{"id":13722,"date":"2017-07-14T12:09:00","date_gmt":"2017-07-14T12:09:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=13722"},"modified":"2023-10-09T12:21:57","modified_gmt":"2023-10-09T12:21:57","slug":"hong-kong-round-up","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/hong-kong-round-up\/","title":{"rendered":"Hong Kong Round Up"},"content":{"rendered":"\n

\u201cTalkover\/Handover 2.0\u2033<\/a>, 1a space (Unit 14, Cattle Depot Artist Village, 63 Ma Tau Kok Road, To Kwa Wan, Kowloon, Hong Kong), Jun 29\u2013Jul 31, 2017<\/strong><\/p>\n\n\n\n

A follow up to its first iteration, \u201cTalkover\/Handover\u201d, in 2007, the space\u2019s latest show is a quiet but nevertheless thoughtful reflection on identity, national sovereignty, and borders.<\/p>\n\n\n\n

Yim Sui Fong\u2019s trio of videos cleverly adopts the pigeon as narrator and metaphor to examine issues relating to new immigrants and social despair. Particularly poignant is \u201cFall like a Feather\u201d, which asks its participants to mimic the movement of birds, walking and fluttering about, comically collapsing in slow motion, all against the backdrop of the Victoria Harbour, among other places. While the act of falling conveys a general sense of helplessness, it also dredges up a raft of visual imagery\u2014of Margaret Thatcher\u2019s slip at the steps of the Great Hall of the People in Beijing in 1982 during negotiations on the future of Hong Kong, but also of SARS, the disease that first emerged in southern China, but struck Hong Kong hard, killing (\u201cfelling\u201d) hundreds in 2013.<\/p>\n\n\n\n

Given the emphasis on the use of WeChat and TaoBao, and cross-border collaborations, it\u2019s easy to read Law Yuk Mui\u2019s \u201cProject 123\u201d and \u201cIt Is Raining, What Time Is It\u201d as metaphors for the blurring of the divide between Hong Kong and Mainland Chinese identities. Yet, the tenderness that threads through the exhibits on displays, including the two pairs of sneakers worn by the artist and her Beijing friend, also resists simple conclusions.<\/p>\n\n\n\n

One can imagine Tsang Tak Ping approaching his art like a Japanese \u201cikebana\u201d artist would, or like an artist of irreverent assemblages. In one, a voluptuous \u201cflower\u201d bouquet is in fact a bunch of unused menstrual pads, knitted together by bobby pins; in another, a lump of soil is dumped into a glass box. Wiry sprigs of dried flowers adorned the carriers. Acting as carriers of Tsang\u2019s reflections in the last 20 years, this rare presentation by the artist is very much a reflection of the HK psyche\u2014as a small dot on the world map, as a bustling financial capital that has seen the British, Chinese, and Japanese flex their military and political muscles, a place forever absorbing, forever transforming.<\/p>\n\n\n\n

\"\u201cBlack<\/a>
Yim Sui Fong, \u201cBlack Bird Island\u201d, video, 6\u201930\u201d, sound, color
\u4e25\u745e\u82b3\uff0c\u300a\u9ed1\u9e1f\u5c9b\u300b\uff0c\u5f55\u50cf\uff0c6\u201930\u201d\uff0c\u6709\u58f0\uff0c\u5f69\u8272<\/figcaption><\/figure>\n\n\n\n
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Yim Sui Fong, \u201cBlack Bird Island\u201d, video, 6\u201930\u201d, sound, color
\u4e25\u745e\u82b3\uff0c\u300a\u9ed1\u9e1f\u5c9b\u300b\uff0c\u5f55\u50cf\uff0c6\u201930\u201d\uff0c\u6709\u58f0\uff0c\u5f69\u8272<\/figcaption><\/figure>\n\n\n\n
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Yim Sui Fong, \u201cFall like a Feather\u201d, performative act in various locations in Hong Kong, video documentation, 11\u201915\u201d, sound, color
\u4e25\u745e\u82b3\uff0c\u300a\u5760\u843d\u5982\u7fbd\u300b\uff0c\u884c\u52a8\u8868\u6f14\u4e8e\u9999\u6e2f\u591a\u5904\u5730\u533a\u6f14\u51fa\uff0c\u5f55\u50cf\u7eaa\u5f5511\u201915\u201d\uff0c\u6709\u58f0\u5f69\u8272<\/figcaption><\/figure>\n\n\n\n
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Tsang Tak Ping, \u201cSix Scenarios of Mindful Practice: Ego-centric Suffering, Severe Attachment\u201d
\u66fe\u5fb7\u5e73\uff0c\u300a\u8d77\u5fc3\u52a8\u5ff5\u516d\u5883\uff1a\u70e6\u607c\u81ea\u5bfb\uff0c\u6211\u89c1\u5c24\u70c8\u300b<\/figcaption><\/figure>\n\n\n\n
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Tsang Tak Ping, \u201cSix Scenarios of Mindful Practice: Ego-centric Suffering, Severe Attachment\u201d
\u66fe\u5fb7\u5e73\uff0c\u300a\u8d77\u5fc3\u52a8\u5ff5\u516d\u5883\uff1a\u70e6\u607c\u81ea\u5bfb\uff0c\u6211\u89c1\u5c24\u70c8\u300b<\/figcaption><\/figure>\n\n\n\n
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Law Yuk Mui,\u201dIt is raining, what time is it there\u201d
\u7f57\u7389\u6885\uff0c\u300a\u4e0b\u96e8\u4e86\uff0c\u4f60\u90a3\u8fb9\u51e0\u70b9\uff1f\u300b<\/figcaption><\/figure>\n\n\n\n
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Law Yuk Mui,\u201dIt is raining, what time is it there\u201d
\u7f57\u7389\u6885\uff0c\u300a\u4e0b\u96e8\u4e86\uff0c\u4f60\u90a3\u8fb9\u51e0\u70b9\uff1f\u300b<\/figcaption><\/figure>\n\n\n\n

\u201cCanton Express: Art of the Pearl River Delta\u201d<\/a>, M+ Pavilion (West Kowloon Cultural District), June 23\u2013Sep 10, 2017<\/strong><\/p>\n\n\n\n

Given President Xi\u2019s visit to Hong Kong (his itinerary included the West Kowloon Cultural District), it is perhaps unsurprising that M+ has decided to anchor its recent exhibition in the Pearl River Delta rather than just Hong Kong on the 20th anniversary of the 1997 handover. As much as some would like to profess otherwise, art is political. As a re-staging of a part of Hou Hanru\u2019s \u201cZ.O.U. Zone of Urgency\u201d at the 2003 Venice Biennale, the exhibition lays bare the issues the artists of the Pearl River Delta were concerned with back in 2003, but also asks the question: how many of these remain relevant today?<\/p>\n\n\n\n

Among the 37 works on display was Chen Shaoxiong\u2019s \u201cAnti-Terrorism\u201d. The wry videos depict the moment when airplanes are about to crash into Shanghai\u2019s Oriental Pearl Tower and Guangzhou\u2019s Citic Tower. It\u2019s an obvious nod to 9-11, except in this case, China is preposterously impervious to such assaults, with the airplanes either vanishing into mid-air as soon as their tips touch the tower, or, as in a sci-fi\u2013inspired move, the top of Citic Tower comically swerving to duck the moving plane altogether.<\/p>\n\n\n\n

Infrastructure was a buzz word in the region back in 2003, and Lin Yilin highlights its perils with his distinct humor in the classic six-video \u201cHotbed\u201d. In one, he moves a brick wall, brick by brick, across one of Guangzhou\u2019s busiest streets, and in another the artist, in full swim gear, is sandwiched between two massive blocks of bricks, his hands waving about as he struggles\u2014in vain\u2014to break free. Fast forward 15 years, signs of urban encroachment have all but disappear, with Guangzhou having completed its transformation from a gritty industrial town to slick boom town.<\/p>\n\n\n\n

Visually rich, Liang Juhui\u2019s \u201cCity\u201d succinctly captures every city\u2019s struggle. Photographs depicting the backs of individuals are juxtaposed with a digital pool swirling pool of people and buildings that appears to be sucked into the bottom of a gigantic structure (the \u201ccity\u201d), making one wonder how much space for the individual is left in a dense urban environment under the sign of \u201cdevelopment\u201d. It\u2019s still a germane question.<\/p>\n\n\n\n

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\u201cCanton Express\u201d, exhibition view, 2017 (courtesy of M+, Hong Kong)
\u201c\u5e7f\u4e1c\u5feb\u8f66\u201d\uff0c\u5c55\u89c8\u73b0\u573a\uff0c2017\uff08\u56fe\u7247\u7531\u9999\u6e2fM+\u535a\u7269\u9986\u63d0\u4f9b\uff09<\/figcaption><\/figure>\n\n\n\n
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Liang Juhui, \u201cCity\u201d, Merbau wood, transparency, single-channel video (colour, sound). M+, Hong Kong. Gift of Guan Yi, 2013 (Courtesy of M+, Hong Kong)
\u6881\u5de8\u8f89\uff0c\u300a\u57ce\u300b\uff0c\u66f2\u6728\u3001\u900f\u660e\u80f6\u7247\u3001\u5355\u9891\u9053\u5f55\u50cf(\u5f69\u8272\uff0c\u6709\u58f0) \u3002\u9999\u6e2fM+\u535a\u7269\u9986\u85cf\u54c1, \u7ba1\u827a\u6350\u8d60, 2013\u5e74\uff08\u56fe\u7247\u7531\u9999\u6e2fM+\u535a\u7269\u9986\u63d0\u4f9b\uff09<\/figcaption><\/figure>\n\n\n\n
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Chen Shaoxiong, \u201cFigure Anti-Terrorism\u201d, Carved wooden chess pieces, furniture, two-channel video (colour, sound). M+, Hong Kong. Gift of Guan Yi, 2013 (Courtesy of M+, Hong Kong)
\u9648\u52ad\u96c4\uff0c\u300a\u82b1\u6837\u53cd\u6050\u300b\uff0c\u6728\u96d5\u56fd\u9645\u8c61\u68cb\u3001\u5bb6\u5177\u3001\u53cc\u9891\u9053\u5f55\u50cf\uff08\u5f69\u8272\uff0c\u6709\u58f0\uff09\u3002\u9999\u6e2fM+\u535a\u7269\u9986\u85cf\u54c1, \u7ba1\u827a\u6350\u8d60, 2013\u5e74\uff08\u56fe\u7247\u7531\u9999\u6e2fM+\u535a\u7269\u9986\u63d0\u4f9b\uff09<\/figcaption><\/figure>\n\n\n\n
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Lin Yilin, \u201cHotbed\u201d, Steel frame bunk bed, bricks, six-channel video (colour, sound). M+, Hong Kong. Gift of Guan Yi, 2013 (Courtesy of M+, Hong Kong)
\u6797\u4e00\u6797\uff0c\u300a\u6e29\u5e8a\u300b\uff0c\u94a2\u67b6\u53cc\u5c42\u5e8a\u3001\u7816\u3001\u516d\u9891\u9053\u89c6\u50cf(\u5f69\u8272\uff0c\u6709\u58f0) \u3002\u9999\u6e2fM+\u535a\u7269\u9986\u85cf\u54c1, \u7ba1\u827a\u6350\u8d60, 2013\u5e74\uff08\u56fe\u7247\u7531\u9999\u6e2fM+\u535a\u7269\u9986\u63d0\u4f9b\uff09<\/figcaption><\/figure>\n\n\n\n
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Xu Tan,\u201dBiennale.dog\u201d, digital print on vinyl banner. M+, Hong Kong. Gift of Guan Yi, 2013 (Courtesy of M+, Hong Kong)
\u5f90\u5766\uff0c\u300a\u53cc\u5e74\u5c55\u2027\u72d7\u300b\uff0c\u6570\u7801\u5e06\u5e03\u6a2a\u989d\u3002\u9999\u6e2fM+\u535a\u7269\u9986\u85cf\u54c1, \u7ba1\u827a\u6350\u8d60, 2013\u5e74\uff08\u56fe\u7247\u7531\u9999\u6e2fM+\u535a\u7269\u9986\u63d0\u4f9b\uff09<\/figcaption><\/figure>\n\n\n\n

Fereydoun Ave, \u201cShah Abbas and His Page Boy\u201d<\/a>, Rossi & Rossi (3C Yally Industrial Building, 6 Yip Fat Street, Wong Chuk Hang), May 27\u2013Jul 29, 2017<\/strong><\/p>\n\n\n\n

Long regarded as Persia\u2019s most competent ruler, Abbas I was also one of its brutal. This divisiveness serves as subject for Fereydoun Ave\u2019s latest solo at Rossi & Rossi. The exhibition title refers to a 17th<\/sup>-century painting of the Shah being offered wine by a young cup bearer. It is a tender moment, and one that contradicts deeply with narratives of the Shah as a cruel despot who reportedly murdered one son and blinded two other.<\/p>\n\n\n\n

In a way, \u201cShah Abbas and his Page Boy\u201d is a continuation of Ave\u2019s Rotsam<\/em> series, where he explores the masculine ideal in traditional Iranian society. Whereas Rotsam<\/em> placed the \u201cideal\u201d male hero against a backdrop of big birds and spray paint, here kitschy magazine cut-outs of male wrestlers are plastered atop quilts fashioned from fabrics sourced from Tehran\u2019s bazaar. Rid of their original context, the wrestlers, in various \u201cmacho\u201d poses, appear emasculated, becoming a mere side note against the rich textures of the quilt. The faces and bodies of these wrestlers are further obscured by the splatters of red and white paint\u2014a nod also to Cy Twombly, with whom the artist once shared a studio. Here, the \u201clahaf\u201d, or padded quilt, takes on dual meaning: as much as it warms and comforts, it also covers up and suppresses.<\/p>\n\n\n\n

Amid the contradicting narratives, Ave brings to light the discrepancies of modern Iran: much like the Shah whose benevolent public image belies a more violent streak, the Iranian masculine ideal has long given way to a more estranged narrative.<\/p>\n\n\n\n

\"Fereydoun<\/a>
Fereydoun Ave, \u201cShah Abbas and His Page Boy\u201d, installation view, Rossi & Rossi, 2017 (Courtesy of Rossi & Rossi)
Fereydoun Ave\uff0c\u201c\u6c99\u963f\u00b7\u963f\u5df4\u65af\u548c\u4ed6\u7684\u7537\u4ec6\u201d\uff0c\u5c55\u89c8\u73b0\u573a\uff0cRossi & Rossi\uff0c2017\uff08\u56fe\u7247\u7531Rossi & Rossi\u63d0\u4f9b\uff09<\/figcaption><\/figure>\n\n\n\n
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Fereydoun Ave, \u201cShah Abbas and His Page Boy\u201d, installation view, Rossi & Rossi, 2017 (Courtesy of Rossi & Rossi)
Fereydoun Ave\uff0c\u201c\u6c99\u963f\u00b7\u963f\u5df4\u65af\u548c\u4ed6\u7684\u7537\u4ec6\u201d\uff0c\u5c55\u89c8\u73b0\u573a\uff0cRossi & Rossi\uff0c2017\uff08\u56fe\u7247\u7531Rossi & Rossi\u63d0\u4f9b\uff09<\/figcaption><\/figure>\n\n\n\n
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Fereydoun Ave, \u201cLahaf 19\u2033, 183 cm x 320 cm (courtesy of Rossi & Rossi)
Fereydoun Ave\uff0c\u300aLahaf 19\u300b\uff0c183 cm x 320 cm\uff08\u56fe\u7247\u7531Rossi & Rossi\u63d0\u4f9b\uff09<\/figcaption><\/figure>\n\n\n\n
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Fereydoun Ave, \u201cRostam\u201d (Courtesy of Rossi & Rossi)
Fereydoun Ave\uff0c\u300aRostam\u300b\uff08\u56fe\u7247\u7531Rossi & Rossi\u63d0\u4f9b\uff09<\/figcaption><\/figure>\n\n\n\n

Wong Chung-Yu, \u201cCentrifugal Force\u201d<\/a>, Hanart TZ gallery (401 Pedder Building, 12 Pedder Street, Central, Hong Kong), Jun 10\u2013Jul 15, 2017<\/strong><\/p>\n\n\n\n

Computer technology and a dystopian view coalesce in a series of unsettling paintings and animations at Wong Chung Yu\u2019s first solo in Hanart TZ gallery. The artist is perhaps best known for his animations that deftly combines tongue-in-cheek narrative style and back-to-basics illustration with philosophical underpinnings. Many have seen the artist\u2019s \u201cThe Garden of Eden\u201d when it was first exhibited as part of \u201cInk Art vs. Ink Art\u201d at the Hong Kong Museum of Art. For \u201cCentrifugal Force\u201d, the artist adds three more videos\u2014\u201cSodom\u201d, \u201creBond\u201d and \u201cCarnivore\u201d\u2014to the mix. While \u201cSodom\u201d, with its uncompromising depiction of sex, is likely to attract the most eyeballs, Carnivore plays well to our current fascination with\u2014and fear of\u2014robotic intelligence, where skeletal keys take the place of heads, and the figures plug them into powered outlets to recharge. In the other room, \u201cA Transiting Cycle of Dualism\u201d is more serious, but also less successful, the combination of wood, paper and digital hand scroll proffering a clich\u00e9d commentary on the cyclical nature of life, transformation, and death.<\/p>\n\n\n\n

The exhibition also marks Wong\u2019s foray into Chinese ink painting. While appearing like classical landscapes from afar, the artist\u2019s compositions are disrupted by sci-fi bunkers, their formalist design juxtaposing with\u2014as the curator Valerie C. Doran notes in her essay\u2014the biomorphic form of the natural elements. Any signs of human life is long gone, and all the world is left with is rolling waters, mist-obscured mountains and the moment when the sun rises over the sea, creating a burst of colorful clouds, perhaps not unlike what we imagine the origin of life to be. That, to me, was a much more vigorous comment on the cyclical nature of life.<\/p>\n\n\n\n

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<\/a>
WONG Chung-yu, \u201cCarnivore\u201d, real-time random animation, 2015 (image courtesy of the artist and Hanart TZ Gallery)
\u9ec4\u742e\u745c\uff0c\u300a\u8089\u98df\u8005\u300b\uff0c\u52a8\u753b\uff0c2015\uff08\u56fe\u7247\u7531\u827a\u672f\u5bb6\u53ca\u6c49\u96c5\u8f69\u63d0\u4f9b\uff09<\/figcaption><\/figure>\n\n\n\n
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WONG Chung-yu, \u201cA Transiting Cycle of Dualism\u201d, installation: ink on paper, pastel, wooden furniture, digital media with interaction, 250 x 700 x 700 cm, 2013 (image courtesy of the artist and Hanart TZ Gallery)
\u9ec4\u742e\u745c\u300a\u76f8\u751f\u9635\u300b\uff0c\u88c5\u7f6e\u827a\u672f:\u6c34\u58a8\u7eb8\u672c\u3001\u7c89\u5f69\u3001\u6728\u5236\u54c1\u3001\u4e92\u52a8\u6570\u7801\u5a92\u4f53\uff0c250 x 700 x 700 cm\uff0c2013\uff08\u56fe\u7247\u7531\u827a\u672f\u5bb6\u53ca\u6c49\u96c5\u8f69\u63d0\u4f9b\uff09<\/figcaption><\/figure>\n\n\n\n
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WONG Chung-yu, \u201cA Transiting Cycle of Dualism\u201d, installation: ink on paper, pastel, wooden furniture, digital media with interaction, 250 x 700 x 700 cm, 2013 (image courtesy of the artist and Hanart TZ Gallery)
\u9ec4\u742e\u745c\u300a\u76f8\u751f\u9635\u300b\uff0c\u88c5\u7f6e\u827a\u672f:\u6c34\u58a8\u7eb8\u672c\u3001\u7c89\u5f69\u3001\u6728\u5236\u54c1\u3001\u4e92\u52a8\u6570\u7801\u5a92\u4f53\uff0c250 x 700 x 700 cm\uff0c2013\uff08\u56fe\u7247\u7531\u827a\u672f\u5bb6\u53ca\u6c49\u96c5\u8f69\u63d0\u4f9b\uff09<\/figcaption><\/figure>\n\n\n\n
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WONG Chung-yu, \u201cThe Phantasm 5\u201d, ink and color on silk, diptych: 183 x 183 cm, 2015 (image courtesy of the artist and Hanart TZ Gallery)
\u9ec4\u742e\u745c\uff0c\u300a\u5e7b\u666f\u56fe5\u300b\uff0c\u6c34\u58a8 \u8bbe\u8272 \u7ee2\u672c\uff0c\u53cc\u8054\u5c4f : 183 x 183 cm\uff0c2015\uff08\u56fe\u7247\u7531\u827a\u672f\u5bb6\u53ca\u6c49\u96c5\u8f69\u63d0\u4f9b\uff09<\/figcaption><\/figure>\n\n\n\n
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Wong Chung-yu, \u201cCentrifugal Force: The Art Field of Wong Chung-yu\u201d, installation view, Hanart TZ Gallery, 2017 (image courtesy of Hanart TZ Gallery; photography by Kitmin Lee\uff09
\u9ec4\u742e\u745c\uff0c\u201c\u79bb\u5fc3\u529b\uff1a\u9ec4\u742e\u745c\u7684\u827a\u672f\u529b\u573a\u201d\uff0c\u5c55\u89c8\u73b0\u573a\uff0c\u6c49\u96c5\u8f69\uff0c2017\uff08\u56fe\u7247\u7531\u6c49\u96c5\u8f69\u63d0\u4f9b; \u6444\u5f71\uff1aKitmin Lee\uff09<\/figcaption><\/figure>\n\n\n\n
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Wong Chung-yu, \u201cCentrifugal Force: The Art Field of Wong Chung-yu\u201d, installation view, Hanart TZ Gallery, 2017(image courtesy of Hanart TZ Gallery; photography by Kitmin Lee\uff09
\u9ec4\u742e\u745c\uff0c\u201c\u79bb\u5fc3\u529b\uff1a\u9ec4\u742e\u745c\u7684\u827a\u672f\u529b\u573a\u201d\uff0c\u5c55\u89c8\u73b0\u573a\uff0c\u6c49\u96c5\u8f69\uff0c2017\uff08\u56fe\u7247\u7531\u6c49\u96c5\u8f69\u63d0\u4f9b; \u6444\u5f71\uff1aKitmin Lee\uff09<\/figcaption><\/figure>\n\n\n\n

<\/a>Jacqueline Kiyomi Gordon, \u201cCatchy\u201d, Empty Gallery (19\/F, Grand Marine Center, 3 Yue Fung St, Tin Wan, Hong Kong), Jun 17\u2013Aug 19, 2017<\/strong><\/p>\n\n\n\n

Having taken on the US military\u2019s use of Long Range Acoustic Device (LRAD) in her previous exhibition, Jacqueline Kiyomi Gordon has picked a decidedly more lighthearted subject matter for her Hong Kong show: the pop music industry. Or so you would think.<\/p>\n\n\n\n

Given how the global entertainment industry is a grand manipulator of taste, Gordon demonstrates how devices not fundamentally unlike LRAD or anechoic chambers can be used to manipulate one\u2019s experience of sounds and sound waves. The disorienting experience begins on entering Empty Gallery\u2019s pitch-dark space. Gordon has partnered with a group of music professionals to conjure \u201cCatchy\u201d, a pop song that is being diffused through the multi-channel speakers littered throughout the gallery. Several sound-absorbing structures form an irregular pattern on the wall, while your sonic experience is further disrupted by the pneumatic structure that appears like somebody\u2019s slick guest lounger when deflated, and a menacing maze you can\u2019t wait to get out off when pumped full with air. On the lower floor, a few more of those padded quilts take center stage, their colorful hues being an apt sonic personification of the song whose catchy beats will stay in your head long after you\u2019ve left the gallery. You stumble out of the dark and into the daylight, feeling a little wiser about how easy the human senses can be manipulated, until you realize that you\u2019re still defenseless against it.<\/p>\n\n\n\n

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Jacqueline Kiyomi Gordon, \u201cNoise Blanket, No. 10\u201d, 2017 (Courtesy of Empty Gallery)
Jacqueline Kiyomi Gordon\uff0c\u300a\u566a\u97f3\u6bef\u5b50\uff0cNo. 10\u300b\uff0c2017\uff08\u56fe\u7247\u7531Empty Gallery \u63d0\u4f9b\uff09<\/figcaption><\/figure>\n\n\n\n

<\/a><\/p>\n\n\n\n

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Jacqueline Kiyomi Gordon, \u201cNot Exactly B Flat\u201d, 2017 (Courtesy of Empty Gallery)
Jacqueline Kiyomi Gordon\uff0c\u300a\u4e0d\u5168\u662f\u964dB\u8c03\u300b\uff0c2017\uff08\u56fe\u7247\u7531Empty Gallery \u63d0\u4f9b\uff09<\/figcaption><\/figure>\n\n\n\n
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Jacqueline Kiyomi Gordon, \u201cNot Exactly B Flat\u201d, 2017 (Courtesy of Empty Gallery)
Jacqueline Kiyomi Gordon\uff0c\u300a\u4e0d\u5168\u662f\u964dB\u8c03\u300b\uff0c2017\uff08\u56fe\u7247\u7531Empty Gallery \u63d0\u4f9b\uff09<\/figcaption><\/figure>\n\n\n\n
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Jacqueline Kiyomi Gordon\uff0c\uff08\u5de6\u8fb9\uff09\u300a\u566a\u97f3\u6bef\u5b50\uff0cNo. 7\u300b\uff0c2017 \/ \uff08\u4e2d\u95f4\uff09\u300a\u566a\u97f3\u6bef\u5b50\uff0cNo. 6\u300b\uff0c2017\/\uff08\u53f3\u8fb9\uff09\u300a\u566a\u97f3\u6bef\u5b50\uff0cNo. 9\u300b\uff0c2017\uff08\u56fe\u7247\u7531Empty Gallery \u63d0\u4f9b\uff09<\/figcaption><\/figure>\n\n\n\n
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Jacqueline Kiyomi Gordon, \u201cNoise Blanket, No. 5\u201d, 2017 (Courtesy of Empty Gallery)
Jacqueline Kiyomi Gordon\uff0c\u300a\u566a\u97f3\u6bef\u5b50\uff0cNo. 5\u300b\uff0c2017\uff08\u56fe\u7247\u7531Empty Gallery \u63d0\u4f9b\uff09<\/figcaption><\/figure>\n\n\n\n

R. Streitmatter-Tran, \u201c<\/strong>Departures: Intersecting Vietnamese Modern Art with R. Streitmatter-Tran\u201d<\/a>, de Sarthe gallery<\/strong> (20\/F, Global Trade Square, No. 21 Wong Chuk Hang Road, Hong Kong), May 26\u2013Jul 8, 2017<\/strong><\/p>\n\n\n\n

As Hong Kong (still) struggles to come to terms with its own identity, Vietnam is facing colonial and historic demons of its own. De Sarthe\u2019s latest show offers such a glimpse, with the American-born, Vietnam-based artist Richard Streitmatter-Tran enlisted to \u201crespond\u201d to traditional Vietnamese art. The artist refashions the city center of Hanoi with four megaphone-equipped beams; one is toppled over and lies destitute on the floor. Rather than blast propaganda messages, however, the megaphones play a soothing tune by Vietnamese musician Nhung Nguyen. Does it symbolize hope for an alternative Vietnam, or is an elegy for a dying one?<\/p>\n\n\n\n

The artist\u2019s proclivity for theatrics is also seen in \u201cVital Matter\u201d (2017). Three unfired clay sculptures are placed within separate vitrines. Equipped with sprinklers, water is sprayed every ten-minute interval, moistening and disfiguring the sculpture. The idea of the melting sculpture isn\u2019t new, but it takes on new meaning when contrasted with the traditional paintings depicting demure Vietnamese women, fish heads, and so forth, on the wall behind, calling into question the stability of beauty, as well as Vietnamese traditions.<\/p>\n\n\n\n

There are also misses. Fashioned from acrylic cut-outs, \u201cOur Lady of La Vang\u201d (2017) recalls the Marion apparition of 1798, where the Virgin Mary is said to have made an appearance against a backdrop of intense Catholic persecution in Vietnam. It also appears to pay tribute to Matisse, but the connection between the former and latter is unclear. Or \u201cThe Gates of Hell\u201d, erected in French Deco-style with the words \u201cEcole Superieure des Beaux Art\u201d and \u201cIndo Chine\u201d at the bottom, and \u201cCong Dia Nguc\u201d (\u201cThe Gates of Hell\u201d in Vietnamese) at the top, highlights the double-edged sword of colonialism: while it has given Vietnam such schools as the Ecole, it has also left behind a muddy trail of colonial legacy that remains unresolved to this day. While very Instagram-worthy, the didactic message leaves little to the imagination.<\/p>\n\n\n\n

The apogee for me was an unassuming quartet of silk paintings entitled \u201cConfigurations in Black (After Nguyen Phan Chanh)\u201d.\u00a0 Nguyen, the silk artist known for his technical dexterity as well as his portrayals of rural living. Rid of any theatrics or moral messages, the piece follows in the tradition of painting the everyday, but by panning in onto the flash of a leg, an arm and nape, Streitmatter-Tran also makes it his own, giving a glimpse of where he wants to take Vietnamese figurative paintings.<\/p>\n\n\n\n

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R. Streitmatter-Tran , \u201cDepartures: Intersecting Modern Vietnamese Art with R. Streitmatter-Tran\u201d\uff0c de Sarthe Gallery, Hong Kong, 2017 (courtesy of de Sarthe Gallery)
\u9648\u5fb7\u826f\uff0c\u201c\u79bb\u5883\uff1a\u9648\u5fb7\u826f\u4e0e\u8d8a\u5357\u73b0\u4ee3\u827a\u672f\u7684\u4ea4\u7ec7\u201d\uff0c\u5c55\u89c8\u73b0\u573a\uff0c\u5fb7\u8428\u753b\u5eca\uff0c\u9999\u6e2f\uff0c2017\uff08\u56fe\u7247\u7531\u5fb7\u8428\u753b\u5eca\u63d0\u4f9b\uff09<\/figcaption><\/figure>\n\n\n\n
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R. Streitmatter-Tran , \u201cDepartures: Intersecting Modern Vietnamese Art with R. Streitmatter-Tran\u201d\uff0c de Sarthe Gallery, Hong Kong, 2017 (courtesy of de Sarthe Gallery)
\u9648\u5fb7\u826f\uff0c\u201c\u79bb\u5883\uff1a\u9648\u5fb7\u826f\u4e0e\u8d8a\u5357\u73b0\u4ee3\u827a\u672f\u7684\u4ea4\u7ec7\u201d\uff0c\u5c55\u89c8\u73b0\u573a\uff0c\u5fb7\u8428\u753b\u5eca\uff0c\u9999\u6e2f\uff0c2017\uff08\u56fe\u7247\u7531\u5fb7\u8428\u753b\u5eca\u63d0\u4f9b\uff09<\/figcaption><\/figure>\n\n\n\n
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<\/a>
R. Streitmatter-Tran , \u201cDepartures: Intersecting Modern Vietnamese Art with R. Streitmatter-Tran\u201d\uff0c de Sarthe Gallery, Hong Kong, 2017 (courtesy of de Sarthe Gallery)
\u9648\u5fb7\u826f\uff0c\u201c\u79bb\u5883\uff1a\u9648\u5fb7\u826f\u4e0e\u8d8a\u5357\u73b0\u4ee3\u827a\u672f\u7684\u4ea4\u7ec7\u201d\uff0c\u5c55\u89c8\u73b0\u573a\uff0c\u5fb7\u8428\u753b\u5eca\uff0c\u9999\u6e2f\uff0c2017\uff08\u56fe\u7247\u7531\u5fb7\u8428\u753b\u5eca\u63d0\u4f9b\uff09<\/figcaption><\/figure>\n\n\n\n
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R. Streitmatter-Tran , \u201cDepartures: Intersecting Modern Vietnamese Art with R. Streitmatter-Tran\u201d\uff0c de Sarthe Gallery, Hong Kong, 2017 (courtesy of de Sarthe Gallery)
\u9648\u5fb7\u826f\uff0c\u201c\u79bb\u5883\uff1a\u9648\u5fb7\u826f\u4e0e\u8d8a\u5357\u73b0\u4ee3\u827a\u672f\u7684\u4ea4\u7ec7\u201d\uff0c\u5c55\u89c8\u73b0\u573a\uff0c\u5fb7\u8428\u753b\u5eca\uff0c\u9999\u6e2f\uff0c2017\uff08\u56fe\u7247\u7531\u5fb7\u8428\u753b\u5eca\u63d0\u4f9b<\/figcaption><\/figure>\n\n\n\n

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<\/a>
R. Streitmatter-Tran , \u201cDepartures: Intersecting Modern Vietnamese Art with R. Streitmatter-Tran\u201d\uff0c de Sarthe Gallery, Hong Kong, 2017 (courtesy of de Sarthe Gallery)
\u9648\u5fb7\u826f\uff0c\u201c\u79bb\u5883\uff1a\u9648\u5fb7\u826f\u4e0e\u8d8a\u5357\u73b0\u4ee3\u827a\u672f\u7684\u4ea4\u7ec7\u201d\uff0c\u5c55\u89c8\u73b0\u573a\uff0c\u5fb7\u8428\u753b\u5eca\uff0c\u9999\u6e2f\uff0c2017\uff08\u56fe\u7247\u7531\u5fb7\u8428\u753b\u5eca\u63d0\u4f9b\uff09<\/figcaption><\/figure>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cTalkover\/Handover 2.0\u2033, 1a space (Unit … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":13813,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[9955,149,415,67,9954,9956,9957,1153,9958,9959,9960,102,9961,9962,9963,9964,416,9965,239,374,393,9966,9967,9968,9969,9970,9971,910,419,9972,9973,210,9975,9974,460,230,421,9977,9978,9976],"yoast_head":"\nHong Kong Round Up - \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\/hong-kong-round-up\/\" \/>\n<meta property=\"og:locale\" content=\"zh_TW\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Hong Kong Round Up - \u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"og:description\" content=\"\u201cTalkover\/Handover 2.0\u2033, 1a space (Unit … Continue reading →\" \/>\n<meta property=\"og:url\" content=\"http:\/\/www.randian.art\/hong-kong-round-up\/\" \/>\n<meta property=\"og:site_name\" content=\"\u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"article:published_time\" content=\"2017-07-14T12:09:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-10-09T12:21:57+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/TH2017_kith_3-1024x684.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1024\" \/>\n\t<meta property=\"og:image:height\" content=\"684\" \/>\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=\"19 \u5206\u9418\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"http:\/\/www.randian.art\/hong-kong-round-up\/#article\",\"isPartOf\":{\"@id\":\"http:\/\/www.randian.art\/hong-kong-round-up\/\"},\"author\":{\"name\":\"Lien\",\"@id\":\"http:\/\/www.randian.art\/#\/schema\/person\/52a3fdee246825a3356b50e0c44bbeeb\"},\"headline\":\"Hong Kong Round Up\",\"datePublished\":\"2017-07-14T12:09:00+00:00\",\"dateModified\":\"2023-10-09T12:21:57+00:00\",\"mainEntityOfPage\":{\"@id\":\"http:\/\/www.randian.art\/hong-kong-round-up\/\"},\"wordCount\":2648,\"commentCount\":0,\"publisher\":{\"@id\":\"http:\/\/www.randian.art\/#organization\"},\"keywords\":[\"1a Space\",\"art\",\"art gallery\",\"artist\",\"Canton Express: Art of the Pearl River Delta\",\"Catchy\",\"Centrifugal Force\",\"Christie Lee\",\"de Sarthe Gallery\",\"Departures: Intersecting Modern Vietnamese Art with R. 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