{"id":10310,"date":"2015-05-25T06:47:00","date_gmt":"2015-05-25T06:47:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=10310"},"modified":"2023-03-07T06:54:34","modified_gmt":"2023-03-07T06:54:34","slug":"press-the-button-leung-chi-wo","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/press-the-button-leung-chi-wo\/","title":{"rendered":"Press the Button: Leung Chi Wo"},"content":{"rendered":"\n

Press the Button \u2013 Leung Chi Wo: A Survey Exhibition<\/strong><\/a><\/p>\n\n\n\n

OCAT Shenzhen<\/strong> (Exhibition Hall A, Building F2, Enping Road, Overseas Chinese Town, Nanshan District, Shenzhen, 518053, China), April 25 \u2013 June 30, 2015<\/strong><\/p>\n\n\n\n

Printed beneath the exhibition title on the bright green background of the exhibition poster is a round brass disk set with three rivets which appears to be fixed to something. The words \u201cPress Once\u201d are etched into the brass disk inlaid with a British coin minted in 1996; the coin depicts St. George and the dragon. In 1996, Leung Chi Wo helped found one of Hong Kong\u2019s most important and vibrant independent art spaces, Para\/Site<\/a>. Connections between events occurring within the same year are but one type of relationship to be found in amongst personal histories and reality\u2019s complex network. Leung Chi Wo\u2019s artistic practice over the last two decades has revolved around pursuing and presenting the various associations embedded in these complex connections. Curated by Carol Yinghua Lu, \u201cPress the Button\u2014A Survey Exhibition\u201d is the largest solo exhibition in Leung Chi Wo\u2019s artistic career thus far, presenting 31 works the artist created between 1993 and 2015.<\/p>\n\n\n\n

For the show, OCAT Shenzhen\u2019s long, rectangular exhibition hall has been segmented into several open spaces. Each work is arranged so that viewers can choose to focus all of their attention on the piece before them, or turn to see other pieces behind or beside them. Thus, different areas are linked together by the wandering of the viewer\u2019s eye, transforming the exhibition space into an open network of interlinked art.<\/p>\n\n\n\n

Before I attended the exhibition, I went to hear a dialogue between the artist and the curator. Leung Chi Wo looked to be in his thirties, with a shaved head and heavy strains of Cantonese in his Mandarin. His speaking voice was quiet, permeated with an inner calm. He began by talking about frequent trips from Hong Kong to Shenzhen with his mother for the low cost health care available on the Mainland, and the way his memories from those experiences informed his newest piece in this exhibition, \u201cShenzhen Mine 1973\u201d. Leung says: \u201cThis piece is very fragmented. It contains many elements from 1973\u2014my medical record card, a map of the route from Lo Wu Control Point to Bao\u2019an Hospital, the cover of an issue of\u00a0China Pictorial<\/em>, a one\u00a0fen<\/em>\u00a0coin, art textbooks published in Mainland China, etc. \u2018Mine\u2019 is a double entendre referring to both \u2018myself\u2019 and \u2018mining\u2019, because the exploration of memory is an excavation process to me.\u201d When the viewer does as the exhibition title commands, a single press of the one\u00a0fen<\/em>\u00a0coin button turns on strains of ambient music which pluck gently at the emotions, and sets an old fashioned electric fan whirring. The fan blows open the\u00a0China Pictorial<\/em>\u00a0cover, and the projection light hidden by the miner\u2019s lamp depicted on the magazine cover casts images of Shenzhen\u2019s streets and sky onto the opposite wall. The fan blows as long as the viewer\u2019s finger presses down on the button; as soon as it is released, tranquillity gradually settles over the space once more.<\/p>\n\n\n\n

\"\"
Exhibition Poster
\u5c55\u89c8\u6d77\u62a5<\/figcaption><\/figure>\n\n\n\n

Pressing buttons has become an indispensable action in our lives\u2014an action nearly as ubiquitous as \u201cflipping a switch\u201d. Buttons start our computers, microwaves, elevators, mobile phones, and we push buttons to ring doorbells. City life is immersed in physical and virtual button interfaces; we touch them when we purchase metro tickets, check in for flights, take passport photos, etc. Buttons trigger the opening of secret doors in all kinds of action and adventure movies; this association can be extended to combination locks and the hacking of security and defence mechanisms. For Leung, the \u201cbutton\u201d is a physical manifestation of the 1973 which exists in his imagination, while the associations arising from pressing the button, the resultant sense of expectation, and what actually happens after the button is pressed can be unexpected. \u201cIn 1888, Kodak released a revolutionary invention: a portable camera which completely democratized photography. At the time, their slogan for this product was, \u2018You press the button and we do the rest.\u2019 This sentence seemed to tell people they need no longer concern themselves with the relationships between things. The button is an extremely important component of photography. To me, it\u2019s not just a media tool; it\u2019s also a concept, an involvement of media. The button is part of social development, an expectation\u2014but even more so, it is a nexus for our interactions with another time. At the press of a button, I can create a relationship with 1973, a real relationship.\u201d<\/p>\n\n\n\n

This piece epitomizes Leung Chi Wo\u2019s creative practice. As Leung says in a self-evaluation of his work, \u201cI am an extremely rational person. I only work on a piece if I\u2019m convinced there are many reasons to do it.\u201d In a single work, the artist has involved a play on words, the arrangement of space, the shape of the sky, changes in the perception of social spaces over time, personal observations and memory, and constructed a relationship with the viewer. These multidimensional threads run throughout Leung Chi Wo\u2019s creative practice, referencing and influencing each other. Leung is optimistic about the viewer\u2019s reaction, \u201cI\u2019m very interested in complex hierarchies, and I want to share them with the audience. It is truly difficult to find complex networks without a piece, but it\u2019s also so difficult to express them through art\u2026. There are many kinds of artists; viewers are heterogeneous too. There are so many different kinds of people in the real world, so there must be a few like me\u2026. I\u2019m curious though, I keep trying to understand other people\u2019s realities.\u201d<\/p>\n\n\n\n

Similarities and differences between people and the connections that form and extend between them are especially apparent in Leung Chi Wo\u2019s \u201cDomestica Invisibile Series\u201d. From 2004 to 2007, Leung visited 80 households\u2014some he was familiar with, and others he was a stranger to. Through the camera lens, Leung attempted to seek out and capture individual lives and the temperature of memory contained within these private spaces. After the completion of the project, Leung found himself thinking about the people he had visited, and kept track of their lives through the internet. \u201cWithout a doubt, the development of my work has an important relationship with the daily progress of technology. The advent of the internet is a part of my personal narrative and growth. I remember the profound experience of sending my first email. I remember setting up my email address and sitting in front of the computer that entire day, waiting for someone to send me a message. The internet closed vast distances. I spent a lot of time online\u2026. I often wonder what people I used to know are doing.\u201d When Leung searched for the American art critic Jonathan Napack and multimedia artist Hiroaki Muragishi, he found out they had already died. Leung\u2019s \u201cJonathan & Muragishi Series\u201d was a reconstruction of his memories of the two through a number of scattered elements including photographs taken during the \u201cDomestica Invisibile\u201d project, recordings of the artist reading the notes he took from conversations with the two, a stuffed toy peeking out from inside a cabinet, and the DVD resting on top of it. \u201cThat DVD was a film called\u00a0Monkey Love<\/em>, Muragishi\u2019s voice was featured in it. When you listen to the recording, it\u2019s as if he\u2019s still alive; it\u2019s a bizarre feeling, as if the cabinet is locking in his existence.\u201d Through sound, furniture, images, spatial arrangements that reference the home environment and text, what Leung has recreated is a rich narrative of history from an individual perspective. \u201cHistory is full of inaccuracies, and if history can be inaccurate, it leaves a lot of space to discover other inaccuracies.\u201d<\/p>\n\n\n\n

There were seven pieces missing from the opening ceremony of this exhibition due to \u201clogistical issues\u201d relating to Chinese customs. One of the missing pieces was \u201cBright Light has Much the Same Effect as Ice\u201d. This piece was exhibited in the 2012 Guangzhou Triennial. In the installation, a two jiao<\/em> Hong Kong coin from 1893 is the button that switches on a refrigeration unit; viewers can then experience conditions mimicking the temperature in Hong Kong on January 18th, 1893, which both the China Mail and the Hong Kong Observatory reported at as low as -4\u00b0C\u2014a truly abnormal temperature for Hong Kong\u2019s subtropical climate. The viewer sees a black and white photograph marked with the words, \u201cI saw what you saw what he saw\u201d; looking into the eyes of one of the men being photographed, the viewer might attempt to seek out that same photographer, who claimed to have photographs of a Hong Kong covered in snow which were never publicized. The work behind the British coin depicted in the exhibition poster \u201cUntitled (Love for Sale)\u201d is also set against this type of historical research. The piece recalls Hong Kong media coverage of the rise and fall of politics and the economy in Manchester, and was shown at the Asia Triennial Manchester 2014. Its button controls the rise and fall of a three meter stack of newspapers situated at the center of a stage, alluding to the similarities between politics and spectacle.<\/p>\n\n\n\n

Leung discovered there were hardly any contemporary artists working in Hong Kong for the first few years following his return from his studies in Europe. Though he never had any ambitions to become an artist, a series of fortuitous events led him to devote his entire career to art. With his surroundings as a departure point, Leung excavates and tells the individual stories happening around him through an approach combining internet searches, research, in-person interviews and field work. Not only does Leung personally practice the belief that \u201chistory is what happens around us\u201d, he also brings his students along with him.  For \u201cUntitled (Words about Memories but Not Exactly)\u201d, Leung and his students spent six months finding all of the artists mentioned by name in Hong Kong\u2019s art history. They then made a list of all the artists whose creative practice has not been mentioned over the last decade, and asked seven veterans of the Hong Kong art community including Johnson Chang Tsongzung, Lui Chun Kwong, and Kurt Chan (Chan Yuk Keung) to narrate their impressions of these individuals. Several people\u2019s reminiscences about the same person uncover memories that converge and diverge at different points in the interview video. \u201cEach individual is important. Your existence on Earth is hugely significant. There are topics and issues all around you, and the information is fascinating, but how can the information be transformed into art? This process should not be taken lightly\u2026. These seven art professionals not only had interesting stories to tell, the way they expressed their memories in the interviews were even more interesting. Furthermore, there is no right and wrong when it comes to memory, there is no so-called satisfactory mode of expression.\u201d This piece also reminded me of \u201cHe was Lost Yesterday and We Found Him Today\u201d\u2014a project resulting from Leung Chi Wo\u2019s frequent collaborations with this wife, Sara Wong.  In that series, the artists posed as background figures found in photographs in media reports; the existence of these anonymous figures at one point in time is activated and verified by the photos. Though this type of memory is entirely bereft of the personal, their very unfamiliarity evinces universal concern.<\/p>\n\n\n\n

Word games are another important dimension of Leung\u2019s work. The artist once took the entry regulations of the 2005 Hong Kong Biennial and scrambled them into an unintelligible language. He also deconstructed the lease terms of the Hong Kong Cultural Center. The artist rearranged the punctuation within the document, reformatted the contents as a poetry anthology, and published it as a book. At the end of May, 2015, Leung will perform some of these \u201cpoems\u201d at the exhibition. The artist has also done a series of works revolving around \u201cnames\u201d, including \u201cMy Name is Victoria\u201d\u2014a series of 40 interviews with women named Victoria, who talk about why they are called \u201cVictoria\u201d, and \u201cI don\u2019t like my name\u201d\u2014the artist compiled a binder full of printed pages of Google search results for the phrase, \u201cI don\u2019t like my name\u201d. While Leung\u2019s newly exhibited piece \u201cAsia\u2019s World City\u201d could practically be an opinion poll. The artist collected hundreds of email responses to what they wished for \u201cAsia\u2019s World City\u201d, after selecting 12 responses, he reversed their meaning, printed the reversed responses on to huge posters to be hung in Hong Kong\u2019s public spaces until they were confiscated by the city. Interestingly enough, the only poster that was not confiscated is now hanging outside of OCAT Shenzhen, it is entitled, \u201cHong Kong: Asia\u2019s World City \u2013 No jealousy free zones.\u201d<\/p>\n\n\n\n

\u201cAsia\u2019s World City\u201d can be seen as an extension of Leung\u2019s many years of thought on urban spaces. Since 1999, Leung and Sara Wong have been working on their longest collaboration to date. The series entitled \u201cCity Cookie\u201d is conceptually simple; they photograph the sky at urban intersections, and make cookie moulds based on the shape of the sky in the photos. Cookie moulds of the sky in New York, Toronto, Shanghai, Venice, and Hong Kong are presented in the exhibition or used to bake actual cookies. These are then sold to viewers or bartered for objects of equal value. Leung made a video for \u201cCity of Cookie Shanghai\u201d, recording Sara Wong gradually munching through one cookie after another. \u201cCity Cookie\u201d was first shown at Queens Museum. Leung reminisces, \u201cAt the time, the curator said something really amazing: \u2018This is a grand insignificance\u2019.\u201d<\/p>\n\n\n\n

Here, the nearly ubiquitous opinion that Hong Kong artists are \u201cdelicate, approaching big issues from small details\u201d begins to show faint traces in Leung\u2019s work. However, we should avoid classifying or stereotyping the artist, especially because Leung\u2019s frequent participation in international artist in residency programs has given his creative practice free reign to slip out of Hong Kong\u2019s context, and into others.<\/p>\n\n\n\n

For the curator Carol Yinghua Lu, one of the goals of this \u201csurvey exhibition\u201d is to define the show as the first retrospective of Leung\u2019s work while the artist is at the mid-point of his career. As this is Leung\u2019s first exhibition in Mainland China, Lu\u2019s other goal is to promote dialogue and understanding between the art communities of Hong Kong and Shenzhen. Leung\u2019s response to this vision of artistic exchange between the Mainland and Hong Kong as follows, \u201cIt takes more than one artist to create artistic exchange. We need to do it as a community, with a number of initiatives. It could even involve tourism\u2014it doesn\u2019t have to be about art. But once an artist\u2019s piece has been expressed, we should give the audience an environment for feedback, so that people who are interested in giving it can do so. This condition is rather important.\u201d Perhaps such an environment is not yet mature, as reflected by Customs holding back a portion of the art works.<\/p>\n\n\n\n

The navigation bar on Leung\u2019s personal website (leungchiwo.com) also features a row of round buttons. Clicking on them takes us to more works and documents. This is when the viewer begins mimicking Leung\u2019s actions, excavating and researching, attempting to parse out the different relationships between these works on the internet as I have done for this article. Leung has little regard for artist as an identity; he has more faith in the individual: \u201cArtists are useless, they can\u2019t solve any real social issues. Artists contribute by directing the attention of others towards issues\u2026. When critiquing the merit of an art work, we should consider the thought process that led up to it, and whether the artist has found a way to express those thoughts\u2026. It\u2019s important to do the things that you as an individual find reasonable, and give a spatial relationship to that rationality.\u201d<\/p>\n\n\n\n

Leung Chi Wo<\/strong><\/p>\n\n\n\n

Born in Hong Kong in 1968, Leung Chi Wo obtained his Masters oin Fine Arts from the Chinese University of Hong Kong and co-founded Para\/Site in 1996. Leung studied the culture of photography at Centro di Ricera e Archiviazione della Fotografia in Italy, studying under Paolo Gioli and Guido Guidi. He has participated in artist residencies in the United States, Australia, Japan and other countries, and his works have been shown in solo and group exhibitions around the world. He currently resides in Hong Kong, and teaches as an Assistant Professor in the School of Creative Media at the City University of Hong Kong.<\/p>\n","protected":false},"excerpt":{"rendered":"

Press the Button \u2013 Leung Chi Wo: A Surve … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":10314,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[6406,6407,6409,6411,6410,6408,6412,6413,6414,6415,6416],"yoast_head":"\nPress the Button: Leung Chi Wo - \u71c3\u70b9 Ran Dian<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/www.randian.art\/press-the-button-leung-chi-wo\/\" \/>\n<meta property=\"og:locale\" content=\"zh_TW\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Press the Button: Leung Chi Wo - \u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"og:description\" content=\"Press the Button \u2013 Leung Chi Wo: A Surve … Continue reading →\" \/>\n<meta property=\"og:url\" content=\"http:\/\/www.randian.art\/press-the-button-leung-chi-wo\/\" \/>\n<meta property=\"og:site_name\" content=\"\u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"article:published_time\" content=\"2015-05-25T06:47:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-03-07T06:54:34+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/03\/LCW_Press-the-botton_installation-min.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1420\" \/>\n\t<meta property=\"og:image:height\" content=\"906\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Lien\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Lien\" \/>\n\t<meta name=\"twitter:label2\" content=\"\u9810\u4f30\u95b1\u8b80\u6642\u9593\" \/>\n\t<meta name=\"twitter:data2\" content=\"13 \u5206\u9418\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"http:\/\/www.randian.art\/press-the-button-leung-chi-wo\/#article\",\"isPartOf\":{\"@id\":\"http:\/\/www.randian.art\/press-the-button-leung-chi-wo\/\"},\"author\":{\"name\":\"Lien\",\"@id\":\"http:\/\/www.randian.art\/#\/schema\/person\/52a3fdee246825a3356b50e0c44bbeeb\"},\"headline\":\"Press the Button: Leung Chi Wo\",\"datePublished\":\"2015-05-25T06:47:00+00:00\",\"dateModified\":\"2023-03-07T06:54:34+00:00\",\"mainEntityOfPage\":{\"@id\":\"http:\/\/www.randian.art\/press-the-button-leung-chi-wo\/\"},\"wordCount\":2794,\"commentCount\":0,\"publisher\":{\"@id\":\"http:\/\/www.randian.art\/#organization\"},\"keywords\":[\"Guido Guidi\",\"Leung Chi Wo\",\"OCAT Shenzhen\",\"Paolo Gioli\",\"Para\uff0fSite\",\"\u5362\u8fce\u534e\",\"\u5415\u632f\u5149\",\"\u5f20\u9882\u4ec1\",\"\u8bf7\u6309\u94ae\uff1a\u77bb\u524d\u987e\u540e\u2026\u6881\u5fd7\u548c\u4e2a\u5c55\",\"\u9648\u80b2\u5f3a\",\"\u9ec4\u5fd7\u6052\"],\"articleSection\":[\"Reviews\"],\"inLanguage\":\"zh-TW\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"http:\/\/www.randian.art\/press-the-button-leung-chi-wo\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"http:\/\/www.randian.art\/press-the-button-leung-chi-wo\/\",\"url\":\"http:\/\/www.randian.art\/press-the-button-leung-chi-wo\/\",\"name\":\"Press the Button: Leung Chi Wo - 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