of Anarchy depicts a dystopian scene in which outcasts and outlaws roam among scenes of torture, ceremony, punishment and exile. A man is chained by his mouth to the ground, while a swordsman in robes flies in and out of view on a condor. Another man in ancient dress is hung from a tree. There are many contemporary references: Lam Wing-kee, the founder of Causeway Bay Books, who was detained and spirited across the border by the mainland Chinese government in 2015 for publishing unflattering material, makes an appearance, being dragged by an archer on a horse with an open book on his head. Joshua Wong, the teenage figurehead of 2014’s Occupy Central movement, is shown in a toppled-over cage, attempting to reach a plate of rice and fish, perhaps an illusion to his 108-hour hunger strike demanding universal suffrage for Hong Kong citizens.

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Retainers of Anarchy by Howie Tsui, Key frame drawing for algorithmic animation sequence, 2017.

Yet at the centre of the scroll is a cross-section of Kowloon Walled City, the lawless former neighbourhood which at its height was one of the most densely populated places on earth. Hundreds of makeshift multi-storey buildings and approximately 35,000 people were once jammed into a space measuring about 210 by 120 metres, delineated by a labyrinth of dark corridors and open drains. Previously a military fort, Kowloon Walled City was retained by China during the colonial period, even after Britain leased the New Territories in 1898. Britain regained control 11 months later, but left the settlement alone and did not venture inside to enforce the law. The area was a popular destination for Chinese refugees without visas and a hotbed of organised crime, prostitution, drugs, gambling and other illegal activities. The population grew sharply after the Japanese occupation during the Second World War, and triads largely controlled the area from the 1950s to 70s. Every business imaginable existed within the Walled City, including doctors, dentists, barbers, restaurants, sign-makers, print shops and small factories producing fish, sweets and clothing. Tsui’s animation provides a voyeuristic glimpse into several of the rooms, where people fight, smoke, vomit, train, cook, raise children, watch television and sleep. At one point, the view focuses in on a butcher in a green apron chopping meat with both hands, blood splattering around the room, and men carrying out mystical rituals. The clattering of mahjong tiles can be heard.

Kowloon Walled City was demolished in 1993 and 1994 as a result of the Sino-British Joint Declaration and the British government’s effort to beautify the city before the handover in 1997. There is now a HK$76 million park where the settlement once stood. Stories of the Walled City are still prevalent in popular culture, including books, films, manga and video games – a partial re-creation of the settlement was even built in an amusement park outside Tokyo in 2009. This romanticisation of an autonomous time echoes the popularity wuxia fiction and its fan culture. As Chinese scholar Henry Yiheng Zhao recently suggested, quoted in the exhibition catalogue by curator Diana Freundl, by revolving around characters who subvert rules in favour of self-determined virtue, wuxia is a “liberating force from the homogenising or assimilating power structures created by the dominant and/or colonial culture”. She adds that it “allows marginalised Chinese communities to deconstruct… power structures”. Two storied eras meet in Tsui’s work, with the artist using them as narrative tools for dissident and disobedience, and to explore, as he says, “how anarchic societies organise and develop codes of conduct to encourage order”. These questions of law, determination and power become increasingly relevant in Hong Kong as China gradually asserts its power over the Special Administrative Region.

Art in the Bar, 14 September, 6 pm

Locations
Cobo House  I  Duddell’s  I  Halcyon  I  Ping Pong  I  Potato Head  I  Runway  I  Salon 10  I  Shore  Tartine I  The Pawn    

Artists
Adrian Wong (Hong Kong) I  Melati Suryodarmo (Indonesia) I  Chen Tianzhuo (China) I  Morgan Wong (Hong Kong) I  Chim↑Pom (Japan) I  Rabbya Naseer and Hurmat Ul Ain (Pakistan) I  Come Inside (Hong Kong) I  Samson Young (Hong Kong) I  Deng Dafei (China) I  Tao Hui (China) I  Erkka Nissinen (Hong Kong based) I  The Utopia Group (China) I  Hu Weiyi (China) I  Tromarama (Indonesia) I  Korakrit Arunanondchai (Thailand) I  Wong Ping (Hong Kong) I  Li Ming (China) I  Xu Qu (China)

About
Asian video art will take over Hong Kong’s hottest bars for one night only this September when CoBo Social, Asia’s first online and offline art community platform, presents Art in the Bar. On 14 September (Thursday) from 6pm onwards, Art in the Bar will take place across 11 of the city’s hottest bars, who will team up with CoBo Social to offer special promotions, performances and screenings of cutting-edge video art. Art in the Bar aims to introduce the best of Asian video art to diverse audiences by bringing art directly to the community. The accessible and social setting encourages viewers to simply sit back and enjoy the artwork from over 18 artists from around Asia including Hong Kong, Thailand, Indonesia and China such as Samson Young (Hong Kong), Chen Tianzhuo (China), Tromarama (Indonesia) and Korakrit Arunanondchai (Thailand).

Art in the Bar will act as a preview to CoBo Social’s new online initiative, Video Art Asia. The dedicated online archive and research platform, which will launch after Art in the Bar, is the region’s first digital archive of Asian video art works, and is set to become a pivotal reference for artists, curators, researchers and collectors alike.

To partake in Art in the Bar and enjoy the special promotions, guests just need to check-in on Facebook with the unique event ID at each location. The check-in will allow participants to enjoy the one-night special offerings. The launch of Video Art Asia marks an on-going shift in Hong Kong’s increasingly developing cultural landscape, which continues to accommodate creative experimentations and new discoveries in the artistic fields. With this same spirit of adventure and experimentation, CoBo Social brings Hong Kongers from all walks, Art in the Bar.

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Syaiful Aulia Garibaldi, Arin Dwihartanto Sunaryo

Sep 6 – 28
Opening: Tuesday, Sep 5, 6 – 8pm

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Still from “Antora” by Syaiful Aulia Garibaldi and Arin Dwiharttnto Sunaryo, Single channel video, 10 min, 2017.

The gallery is pleased to present a duo exhibition of Syaiful Aulia Garibaldi (Indonesia, 1985) and Arin Dwihartanto Sunaryo (Indonesia, 1978) as part of an ongoing collaboration with ROH Projects, Jakarta. Following the gallery’s group show at ROH Projects in February, this reciprocal exhibition continues to develop greater dialogue with artists in Indonesia and the wider Asian Pacific region.

 

Edouard Malingue Gallery

Sixth Floor, 33 Des Voeux Road Central, Hong Kong
T (852) 2810 0317
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Mo-Sa 10am to 7pm

Edouard Malingue Gallery was founded in Hong Kong in 2010 to build a critical dialogue between Asian and international contemporary artists, both emerging and established, who combine aesthetic concern with conceptual enquiry, and work across different disciplines from video and installation to painting and sound. In 2016 the gallery opened a second space in Shanghai, creating a wider platform of exchange for its roster of artists. In addition to presenting dynamic solo exhibitions, the gallery pushes the boundaries of art in public spaces and stimulates artistic discourse through collaborations with curators worldwide.

Represented artists:

Eric Baudart
Cho Yong-Ik
Chou Yu-Cheng
Cui Xinming
Jeremy Everett
Laurent Grasso
Callum Innes
Ko Sin Tung
Kwan Sheung Chi
Nuri Kuzucan
Fabien Mérelle
João Vasco Paiva
Sun Xun
Tromarama
Janaina Tschäpe
Su-Mei Tse
Wang Wei
Wang Zhibo
Wong Ping
Samson Young
Yuan Yuan

Xia Xiaowan, Chen Hui

Aug 31 – Sep 27
Opening: Thursday, August 31, 6 – 8pm

m Chen Hui 珍珠ThePearl 75x57cm 2011 布面油画oil on canvas

The Pearl by Chen Hui, Oil on canvas, 75 x 57 cm, 2011.

The gallery is proud to announce Aura, a duo exhibition that will showcase eleven works by the two artists since 2011.

Tang Contemporary Art

19/F of 18 On Lan Street, Central
(852) 2682 8289
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Tu-Sa 11am to 7pm

Tang Contemporary Art is a Hong Kong, Beijing and Bangkok-based art gallery, representing some leading key figures in Contemporary Chinese art. As one of the most critically driven exhibition spaces in Asia, Tang Contemporary Art is fully committed to promote local and international art, and encourage the dynamic exchange between artists and audiences.

Represented artists:

Ai Weiwei
Liu Xiaodong
Wang Du
Guo Wei
Ling Jian
Peng Yu & Sun Yuan
Vasan Sitthiket
Preeyachanok Ketsuwan
Chatchai Suphin