12-16 May 2021
CURATORIAL STATEMENT 展覽介紹
Sweeping the globe, the pandemic turmoil has shatteringly isolated people and inevitably changed the ways of living – people get stuck at home, face travel restrictions and keep social distancing. Barriers between countries and cities are built; everyone is surrounded by invisible walls in the society. We are driven further apart, and human bondings are even ruptured… Today, the end of the pandemic is still not in sight. However worried we may feel about being trapped in “boxes”, we embrace a brighter future to come. The power of art helps us transcend reality and break through all the boundaries. For the future, we see the possibility of boundlessness.
This online exhibition features a collection of fascinating paintings from nine Hong Kong local and international artists. With works of art in various painting techniques and styles, artists address the interaction between human and space. Expecting an imaginative departure from the current pandemic situation, it invites spectators for unlimited thinking.
The exhibition is devised in the alignment of Spaced and Spaceless.
In “Spaced”, artworks depict the resignation of being trapped in stifling space. Everyone wants to escape from “boxes”, be they a room of one’s own or the city, yet they are still within the boundaries at all events…
In “Spaceless”, we imagine gradually walking out of the “boxes” and no longer being bound by any constraints – a desire for freedom of body and mind. Looking into the unknown future, we keep our hopes alive.
Under the impact of the epidemic, we are all more or less accustomed to living in the confines of our homes and have experienced overwhelming isolation from the outside world. Entitled ‘Shelter’, Spanish artist Issac Cordal has created a series of sculptures of middle-aged, bald men with depressed, wooden expressions and heavy behaviors that people can easily relate to.
疫情衝擊下，我們或多或少都在疫情衝擊下習慣了這種困於家中的封閉生活，經歷過與外界隔離的手足無措。 西班牙藝術家Issac Cordal通過一系列以「Shelter」為題的微型雕塑作品，將人們能夠較易共情的苦悶愁緒寄託在表情沮喪、木訥，舉止畏縮沉重的中年禿頭男子雕塑中。
Abby Lee Yan-yee
The pandemic has introduced a loneliness epidemic to many countries of the world – and the crowded but glamorous city of Hong Kong has not escaped the ravages of Covid-19. In her “Study of Spaces and System” series, Hong Kong artist Abby Lee depicts a residential building in which dwellers are either deep in contemplation or wandering around in their own living spaces, separated by blocks of colour and cement, evoking a sense of alienation and of being imprisoned, trapped by their own paranoia, revealing a sense of disconnection felt while under the strict confinement of lockdown. However, each of these seemingly independent living spaces all have water pipes running through each block, hinting of a subtle connection between residents and their isolation estrangement.
Covid-19給世界帶來了一種名為孤獨感的流行病。擁擠但迷人的香港當然沒有倖免於這場疫症的肆虐。香港藝術家李欣儀在「Study of Spaces and System」系列中，描繪了一棟大樓的居民。他們被色彩和水泥塊隔開，在自己的生活空間中沉思或是在來回踱步。畫面喚起一種被囚禁的感覺以及疏離感，表現出因疫情隔離下所感到的脫節感。然而，這看似獨立的生活空間中，有一條貫穿每個單位的水管，暗示著鄰居之間微妙的聯繫。
It is a playful collection from Dr Chui. Both artworks depict the social gathering restrictions in the context of Hong Kong. Although these little ants are gathering together in the same space, however, if we take a close look at it, they are in a group of four – a picture of reality, the resignation in life.
As humans, we are connected to each other. We do belong to diverse groups, and form communities. The sculpture “Tenants” address global issues broadly related to cultural, social, political and economic values. As people, we are residents of cities, village’s buildings or houses to share lives with others, but at the same time, allow ourselves a personal space to accommodate our character. Cubic, where the artist has placed figures expresses our private space.
When there is just one voice, one goal or one direction left in this world, we can only spend our entire life running forward, without room to think or time to rest. Unfortunately, not everyone has strong legs or flapping wings. Once we pause, we fall behind. Sometimes we are even accused of betrayal and considered as a monster who destroys everything. Yu Kam-faat’s grotesque cartoon characters represent a world where everyone turns into monsters — in doing so, the artist hopes that we can embrace various voices and choose different paths.
The work shows the daily life of the ravages of Covid-19. Under the social distancing and Ban on restaurant dining, even though people are already outside, they still seem to be trapped in a box, trying to find a way out.
Taking inspiration from an accidental act of placing the model of the Thinker onto the Time Machine of Doraemon, Stephen Wong starts his playful exploration between the “useless” trinkets and landscape-printed objects at home. Under the current situation that we cannot physically travel all over the world, these unexpected combinations of objects demonstrate creativity painted on the spaceless canvas, allowing us to fantasize about traveling at home.
Janaina Mello Landini
Ciclotrama is an invented word by Janaina Mello Landini as a name for the project that she has been developing since 2010. Working with thread and rope, she creates installations in situ, occupying space in immersive and unexpected fashion. The artist’s main idea is to create a physical experience of tension, portraying imaginary networks that define spaces and retell narratives.
The social cartography of individual networks shows the infinite interconnectedness and interdependence of personal trajectories throughout a system, society, and the world as a whole. The movement of bodies (ropes) and the relationship between rhythm and time are also fundamental aspects of these series. The unwoven strands seem to be reminiscent of the roots of plants, the circulatory systems of bodies and the nerve endings of neurons.
Ciclotrama是Janaina Mello Landini發明的一個詞，作為她自2010年以來一直在創作的項目的名稱。她使用線和繩索，在原地創造裝置，以沉浸式和意想不到的方式佔據空間。藝術家的主要想法是創造一種緊張的物理體驗，描繪出定義空間和重述敘事的想像網絡。
Her works show the ungravity construction, exploring the impossibility of completely understanding everything going on around us but still we are still able to successfully navigate through the maze of life. Let us recognize what we are seeing, but to see it in a very different, unstructured, broken way. We forget sometimes, but on the other side of the world, there are people living upside down, actually living in the same situation like us.
We might be able to shape our lives like weightlessness when things are viewed in different orientations.
The broad smoky white paint looks like cotton and cloud and composes the tender space of the imaginative world. In the image, a man wearing white shirt and black shoes keeps floating freely and leisurely in the tranquil world as if he has got rid of the noise in the secular world. It is a metaphor of his desire to keep far away from the external turmoil and return to the pure internal mind. The red rectangles on four sides are added on purpose to make a frame for the visual focus and increase the richness of the image. The artist applies the real man as a reflection to creating a space for spiritual desire and expressing the mental awareness of the internal and external intersection between painting, livelihood, and life.
Curatorial Team 策展團隊
Au Hoi Kwan 歐凱鈞
Liu Jianing 劉佳寧
Liu Kin Ying 廖健盈
Tsang Sai Sai 曾西西
Tsui Po Yee Elsa 徐寶兒
Yip Oi Ching 葉藹程
Prof. Ho Hing Kay Oscar 何慶基教授
Abby Lee Yan-yee 李欣儀
Chui Pui-Chee 徐沛之
Du Jian-Min 杜建旻
Janaina Mello Landini
Stephen Wong 黃進曦
Yu Kam-Faat 余錦發