Nothing But The System

Nothing But The System

(A poetic review of the New Media Arts Exhibition Project)

Microsoft is hard.
And the apple is suffering from a nasty bite.
The screen seems to throb in his eye.
However,
His mind is blank.

Sound is English.
But the visual is Japanese.
No subtitle, no gesture and no conversation.
Nothing but the system itself is communicating.

Here the moon is resting,
Thus,
This is the world of the CD-ROM.
It shines above human.
It re-creates the sky.

Warmness is gone.
Blood is frozen.
The legends are buried inside the RAM.
Interactive is their Slogan.

Life is now merely a system,

Getting lost in reverie.
The aroma of human flesh is vanished,

And never to return.

What appears in dream is the mesh of optical fiber.

What is under recording is the weather of today.

Close your eye,
The ice cream is melting,

But the screen stood still.

New Media Arts Exhibition Project – Intermedia Experiment at HKAS

Artists:Samson Young and Christopher Lau
Musicians : Johnny Fong(Clarinet),James Cuddeford(Violin), Chang Pei-chieh(Cello), Mary Wu(Piano)
Performers : HKAS students & other participants of the workshop

Performance : Quartet for the end of time
Venue : The McAulay Studio, Hong Kong Arts Centre
Date and Time :
14 February 2009 (Sat)3pm - 4:15pm
14 February 2009 (Sat) 8pm - 9:15pm
15 February 2009 (Sun)3pm - 4:15pm
Forum Date and Time:15 February 2009 (Sun)4:30pm (after the performance)

Project RED 殷赤绯丹紅

Red, is something immersed with fantasy. Someone may find it dreadful, and someone may see it as a plaintive tale. In a world of red, it ‘s nothing there but only a vast expanse of signifier. Dig into the history of mankind, red is the first color to be recognized and named. In the eddy of time, human gives red different meaning, and Red, thereby, mingles and bequeaths these meaning to the universe. Just one click on the mouse, here red comes.

“Red is the warmest of all colors. Red is the color most chosen by extroverts and one of the top picks of males. On the negative side red can mean temper or anger. In China, red is the color of prosperity and joy. Brides wear red and front doors are often painted red. Red is Tuesday's color. Red roses symbolize passionate love. Ruby rings should be worn on the left hand. Red is the color of Mars. This planet is known as the God of War. Red is the color of blood, and as such has strong symbolism as life and vitality. It brings focus to the essence of life and living with emphasis on survival. Red is also the color of passion and lust.”

This is a project about red; this is also a project about what is red.

Since the mid of 2007, a group of artists affiliated their life with red. They attempt to fascinate people with the weapon of red. This weapon is tender yet ferocious, as though the human on earth. With the ambiguous attitude of this unique colour, these artists thus link it up with the living world – culturally, emotionally and politically. It crosses years and flies upon generations. And red is now incarnated into different forms and medias, pervading the entire exhibition venue.

The project of red is a process with no end. Red interprets itself, and human re-interpret red.

Red, is in its looping motion.

Hiyuki Ogata, Red Tide花潮, Installions, Size Variable.

Winne Fu, Paint It Red 髹紅漆, Video Installations.


Addis Fung, Little Red Pills 美好生活, Installations, Size Variable.


Chan Wing-chiu, Hidden 潛, Installions, Size Variable.

Project RED/殷赤绯丹紅

Featuring Artists: Gred Conradt, Maeva Aubert, Winne Fu, Chan Wing-chiu, Franky Lung, Hiyuki Ogata, Jupiter Wong, Magdalen Wong, Shoutingmute, Addis Fung and Oliver Fung.

Date: 6 -22/02/2009
Venus: A-Link Plus, C C Wu Building, Hennessy Road, Wan Chai

Cultural Industry? Culture is not an industry.

In respect of the local art community, 2008 is a remarkable year, with the gradual successful development of the Fotanian, and also the opening of the Jockey Club Creative Art Center, seems like the alternative art community is now on the right track. However in 2nd FEB2009, there was an article that criticized the JCACC. I summarized the article in a few points:

1) Criticizing the usage of the JCACC (As the reporter says, there were less than 25% of the studios in JCACC is exercising during his 3 visit)

2) Some of the studios are occupied by paper box, therefore the reporter suspects that some of the places in JCACC are being used for the purpose of stock instead of artistic sake.

3) Even the studio is open for the public, but the content of that “artwork” is doubtful. (The reporter miss read the work of a local artist Lee-kit as an interview of Paul Wong, a local rock band – Beyond.)

4) The JCACC is only encouraged to open to the public, and there are no compulsory rules. When the audiences become less, the opening of these studio becomes less too, thus it leads to a vicious spiral.

After this article published in the MingPao on the 2nd Feb2009, there were immediate responses from the artists all over Hong Kong. They urge for a formal apology from MingPao in regarding of their incorrect report on the JCACC. In Hong Kong, freedom of speech is the absolute right for everybody, one can see from the protest that against the Enactment of Article 23 of the Basic Law in 2003. However, the right of free speech does not mean that one can say anything without taking any responsibility. As a reporter, his/her basic responsibility is at least – factual. Before the report wrote this report, at least, I would suggest he/she to do some research about art, not to miss read Lee-kit as rock singer.

However, the contingency of this event manifests an essential question: what is the role of the Hong Kong government regarding “art”? It is certain that the aid of the government in local art development is very important, but it seems like it is now becoming an intervention. The entire event, since the very first report until today has already passed a period of 10 days. There are several replies from the artists and also the reporter. (For more information on this please check http://www.inmediahk.net/.) Through these discussions, the gap in between artist and the reporter, and also, artists and the government is being embodied.

Therefore, I think it is definitely imperative for us to re-think the role of the government in the local art community. In Hong Kong, there are now 3 main art community, they are the Fotanian, JCACC and the Cattle Depot Artist Village. The background of these communities are fundamentally different, but they all share the same sake – to make art into the public. If not there would be no Fotan open studio; if not, the JCACC would not emerges; if not, the events which took place in the CDAV are all meaningless. However, what is the role of the Hong Kong Government in advancing the local art development? In another words, does the Hong Kong Government really advancing the art development, or it is just another way to promote Hong Kong as an international city?

The policy of the Hong Kong government in regarding the cultural industry is actually embracing a commercial purpose. Since the very start of the JCACC, the aim of the government essentially not for art sake. As the previous Secretary for Home Affairs, Dr Patrick Ho said to the public, the JCACC is a possible place for the tourist to visit. The metonymy behind his word is: the JCACC is just the same as Disneyland, for economy sake, for tourist purpose. Therefore, it is the responsibility for those artist to “do something” to attract people to visit, otherwise, it is a waste of the government resources. And this lead to the news report from MingPao.

Art/ culture is never an industry. The term “cultural industry” is an ideology. From the story of CDAV (the original venue of CDAV is actually located at the abandoned building of the Government Supplies Department. In 1997, the government rent this place to different art communities at a price which belows the market. However, in 1998, the government refused to renew the contract with these art communities due to the further development policy. The latest planing of this place is an area which consists of hotels and shopping mall.), one can find the limitation and also the apathy from the government towards local art. (for example, the 3 months contract renewal which burdened the art communities in CDAV). The different attitudes of the government in between the CDAV and JCACC is therefore a paradox which imbeded the ideology - the ideology behind the term “cultural industry”.

Hong Kong is yet to go through the process of de-colonization. Since the colonial period of Hong Kong, the British government gradually shaped Hong Kong into a financial city or a trade center of the east instead of a cultural one. As a colonizer, the British, of course focused on the financial aspect, which would the most benefit her own. Hence, there is an absent of critical thinking throughout the education system. Critical thinking is actually being taken, as a danger; it awakes people ‘s sense of criticizing the government, and therefore makes the ruling of the colonial people more difficult. And this is one of the reason that the direction of local education is more focusing on the economic side and this economic mindset is subsequently being rooted in everybody’s mind. After the return of Hong Kong in the 1997, in order to keep the image of Hong Kong as an international commercial city, the Hong Kong government follows the British government, even in the aspect of art. Thus, art as a cultural activity is being developed under the discourse of an industry.

However, art appreciation needs critical thinking. Without a critical mindset, how could people understand art? Today’s situation is therefore induced by the fundamental absent of critical training in Hong Kong education system. Hong Kong, definitely has her own potential to become a cultural city, but in order to start with, she needs a essential change in its concept towards art:

Art represents culture and culture is not an industry.


Remarks:

1) For those who would like to know more about the history of Cattle Depot Artist Village an dthe local art community, there is an exhibition calls A Study of Hong Kong Alternative Art Community ( Parallel with Beijing/ Singapore) Documentary Exhibition is now taking place at the 1a space, Cattle Depot Artist Village from 17th Jan – 7th Mar.

2) And also there is a forum which will be held on 13th Feb, 1500 at the Hong Kong Arts Development Council, this forum is organized by The Hong Kong Arts Development Council (HKADC) in collaboration with MingPao (Feature Section) regarding the “Roles of Artists Village in Hong Kong”. The main purpose of this forum is to facilitate discussion and exchange on the above issue, with an aim to explore the possible development modes of an artists' village in Hong Kong. ( Too bad that I am currently out of town, hence I cannot attend this forum, but I will bring back some more information regarding this discussion if possible.)

New York MOMA (2) - Artist Choice + Vik Muniz = REBUS

There are several ways to experience an exhibition. Besides concentrating on individual artwork, however, the linkage in between each artwork is also important, someone would calls it the juxtaposition(s) of the artworks. What does it means by juxtaposition? If putting it into the exhibition aspect, it ‘s the dialogue between two seemingly unrelated artworks. Under the spotlight, a single artwork is playing its own monologue, but in an exhibition that contains different artworks, the superficial characteristic of each individual artwork is therefore a signification of the process to the next one. Like orchestra, every instruments plays its own part, they are the atoms of the entire piece. This idea, thereby, marks a substantial concept of the contemporary group exhibition. It is not necessary to harmonize each and another; it can be discordancy, in some way.

To decide which artwork goes first and which comes next is a complicated question, and there is no absolute answer. In this respect, the curator therefore plays an important role. The curator is now the arranger, the melody is the concept and the artworks are the instruments. In this exhibition, Vik Muniz is the curator; MOMA had already organized several exhibitions, which invite the artist to select artworks from the MOMA. In doing so, creating new ideas and offering new perspective to its audiences.

In his work, Vik Muniz inventively questions the function and traditions of visual representation; he takes this chance to render different unlikely subjects to response to his photographs. The arrangement of these different artworks therefore served as a metaphor – Rebus.

H +

= Hear, or Here; Artist Choice + Vik Muniz = REBUS(?)

It is not a matter if one can successfully hit Vik Muniz ‘s purpose or not, it ‘s more significant to let the question rebounds back to everybody’s mind: There is an essential differences in between what you see and what you are experiencing. What you see is the artworks, but what one cannot see are the punctuations in between them. It makes no sense if one miss out the punctuations. And I would say the artworks + punctuations = experience. As Vik Muniz states that he actually intended to use a narrative sequence to create surprising juxtapositions and new meanings.

If talking about audiences, I am definitely not a good one. I walk through the exhibition following his narrative sequences, and then I made my way upstream. With all other audiences and the artworks head-on towards me, isn’t it a surprising experience too?

(These pictures are in Vik Muniz 's narrative's order, not my upstream way.)






As part of the Artist's Choice at MoMA series, Vik Muniz talks to editor-at-large Howard Halle about his choice of works from MoMA's permanent collection for his show "Rebus".

Feel In The Blank

There are 3 main University, which offers professional course of art and design in Hong Kong; they are the CUHK, HKBU and also the HKAS. Every year each university will hold a graduation exhibition for their students, and it marks a completion of their artistic development. Few weeks ago, the graduation show of the Higher Diploma Programmes of Fine Art, Communication Design and Media Arts had just taken place at the HKAS Pao’s Gallery.

What does an audience expect from a graduation exhibition? Personally, I want to see new ideas and new forms of art. As a student who are about to graduate, their work are usually extremely fresh and creative. Their works may not be as mature as those sophisticated artist, but coincidentally, this is also the most exciting part of experiencing a graduation exhibition. Because, for those famous artists, their style and concentration are already well established, therefore, people will have certain level of expectation when they go for those exhibition. However, As an art lover, like myself. Besides those famous artworks and artists, I am also very interested in these new and young artists. As they are just graduated, they name have not being rooted in my mind, hence, every single piece of artworks in the graduation exhibition is kind of an adventure. I would never know what is the next artwork about; and there is no way for me to expect what is going to happen in the next exhibition room. Of course, it brings disappointment, sometimes. But anyways, it still worth to look forward to every graduation exhibition.

Let’s go back to this exhibition, the name calls “Feel in the Blank”. It consists of 3 different aspects: fine art, communication design and media arts. The name of this exhibition is an inkling one. It remind me the Suprematist work White on White 1918, by Malevich, Kasimir, which offers a unlimited spiritual imagination. How would one feel about blank? Is this blank function as a noun or an adjective? I suppose this title is more to be a question instead of an attitude of these new artists. It rises up question in everybody ‘s mind. It makes the audiences keep thinking about the connotation that lies behind the title throughout their entire journey in this exhibition venue.

There is one work in this exhibition that bring an indelible impression: Little Thinker by Vaan, Ip Hoi-lam. It is a series of three ink-painting, which consist of black and white color only. One can find a touch of nostalgia sense within these paintings, like a retrospection of the artist’s own childhood. Besides these paintings, there are also several design items, ceramic works and video works in this exhibition. I would summarize this exhibition as a show of the creative industry by the very new generation in Hong Kong. Which, one can take this exhibition as an opportunity to understand the mind of the 21st generation. Nevertheless, graduation exhibition is not the final scene of their study; but a starting one.

Little Thinker 2008
Ink on Canvas
Vann, Ip Hoi-lam


Paradise 2008
Painting
Chan Ting-wai


Breathe Away 2008
Workshop
Lam Wing-sau


Home 2008
Ceramics
Michelle, Ng Lai-yi


Feel In The Blank
Exhibition period: January 12 - 31, 2009
Location: 4 & 5/F, The Pao Galleries, Hong Kong Arts Centre,

A Review of the Fotan Artists Open Studios 2009

Fotan, 火炭; an industrial village in Hong Kong. In 2003 The Hong Kong Art Museum made the Open Studios Event in Fotan as a side project, which goes with the Hong Kong Biennale. The Open Studio Event in 2003 calls Fotanian 伙炭. When the Chinese character伙 replaced 火, the meaning of this particular place and event then shifted to a more humanist stage. It represents the spirit of the Fotanian artists, at the same time brings up the idea of the Fotanian as a society, and also a specific cultural activity in Hong Kong.

Fotan was a seashore small village in Shatin, however, during the 60s, the Hong Kong government planned to develop the whole Shatin area as a satellite city. In 1973, the new Shatin town and urban development plan have brought the whole area a brand new face. Fotan, because of its natural character, separated from the living area in Shatin. It gradually turns into an independent industrial city, which prevent the problem of the being too close to the human living area, like Tseun Wan and Kwun Tong.

1997, the Asia Financial Crisis pulled down the rental price in Hong Kong, not only the residence housing, but also the industrial rental as well. Besides the great drop in rental price, the relocation of many of the local industrial factories to Shenzhen and other places in the Mainland China also gives contribution to the development of the Fotanian.

Actually, since the 80s, there are already a few artists such as Leung Chi-wo, who had already set up their own studio in Fotan. However, if one wants to trace the history of Fotanian, the starting year should be in 2001. That year, a group of 8 fine art students from the CUHK decided to set up a studio as a starting point of their artistic career. It marks a significant turning point of the history of the Fotanian. And these 8 students also represent the new generation in Hong Kong who yearns for a new sight of living. In the same year, these 8 students organized the first Fotanian event – the 318 open studio, together with the solo exhibition of Lee Kit at the Lui Chun-kwong studio (now calls the Yiliu Painting Factory). This is the story of the Fotanian, and through 8 years of endeavor, the open studio subsequently becomes one of the very important cultural events in Hong Kong.

This year, 49 studios, and more than 170 artists had join the event. The devotion of these artists are perceptibly active, their desire to tighten the relationship in between art and the public is obviously shows throughout the entire event. By taking this chance to go deep into the artist studio, as an audience, one can see not only the art works, but also the efforts and different working style, which hide behind the scene.

There are several impressive artworks like the Acrylic Skin 2009 by Chester Chu in the galleryMill studio, Deep River 2008 by Sindy, Wong Sin-yi in the 囡 studio, etc. However, the most emphatic work that I admire the most is the Sim City No.6_lost 2009 by Sim, Chan Wing-leung in the Kiss On Fire studio.

Sim Chan is currently studying his BA of Fine Art at the Hong Kong Art School and besides; he also participates in different creative area such as wall painting, graphic design and stage design. In this painting, what Chan is depicting is a city – Hong Kong, which you and I are living in. the work itself offers a breathless squeezing sensation to its spectators. What one can see in this painting at the very first sight is nothing more than a disorderliness abstract form, however, when the sight of the audience becomes crystallized through a few seconds of gazing to the painting, the structure of the whole picture gradually emerges, and it comes like an aerial view of the city. It shows a struggle in between disorderliness and arrangement. I would see this as a metaphor of the contemporary living style, which, agenda and emergent is not absolutely confronting, but also corresponding, just like the city itself and the people who lives inside. In Chan ‘s artist statement, he says, “Architecture determines the appearance of a city, it also represents human’s life. It brings human and space into harmony.” The rise and fall, up and down structure create human life, and also a contemporary sense of beauty.

After spending an afternoon in these industrial buildings, one may find a special feature of the artist studio in Hong Kong – crowded. Usually a group of 5 – 8 artists share a studio around 1000 ft. that ‘s mean 1 single artist would have around 200 to 300 ft as their working space. And also, the artists develop the entire Fotan open studio by themselves without any aid from the government at the beginning; the whole event only becomes a cultural one until 2003. It indicates that there is actually a lack of support of the development of local art from the Hong Kong government. Artists, as a career, is definitely an unprotected one in Hong Kong. That is the reason why, most of the local artists in Hong Kong are a part-time one, they need to have another job to make their living, and at the same time, use their leisure time to continue their artistic career. Therefore, through the entire open studio project, large-scale works are rarely seen due to the lack of space and supports, and this also manifests the limitation of the local art industry. To solve this problem is to developed a better cultural policy, for example like a systematic funding policy from the government to help these artists to continue renting studio and get rid of the crowded working environment. Nevertheless, the Fotan Open Studio event is still a remarkable event in Hong Kong, which links up the artists and the public.

Mixed Media
Acrylic Skin 2009
Chester Chu, galleryMill

Mixed Media

Deep River 2008

Sindy, Wong Sin-yi , 囡 studio

Oil on Canvas

Sim City No.6_lost 2009

Sim, Chan Wing-leung, Kiss On Fire studio

Fotanian: Fotan Artists Open Studios 2009

Date: 10 – 11 & 17 – 18, January, 2009

Time: 2:00 pm - 8:00 pm

Enquiries: fotanian2009@gmail.com/ 6700 6591/ 6578 8155