校友黃小玲 @june_ww 現於 @alittlesomething.art 舉行個展，展出畫作與短片作品。

「在一個通宵的晚上，我坐在漏水的窗台邊，咖啡已酸了也喝不掉。

突然，對面的燈亮起，才發現從未留意掛在窗邊的一條褲子，窗台上放了盆栽，卻從未注意，窗花之間夾著一雙手套，水珠仍在滴落。

回想起那些綿綿日常，從來沒細心數過，在一個夏雨天，一次愉快的睡眠，斷多少髮線。」

Alumna June Wong is currently holding a solo exhibition at @alittlesomething.art, showcasing her paintings and video works.

“ I sat by the leaking window ledge throughout the night, with a cup of coffee turned sour, and undrinkable.

Suddenly, the lights across the windows lit up, revealing a pair of pants hanging unnoticed by the window, a potted plant on the ledge that I had never paid attention to, and a pair of gloves trapped between the window grille, still dripping with water droplets.

Reflecting on those mundane days, I never took the time to count how many hair strands were lost in a summer rain and a blissful sleep. “

「這裡還有燈 The light is still on」
日期Date｜Feb 3-March 3 2024
開放時間Opening Hours｜Tuesday- Sunday 1-7pm
地址Venue｜@alittlesomething.art, Shop B, 188 Lai Chi Kok Rd, Mong Kok

校友藝術家白瑞慈陶瓷個展 - 【 The Fool｜PAK SUI CHI Solo Exhibition 】

愚人與傻子

最近，PAK 在 YouTube 上看了一個塔羅牌占卜短片，認識了一張叫The Fool（愚人/愚者）的牌。愚人與傻子，似乎幾夾。就這樣，The Fool就成為這次她在Nutzeramic的個展主題。用作動詞，fool可以是欺騙；也可以是捉弄、開玩笑，或者北方人說的忽悠。

展覽詳情:
展期：5. 5 - 11. 6. 2023
開放：一至四1930-2200 ／六1100-1900／日1400-1900
休息：公眾假期
地點：陸甩製陶｜太子廣東道1235號1樓
查詢：9850 0030

The Fool & The Nut

PAK watched one of those Tarot reading videos on YouTube the other day out of curiosity and learnt a card called “The Fool”. For some reasons, I think it might be a great theme for her solo exhibition at Nutzeramic. The Fool and the Nut. Sounds like a perfect match. “Fool” is both a noun and a verb. To fool is to deceive, which is one of the nature of art. It can also mean to joke, to play, to take things lightly.

〖 5. 5. 2023 FRIDAY 〗
Opening Reception： 1900
Artist Sharing：1930

Duration：5. 5 - 11. 6. 2023
Opens：MON-THU1930-2200／SAT1100-1900／SUN1400-1900
Closed：Public Holidays
Venue：nutzeramic｜1/F, 1235 Canton Road
Enquiry：9850 0030

【荒城Abandoned Cities】 翁松江個展Yung Chung Kong solo exhibition

於香港藝術學院修畢藝術高級文憑的校友翁松江將於4月1至21日在Mooroom 舉行個人展覽。

翁松江現正修讀藝術文學士（與香港藝術學院合辦），主修繪畫。他畫作多以虛構城市景觀，盛載荒野的意象。零丁破落的符號性物件，被遺留於人去留空的場景。

展覽詳情:
開幕： 2023年4月1 日 | 星期六 下午6時
展期： 2023年4月1至21日
開放時間：星期三至五 下午2時至晚上7時、星期六，日 中午12時至晚上7時

地點：Mooroom | 九龍 新蒲崗 大有街16號 昌泰工廠大廈9樓

Exhibition Details:
Open Event: 1st Apr 2023 | Sat 6 pm
Exhibition period: 1st Apr 2023 – 21st Apr 2023
Open hours: Wed - Fri 2-7pm ｜Sat - Sun 12-7pm

Venue: Mooroom
9/F, 16 Tai Yau St, Cheong Tai Industrial Building, San Po Kong, KLN.

校友藝術家袁雅芝以【紀念像 : 飛寶、愛達與蜜糖 Monuments: Flipper, Ada and Honey】為題，於3月9至29日舉行個人展覽，敬請到場參觀袁雅芝的最新作品。

@yuen_ngachi

——————

展覽詳情:

紀念像 : 飛寶、愛達與蜜糖

Monuments: Flipper, Ada and Honey

袁雅芝個展

Yuen Nga Chi Solo Exhibition

愛達篇

Chapter 1 : Ada

展期

Exhibition Period

09.03.2023 – 29.03.2023

葵涌大窩口健康街1號致華工業大廈27樓

27/F Che Wah Industrial Bldg, 1 Kin Hong St, Kwai Chung

開放時間

Opening Hours

星期六及星期日

Saturday and Sunday

13:00 – 19:00

星期一至星期四請預約參觀

Visit by appointment on
Monday to Thursday

To celebrate SCG’s happy 1st birthday, we are excited to present Jeremy Fung’s solo exhibition “Fibrillation “ on Mar 1!

“Sketching and speedwriting are all about immediacy. Our feelings will be different and irregular in every moment, and the act of sketching is to grasp the irregular rhythm and unpredictable emotions at that moment.” Jeremy Fung said.

Jeremy begins the habit of speedwriting and taking notes and recording intriguing things in sketches since his secondary school period. Most of Jeremy’s subsequent works are based on his notes, especially the random doodles on them. Words or those unconscious pencil traces and sketches are the unique and secret codes of the artist, he transfers them onto the wooden board, and then reinterpreted them on the woodcut with the intuition of the immediate perception forthwith.

Compared to painting on canvas, Jeremy is much fascinated by wood carving, especially the sharp edges shown by knives when carving on the surface of wood boards, and the natural layering of wooden clothes. The delicate picture of the thick and thin lines intertwined on the wood appeals to Jeremy a lot. The artist carved/painted his emotions and memories on the wooden board in an abstract form, and this has become his unique personal emotional diary.

“ I think both sketching and speedwriting are about feeling and cognition of different things, the more appeal you are with a specific object, the smoother the direction of brush strokes will be.” he said.

The lines on Jeremy’s woodcuts are very tense, which is the expression of the artist’s strength and confidence. The lines are very neat from the start to the end, without any hesitation. This not only shows the artist’s proficiency in skills but also shows the artist’s uniqueness in objects. The mastery of it is already completely handy.

“The expression and interaction of lines and woodcuts show much pure power and tension, which allows me to immerse myself through it and explore the intensive emotions from the inner self” he said.

HKAS Alumni : Cordelia Tam Solo Exhibition 

[ Coming soon ]

Cordelia Tam Solo Exhibition -

印 | 象 Printing | Impression

@go_with_the_flow_cordelia_tam

展期 | 2月3日 至 3月2日

開幕禮 | 2月4日 6-8PM (Sat)

藝術家分享會 | 2月18日 4PM (Sat)

開放時間: 星期二至星期日1-8 PM

場地 | 中環半山太子臺13A地下Yrellag Gallery

Exhibition Period: 3 Feb - 2 March 2023

Opening Ceremony: 4 Feb, 6 - 8PM (Sat)

Artist Sharing: 18 Feb, 4 PM (Sat)

Venue: Yrellag Gallery | 13A Prince’s Terrace, Central

(Mid-levels escalator: Get off once past Caine Road. From Soho, 5 mins walk uphill)

Opening Hours: Tue - Sun, 1- 8 PM

Yrellag Gallery 榮幸呈獻譚若蘭個展《印 | 象》。譚氏從作品中探索人與自然的聯繫， 並以日常生活物 料為起點，加入順應自然的元素，從而啓發對和諧生活的追求。 作品以裝置、 錄像和攝影等方式來呈現。這次展覽譚氏鋪敘她之前的混合媒介實踐，並引入人和自然元素，從作品機械式的規律中帶出趣味。

整個裝置用每一個山石結合一起，呈現漸變的藍色山海。細看山石時，可欣賞到每座山石有着獨一無二的紋理和墨水所帶出的層次與變化。藝術家從其中寄望觀者能夠在刻板生活裡尋找到自己的蔚藍天海。

本展將於2023年2月4日下午6時至晚上8時舉行開幕酒會，展期由2023年2月3日至3月2日。藝術家將會出席開幕禮。

(藝術家分享會將於2月18日4時舉行。)

Yrellag Gallery is pleased to present the solo exhibition of Cordelia Tam - Printing | Impression. Tam elaborates on her previous creative media practice of using office waste paper and printer ink for construction and introducing human and natural elements to spice up the mechanical order represented in the work.

The installation is a transformation of office waste paper from the cultural office into a symbolic connection between the sea and individual "mountains," reflecting on how we discover our own blue skies beyond all the rigidities of life.

The exhibition will be on view at Yrellag Gallery from February 3 to March 2, 2023. An opening reception will be held from 6 to 8 PM on February 4. The artist will be present at the opening, and light refreshments will be served.

(An Artist Sharing session will be held on 18 Feb 4PM.)

“I think I have opened a door leading to the parallel universe of Victoria Peak on my way of searching.” ~Carol Lee, artist

Victoria Peak is a symbol of Hong Kong, a witness of the city’s history for over a hundred years. Starting from the colonial period, the hill has seen all the ups and downs of the place as we have experienced many changes in the city. However, it is the quiet soil under our feet that has always watched over us. The soil spends days and years here as we do, but it has never changed on the passing of time. For the soil, on one side is a world of physical senses and on the other is a world of intellectual thinking. They are like two parallel universes divided by just a thin line.

“This is the primary soil of Hong Kong. It is always here.” ~A construction site worker

The exhibition traces its origin to a conversation between Carol Lee and a construction site worker at Victoria Peak. Despite all the changes, there is untouched soil in our city. Interested in this fact, Lee wants to relate it to her art. She collected soil from construction sites at different sections of Victoria Peak and studied the colours and characteristics of the soil samples. She tried to find the relationship between soil and land by examining the primary soil using her artistic language. In this exhibition, soil and land have swapped places. The soil buried underground has been transformed into tangible artworks which can be seen, listened to and touched. The stories and history on the land are used as the background concept and presented in an abstract form.

“Going through the process and arriving at the works, I saw a gap in time.” ~Shirky Chan, curator

Lee’s works are often visually minimal and static. She tells her stories in a quiet and restrained way. There is an interesting version about how man is connected with the sky and the land: man stands at the intersection of a vertical line and a horizontal line. The vertical line is light from the sky whereas the horizontal line is the horizon that separates the sky from the land. Lee’s art has always included this “vertical line”. She exposed paper and objects to sunlight, leaving in her works the tracks of light, objects and time. In this new series, in addition to the “vertical line”, she puts her focus on the land. Using the daily life and culture on the “horizontal line” as background, Lee studied the minerals below the line. The vertical line representing sunlight touching the ground, the horizontal line sandwiched between the land surface and underground, and the artist’s own stories are the three elements which form a perfect cross. “Time” again has a crucial role to play in this series. It gives the works a historical perspective, and the timing of digging the soil is an important factor for the works. There is a gap in time between the beginning and conclusion of the series. The world changes rapidly, but things remain unchanged in the alternate one. Lee has turned the known and unknown of the uncertain relationship she discovered in Victoria Peak into her own story.

Told by the Soil – Stories of Victoria
Exhibition Period : 6 December 2022 – 13 January 2023
Time : 11am – 8pm (Closed on Sundays & Public Holidays) | Closed at 6pm on 22, 24, 31 December 2022
Venue : The Gallery of Hong Kong Art School  (10/F, Hong Kong Arts Centre, 2 Harbour Road, Wan Chai, Hong Kong)
Artist : Carol Lee Mei Kuen
Curator : Shirky Chan

Opening
Date : 9 December 2022 (Fri)
Time : 5 – 7pm

Seminar – Dialogue with Hong Kong Soil
(Onsite @ HKAS Main Campus / Livestream through HKAS alumni network FB)
Date : 7 January 2023 (Sat)
Time : 3 -5 pm
Language : Cantonese / English
Speakers : Carol LEE Mei Kuen (Artist) | Niko LEUNG (Co-founder of ‘Hong Kong Soil’) | Ivan VALIN (Head of Division and Associate Professor of Practice, Division of Landscape Architecture, Faculty of Architecture, The University of Hong Kong)

HKAS Alumni Katherine Liu’s solo exhibition

NEW SATELLITES EXHIBITION

Collective is delighted to announce our new exhibition by Katherine Ka Yi Liu 廖加怡 : ’neither the West nor the East can be a determinate location’, running from 3 December 2022 – 26 February 2023.

Katherine's new multisensory installation will be a space of reflection, encouraging visitors to reclaim strength and charge resilience.

To create this new work, Katherine has developed an engaged approach to archival research, in which they interrogate and challenge the Western, Eurocentric frameworks that have been imposed on Hong Kong (a British colony from 1841-1997).

Katherine is a participant in Collective’s 2021 Satellites Programme, a development programme for creative practitioners based in Scotland.

: Katherine Ka Yi Liu 廖加怡, ‘absolute truth’, from the beginning of Earth – present, yixing clay, plywood, rain water, leaves, sand from Hong Kong and 20 cents Hong Kong dollars, dimensions variable, image courtesy of the artist

【12月新展覽】「藝術家」呈獻

邊上| 鄭志明的繪畫及裝置藝術 | 三部曲之二

「曾經走到了人生邊上，在邊上看到了那些是不屬於我的」

繼去年展覽第一部曲「歸途無岸」之後，鄭志明繼續和大家分享他挖掘了八年的「內在風景」，透過描繪人類開闢大地的貪婪，去比喻種種人性。

是次展覽是三部曲之第二部，將展出鄭氏於2014-22年間的8幅繪畫及兩項裝置藝術創作。

日期：2022年12月3日至2023年1月1日
時間：上午11時至下午7時（逢星期一休息）

開幕式：2022年12月3日（星期六）
時間：下午6時至8時

展覽地點：
藝術家
香港上環新街市街23號地下
arthome
g/f, 23 new market st., sheung wan, hong kong
t /91702182
fb /arthome 藝術家
ig /arthomehk2021

【 The Call of a Fallen Leaf: A Solo Exhibition by Wenda Yiu】

Curated by Chloe Chow

> Date：4.11.2022 – 23.12.2022

> Time：12pm – 7pm (Tue to Sun)

> Place：WMA Space

> Registration：https://bit.ly/3SNkF8Y

We often use the term ‘rooted’ to describe one’s gaining of a foothold in a place, and ‘uprooted’ as one’s parting with it. Roots have therefore become a living metaphor of how human beings connect with places. If we are to trace the entrenched roots and fallen leaves on islands, are we then able to grasp the stories of the islands’ past and present?

As a sequel to the group exhibition ‘Island(ed)’ that reflected upon the isolated nature of islands, ‘The Call of a Fallen Leaf’, a new solo exhibition by Wenda Yiu, further investigates 19 islands that have disappeared as a result of urban development. These include Kellett Island, Lam Chau and Tit Cham Chau. Yiu has noticed that more and more islands have been flattened or linked to the mainland due to reclamation. As an attempt to preserve and interrogate the traces of existence of these disappeared islands, Yiu visited the artificially reclaimed lands and collected fallen leaves that constituted her new work, Memorandum of the Secret Islands. Yiu has also continued to expand her photography series, This Close, That Far, which was shortlisted for the 2019 WMA Open Photo Contest. In this series, Yiu took photographs at the sites that constituted the former boundaries of the island and the mainland, and juxtaposed them in a rigid manner to highlight the tension between island ecology and urbanisation. The entrenched roots and fallen leaves on islands are also transformed into contours in different paintings. Through the alternate use of hard and soft lines, Yiu reconstructs the maps’ coastlines that are at once abstract and material, archaeological and fictional, disappearing but reappearing at the same time, as a way to outline the islands’ coastal changes over the past decades.

夢絆 - 劉宏達

Bo(u)nd – Lau Wang Tat

2-30.10.2022

從執整舊作中，劉宏達以一張臨寫習作《夢奠》作是次展覽的起始，以作品帶出近日的感悟。

For this exhibition, Lau used his earlier calligraphy work “Meng Dian” as the starting point to bring out his recent insights.

艺鵠書店 富德樓14樓 灣仔軒尼詩道365- 367號

ACO books 14/F, Foo Tak Building, 365-367 Hennessy Road, Wanchai

場地贊助：藝鵠

Venue Sponsor: Art and Culture Outreach

開放時間：星期二至日下午1-7時

Opening hours: 1-7p.m., Tue to Sun

【 Bye bye civilization, I’m secretly weeping 】

19/9/2022 - 28/9/2022

@precedeeartspace

Through consecutive pencil drawings, Hon ponders on the relationship shared by the city’s history and its people, observing how the objective surroundings subjectively and rapidly change people’s living and its commonality through the creative expression of symbols. Recently, his works use religious themes as an analogy to Hong Kong’s living environment, where people wander between hope and despair, filling with disparity.

Hon thinks western religions inadvertently brought notions of freedom to Hong Kong’s culture, where we see equality and sympathy differently and it has become a uniqueness. In his works, he uses a cross as the symbol for Hong Kong people’s belief, where light diminishes and rekindles, combining with other commonly seen materials such as heavy black-colored iron.

Many people silence themselves against injustice and violence, and even make others suffer, where a lot of times these people happen to be Christians or Catholics.

Many people also think god is out of touch, so Hon hopes to bring god’s symbol to the lively Shanghai street, juxtaposing and coalescing kitsch with sacredness.

韓承灝

《Bye Bye 了文明，我在偷偷地哭泣》

韓承灝以素描繪畫連環圖方式，思考著城市歷史和人民之間所流露的感情的關係，觀察四周客觀環境如何主觀地急速改變當下人的生活，並考慮它的公共性，常用各種符號作創作手法。最近，他的作品以宗教題材借喻香港的生活環境，人們在希冀和失落中徘徊，但能夠確定的是迥異佔據了我們的日常。

韓氏認為西方宗教不經意把自由的思想帶進了我們的文化，對於平等和憐憫有別的看法，也成就香港獨特文化。作品中他以十字架作為香港人信念的象徵，光芒從無到有再到無，沉重而牢牢的漆黑的金屬卻是香港人常見的物品，他把不同物料結合在作品之中。

很多人對不公和暴力沉默，甚至付諸他人的苦難，而他們很多時都是基督教徒或天主教徒。

很多人認為上帝離街道很遠（俗稱離地），韓氏希望把祂的象徵拉到極具生活氣息的上海街，為井市的街容和神聖的符號呈現強烈的對比和交融。

Tang Kwong San | Midnight Sun
鄧廣燊｜熾夜

Contemporary by Angela Li is proud to present Tang Kwong San’s solo exhibition - Midnight Sun, curated by Jims Lam. Graduated with a Bachelor of Art from RMIT University, Australia (joint degree with Hong Kong Art School), Tang specialises in combining photographs, drawings, objects, and videos that allows him to trace intergenerational family memories and social history. In this exhibition, Tang brings us his latest work inspired by his night-time excursion in the city. From collaging paintings of urban trees and fashion garment to exposing his subjects under flashlight, Tang goes on a bold adventure in search of a unique aesthetic that only reveals itself at night. In the dark of the night, Tang’s flashlight photography isolates his subject matter from the darkness as if the midnight sun is shining on the tranquil plants. The photographs are then reconstructed on the canvas, which turn an often unprompted, instinctive process into a contemplative one. The slow and thoughtful process deepens the internal relations between Tang’s gazing at night and his desire to create a harmonic scenery. These lit plants perfectly echo with Tang’s name “San”, which is composed of three Chinese characters “fire” at the top of a “tree”. The exhibition opening will be held on 15th September 2022 from 5:00 to 8:00 p.m. and remain on view till 29th October 2022. The artist and curator will be present at the opening.

Contemporary by Angela Li 欣然呈獻香港藝術家鄧廣燊的個人展覽 —「熾夜」由林志恒策展。鄧氏於2019年獲得香港藝術學院和澳洲皇家墨爾本理工大學聯合頒發的藝術文學士學位。他的創作以透過融合照片、素描以及錄像等媒體去探究家族記憶和社會歷史。是次展覽展出鄧在城市中夜間流浪所被啟發的作品。夜間遊走讓鄧大膽地尋找只在萬籟俱寂、夜色矇朧中才出現的美感。鄧氏利用閃光燈攝影捕捉並突顯相中的主體，使它們彷如被熾夜照亮。以直覺攝下照片，經沉澱後重現在畫布。鄧氏的漫長自我對話，使其凝視夜色的本能引發創造和諧景象的渴求。鄧廣燊名字中的「燊」字，象形地有三道火在樹上，亦正好解釋了是次展覽中作品與熾夜的關係。本展將於2022年9月15日下午5時至晚上8時開幕，展期至 2022年10月29日。藝術家和策展人將會出席預展現場。

Monologue

一場屬於自我對話的實驗展覽

情緒來自記憶，

第一次體會手心被打的一幕，

第一次收到禮物，

不過我們往往用這複雜的設置概括這些內心的顏色。

是次展覽過程中所看見，聽見，觸碰到的所有作品，

會導向觀者者與自我進行對話。

在這個空間範圍內，

人們可以放下外界的喧囂以及煩擾，

沒有批判，沒有比較，更沒有複雜的思考，

只需要感受自我潛意識所浮現的感覺，

以達到真正意義上的深度探索

以及找尋屬於當下的情感，

與自己的情感創造獨白。

Featured Artist:

@canaceyuen

@pengpeng.temple

@nujande

@linwahjerjer

展覽分為畫展及體驗工作坊

15/9 - 19/9

深水埗大南街202號

Parallel Space

陶啟安以假想考古學方式，創作虛構的古代器物，重新想像歷史丶宗教與流行文化的關係。

陶啟安（1994 香港）自中四輟學後修讀並從事飲食與酒店業數年後，決心以創作改變其生活方式。於21歲時就讀香港藝術學院的藝術高級文憑課程雙主修攝影和陶瓷，並於2021年畢業於香港藝術學院藝術系學⼠主修陶瓷。

展覽日期：2022年 9 月 10 日 - 10 月 13 日

時間︰早上 11 時 - 晚上 9 時

地點：SUMO Pottery

香港九龍尖沙咀河內道 18 號 K11 購物藝術館 3 樓 305 號鋪

Address : Shop 305, 3/F, K11 Art Mall, 18 Hanoi Road, Tsim Sha Tsui, Kowloon, Hong Kong

【 Barren Rocks · reminiscences 禿石·記】

Artist 藝術家: Maggie Chu 朱頌琪

Curator策展人 : RiK Wing Kei Yu 余榮基


Location 地點S507 @PMQ Hong Kong 香港 @元創方 S507
Date 日期 ：2022 08 26 - 09 14
Time 時間 ：10:00-19:00
Artist Sharing 藝術家分享 : 2022 09 11 16:00-18:00

Continuing her art practice based on her researches towards histories of Hong Kong, [Barren Rock • reminiscences] (2022) is a continuous of Maggie Chu’s [Barren Rock] series.

Based on the idea mapping and archiving as an aesthetic approach, Chu is aiming to provide an alternative narrations towards the histories of Hong Kong through her researches, visual analysis and art makings.

Born in Hong Kong, Chu later moved to Australia and studied Architecture at the University of New South Wales. Returned to Hong Kong in 2000 and practiced as an Architect until recently.
Recently graduated with a BA Fine Art from RMIT andHong Kong School of Arts in 2021.

延續她對香港歷史研究的藝術實踐，[禿石•記]（2022）是朱頌琪[不毛之石]系列的延續。

以地圖和存檔作為一種美學方法，朱氏旨在通過她的研究、視覺分析和藝術創作，為香港的歷史提供另一種敘述方式。

朱氏出生於香港，後來移居澳大利亞，在新南威爾士大學學習建築。 2000年回到香港開始她建築師的工作；近年再進修藝術
並年畢業於 RMIT 和香港藝術學院，於2021年獲得藝術學士學位。

Ora-Ora非常榮幸地宣佈將首次舉辦多學科背景的香港本土藝術家張馨儀的個展。展覽時間為2022年8月24日持續到9月18日。

張馨儀以「時拭」為展覽主題，探索了「中間性」的狀態，具象化地呈現出生活中永久的不確定性，並將生命融入短暫和無常之中。惟其如此，她消解了看似不可避免、不可移動的時間和地點的力量，提供了對世界的另一種看法和新的可能性。

張馨儀作為殘疾人權利和心理健康事業的終身倡導者和活動家，她的藝術實踐活動逐漸削弱了人們所感知的邊界和界限，從而賦予無生命者或被忽視者尋求代理和自主決策的權利。

她巧妙地借用了中國諺語「摸著石頭過河」的說法，在過去和現在之間，在她的故鄉和她生活過的其它地方之間，在歷史和現實的對立之間尋找出路，即「中間性」。她的藝術作品處於一種運動狀態，不停留在任何一個極端，融合時間和地點，創造出一種新的藝術表達方式與藝術理念。

張馨儀用獨特的藝術表達方式、神秘的藝術感召力表現身邊隨處可見的普通物品，包括她在倫敦大學金匠學院攻讀碩士學位期間完成的作品《擦拭新聞：電光火石》(2022)在內的一系列作品便是其中的典型代表。這件作品是由600塊橡皮擦擦拭2021年12月至2022年3月期間公開出版的英國報紙創作而成。用橡皮擦擦拭報紙的行為涉及到把墨水從後者轉移至前者。這對兩個主要對象來說都是一個變革的過程，同時進行著物質的加減與媒介的轉換。橡皮擦最初具有石頭或大理石般的不可穿透性，隨時間推移逐漸顯露出它們的柔軟性以及接觸時固有的缺陷。張馨儀用一個簡單的抹除行為回應了整個政治領域新聞的緊迫性，她既保留了新聞，也消除了新聞。就好像是在不可抗力的情況下敦促人們保持冷靜一樣，她通過干預來減少文字資訊的影響，同時將其重要性提升為一種藝術審視的物件。

橡皮擦在作品中成為它們自己命運的主題，能夠引起共鳴。就像肥皂塊一樣，它們佔據了軟硬介質之間的空間，即使它們呈現出與之互動的本體特徵，也會因此失去形狀和強度。在一件藝術品中，他們在保留個人敘事和動機的同時，呈現出一種群體特徵。最終的結果徘徊在過去和當下之間，鮮明的觀點、悲傷的事件和值得慶祝的活動等等都融為一體，演變成一種持續短暫的狀態。

作為對英國出版物的呼應，張馨儀於2022年創作的作品《擦拭新聞: 永續色》便由從香港報紙上抹去的墨水組成，這件作品是藝術家回到她自己的家鄉城市時所創作完成，帶出一股清新力量、重新評估並啟發靈感的新時代。張馨儀於2021年創作的《擦拭新聞：倫敦色調》便結合了香港和倫敦這兩個城市的新聞紙。將歷史的雜音、交替的優勢和尖銳的主張以一種暫停的狀態綜合、還原和紀念。存在的威脅、不和、異議和分裂被壓制，但留下了痕跡。橡皮擦在一個框架中排列聯合在一起，這是一個包含不斷分崩離析威脅的統一體。

這次展覽中有幾件藝術品進一步拓展了這一概念。藝術家創作于2022年的《枯榮I》和《枯榮II》以及2021年的《冰火》，都是直接在橡皮擦上繪製的圓珠筆畫。這些作品利用橡皮擦表面材質獨特的物質屬性，將圓珠筆的墨水溶解，並將其轉化為新的顏色進而呈現。當使用紅色時，會呈現出在倫敦的日落或日出時分天空中閃爍的光芒；黑色則變成藍色，讓人聯想起在英國國內陶器中至今仍流行的中國設計風格。

歷史的痕跡不可避免地出現在張馨儀的作品中，偶爾可以看到過去古典的山水景觀和陶瓷的殘留。與藝術家不願意接受時間和地點的限制相一致，水墨的使用是對遺產和歷史有效性的承認和實現。橡皮擦這種媒介的多功能性反映出水墨本身幾千年的歷程，並將平淡和有形的東西轉化為抽象的形態。

黃淑賢個展 Elaine Wong Solo Exhibition

__ 不在這裏 AIN’T HERE

展覽 Exhibition
AUG 24- SEP 9 | 1pm-7pm
S504, PMQ, 35 Aberdeen St, Central

< Through the Grille| Opening on 21 Aug >

Stay tuned for upcoming solo exhibition by Hong Kong Artist Lo Sin Ying Lo SY] at the Central Gallery from August 21 to September 8, 2022.

Yrellag Gallery 有幸呈獻 Through the Grille 柵欄之後，本次展覽將會展出香港藝術家盧善影的作品，作品揭示我們生活中隱藏的時間和記憶。藝術家喜歡探索時間和記憶。對於時間、人，和事的變遷特別有著濃濃的感觸。她的作品講述事物與時間的關係以及記憶的構造。她甚至有個簡單的想法，就是在這瞬息萬變和侵蝕性的時代，純粹地紀錄當下的一刻。

<柵欄之後>

從外面看，柵欄是障礙、阻擋去向的物件，又或許只是某些相隔了你此時此地與彼空彼岸的東西。

不過，柵欄並不是完全封閉的，它總有開口，能誘導你穿越，讓你能窺看裏面。一旦你這樣做，你會看到…察覺……感受到什麼？

是一些似曾相識的情景？ 差點就被遺忘的舊事？還是一些你從前見過，或者希望曾經見過的事情？

Yrellag Gallery is pleased to present Hong Kong artist Lo Sin Ying's solo exhibition Through the Grille at the Central Gallery from August 21 to September 8, 2022. The exhibition features Lo's artworks that reveal the facets of hidden time and memory in our lives. Fascinated by time and memory, there is often a sense of loss as time, people and places move on. In Artist’s work, there is the grappling with time, dealing with aspects of memory, and the wish to simply take a snapshot …. particularly in these fast changing and erosive times.

<Through the Grille>

From the outside, a grille is an obstacle, a barrier, or perhaps just something that separates you from the here and now, and yonder.

But a grille is never closed - there’s always an opening that tempts you to peer inside…step through. Once you do, what do you see… feel… sense?

Familiar scenes? things all but forgotten?

or something that you think you saw, or like to have seen?

/

Through the Grille: Solo Exhibition by Lo Sin Ying

展期Exhibition Period | 21 August – 8 September, 2022, 1-8pm (Tue-Sun)

開幕Exhibition Opening| 21 August, 2022 (Sun), 5-8pm

場地Venue | Yrellag Gallery

地址Address | G/F 13A Prince’s Terrace, Central, Hong Kong (Mid-levels escalator: get off once past Caine Road. From Soho, 5 minutes’ walk uphill.）

SC Gallery is happy to announce Sharon Cheung’ s Solo Exhibition “Our Time” on Aug 15. It is a series of 51 portraits.

Humans are like paintings, especially portraits that reflect people’s faces. The sketches or engravings of people’s faces have occupied an important place in art history.

Human faces are vital parts and positions in sending and receiving messages. The portraits’ expressions can provide us hints about the art works. These include feelings and thoughts that artists are trying to convey, human relations and even the ambience in which the artists have lived.

Sharon started her career as a journalist. She is a veteran media person. She has sharp insights about the Hong Kong society. This list of 51 portraits of hers was completed between 2020 and 2022. During this period Hong Kong and other parts of the world were affected by the Covid-19 pandemic. Human lives are under severe threats. Moreover, the political atmosphere worldwide has become more complex and tense, thanks to the pandemic. Hong Kong can’t stay aloof or immune from it.

Sharon takes her close friends as objects in her portrait-painting. They come from different walks of life in Hong Kong. She believes that only concretization can express the impulsiveness of one’s feelings. Through the distortion of the human faces the artist aims at presenting the true picture of moods and emotions. Therefore, these 51 portraits either distort the faces or demolish their original structures. Sharon believes that through the distorted portraits people’s emotions, anxieties, uneasiness and fears are revealed in a changing society.

About the artist

Sharon is a veteran Hong Kong journalist, she obtained her BA degree of

Journalism and Communication at CUHK. She is also fellow of the Reuters Institute for Journalism at the University of Oxford, as well as the founder of “Lion Rock Fellowship” at the University of Oxford.

In 2022, Sharon received her Bachelor of Fine Arts (Painting) at Royal Melbourne Institute of Technology (RMIT), graduated with first class honors. She also received the Dean List Award and the Boon Lee Award.

8月限定器物展覽～SuMo 今次邀請了新晉的陶瓷藝術家-羅縉壕，在SuMo 展出充滿個人風格的器物。

《器物形狀來自日積月累的工藝鍛鍊。陶作家羅縉壕在基本的家用器物上尋找更細緻的線條，直線更長，曲線更圓，是簡約也是精細，使工藝成為日常生活目光所落之处》～Vincent Law

羅縉壕生於香港，畢業於澳洲皇家墨爾本理工大學藝術文學士學位。曾獲關晃先生紀念獎學金及香港藝術學院高級文憑最佳作品獎。

羅氏以輪製拉坯作為創作主導，探索傳統工藝與藝術的關係，並於2020年舉辦首個個人展覽《陳設陶》。

展覽日期：2022/8/6-2022/9/2

時間︰早上 11 時 - 晚上 9 時

地點：SUMO Pottery

香港九龍尖沙咀河內道 18 號 K11 購物藝術館 3 樓 305 號鋪

< Beautiful Individual Story | Opening on 5 Aug >

Kiesly Tsang

Stay tuned for upcoming solo exhibition by Hong Kong artist Kiesly Tsang, at the Central Gallery from August 6 to August 19, 2022.

Beautiful Individual Story is Tsang's one of the Art Collective works that reflect human emotion at the beginning of the global pandemic. The artist collected ten vulnerable words from the public, and she made ten non-functional sake cups in exchange for the participants based on each word individually given. Kiesly actualised her work of art into an individual portrait.

"I spun each of the concentrations of vulnerability by sloppy, scribbled sketches to flow throughout the emotion and waited for the attention towards lifting singular forms with clay, one by one, into a non-functional sake cup."

Tsang created ten beautiful sake cups full of humanity, originality, and uniqueness. The portrait of these sake cups overlaid the flow sketches as form follows emotion. The fired, imperfect sake cups as a gesture of transcendent and connectedness from ego to eco.

Yrellag Gallery 有幸呈獻香港藝術家曾昭琦的個人展覽《 Beautiful Individual Story 》。作品創作於全球大流行之初，以集體創作的形式來呈現在疫情下人們被壓抑的情感。

藝術家從公眾徵集了十個在他們心底裡最脆弱的詞語；就每個字詞，分別為參與者製作了十個不具功能的清酒杯。以詞易物，它們始於言說也回饋於言說者。酒杯在制成後回贈予參與者，而留下來的是一段段的過程，也是每個靈魂的描述與肖像。

「在無想無念下，字詞化作線條，畫筆在圖紙上躍動；線條交錯，構築了一幅幅獨特，當下的，以心傳心的草圖。坊輪化作圖紙；陶泥在輪上轉動；線條刻畫到泥止，提拔而成的，是一個個失去功能的清酒杯。」

曾氏創造了十個獨特的清酒杯，它們的獨特性是源自於對人性的轉化。這些清酒杯的「肖像」與舞動的線條文錯重疊；就如酒杯的形態是隨情感的變化而構成。燒製過後，這些不完美的清酒杯是一個關於從自我到大我的轉化比喻。

< Beautiful Individual Story >

Kiesly Tsang Solo Exhbition Kiesly Tsang]

展期Exhibition Period | 6 - 19 August, 2022, 1-8pm (Tue-Sun)

開幕Exhibition Opening| 5 August, 2022 (Fri), 5-8pm

場地Venue | Yrellag Gallery

地址Address | G/F 13A Prince’s Terrace, Central, Hong Kong (Mid-levels escalator: get off once past Caine Road. From Soho, 5 minutes’ walk uphill.）

安全口畫廊呈獻李寧最新個展《Welcome Jon Looka》，展覽作品圍繞藝術家創建的未來世界中的一 條虛構村落「Jon Looka」，為諧音客家話中「回家」的意思。藝術家籍著不同媒介，如混合媒介版 畫、鉛筆紙本∕畫布、陶瓷、錄像等形式呈現世界中的不同元素，引領觀眾沉浸於這個科幻反烏托邦場 景。

Gallery EXIT presents LI Ning’s new solo exhibition ‘Welcome Jon Looka’, which revolves around a fictional village of the same name in a future world created by the artist and which means ‘going home’ in the Hakka dialect. Through a range of media such as mixed media prints, pencil on paper/canvas, ceramics and video, the artist leads the audience into this dystopian sci-fi landscape.

Gallery Exit

16 July 2022 – 27 August 2022

3/F, 25 Hing Wo Street, Tin Wan, Aberdeen, Hong Kong

香港 香港仔 田灣 興和街25號 大生工業大廈3樓

+852 2541 1299

info@galleryexit.com

Open Tuesday to Saturday, 11am - 6pm

​(except public holidays; or by appointment)

星期二至六, 上午11時至下午6時

(公眾假期除外；否則請致電預約）

#HAPi 一直在發掘及支持本地不同媒介的藝術家。而今次有幸能與本地陶瓷藝術家 @tokaionbenny 陶啟安Benny 於上環舉辦個人作品展，是次展品除一貫的陶瓷作品外，也融合了源自藝術家對於動漫文化與電子遊戲中的角色、玩具模型的興趣，也包含了不同宗教元素，希望能帶大家感受藝術家的二次元世界觀。

Benny也在今年的Art Basel Hong Kong 推出了個人展《Dimensional Civilisation Archeology Project 2.0》。

如果你錯失了那次看展機會，現在就可以在#HAPi 包覽更多Benny的作品！

“以瓷泥作墨去練習和探索中國書法。當累積的文字從紙張上移除後，紙張上留下了明顯的筆畫痕跡，是力量與實踐的見證。再把這起皺的紙塗上泥槳，經過火的煶煉，燒成的陶瓷是另一種形態的中國書法。”

“To appreciate the aesthetics of Chinese calligraphy, practice with clay slip on paper to accumulate the words. When the words are accumulated and removed, they left remarkable marks on the wrinkled paper. Then the wrinkled paper is coated with clay slip for firing. Such transformation is delicate and subtle.”

12th - 25th July 2022
SUN - MON 12:00 - 18:00
TUE - SAT 12:00 - 19:00
* FRI OFF

Meet the artist
EVERY SAT & MON

Exhibition Venue
Room 305, 3/F., Lyndhurst Building,
29 Lyndhurst Terrace, Central
852-25257949
Sponsored by
The Pottery Workshop Ltd.

陶瓷藝術家Scott Chan個人展覽

- 展出101個人臉器物 -

7月12日至8月14日

「我好似喺邊度見過你？」一句聽來似是老土的溝女對白，卻是疫情期間本地陶藝家Scott Chan（陳建業）對口罩之下各人面貌的留白想像。

疫情至今三年多，口罩下笑容難見，人與人之間變得陌生疏離；街上素未謀面的人如是，而即使每日相見的同事，又或是親朋好友，在「限聚令」期間大家鮮有「露面」，腦海裡人人都彷彿面目模糊。

Scott以頑童式的想像，為每日食飯搭車、行街遊蕩時見到的一對對眼神，添置口鼻和豐富表情；也為親朋好友配上主觀印象，創作成101個雕塑式的陶瓷人臉，在疫情之下苦中作樂。

foreforehead深水埗的閣樓空間將於7月12日至8月14日期間，轉化為抽象的街道場景，觀眾來到便可與Scott曾經相遇的人物碰面，或許你都會講一句「好似喺邊度見過佢」。

「我好似喺邊度見過你？」

展覧日期：7月12日至8月14日 時間：1 - 7:30pm (逢星期一休息) 地點：深水埗基隆街132B閣樓 foreforehead

*展覧開幕：7月15日(星期五) 6 - 9pm

我閉上眼，體内喃喃不斷的聲音低鳴著，它隨著我的一呼一吸，失去重力在黑暗處飄浮。房間外的世界亮得刺眼，空氣湧進空洞的軀體，快要把薄如肥皂膜的皮膚撐破。

法國哲學家巴舍拉（Gaston Bachelard）在著作《空間詩學》中，以家屋意象類比人的靈魂，主張我們能透過回憶起家屋，學習安居於心靈深處，因為家「在我們裡面，而我們也在它的裡面」。在首次個人展覽《玻璃管內低聲說》中，藝術家盧可兒想像身體是一個房間，以一系列版畫、聲音和立體作品，描繪體內深遂之處。

人往往把聲音當作理所當然的存在，然而在嘈雜喧囂的城市中，我們有曾深度傾聽自己的聲音？在作品《In the Absence of…》及《在房間的一角》中，盧可兒把身體視為聲音的容器，借用聲音、物料與光影，重現身體的聲境（soundscape）。體內流動的聲音既是藝術家對自身經歷的親密解讀，同時亦是對外在環境的投射。隨著內與外的界線變陣擺動，一切明確的定義褪去，聲音迴盪於輪廓模糊、但充滿張力的房間。

在盧可兒的創作裡，聲音常化作幻影，反之亦然；藉版畫作品《無題》、《Sound on Paper I & II》和聲音作品《聲音雜記》，她展開一場貫通於視覺、空間及聲音的藝術實驗，以視覺召喚聲音回憶，利用聲音更新視覺想像。

絮語散落在畫廊各處，偶爾蜷縮在光影一角，或是窩進聲音的繭裡。

展覽詳情

• 玻璃管內低聲說｜盧可兒個人展覽｜香港藝術中心

• 日期：2022年6月18日-7月24日

• 時間：10:00-18:00（若壽臣劇院進行日場演出，開放時間將會稍作更改）

• 地點：香港藝術中心

• 地址：香港灣仔港灣道2號 香港藝術中心 張靜蘭實驗畫廊

「在玻璃管內低聲說」展覽公眾活動

• 藝術家分享環節及聲音聆聽寫畫工作坊

*需登記，活動將以廣東話進行

I 分享環節（約30分鐘）

關於展覽作品的簡介、聆聽經驗、製作點滴、提問及討論。

II 聲音聆聽寫畫工作坊 （約30 分鐘）

參加者將專注聽覺，及聲音的特色、將之轉化為視覺繪畫作品。

日期時間：

6 月26日，星期日，下午2至3時

7 月9 日，星期六，下午2至3時

詳情與登記

關於藝術家

盧可兒

盧可兒在2015年畢業於澳洲皇家墨爾本理工大學及香港藝術學院合辦的藝術文學士課程，繼而於2018年完成英國列斯大學藝術碩士課程。她專注混合媒介創作，探討視覺及空間喚起的聽覺感受，以及三者之間的微妙關係。盧可兒的藝術實踐源自個人生活，延伸至個人與外界的關係。創作題材多由自我或身邊的事物出發，亦常在創作過程中邀請公眾參與。她的作品曾於香港、日本及英國展出。

展覽“Every Day”以紙本作品、繪畫、物件和聲音裝置為特色，通過無聊乏味和時間的交織關係來探討日常生活。

無聊在本質上其實甚麼也沒有發生。受自身在零售行業的工作經驗影響，林頌文探討困乏的思緒如何吞噬日常生活。在節奏快速變更的零售環境中，需要始終如一的敏銳反應以追求不斷變化的雄心志向。這追求的徒勞並不亞於西西弗斯(Sisyphus)的命運。

但如海德格(Heidegger)所提，最深刻的無聊卻使人能夠從根本上面對自我並探索存在的意義。無聊困倦隨著時間的推移而變化，並在面對和適應徒勞之間變得模糊不清。透過組織整合展出作品的關係，藝術家試圖通過她的生活方式，或者她根本從不活著的方式梳理自我意識，喚醒而非擺脫深刻不一的虛無心理，以探索關於與生俱來對存在問題的渴望。

Every Day
展期：2022年5月14日 – 6月18日
時間：11am – 8pm (星期日及公眾假期休息)
地點： 香港藝術學院藝廊 (香港灣仔港灣道2號香港藝術中心10樓)
參展藝術家：林頌文

開幕
5月14日 (星期六) 3:30pm – 5:00pm

藝術家導賞
6月11日 (星期六) 1:45pm – 2:15pm

Featuring works on paper, drawing, objects and sound installation, this “Every Day” exhibition investigates everyday life through the intertwining relationship of boredom and time. 

Essentially, nothing happens in the state of boredom. Influenced by her workplace experience in retail business, Tracy explores how the weariness engulfs the everyday life. The fast-paced retail environment requires a consistent agility to pursue the ever-changing ambitions. The futility of pursuing is no less significant than the fate of Sisyphus.

As per Heidegger’s suggestion, profound boredom empowers an individual to radically face the inner self and search the meaning of being. In the course of time, boredom varies and is clouded between confronting and adapting to the futility. By exploiting the sum of several bodies of work, the artist attempts to realize herself by the way she lives or does not live at all, awake instead of shaking off the different intensity of emptiness to explore the existential question about the innate desire of reason.

Every Day
Exhibition Period : 14 May – 18 June 2022
Time : 11am – 8pm (Closed on Sundays & Public Holidays)
Venue : The Gallery of Hong Kong Art School  (10/F, Hong Kong Arts Centre, 2 Harbour Road, Wan Chai, Hong Kong)
Artist : Tracy LAM Chun Man

Opening Reception
14 May (Sat) 3:30pm – 5:00pm

Guided Tour by Artist
11 Jun (Sat) 1:45pm – 2:15pm