{"id":3051,"date":"2016-09-07T12:54:00","date_gmt":"2016-09-07T12:54:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=3051"},"modified":"2022-12-06T14:09:17","modified_gmt":"2022-12-06T14:09:17","slug":"emotive-interventions-two-hong-kong-debuts","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/emotive-interventions-two-hong-kong-debuts\/","title":{"rendered":"Emotive interventions: two Hong Kong Debuts"},"content":{"rendered":"\n<p><strong><a href=\"https:\/\/www.randian-online.com\/np_event\/the-interstitial-alan-kwan-and-kenny-wong-two-person-exhibition\/\" target=\"_blank\" rel=\"noreferrer noopener\">\u201cThe Interstitial<\/a>\u201c<\/strong><\/p>\n\n\n\n<p><strong><a href=\"https:\/\/www.randian-online.com\/np_space\/pearl-lam-galleries-hong-kong-soho\/\" target=\"_blank\" rel=\"noreferrer noopener\">Pearl Lam Galleries<\/a><\/strong>&nbsp;(Hong Kong SOHO No. 1, G\/F &amp; 1\/F, SOHO 189, 189 Queen\u2019s Road West, Sheung Wan, Hong Kong),&nbsp;<strong>Jul 22\u2014Sept 16, 2016<\/strong><\/p>\n\n\n\n<p>Entering \u201cThe Interstitial\u201d, one feels as if one is intruding on the private diary of a teenage boy, or boys. In a world where sentimentality is frowned regularly upon (secretly or not), \u201cThe Interstitial\u201d, which debuts two young Hong Kong artists, is refreshing.<\/p>\n\n\n\n<p>Graduates of the School of Creative Media at City University of Hong KongCreative Media, Alan Kwan and Kenny Wong weave together a narrative that presents a distinct fusion of humor and sorrow\u2014powerful sentiments moored by kinetics. \u201cInterstitial\u201d also takes on multiple meanings, from an inability to communicate in everyday social settings to emotional distance in a relationship and discontinuity between reality and fantasy.<\/p>\n\n\n\n<p>In \u201cThe List\u201d (2008), the names of all the girls that Kwan loved between 1999 and 2007 flash up in bright yellow on a screen. Accompanied by a suicide note that says \u201cBy the time you see this \/ I am dead \/ Here are the girls whom I have ever loved\u201d, this is bittersweet with a tinge of triviality; if it has been presented purely in prose, this would have been unforgivably saccharine, but here, the effect is almost hypnotic.<\/p>\n\n\n\n<p>On the same floor, Kenny Wong shows three variations on the theme of love. In \u201cdist.solo\u201d (2016), an LCD panel monitor suspended from the ceiling swings back and forth to reveal the image of a pair of eyes. Meanwhile, \u201cdist.intervene\u201d (2016) coaxes the viewer to play with the monitor; when held in its upright position, a woman with her body turned slightly to the side, eyes averted, appears in the frame. The narrative is decidedly muddy\u2014who is this woman? Is she the artist\u2019s girlfriend? A wronged lover? But perhaps the ambiguity is intentional so as to allow the viewer to focus on the sentiments.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"668\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-267.png\" alt=\"\" class=\"wp-image-3052\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/hYI7vw7U-image-267-237x300.png 237w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-267-119x150.png 119w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-267.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Kenny Wong, \u201cdist.solo\u201d, metal, stepper motor, microcomputer, custom software, LCD panel, microcontrollers, custom electronics, 370 x 160 x 50 cm, 2016<\/figcaption><\/figure>\n\n\n\n<p>The same face appears in \u201cdist.visualcapture_2\u2033 (2016) in the form of a fixed lightbox image at the stairs. An abbreviated form of distance, \u201cdist\u2019\u2019\u2019 refers to both physical and emotional space between people.<\/p>\n\n\n\n<p>The idea of framing pervades the exhibition, and in the three dist\u2019 artworks, Wong deftly parallels the \u201ctrapping\u201d of the girl within the frame with the idea of trapped emotions.<\/p>\n\n\n\n<p>This idea of being stuck also anchors the artist\u2019s \u201cHuman Body\u201d (2009) on the second floor. An animated video, the work features a man in various poses\u2014jumping with flaying limbs or crouching on the floor. In some shots, the camera zooms towards a part of a hand, the shoulders or feet.<\/p>\n\n\n\n<p>A single-player video game inspired by real-life experience, Kwan\u2019s \u201cThe Hallway\u201d (2016) invites the viewer to escape by opening a door on the right, yet a nightmarish labyrinth of hallways awaits. As a five-year-old, the artist was apparently kicked out of the apartment by his father as a punishment; this interactive piece is a cheeky physical embodiment, in hindsight, of the anxiety and helplessness he felt at the time.<\/p>\n\n\n\n<p>In \u201cThe Words After\u201d (2016), Kwan lays bare the effect his stuttering has on his daily life. The artist attaches a video camera to his glasses, recording the various inconveniences that result from this condition, before manipulating it so that the images themselves jerk and stutter.<\/p>\n\n\n\n<p>At a time when the digital world is sometimes blamed for Millennials\u2019 inability to communicate, these works by Kwan and Wong demonstrate how, when words fail, technology might be used to navigate the uncertain waters of human emotion.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"385\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-268.png\" alt=\"\" class=\"wp-image-3055\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-268-300x219.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-268-150x109.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-268-411x300.png 411w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-268.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Alan Kwan, \u201cThe Hallway\u201d, video game installation, 2016<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"352\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-269.png\" alt=\"\" class=\"wp-image-3058\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-269-300x200.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-269-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-269-450x300.png 450w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-269.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Kenny Wong, \u201cdist.duo\u201d, aluminium, microcomputer, custom software, disassembled LCD Panel, custom electronics, LED light bulb, 24 x 34 x 10 cm, 2016<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"352\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-270.png\" alt=\"\" class=\"wp-image-3061\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-270-300x200.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-270-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-270-450x300.png 450w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-270.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Alan Kwan, \u201cThe Hallway\u2014Virtual Photograph Series \u2013 d\u201d, inkjet print on paper, 100 x 67 cm, 2016<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"352\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-271.png\" alt=\"\" class=\"wp-image-3064\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-271-300x200.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-271-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-271-450x300.png 450w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-271.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Kenny Wong, \u201cdist.visualcapture_1\u2033, inkjet print on light box, 57 x 32 x 5.5 cm, 2016<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"521\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-272.png\" alt=\"\" class=\"wp-image-3067\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-272-300x296.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-272-150x148.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-272-304x300.png 304w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-272.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Alan Kwan, \u201cThe Words After\u201d, digital video, 2016<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>\u201cThe Interstitial\u201c Pearl Lam Galleries&#038;n &hellip; <a href=\"http:\/\/www.randian.art\/zh-hant\/emotive-interventions-two-hong-kong-debuts\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":8,"featured_media":3074,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[1208,149,415,67,1153,1209,1210,1211,102,1212,1213,1214,416,1215,1216,29,239,417,374,393,1217,419,210,460,230,421],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.8 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Emotive interventions: two Hong Kong Debuts - \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\/emotive-interventions-two-hong-kong-debuts\/\" \/>\n<meta property=\"og:locale\" content=\"zh_TW\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Emotive interventions: two Hong Kong Debuts - \u71c3\u70b9 Ran Dian\" 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