A teaser to Burger Collection’s upcoming publication Silver Silence/Golden Speech, this video features Wong Wai Yim, Philippe Charmes and pussycat Lola. It is one of five conversations published in Silver Silence/Golden Speech with conversations on art by artists and cultural practitioners from Hong Kong.
The conversations between artists and cultural practitioners came about as an comprehensive after-project of I Think It Rains, Burger Collection’s exhibition and research platform realized in Hong Kong in the summer of 2013. It was put in place to make a certain number of the informal thoughts, ideas and conversations by some of the participants more manifest.
Courtesy of artist Wong Wai Yim.
Watch the recently published five minute documentary on the realization of Ng Ka Chun’s work Street Café.
Street Café was a large scale mimic of a local street café. A temporary one-day installation, the work was produced by Burger Collection on the premises of the heritage site Cattle Depot Artist Village, Hong Kong, for the opening evening of I Think It Rains on May 20, 2013.
Ng Ka Chun
Street Café, 2013
Various media, ready made materials, table and chair sculptures
circa 12 x 8 x 4 m
I Think It Rains is an exhibition platform originating in a collaboration between Burger Collection and 1a space. Part 1 took place at the Cattle Depot Artist Village in To Kwa Wan, Hong Kong from May 17 until June 30, 2013, and featured works by some thirty artists and writers from Hong Kong and abroad.
Film by Alain Kantarjian
Additional images by Iriz Yuen
With special thanks to Reds Cheung
Commentary by Daniel Kurjakovic
Produced by Burger Collection, Hong Kong, 2013.
Copyright © Alain Kantarjian
Article in Yishu magazine’s March/April issue delves into Burger Collection’s exhibition I Think It Rains and examines the thinking behind exhibitions of contemporary art today. Exhibition-making today is affected by an ever-growing number of concerns and contexts, giving rise to the question: What is an exhibition’s actual subject?
Purchase this read for just 3 USD here
The special Yishu 61 issue is dedicated to the Asia Art Archive symposium Sites of Construction: Exhibitions and the Making of Recent Art History in Asia, which took place in Hong Kong from October 21 to 23, 2013. Speakers and respondents invited to this session included Iftikhar Dadi, Annette Bhagwati, Atreyee Gupta, and David Teh.
(Image depicts Florian Germann’s real-time activity at the old Aviation ground in Kowloon during From Dusk til Dawn, part of I Think It Rains.) Photograph by Alain Kantarjian, 2013. © Alain Kantarjian
Asia Art Archive’s symposium “Sites of Construction” was held this past October in Hong Kong. Click here to access the video – the 15 minute presentation starts 1 hour and 8 minutes in.
The presentation takes up the curatorial layouts and ideas behind “I Think It Rains” which took place in May (2013) in Hong Kong. The three-day symposium was hosted at the Hong Kong Arts Centre and was held from October 21-23, 2013. We contributed to the session “Exhibition as Site” on October 22, 2013. Speakers and respondents invited to this session included Iftikhar Dadi, Annette Bhagwati, Atreyee Gupta, and David Teh. Daniel Kurjakovic was assigned the role as the “Polemical position”, to have a position delivered from practice to complement the academic positions that were presented. Kurjakovic delved into the potentialities of the site of the exhibition, notably through the example of the Cattle Depot Artist Village in To Kwa Wan, and spoke of some of the implications of cross-cultural curating. For more details on the session please read here.
“Exhibition in the Expanded Field”
“While maintaining the physicality and experiential aspects of space and time, the ‘exhibition’ read as an ensemble of works in the here-and-now amounts to a reduction; it unavoidably repeats the logic of what Robert Smithson has termed ‘cultural confinement’. In this sense, the exhibition always already starts before the exhibition — and in a sense it extends beyond. A significant premise for the semantic of an exhibition consists in the actuality of the site with its various cultural, social, and political specificities as well as historical reverberations. Another premise consists in the degree to which aesthetic methodologies are explored and expanded, instead of being objectified and represented whereby they tend to become, again in Smithson’s terms, ‘surfaces disengaged from the outside world.’ Exploration and expansion implies a certain delimitation of the exhibition’s ratio, and thereby presents a productive problem or even paradox for one to deal with.” – Daniel Kurjakovic
Courtesy of Asia Art Archive
Artist Sharing was a series of discussions held during I Think It Rains, the exhibition by the Burger Collection and 1a space. Artists and cultural producers involved in the exhibition were invited to discuss their practice, their artistic methodologies and their intentions. Participants and artists included Kingsley Ng , Enoch Cheung, Yiufai Chow, Choi Yan-chi, Lau Ching Ping, Ng Kachun, Reds Cheung, Annie Wan, Lam Tung Pang, Cally Yu, Lai Tszyuen and Evelyn Char. The discussions, in Cantonese, were held on June 20, June 27 and July 5, 2013, at 1a space at the Cattle Depot Artist Village, To Kwa Wan, Hong Kong.
Photos by Anki Lau and Joyce Wong.
Choi Yan Chi
A Desk to a Forever Reader, 2013
Ikea home office desk, books, oil, text on acrylic
Photos by Lau Ching Ping, reworked by Choi Yan-chi, 2013.
A Desk to a Forever Reader (2013) relates to a previous series of work by Choi Yan-chi titled Drowned (1989-97). For this new rendition the artist invited friends and acquaintances from differing ages to contribute with the title of two books that they find meaningful. Two main questions were posed to them; why did you choose these two books? And if you were not to drown them in oil what would you do to them?
Artist Choi Yan-chi states: “The collection of books were mostly in collaboration with other contributors. Sometimes it was a reflection on time and history related to a particular period, such as Drowned I and III were done after June 4 and before 1997. The messages were heavy. Sometimes it goes strongly with places such as Drowned IV and V. Drowned V was done in Berlin. A woman writer asked me for one big case solely for herself to drown a particular collection of books. The participatory spirit of ‘a desk for an forever reader’ is a new attempt. I really enjoyed the outcome this time.”