Exhibition dates 展覽日期：13.7-18.8.2019
Opening Reception 開幕酒會
13.7.2019, Saturaday 星期六, 7 – 9pm
Tomorrow Maybe is pleased to present Christopher K. Ho’s solo exhibition Embassy S ites. The multi-component show includes new sculptural, sonic, architectural, and two-dimensional work. It continues Ho’s investigation into the perils and potentials of transnationalism. The topic resonates with the artist, who since 2016 has with greater frequency returned to Hong Kong after living and working in the States for several decades.
Tomorrow Maybe很榮幸地能為大家帶來何恩懷全新個展《Embassy S ites》。是次展覽由多種不同元素所構成，從雕塑、聲音、到具建築性及平面性的作品。何氏持續研究著跨國主義的各種潛力與危機。在何恩懷到美國定居及工作的數十年後，當他於2016年起不斷地重返其出身地香港，跨國主義這個議題一直深深圍繞著藝術家自身的思考。
Being good means acting the same perfect way — but there are so many ways to be bad. Creativity and genius can be bad. Fluidity and queerness can be bad. Enjoyment and exuberance can be bad. For Father and Mother, even autonomy and independence can be bad.
Society normalizes our bodies to make sure we are good. We’d rather take flight in being bad. Just as the mechanisms of life have evolved by hacking our genetics with bad copies, we will use our bad bodies to hack the hegemonic systems of patriarchy, hetero-, and homo-normativity.
Fragrant Little Haven takes a description from Geoffrey Robley Sayer. Hong Kong, means fragrant harbour in Chinese, was only a name of a village at the south of Hong Kong Island before the English came. It was a harbour for transporting the luxury Aquilaria sinensis trees, which produces agarwood, a valuable fragrant wood used for incense and medicine. One and half centuries have past, the artist found out that at least 180 streets in Hong Kong were named after plants.
As a photographer, Siu Wai Hang’s practice explores the fundamentals of the medium of photography, while creating social and historical commentary. In this intimate show, Tomorrow Maybe provided an entry point into the artist’s ongoing examination into the medium particularly with time, as experienced, as perceived, both subjectively and collectively, and represented through form.
The exhibition includes notes from Zheng Mahler current research on a virtual history of opium in South East Asia, and transcripts from a forthcoming publication on psychedelics and technology catalysed during their residency at Eaton HK. Taking its cue from Thomas De Quincey’s 1821 text, ‘Confessions of an English Opium Eater,’ the virtual reality experience transports the viewer into a phantasmagoric ‘opium dream’ through various moment’s in the history of opium
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