All posts tagged: Samson Young

‘Samson Young: Songs for Disaster Relief’ public programme – ‘We Are One?’ Screenings & Conversations

To accompany Hong Kong’s collateral event at the Venice Biennale 2017, ‘Samson Young: Songs for Disaster Relief’, M+ and the Hong Kong Arts Centre are co-presenting a programme of film screenings and conversations on the theme of charity efforts. Through a local feature film, a Taiwanese music video, and two international documentaries, ‘We Are One?’ explores some of the central issues raised in the exhibition, providing both a wider context for Young’s newly commissioned work for Venice. Charity Songs That Rocked The World In The 1980s Date: 16 October 2017 (Mon) Time: 7:30 – 9:30pm Screening: Band Aid: The Song That Rocked The World (2004) Post-screening conversation with RubberBand and Wong Chi Chung Charity Initiatives Go East Date: 17 October 2017 (Tues) Time: 7:30 – 10:00pm Screening: Tomorrow Will Be Better MV (1985), The Banquet (1991) Post-screening conversation with Jass Leung Wai Sze and Poon Yuen Leung The World As One? Date: 23 October 2017 (Mon) Time: 7:30 – 10:15pm Screening: We Come As Friends (2014) Post-screening conversation with Keith B. Richburg and Simon Shen Xu-hui Venue: Hong Kong …

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 I  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 …

William Lim

Architect William Lim discusses four of his favourite works from his collection. William Lim had known Samson Young as a musician, but first saw his art at the 2013 Para Site exhibition A Journal of the Plague Year. Fear, ghosts, rebels. SARS, Leslie and the Hong Kong story. Young had intended the piece on show, Liquid Borders 1, to be a series of four works. Lim was intrigued by the idea that Young wanted to record the sound along the border between Hong Kong and Shenzhen. Young was working with AM Space gallery at the time, and Lim ended up collecting Liquid Borders 1, 2 and 3. These works are constantly lent out to exhibitions, with Lim happy to share works from his collection to promote Hong Kong artists. This year Young will represent Hong Kong at the Venice Biennale. He works with three galleries internationally, and Lim continues to buy his works from all of them. Lim aims to collect the works of artists he likes at key turning points in their careers, but …

‘Samson Young: Songs for Disaster Relief’ Hong Kong Talk 2 – Please Lend Me Your Cochlea and Brain

Formally trained in classical music composition, artist and composer Samson Young’s work draws from a wide range of avant-garde compositional traditions. Recent works, such as Nocturne (2015), So You Are Old By the Time You Reach the Island (2016), Samson Young: Songs for Disaster Relief (2017) and One of Two Stories or Both (Field Bagatelles) (2017), express his interest in sonic experience in contemporary art through performances, site-specific sound installations, objects and drawings. In ‘Please Lend Me Your Cochlea and Brain’, the second conversation in our Hong Kong Talk Series, Young joins Taiwanese curator Jau-lan Guo, whose work centres on sound art, moving image, visual culture and the dynamic relationship between art and social reality, to explore the realisation, presentation and implications of sound art works in a visual art context. The talk is moderated by Ying Kwok, guest curator of Young’s current exhibition at the Venice Biennale. Please Lend Me Your Cochlea and Brain Date: 3 August 2017 (Thurs) Time: 7.30 – 9 pm Venue: Miller Theater, Asia Society Hong Kong Center, 9 Justice Drive, Admiralty, Hong Kong Speakers: Jau-lan Guo, Samson …

Samson Young

Songs for Disaster Relief Venice Biennale 2017 May 13 – Nov 26, 2017 Diana d’Arenberg Parmanand With over a decade of practice, artist Samson Young has made audiences question and examine their relationship to sound and music, and their relationship to history, politics and identity through sound. Young is a product of a certain time and place. Born in 1979 in Hong Kong, he grew up under British colonial rule in the city, and moved with his family to Sydney after the handover to China in 1997, fearing the worst of Chinese rule in Hong Kong less than a decade after the Tiananmen Square massacre. In the 20 years since the handover, the people of Hong Kong have constantly reassessed what it means to be a Hongkonger, and are undergoing the self-scrutiny of a nation whose identity is in flux. Trained in classical music composition, and generally described as a sound artist, Young has explored the relationship between mainland China and Hong Kong by recording sounds in the border area separating the two, arranging them into sonic compositions and then transcribing them in graphic …

Talk on Hong Kong participation at the 57th Venice Biennale, Samson Young: Songs for Disaster Relief

To accompany Hong Kong’s collateral event at the Venice Biennale 2017, Samson Young: Songs for Disaster Relief, M+ and the Hong Kong Arts Development Council are co-hosting a series of talks in Hong Kong. Taking Young’s artistic practice and diverse influences as a starting point, the series offers a deeper understanding of key concepts in contemporary art and provides a wider context for Young’s newly commissioned work in Venice. Songs for Disaster Relief is conceived of as an album unfolding in space to be experienced in person. The series includes four key pieces, each of which tells a new story referencing the cultural and political context of iconic 80s charity songs. Through a deliberate repurposing and creative misreading of such iconic songs, Young presents an exploration of the troubling ideologies and genuine affective qualities that these songs and their aspirations embody. In the first talk in our series, Guest Curator Ying Kwok shares her experience of taking Songs for Disaster Relief from concept to realisation in Venice. She is joined by Anthony Leung Po-shan, one of the contributors to the exhibition …

Samson Young

Trained in classical music composition at Princeton University in the US, Samson Young’s works are often reactions to his own musical background. His approach to sound, both as a visual artist and as a composer, is very specific, an attitude that has led him away from predetermined frameworks. From musical compositions to performances, installations, new-media work and drawing, he plays freely with media to create a language that fits his investigations. Caroline Ha Thuc: Your practice revolves around sound at a symbolic level, tackling the concept of borders and lines, both literally and metaphorically. Was that a clear direction that you defined at an early stage? Samson Young: The trajectory is rather like this: I started with narrow things that dealt with the cultural politics of my classical music and my identity, and this led to issues such as borders, lines of control and national territories. Then, from the Liquid Borders project on, I began to realise that the issue was not only about lines of control but rather about how people coexist and how this coexistence involves …

Sound and Space

By John Batten The growing maturity and diversity of Hong Kong’s art scene can be seen in the crossover of visual art and music. Hong Kong is surprisingly well served with international western and Chinese classical-music programming and visiting artists. Itinerant, traditional Chinese opera and music ensembles perform during the city’s festivals, while the city’s western orchestras and music-festival initiatives, by both the Leisure and Cultural Services Department and other musical organisations, offer varied, year-round programmes. One particularly successful example is Premiere Performances, with its annual February chamber-music festival and stimulating programming throughout the year. Similarly, the New Music Ensemble promotes modern and contemporary music through its own festival and performances. In early 2015 the Hong Kong Philharmonic Orchestra faced criticism for its conservative repertoire that season. Audiences have shown plenty of support for contemporary music and ambitious musical presentations, reflected in the more adventurous repertoire of the Hong Kong Sinfonietta, and although the Philharmonic came up with a more adventurous programme for 2016, it could still find its claims for residency at the new …