i_think_it_rains (2013)

Participation

Wen Yau, I want you just the way you are, 2013

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魂游 Wen Yau

你所知的我其實是那面

A one-to-one performance, in which the audience will be invited to visit the artist in a totally dark room; the performance aims to explore the “purest” form of human interaction.

也許,我們都忘記了怎樣相遇

At the moment when we encounter

然後笑容不見了,眼淚也不見了。

只聽到呼吸聲,和心跳聲

Do you see me cry, see me smile

Do you hear our heartbeats, our breathing

手裏是你我的溫存,

或其他……

Or feel the gentle touch we share…

This real-time activitiy was part of From Dusk Till Dawn, which took place May 24, 2013, at Cattle Depot Artist Village, To Kwa Wan.

Photos by Ding Cheuk-laam.

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Wong Wai Yim, Sex Story to a Sex Story, 2013

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Artist Wong Wai Yim invited fellow friends, strangers and acquaintances to converse with her about the stimulating topics of lust, desire, and sexuality. Seated face-to-face with the artist in a tent the participants bravely divulged their various sexual tendencies and experiences, or their lack of experience!

This real-time activity was a continuation of her Story for a Story (2012) work which was held at Occupy Central. It’s part of an ongoing project the artist has on the exchange of stories. In March 2013 the artist hosted a sex toy workshop at 1a space, after discovering that friends in Hong Kong never had been to a sex shop. The artist states: “Some of them don’t have the idea to buy, or don’t know where to buy, or never have masturbated!” Wai Yim has sought to get people to re-acknowledge erotica and the body’s sensuality.

The project welcomes people from different backgrounds, from different cultures, and different sexual orientations to exchange their sex stories in Hong Kong! Domes- tic helpers? Pakistani workers? Foreign exchange-students? Native Hong Kongers? Do you like to exchange your sex experience? They are invited to participate and bring one true sex experience, to exchange with another participant. We will exchange ours, which is of the same nature as yours, with you. What stories to bring? Your most _________ sex experience in Hong Kong.

Producer: Ariom Leung.
Assistant: Kenny To.
Cameraman: Ariom Leung, Donald Kwok, Fish Lee.
Photographer: Alan Yau.
Translator: Florence Ng, Philippe Charmes, Miu miu, etc.
Receptionist: Timothy Kwok, Philippe Charmes.

Wong Wai Yim lives and works in Hong Kong and Paris. Wai Yim works with many different media including video, performance, glass and photography. She has exhibited extensively in Hong Kong, China, Europe, and South Korea.

http://www.presentinart.com

This real-time activity was part of From Dusk Till Dawn, which took place on May 24, 2013, at Cattle Depot Artist Village, To Kwa Wan, Hong Kong.


Pak Sheung-chuen, White Library / A Mind Reaching for Emptiness, 2009

Pak Sheung-Chuen_White Library

Pak Sheung-chuen
White Library / A Mind Reaching for Emptiness, 2009
100 photocopied paper sheets
Each page 29 x 42 cm and variable dimensions

Photo by Alain Kantarijian. © Alain Kantarjian.
“A blank page is a pause of time in reading. It could also be readable, offering infinite imagination. A blank page creates a common link in different books, giving us a vision of the whole. During my residency in the library of Asia Art Archive, I photocopied all the blank pages from its collection, attempting to create an alternative to the archive‘s collection.”
Pak Sheung-chuen

Pak Sheung Chuen (b. 1977 in Fujian, China) is an artist living and working in Hong Kong. He received his BA in Fine Arts from the Chinese University of Hong Kong in 2002. Recent group exhibitions include, amongst others, Crystal City, Dowse Art Museum, Lower Hutt, New Zealand, and Encounter with the Passerby ABC, Juming Museum, Jinshan, Taiwan. Recent solo exhibitions were held at Hong Kong Museum of Art, Hong Kong (2010) and Guangdong Museum of Art, Guangzhou, China (2010). In 2012 he was awarded the prestigious Contemporary Chinese Art Award (CCAA).


Ng Ka Chun and Sunny Chan, Tofu Trucks, 2013

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On the occasion of From Dusk Till Dawn, a full day of real-time activities held on May 24, 2013, Ng Ka Chun partnered up with local organic chef Sunny Chan to serve visiting guests a wholesome bite. Six mobile stalls or  ‘tofu trucks’ were set up, each stall serving a dish that contains tofu or a bean constituent. Their mission: to promote healthy eating and to support local organic produce. Sunny Chan makes his dishes out of tofu made from locally grown organic soy beans and brine, from the Mapopo Community Farm located in the New Territories, Hong Kong.

The menu consisted of:

1. Deep fried tofu veggies balls with local soy sauce
2. Focaccia wit rooftop‐grown rosemary
3. Tofu and nori sandwiches with homemade teriyaki sauce
4. Naan with homemade tomato sauce
5. Buckwheat vegetables crepe with fermented bean curd sauce
6. Tofu pancake with sweet red bean paste

Ng Ka Chun (b. 1985 Hong Kong) graduated from the Academy of Visual Arts, Hong Kong Baptist University in 2008. After graduating Ng built up his studio in Fo Tan. Chun is a core member of the community art space Woofer Ten in Hong Kong. Recent exhibitions include, amongst others: Fresh Vision, art@government Building, Sha Tin, Hong Kong (2012), Philosopher’s (knock-off) Stone: Turning Gold Into Plastic, Osage, Hong Kong (2012) and Exhibition under a breeze, Goethe-Institut, Art Centre Hong Kong (2012). His work has been exhibited in Australia, Shenzhen and galleries in Hong Kong.

http://hei-ngkachun.blogspot.ch/

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Photos by Kobe Ho.

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Sketch by Ng Ka Chun.

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Sunny Chan (left) and Ng Ka Chun (right).

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The ‘tofu trucks’ created in Ng Ka Chun’s studio in Fo Tan.


Ng Ka Chun, Disappearance of Victoria Harbour Skyline, 2013

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Ng Ka Chun
Disappearance of Victoria Harbour Skyline, 2013
Photo and video documentation
Image: 14 x 200 cm; video 56‘ 24“
Courtesy of the artist

Above: Photographs by Alain Kantarjian, 2013. © Alain Kantarjian

Photo credit - Reds Cheung

Still frame of Disappearance of Victoria Harbour Skyline, 2013.

The Victoria Harbour Skyline is one of the most used city marketing images, showing Hong Kong as a globalized cosmopolitan city, and often portrayed in advertising with a panorama of the city’s skyscrapers. Artist Ng Ka Chun’s cardboard sculptures are in a sense a social satire of this by-now iconic imagery. Cardboard, as a recyclable commodity, is commonly collected by the elderly in Hong Kong. With no proper welfare, the poverty amongst the elderly in Hong Kong is increasing, with statistics reporting that one in every three senior citizens lives below the national poverty line.

Curator Daniel Kurjakovic writes: “Ng Ka Chun Hei’s short video documents the deconstruction of the Victoria Harbour skyline, miniaturized and framed as real-time theater in a monitor, ironically defying the equation of size and meaning: the artist built the eponymous Hong Kong trademark with cardboards in one of the poorest districts of Hong Kong, thereby alluding, sarcastically, to the discrepancies of “life at the top”, and “life at the bottom”. In what is more a discursive act brought forth by a low-key notion of participation than a simple happening, the Hong Kong brand gradually gets decomposed by street workers, lump collectors, passers-by with an existential need for the materials—an example of post-politics beyond plans, ideologies or doctrines?”

Beside the work Ng Ka Chun’s caption reads: “Buy cardboard boxes from rag-pickers which they’ve collected. Use them as materials to make models of the skyscrapers along Victoria Harbour in Hong Kong Island. Put this array of cardboard models in a street in Sham Shui Po, the poorest district in Hong Kong.”

Ng Ka Chun (b. 1985 Hong Kong) graduated from the Academy of Visual Arts, Hong Kong Baptist University in 2008. After graduating Ng built up his studio in Fo Tan. Chun is a core member of the community art space Woofer Ten in Hong Kong. Recent exhibitions include, amongst others: Fresh Vision, art@government Building, Sha Tin, Hong Kong (2012), Philosopher’s (knock-off) Stone: Turning Gold Into Plastic, Osage, Hong Kong (2012) and Exhibition under a breeze, Goethe-Institut, Art Centre Hong Kong (2012). His work has been exhibited in Australia, Shenzhen and galleries in Hong Kong.

http://hei-ngkachun.blogspot.ch/

Untitled-1

The skyline of Victoria Harbour, of which Ng Ka Chun, has recreated several of the monumental buildings into cardboard.

screencap series The evolution of the scavenge of cardboard. Detail of Disappearance of Victoria Harbour Skyline. Click to enlarge image.

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Ng Ka Chun working in his studio.

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Sketch by Ng Ka Chun, 2013.


Lau Ching Ping, Last Glimpse of Hong Kong, 2011-2012

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Primary student in Ocean Park (part of Last Glimpse of Hong Kong). Courtesy of the artist.

Lau Ching Ping
Last Glimpse of Hong Kong, 2011-2012
Set of 10 inkjet prints on archival paper
95 x 120 cm each
Courtesy of the artist

Lau Ching Ping takes street and city photographs of Hong Kong.  In his photo series Last Glimpse of Hong Kong (2011-2012) misted Hong Kong looks close like it’s coming to an end, as the title denotes, we see here the last glimpses. As if the apocalyptic 2012 Mayan end of the world “prophecy” were to have come true. One could also track the ‘disappearing’ ambience to another time, Hong Kong just before the handover, when change was expected, either anticipated or feared.  In an exhibition catalogue published beginning of 2013, Lau Ching Ping wrote: „People of Hong Kong that live in this era would still be writing something about world ends thing, no matter what is the reason behind, is a laughable matter. After all, we are being intimidated by this world ends thing from the day when we were born. Not so long ago, in the eighties, our relatives, friends flee for foreign land, fight for British nationality selection scheme. Those who did not plan to leave or did not have the ability to leave, left themselves a hole in their hearts. The return of sovereign right to China in 1997, Mr. Tung’s, mother tongue tutoring, Asian financial crisis. 911 New York, principal officials accountability system, SARS pandemic, 1st July rally, Lehman brothers, financial tsunami, HSBC share subscribe, bird flu contagion. We are so used to this ‘centennial level’ of incidents, so called crisis, for what history taught us is to let those fatal disease, bankruptcy and catastrophe be awaited, for tomorrow is another day!“

The photographs show signs of a staggering urban development. For example the Sha Tin District located in the New Territories of Hong Kong for example having been just a town of a mere 30,000 people in the early 1970s, and today is one of the most populated district in Hong Kong, with a population of over 600,000. We also see discrete remnants of the colonial era with for example the bronze statue of King George VI which was erected in commemoration of the 100th anniversary of British colonial rule over Hong Kong in 1941.

The subtitled works of the series allude to the unseen, the micro activities going on in a metropolis. Each hints at a different city dweller; a Wedding Photographer Underneath, Housewife in Beacon Heights, Hong Kong Chief Executive or for example Water treatment technician at Shatin.

Ching Ping devotes time to walk around in the city, making preliminary sketches prior to taking the photographs, screenshot-ing images from google maps for good locations. On May 24, 2013, during the real-time activity day the artist lead participants onto a bus pin pointing his researched photo-sites.

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Schoolmate on Park island (part of Last Glimpse of Hong Kong). Courtesy of the artist.

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Gardener in Zoological and Botanical Gardens (part of Last Glimpse of Hong Kong). Courtesy of the artist.

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Hong Kong Chief Executive (part of Last Glimpse of Hong Kong). Courtesy of the artist.

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Football fans at Lung Cheung road (part of Last Glimpse of Hong Kong). Courtesy of the artist.

Lau Ching Ping (b. Hong Kong in 1963) lives and works in Hong Kong. He studied design and photography at the Hong Kong Swire School of Design.  Recent group exhibitions include, amongst others: City Flâneur: Social Documentary Photography, Hong Kong Heritage Museum, Hong Kong (2010) and Hong Kong: Tales of a City (Part I) Chinese Contemporary Xchange (CCX), Toronto, Canada (2009). His solo exhibition Thin as air was shown in the Chinese Contemporary Xchange (CCX), Toronto, Canada (2006).  Lau is co-editor of “Dislocation” Art Photo magazine, part-time lecturer of the Chinese University of Hong Kong and a curator of the Gallery Z and JCCAC, Hong Kong.

http://www.postnphoto.blogspot.com


Kong Chun-hei, Dust and Scratches (No Blank), 2012

Kong Chun Hei_Dust and Scratches

Capture d’écran 2013-09-16 à 16.08.13

Photos by Alain Kantarijian. © Alain Kantarjian.

(Filmed by Harrison Pickering. Video edited by Linda Jensen.)

Kong Chun Hei
Dust and Scratches (No Blank), 2012
10 panels, ink on paper mounted on archival board,
38 x 50 cm each, Super 8mm film projection

Approaching Dust and Scratches (No Blank), one hears the rhythmic flutter of a Super 8mm film rotating. Adjacent are 10 mounted boards, somewhat camouflaged on the concrete warehouse walls. Artist Kong Chun-hei bought a film of a family holiday trip from the 1970s on the Chinese equivalent of Ebay. The entire film was dissected, retrieving ten in-between-takes, and as the title denotes with ‘dust and scratches’. We see not the memorable captured snippets of someone’s family history, but only the voids. These emptied images have been meticulously reproduced as ink drawings, and are accompanied by a film composed of ten single frames, a continuous short loop. Here, the unnoticed comes to the forefront, sparking perhaps an imagined narrative, or simply hints at a different construction of memory, one that is peculiar and hollow.

Kong Chun-hei (b. 1987 in Hong Kong) is an artist living and working in Hong Kong. He graduated with a BA of Fine Arts from the Chinese University of Hong Kong in 2009. Recent group exhibitions include, amongst others, Running around the Roundabout (2012), and Except Why Not Just Come Right Out And Say It (2011), Collectors House, Netherlands. In the year of his graduation he received the Gaylord Chan Painting Award, the Cheung’s Fine Arts Awards, the Y.S. Fine Arts Award and the Grotto Fine Arts Award.

http://www.kongchunhei.com

KCH_Dust and Scratches (No Blank)_2012_ink on paper mounted on archival board, 8 mm projection_38 x 50 cm, 10 panels_1 KCH_Dust and Scratches (No Blank)_2012_ink on paper mounted on archival board, 8 mm projection_38 x 50 cm, 10 panels_2 KCH_Dust and Scratches (No Blank)_2012_ink on paper mounted on archival board, 8 mm projection_38 x 50 cm, 10 panels_3 KCH_Dust and Scratches (No Blank)_2012_ink on paper mounted on archival board, 8 mm projection_38 x 50 cm, 10 panels_4