26 March - 28 April 2024
Artist 參展藝術家: Revital Cohen and Tuur Van Balen (UK 英國/BE 比利時 ), Sungsil Ryu (KR 韓國 ), Zoe Marden (UK英國/HK 香港 ), Future Host 未來主人 (Tingying Ma 馬汀瀅、Kang Kang 康康) (US 美國/CN 中國 ), Joy Li 黎佳儀 (CN 中國/US 美國 ), Mui Hoi Ying 梅愷盈 (HK 香港 )
"After Human: Marks of the Beasts" explores storytelling as a tool for marking the significant impact of humans on animals. It sheds light on the ideas and figures of animals as an integral part of East Asian cultures, where the ideologies and cosmologies behind them often remain hidden. The exhibition features video, installation, performance, and text-based artworks by local and international artists, including Revital Cohen and Tuur Van Balen (UK/BE), Sungsil Ryu (KR), Zoe Marden (UK/HK), Future Host (Tingying Ma and Kang Kang) (US/CN), Joy Li (CN/US), and Mui Hoi Ying (HK). These artworks speculate on animals as mythical beings, forms of capital, and objects of aesthetic interest, blending elements of ethnography and fiction. Taking all the different narratives on animals built into the works as a starting point, this exhibition attempts to world a human-animal world that is not from the viewpoint of utilitarian individualism - human-centric, profit-maximizing, desire-driven - and instead envisions humans becoming a collective with other species through symbiosis, kinship, or even shapeshifting. The Earth, it seems, will be for the survival of all species.
「人類之後：獸的印記」探索講故事作為工具標記人類對動物的重要影響，並闡明動物的觀念和形象作為東亞文化中不可或缺的一部分，以及被隱藏起來的背後意識形態和宇宙觀。這展覽展示了來自本地和國際藝術家，包括Revital Cohen和Tuur Van Balen（英國/比利時）、Sungsil Ryu（韓國）、Zoe Marden（英國/香港）、未來主人（馬汀瀅、康康）（美國/中國）、黎佳儀（中國/美國）及梅愷盈（香港）的錄像、裝置、展演、文字作品。這些作品通過融合民族誌和虛構的形式，推想動物作為神話的存在、資本形式和審美對象。本次展覽由作品中對動物的各種不同敘述為起點，試圖建構了一個人與動物世界，不從那麼功利個人主義 －以人為中心、利潤最大化、慾望驅動的觀點出發，並想像人類透過共生、親密關係甚至變形與其他物種成為集體的可能性。地球似乎將是為了所有物種的生存的地方。
12.10 - 31.10.2023
July Weber continue their research around performing for and with non-human entities - focus on confronting(dancing) with our fears, through establishing and switching between different "fear-characters", develop a sort of somatic schizophrenia and investigate into possible therapeutic and creative aspects of a physical dialogue with our fears. July is also collaborating with musician Makita in constructing a performative album of electronic soundscapes for different summoned fears.
July Weber is the artist in residence of Eaton HK's Consciousness Festival.
12.10 - 31.10.2023
Comprised of both still and moving imagery, this exhibition tells stories of the sensual and sensuous nature of queer love and queer life, from wavy, hazy disco-dance-floors to soft, gentle embraces of lovers and friends holding hands and holding space for one another. Viewers can experience life in Naarm (Melbourne) through the eyes of the artist and consider how we value intimacy in our everyday lives.
This is one of the Satellite Exhibitions of Hong Kong International Photo Festival 2023.
13.09 - 06.10.2023
(RE)PLAY examines the archival strategies, considerations, and formats of two seminal artists working across the valencies of performance-making.
Melati Suryodarmo and Xavier Le Roy present lecture performance UNPACKED No. 1: Love (2023) and Product of Other Circumstances (2009) resepctively – drawing on the ‘Jumping Frames 2023’ themes of re-enactment and archival (re)construction. Emphasising their methodologies in archiving works, the audience is invited to re-imagine scenes and essences of their practice through objects, videos and still images.
13.08 - 03.09.2023
Taking humour as a point of departure, the exhibition looks into the why’s and how’s of memetic irony: why do these devices share an affinity among Gen Z, and how are these memes—in Dawkins’ terms and in a contemporary vernacular—disseminated? In the era where ironic expression is nearly indistinguishable from sincere belief, meme makers conflate ‘based’ with ‘cringe’, readers take comedic scripts as half-truths. The virtual versus actual has become obsolete. So have art and memes that slowly morph into one another.
08.07 - 06.08.2023
Two Readings: Duo-solo exhibition by A.3.Lingo and Sunday Lai bring together dual artistic practices that interpret the signs in our world. By reading coincidence as signal and narrative, the 2 artists make magic with the material offered by Hong Kong
03.06 - 02.07.2023
Law Yuk Mui introspects into her memories of waterbodies, to an exponential speculation of the cosmology, informed by the observation and surveying of the stars above our heads and the land we stand on. Based on her previous works with field research on New Territories rural, Law re-enacts a raining ritual to revisit the Hong Kong water crisis in 1963, and unfolds tales of stellar worship in ancient China.
19.03 - 30.04.2023
Feature a cross-section of works produced between 2017 and present, New Pessimism: Tropical frontier reflects Natasha Tontey & Riar Rizaldi’s ongoing commitment to exploring the aesthetic of refusal, the campiness of social dilemma, and the horror imagery of social ecology in the tropical frontier.
11 - 26.02.2023
FutureTense, a non-profit making platform aims to foster collaborations and intellectual exchange in new media arts. The exhibition showcase award-winning and selected works from entries across Asia, including Japan, South Korea, Taiwan, China, and Hong Kong.
26.01 - 01.02.2023
THEN / NOW features 25 photos shot on 35mm at 1995's Alternative Miss World Competition in London where Kary puts the audience in the subject and looks at how they use "outfits' ' as a form of unique expression. The project explores how music, art and fashion can be imaginative tools to address political and social issues under the then Margaret Thatcher regime - a time when fantasy, love and clubbing provided escapism to the throbbing underlying social issues that Britain was facing.
03.12.2022 - 15.01.2023
Based on the contents of SAMPLE’s ISSUE 27 “E pur si muove” and ISSUE 28 “Terra Forma”, artists Lazarus Chan Long Fung, Winnie Yan Wai Yin, Tang Kwong San, and Wong Winsome Dumalagan were invited to visit Hong Kong’s Port Island with a geologist, then create new artworks under the theme of GROUNDING, imagining the generation and transformation of the land.
Presented by SAMPLE Magazine
01.09 - 02.10.2022
In a collective contemplation to re-organize embodied memories and body order, the inherited system and independence between bodies, subjectivities, politics, place, and movement, what emerges through the works in this collection proposes a certain engagement to access possible unfamiliar flow in which our body's own reaction and participation gives shape to the experience.
Co-presented with City Contemporary Dance Company
22 - 24.07.2022
Encompass diverse forms of performances, including participatory art, endurance art, lecture performance, performative installation, 3-days live art showcase 'Fluidity and Impermanence' investigates the action of artists as artistic expression and engage audience participation in the creative process.
Co-presented with Per.Platform.
20.05 - 17.07.2022
Luke Casey’s solo exhibition, SPECTERS depicts a hallucinative, uncanny journey traversing the universes of nature, spirituality, and technology through photography and video artworks. The audience is invited to float in and out of worlds built by Casey, immerse themselves in the frontier of the imaginary, the reality and its hybrid, constantly shifting in between.
18.12.2021 - 06.02.2022
No Kids Allowed plays out as an irony in which we invite local young creatives to trespass and occupy the spaces in society where they are rejected to get in. Together, they transgress the expectations society uses to box them in. Tomorrow Maybe transforms into an experimental playground for emerging artists to embody their artistic visions.
30.09 - 31.10.2021
The exhibition “Expanded Space” relates to the concept of “Expanded Cinema”. By opening up and re-examining the framework of cinematic screening, we hope to explore new possibilities and potentialities to extend our moving image programme, not limiting to cinema presentation, providing a new sensory experience for the audience.
12.06 - 29.08.2021
With every inhale and exhale we are in an expanding and contracting relationship with our planet. The quality of the air, the way we breathe, and who can and cannot breathe have all became prescient questions in 2020.
This exhibition is about humans, trees, and the breath that connects us;
Through the work of 11 artists/collectives, the exhibition raises and explores the topic and contemplates the human relationship to what we consider “our natural environment”.
17.04 - 23.05.2021
Throughout their residency at Eaton, the group relinquish their own practice and adopt each other’s ways of observation, ideation and creation, hence imagine themselves as travelers exploring strange land with a foreign scope.
In the exhibition, ‘object’ is the incognito protagonist emerging from the mundane everyday scenario, they speak loudly to reveal the alienated aspects of the surrounding neighborhood, to act as the mediator of the ‘situations’ we engaged in. The artworks form a network of object, each of them complements the others, opening up a space for continuation of the fragmentized narrative embedded.
06.02 - 21.03.2021
We evaluate our world based on results, but we often fail to see the movements comprising each action that create these results. Movements are transitory and ephemeral, lost in time and always progressing. The movement never really ends.
This new series of work entitled Manifest Ephemeral by Ophelia Jacarini captures movements; suspending choreography and dance into sculptural installation and photography.
12.09 - 12.10.2020
Lean’s photographs bare the innocence of a teenager but the distance and awareness of someone with far more lived years. One is drawn into the childlike world created by the artist, a world soft to the touch and tender, balanced with curiosity and honesty that embraces and upholds the spaces, objects and people she captures. While her works are polished, and the worlds inhabited seem pristine, Lean’s subjects are not immune to emotional and physical pain. What she shows is the resilience they embody as life gently leaves its imprints.
20.06 - 23.08.2020
Greek philosopher Heraclitus had a famous analogy about life: "You cannot step twice into the same river". Time cannot travel backward, everything is always in a state of becoming. The only certainty is change, as such each moment is unique. During the process of making animation, with the help of software and tools, characters can flow fluidly back and forth in time, as though existing beyond time itself. Travelling between dimensions, pasts and futures and grabbing hold of the most precious moments, the ending has always already been drawn out for the animation characters. In “reality” we are unable to see the future and there is no way of reading the script of our lives. We are part of the current of time. There is a feeling that our destiny, unfinished, is still to be written.
Is this true? Are our destinies still to be written out? Or do we live in this illusion?
23.01 - 03.03.2020
Lo Lai Lai Natalie's 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.⠀
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.
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
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.
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
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.
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.
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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