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UPCOMING EXHIBITION

Play. Boredom. Worship. | 玩樂。 無聊。 崇拜。

Exhibition dates 展覽日期:20.10-24.11.2019


Opening Reception 開幕酒會
19.10.2019, Saturaday 星期六, 7 – 9pm 



South Korean-born German philosopher Byung-Chul Han once quoted an example to explain the Italian philosopher 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 as what money is supposed to, they playing with them and tearing them to shreds. Profanation is an act of taking sacred things from gods and turning it into mortal usage. By quoting this example, Han portraits a post-apocalypse world where money has lost its meaning, and we are shredding paper for fun, like the ‘profanation’ act of the children. 


Perhaps in arts, ‘profanation’ could be described as the way of how artists create through appropriation and conceptualisation. Both ways are giving new meaning towards pre-existed objects and subjects. Curated by Alex Yiu and Suze Chan, ‘Play. Boredom. Worship.’ will present new artworks from six emerging artists from Hong Kong. Through dialogue and discussion with the curators, the artists interpret the idea with different perspectives and angles with their artworks.


德籍韓裔哲學家韓炳哲藉著一個事例,延伸了來自意大利哲學家阿甘本所提出的「瀆神」(profanation)概念:在希臘受緊縮政策影響後,一些小孩在一間荒廢的大屋裡發現了一團鈔票,但他們不但沒有把現金據為己有,還把那些鈔票作為耍樂的玩具,將之撕碎,去除鈔票本來的意義。「瀆神」本義解作將神聖(屬於神)的物質,轉化為世俗的用途,同時亦解亂用和惡意使用;韓炳哲用以上事例說明了當世界化成頹垣敗瓦的將來,金錢將失去意義,成為我們用以撕掉的娛樂,就如小孩們的「瀆神」行為。 


藝術上,「瀆神」可以比擬為藝術家創作的手段,諸如挪用和概念轉換,均給予已有事物新的意義。是次展覽由姚少龍和陳凌欣聯合策展,展覽《Play. Boredom. Worship.》將展示香港六位新晉藝術家的作品。藝術家們通過和策展人之間的討論和辯證,他們的作品將以不同的態度和角度去演繹展覽的主題。


Past Exhibitions

Yummy Gummy《夾軟糖 》

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 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. calorie).

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. 

Christopher K. Ho 何恩懷 - Embassy S ites

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 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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 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. 

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

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 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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 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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 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.