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CURRENT EXHIBITION

Give no words but mum 保持緘默

Exhibition Dates 展覽日期⠀

23.1-1.3.2020⠀

Opening Reception 開幕酒會⠀

23.1.2020, Thursday 星期四, 7 – 9pm⠀


保持緘默:⠀

勞麗麗個展⠀


'荒野被溫柔開墾,成了不太井然有序的農地。⠀

栽種了的瓜果菜蔬,一直沉默不語,我知道長得茂盛的跳上了貨車,跑到爐頭轟烈犧牲;這是謀殺,挺是誤殺, 我說不出所以來。於是我找緊機會,拾人牙慧的告訴你:⠀

「一種單向的關係在你們和我之間⠀

進展得還算順利。⠀

我知道葉子,花瓣,核仁,毬果和莖幹為何物,⠀

也知道你們在四月和十二月會發生什麼事。⠀

雖然我的好奇未獲回報,⠀

我仍樂於為你們其中一些彎腰屈身,⠀

為另外一些伸長脖子。」⠀

辛波絲卡.《植物的沉默》⠀

咔嗒、咔嗒、咔嗒,據說是根部細胞壁破裂的聲音,原來只要把耳朵貼近地面便聽到耳邊細語。⠀

對於一直保持緘默的植物,藝術家由好奇、疑惑走向處之泰然的失語狀態。⠀

Tomorrow Maybe很榮幸地能為大家帶來勞麗麗最新個人展覽展覽《保持緘默》, 帶來她近兩年流動影像及裝置作品,呈現其難以言喻對植物依存的關係。最新作品包括個人私密地下電視台-《漫慢電視 III :保持緘默 》,繼續為患有分神症觀眾服務,提供消磨時光的節目,思緒隨著植物埋在泥土的根部被抓起來,任細碎的砂石安然地散落四周,冷靜地揭示抑壓已久、卻又蠢蠢欲動的慾望與執念。' - 勞麗麗⠀

The wilderness is gently cultivated and turned into a not very orderly farmland.⠀

The planted fruits and vegetables have been silent. I know that the blossoming ones have jumped onto trucks and upon stoves to sacrifice spectacularly; is this murder, or manslaughter? I can't tell. So I take the chance to tell you in some other people’s words:⠀

A one-sided relationship is developing quite well between you and me.⠀

I know what a leaf, petal, kernel, cone, and stem are,⠀

and I know what happens to you in April and December.⠀

Though my curiosity is unrequited,⠀

I gladly stoop for some of you,⠀

and for others I crane my neck.⠀

Wisława Szymborska, The Silence of Plants, trans. Joanna Trzeciak⠀

Click, click, click. This is said to be the sound of rupture in the root cell walls.⠀

You can actually hear the whispers just by pressing your ear to the ground.⠀

Regarding the plants that remain silent, the artist has moved from curiosity and puzzlement to a calm aphasia. ⠀

Tomorrow Maybe is proud to present Lo Lai Lai Natalie's latest solo exhibition “Give no words but mum,” featuring her moving image and installation works of the past two years that portray her inexplicably dependent relationship with plants. The most recent works include a personal private underground TV station “Slow-so TV: Give no words but mum” that continues to serve distracted audiences and provides them with programs to pass the time. Thoughts, uprooted together with the plants from the earth, the fine debris serenely scattered about, calmly reveal long-suppressed desires and obsessions.⠀

**********⠀

關於勞麗麗⠀

1983 年生於香港,2006 年於中文大學學士文學畢業 (主修藝術,副修日本研究),2017 年畢業於中文大學藝術碩士。她是一位「退役」旅遊記者,現專注於大自然生態有關的藝術創作。麗麗現時在香港生活館學習務農之餘並探索「半農半X」生活方式,這種生活實踐促使她對另類生活模式、以及作為一位香港人兼藝術創作者的自主性作出提問。她成立了漫慢電視項目,主要研究課題跟食物、農耕、蘊釀、慢駛、監視、冥想等相關。作品以流動影像、攝影、裝置及混合媒介為主。作品獲 The Sigg Collection 收藏。⠀

近日她對自然及人類間相互牽引、相互制衡的情緒及欲望深感興趣,她相信箇中的角力與矛盾更引人入勝,猶如深不見底的潭。⠀

About Lo Lai Lai Natalie⠀

Lo Lai Lai Natalie was born‭ ‬in Hong Kong‭. ‬She graduated from the Faculty of Art in The Chinese University of Hong Kong‭ (‬Major in Fine Arts‭,‬‭ ‬minor in Japanese Studies‭) ‬in 2006‭. ‬She received her Master of Fine Arts from the Department of Fine Arts‭, ‬The Chinese University of Hong Kong in 2017‭. ‬Lai Lai is a former travel journalist‭. ‬She is interested in the development and the construction of nature‭. ‬She is a learner at the collective organic farm Sangwoodgoon‭ (‬Hong Kong‭) ‬where she also explores the lifestyle of‭ “Half-Farming‭, ‬Half-X”, a practice that seeks alternatives and autonomy as an artist and Hong Konger‭. ‬Lai Lai founded the Slow-so TV channel‭, ‬with a focus on food‭, ‬farming‭, ‬fermentation‭, ‬slow-driving‭, ‬surveillance‭, ‬and meditation‭. ‬Her artworks are mostly moving‭ ‬images‭, photography‭, ‬mixed media and installation‭. Her work is collected by the Sigg Collection.⠀

‬Recently‭, ‬Lai Lai is especially interested in the mutual control and dependence of the emotion and desire found among human beings and nature‭. ⠀


Past Exhibitions

Play. Boredom. Worship 《玩樂. 無聊. 崇拜》

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 19.10 - 24.11.2019


South Korean-born German philosopher Byung-Chul Han quoted an example to explain Giorgio Agamben’s concept of ‘profanation’: During the recession period in Greece, a group of children discovered a large amount of banknotes in a ruined house. Instead of using them in the way money is supposed to be used, they started playing with it, tearing it to shreds. Profanation is an act of taking sacred things and turning them into mortal usage. By quoting this example, Han portrays a post-apocalyptic world where money has lost its meaning, and we are shredding paper for fun, like the act of ‘profanation’ by the children. 


Curated by Suze Chan and Alex Yiu with artists Chan Moon, Vunkwan Tam, Harry Chan, Suze Chan, Mia Chu, Wong Tsz Yin


Yummy Gummy《夾軟糖 》

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23.08 - 22.09.2019 


Gummy candies are soft, gelatin-based chewable sweets. Gummies has a high water content, are available in a wide variety of flavors, and its shape, size, texture are easily manipulable depending on one’s desire and needs. Due to its high sugar content, gummy candies are very high in energy (a.k.a. calories).

By using the colorful and shape-shifting gummies as the point of entry, their works explore themes such as artificial bodies, beauty, corporeal desire, resistance, fluidity, and flexibility. 


Curated by KY Wong with artists Alysa Chan, Chan Ka Kiu Clair, Cheng Ting Ting, Ho Sin Tung, Irving Cheung,  Tsang Ching Sadako, Yu Shuk Pui Bobby

Christopher K. Ho 何恩懷 - Embassy S ites

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13.07 - 18.08.2019

 

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. The exhibition draws reference from political histories, transnational desires and infrastructures that mediate our travel, both consciously and unconsciously experienced. 

Bad Bodies 《壞軀體》

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13.05 - 30.06.2019

 

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. 


Curated by Nick Yu with artists Ip Wai Lung, Samak Kosem, Isaac Chong Wai, Mary Maggic, Rob Crosse, and Eisa Jocson

Vvzela Kook - Fragrant Little Haven 曲倩雯《芳香小天堂》

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22.03 - 05.05.2019 


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.   
 

Siu Wai Hang – Strokes of Light 蕭偉恒《靈光之書》

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04.03 - 13.03.2019

 

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.  

Zheng Mahler - Intangible Economies 《無形經濟》

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01.02.2019 

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.