A BOOK ACT 1 Catalog

A BOOK ACT 有書

ACT 1 第一幕

DAVID BOYCE 卜以思

ANNEBELL CHAN 陳安瑤

CHAN SAI LOK 阿三

CLAIR CHAN 陳嘉翹

STACEY CHAN 陳樂珩

LAW MAN LOK 羅文樂

MICHELLE LEE 李可穎

CHINO NG 吳國璋

TSE CHUN SING 謝俊昇

TSE YIM ON 謝炎安

3.12.2022 - 14.1.2023

INTRODUCTION

Karin Weber Gallery is proud to collaborate with twenty mostly local artists in the largest group show in its history. ‘A Book Act’ consists of distinctive Acts 1 and 2 across a three month period from December 2022 to February 2023. Act 1 features mechanical installations, prints, and paintings, while Act 2 focuses on sound installations, augmented reality and three dimensional objects.

Employing a book theme as a starting point, the works of participating artists offer a highly diverse, thought provoking, and often entertaining discourse.

Artistic angles include the exploration of physical book characteristics, such as their covers, or the mechanism of page turning. Artists also frequently reference personal subjects, such as A Diary by Hong Kong artist Chan Sai Lok in conversation with himself, sex education manuals, or sticker collection albums. Hong Kong artist Law Man Lok shares his memory of being unable to afford David Hockney’s highly coveted A Bigger Book, which led him to recreating his own version in a more accessible format.

Books capture and inspire the imagination of their creator and their readers. A Book Act 1 & 2 witnesses how books find a new expression expressed as an art form.

Karin Weber Gallery, December 2022

凱倫偉伯畫廊正與 20 位藝術家合作籌辦本畫廊展覽史上最多藝術家共同參與的 展覽，並分為第一幕（Act 1）和第二幕（Act 2），前者將於12月至明年1月進 行，後者則緊接從明年1月至2月舉辦。第一幕以機械裝置、版畫和繪畫為特色， 第二幕重點放在聲音裝置、擴增實境和三維物體上。

以「書」為載體，參展藝術家的藝術實踐構建了一個極其多樣化、發人深省和富 娛樂性的論述。書籍的物理特性如書封面和揭頁機制，以及書籍的題材如個人日 記、性教育、藝術家書籍，均是本展覽中藝術家們探討的主題。藝術家羅文樂買 不起大衛．霍克尼（David Hockney）的《A Bigger Book》，因此他決定自己 製作一本！而阿三的《日記簿》則是他與自己的對話。

書就是想像力。本次展覽是用以見證書籍如何表現為藝術形式的一個行動。

凱倫偉伯畫廊，2022年12月

The library was one of my favourite places as a child. I escaped into books and imagined places, people, worlds. For me it was like being an explorer, a discoverer. So much so that my parents, concerned about all this reading, would often tell me to stop and go outside and play. I still read widely to this day.

Reading freed my imagination. Each time I came back to a book it became more vivid. My friends who were avid readers and I would discuss the books we were reading and those discussions would often embellish the worlds I was building within my mind. Now I realise I was learning how to abstract and embellish a given scenario. My mentally constructed shade of, say, a blue sky described in a book was likely different to another reader. The undescribed ethnicity or, sometimes, gender of a character left room for interpretation. I came to understand great writers weren’t prescriptive in their descriptive writing. They left it to the readers to fill the gaps. So, yes, literature is abstraction. Our minds make it so. And so they should.

圖書館是我小時候最喜歡的地方之一。我逃進了書本，想像著地 方、人物、世界。對我來說，這就像成為了一個探險家，一個發 現者。以至於我的父母，關心我閱讀太多，經常告訴我停下來出 去玩。

直到今天我仍然廣泛地閱讀。

閱讀解放了我的想像力。每次我讀回一本書，它都變得更加生 動。我的朋友們是狂熱的讀者，我會與他們討論我們正在閱讀的 書籍，而這些討論往往會美化了在我腦海中構建的世界。

現在我意識到我正在學習如何抽象和修飾給予的場景。我會在心 裡構建色彩，比如說，一本書中描述的藍天，其他讀者可能感受 不同。未被描述的種族，或有時候角色的性別，留下被解讀的空

間。我開始明白偉大的作家們不會在描述性寫作，設下框架 。他 們留下空間讓讀者來填補。

所以，是的，文學是抽象的。我們的思想是驅使這樣。它們應該 這樣的。

DAVID BOYCE 卜以思

DAVID BOYCE 卜以思

I have used a book as material for my creation and physical characteristics, the physical action of flipping when it becomes a sculpture, it loses its connection that no one reads as it does not contain any content.

“我用書本作為物料，用改裝的方法去突顯書本的存在，抽取物理上的性格，書本被人翻閱這個物理的動 作，就彰顯它存在的意義。但當它成為一個雕塑，失去了與人的接觸，或者係一本已經無人會閱讀的 書，沒有了內容，像煙火被欣賞。

ANNEBELL CHAN

“and modified its appearance. By highlighting its flipping the pages signifies its existence. However, connection with human beings. It becomes a book content. It can be appreciated like fireworks.

我用書本作為物料，用改裝的方法去突顯書本的存在，抽取物理上的性格，書本被人翻閱這個物理的動 作，就彰顯它存在的意義。但當它成為一個雕塑，失去了與人的接觸，或者係一本已經無人會閱讀的

CHAN 陳安瑤

ANNEBELL CHAN 陳安瑤

See video at https://bit.ly/3Xe5c3T

“The diary records my work schedule, daily life and can speak to my own self, present at a certain moment has become so foreign to me that I could hardly of my personal history, left alone in a corner of 日記簿，記錄我的工作日程與生活點滴，偶爾還有一些創作字句。他朝我翻開某一頁，滿以為可以跟某 個時刻的自己說一句話，字跡竟然陌生得連照個面也難以忍耐。它，的而且確是個人歷史的一部份，擱 在家獨佔一角，卻可有可無。

CHAN SAI

and my writing. When a page is turned, I think I moment when I am writing. But the handwriting hardly bear to look at it. The diary is indeed a part my home, yet dispensable.

日記簿，記錄我的工作日程與生活點滴，偶爾還有一些創作字句。他朝我翻開某一頁，滿以為可以跟某

個時刻的自己說一句話，字跡竟然陌生得連照個面也難以忍耐。它，的而且確是個人歷史的一部份，擱

CHAN SAI LOK 阿三

acrylic board, ink on silk

38.5 x 6.5cm

While ‘lego’ verbally sounds like “let go”, the action This tricky contradiction draws my attention. Coincidentally, for people who do not know how to ‘lego’. Easier involves turning a page. In the book of destiny, brain capacity, sometimes we let go simply by forgetting, of How To Lego, with blocks instead of words, I

雖然Lego在口頭上聽起來像“let go (放手)”，但玩

的注意。巧合的是，《如何 Lego 》將是一本為不懂 Lego go(放手)是翻頁的儀式。在命運之書中，我們在拿起和 我們只是通過忘記來lego (放手)，讓時間為我們lego 字，不負責任地寫下了let go (放手)的指南。

CLAIR CHAN

action of playing Lego is somehow the opposite. Coincidentally, How To Lego could be a book Easier said than done, letting go is a ritual that destiny, we pick up and let go in loops. With limited forgetting, letting time ‘lego’ for us. In this book create an irresponsible guide to letting go. (放手)”，但玩Lego的動作卻恰恰相反。這個棘手的矛盾引起了我

Lego 的人準備的書。說起來容易做起來難，Letting (放手)是翻頁的儀式。在命運之書中，我們在拿起和let go(放手)的循環中。由於大腦容量有限，有時 lego。在這本《如何Lego》的書中，我用積木代替文

CHAN 陳嘉翹

CLAIR CHAN 陳嘉翹

How to LEGO 如何LEGO found materials 21.5 x 14.5 x 2022

1.8cm each

In Pharmacist Practice Book, I imagined myself formulas. While I continue to use pharmaceutical attempt at using the material as a colour pigment the work is drawn carefully and delicately, similar

在《藥劑師練習簿》中，我把自己想像成一個藥劑師為藥方寫筆記。

踐中，但這是第一次嘗試將這種材料用作紙上的彩色顏料。 品，彷彿藥劑師在醫學實驗室工作的樣子。

STACEY CHAN

myself as a pharmacist writing notes for medicine pharmaceutical materials in my art practice, this is my first pigment on paper. In the most minimalistic manner, similar to pharmacists working in a medical laboratory. 在《藥劑師練習簿》中，我把自己想像成一個藥劑師為藥方寫筆記。

雖然我繼續使用藥品在我的藝術實 踐中，但這是第一次嘗試將這種材料用作紙上的彩色顏料。 以最簡約的方式，小心翼翼地精心繪製作

“CHAN 陳樂珩

STACEY CHAN 陳樂珩

Pharmacist’s Practice Book 藥劑師的練習簿 aspirin on paper 49 x 27cm 2022

Being poor, I did not have the money to buy David I had to do it myself. The price of my work is more I have sold my work, I can afford to buy his album.

貧窮的我沒有錢購買David Hockney的巨型畫冊「 A

價要比他原來一本畫冊來得更貴，這樣，我在售出作品後，就有錢購買他的那本畫冊了。#土炮美學

LAW MAN

David Hockney’s giant album A Bigger Book. So more expensive than his original album. So once album. #aestheticsoflocallymade

A Bigger Book」，所以唯有自己做了。這作品的定 價要比他原來一本畫冊來得更貴，這樣，我在售出作品後，就有錢購買他的那本畫冊了。#土炮美學 LOK 羅文樂

LAW MAN LOK 羅文樂

Almost a Bigger Book (David Hockney (SUMO))

差少少大點點的書(大衛·霍克尼(相撲))

acrylic, ink on foam, copper, stainless steel 71 x 117 x 95cm

2022

“Postcards appear as a static image that can be circulated, using a piece of card to facilitate the flow of information. The choice of images reveals a kind of gaze, capturing representative objects and scenery of a certain era. The historic landmarks will eventually disappear and can only be rediscovered in another form. I found two Ehagaki

postcards presenting the architecture of the Library of the Governor-General of Taiwan printed during the Japanese colonial period in Taiwan, both of which were printed in collotype. I therefore particularly want to document the sites of my field research in Taiwan with the same technique. This travel album shows my vision as a traveller, and how I traced back to the place where the books in the Library of the Governor-General of Taiwan were circulated. One of the locations on the postcard is the former site of the Grand Tianhou Temple of Taipei, which was demolished due to the City Improvement Plan, and is now the National Taiwan Museum. Another site is the former site of the Library of the Governor-General of Taiwan (now Boai Building). I mailed these two postcards from Taiwan to the Karin Weber Gallery, so that the postcards have their own path like mine.

明信片作為一種可流轉的靜態圖像，以一紙協助訊息流動。圖像

的選擇透露了一種凝視，把某時代中具代表性之事物擷取。歷史 的地標終究消失，就只能借助其他物質再現。我找到兩張臺灣日 治時期印有總督府圖書館建築物的繪葉書（明信片），均以珂羅 版印製發行。我因而特別想以同樣技術和形式記錄我在臺灣田野 調查的地點。這一本旅遊紀念冊展示我作為旅人的視野，在行走 中回溯總督府圖書館藏書的流轉地。明信片的其中一個地點是因 市區改正拆卸的臺北大天后宮舊址，現為國立臺灣博物館。另一 地點為總督府圖書館舊址，即現今博愛大樓的所在地。我把這兩

張明信片從臺灣寄到凱倫偉伯畫廊，讓它們也像我一樣有自己行 走的路徑。

MICHELLE LEE 李可穎

MICHELLE LEE 李可穎

Travel Album 旅遊紀念冊(台北) collotype prints on 30.5 X 80.5

Album (Taipei)

旅遊紀念冊(台北)

on wooden panel

80.5 x 4.5cm

2022

Details of Travel Album (Taipei)

“by stand.

CHINO NG 吳國璋

Stand Around oil on wood board

20 x 15cm 2022

The sticker book is probably the first concept of lot of stickers that I loved and built my own collection. sticker has its origin and I remember them one Now we are gradually losing the experience of which is quick and convenient but it is difcult share things that I would like to share daily. I made the book, waiting for someone to exchange and makes everyone remember the story inside.

貼紙簿大概是小時侯第一個「收藏」的概念。我從前的貼紙簿收集了很多喜歡的貼紙，組成一個自己的 「collection」，再和朋友分享、交換，或者送贈朋友；每張貼紙都會有它的由來，我都一一記住。

現在我們漸漸失去這種分享和交換的經驗，現在的分享往往是虛擬的，很快很方便；但要記住卻很難。

所以我製作一本貼紙簿，我將我平日想分享的，都製成貼紙貼在簿內，等待有人和我交換分享，製造過 程讓大家記住中間的故事。

of “collection” when I was a child. I collected a collection. I exchanged them with friends. Each one by one.

sharing and exchange. Sharing is often virtual to remember. So I have made a sticker book to made them into stickers and pasted them inside and share with me. The manufacturing process

貼紙簿大概是小時侯第一個「收藏」的概念。我從前的貼紙簿收集了很多喜歡的貼紙，組成一個自己的 「collection」，再和朋友分享、交換，或者送贈朋友；每張貼紙都會有它的由來，我都一一記住。

現在我們漸漸失去這種分享和交換的經驗，現在的分享往往是虛擬的，很快很方便；但要記住卻很難。 所以我製作一本貼紙簿，我將我平日想分享的，都製成貼紙貼在簿內，等待有人和我交換分享，製造過

SING 謝俊昇

TSE CHUN SING 謝俊昇

Private Collection

私人珍藏 stickers, sticker book 15 x 10.5cm 2022

Do you remember love? Do you remember

TSE YIM ON

remember the weight of the page?

ON 謝炎安

TSE YIM ON 謝炎安

Do You Remember Fung Chak House?

可有記起豐澤樓?

mixed media on canvas

103.5 x 61 x 5.5cm, 24 pages 2022

at https://bit.ly/3YgVuzf

Fung Chak House?

INSTALLATION PHOTOS

ARTISTS

DAVID BOYCE 卜以思

Born in 1960, New Zealand

Currently lives and works in New York

Education

Honours Degree in History, Victoria University of Wellington, New Zealand

Solo Exhibitions (selected)

2013

‘From The Shoulders Of Giants’, Blindspot Gallery, HK

2012

‘Affective Portraits A Collaboration With Adrian Wong’, Osage, HK

2011

‘Short Stories’, Suite Gallery, Wellington, New Zealand

‘Affective Portraits A Collaboration With Adrian Wong’, ltd Gallery, Los Angeles, US

Group Exhibitions (selected)

2022

‘A Book Act 1’, Karin Weber Gallery, HK

‘WoA’22’, The Stallery, HK

‘Sunset Park Open’, MakerSpace, Brooklyn, New York, US

2021

‘A Cow’s Head And A Horse’s Jaw’, Karin Weber Gallery, HK

‘WoA!’, The Stallery, HK

‘Works On Paper’, PRÉCÉDÉE, HK

2020

‘WFH’, Karin Weber Gallery Online Exhibition, HK

Artist In Residence

2015

Vermont Studio Center. Johnson, Vermont, US

2013

Arteles Center. Haukijärvi, Finland

Savannah College of Art and Design, HK

Collections

Private and corporate collections in New Zealand, North America, Europe and Asia

1960年生於新西蘭 現生活並工作於紐約

學歷

新西蘭威靈頓大學歷史學榮譽學位

個展 (摘錄)

2013

「From The Shoulders Of Giants」，香港刺點畫廊

2012

「Affective Portraits A Collaboration With Adrian Wong」，香港奧沙畫廊

2011

「Short Stories」，新西蘭威靈頓Suite畫廊

「Affective Portraits A Collaboration With Adrian Wong」，美國洛杉磯ltd畫廊

聯展 (摘錄)

2022

「有書Act 1」，香港凱倫偉伯畫廊

「WoA’22」，香港The Stallery畫廊

「Sunset Park Open」，美國紐約布魯克林MakerSpace

2021

「牛頭馬嘴」，香港凱倫偉伯畫廊

「WoA!」，香港The Stallery畫廊

「Works On Paper」，香港PRÉCÉDÉE

2020

「WFH」，香港凱倫偉伯畫廊網上展覽

藝術家駐留計劃

2015

美國佛蒙特州Vermont Studio Center

2013

芬蘭豪斯耶爾維Arteles Center

香港薩凡納藝術設計學院

收藏

私人、公共機構及集團收藏(新西蘭、北美洲、歐洲及亞洲)

ANNEBELL CHAN 陳安瑤

Born in 1993, Hong Kong

Currently lives and works in Hong Kong

Education

2017

Bachelor of Arts (Fine Art), RMIT University (Programme co-presented with Hong Kong Art School)

2014

High Diploma in Fine Art (Sculpture), Hong Kong Art School

2012

HKICC Lee Shau Kee School of Creativity

Group Exhibition (selected)

2022

‘A Book Act 1’, Karin Weber Gallery, HK

2021

‘3CM Away From The Wall’, Hong Kong Arts Centre, HK

‘Fine Art Asia’, HK

2020

‘Dear Dong’, Parallel Space, HK

‘Material and Physics’, The Gallery of Hong Kong Art School, HK

2018

‘Somewhere Out There’, Gallery by the Harbour, HK

2017

‘Fresh Trend 2017 Art Graduates Joint Exhibition’, K11 Art Space, HK

‘We Don’t Make Mistakes. We Just Have Happy Accidents.’, HK

‘“REVERIE” Bachelor of Arts (Fine Art) Graduation Exhibition 2017’, Hong Kong Arts Centre, HK

2016

‘From Mark Rothko to a lump of the indescribables’, HK

‘World & Heaven – Hong Kong Sculpture Biennial 2016’, HK

‘Six Foo Tak Guinea Pigs’, Foo Tak , HK 2014

‘Community Art Experimental (2) CHOW KAI CHIN (2)’, HK

2012

‘Our Big Top Carnival – HKICC Lee Shau Kee School of Creativity S6 Graduation Exhibition’, HKICC Lee Shau Kee School of Creativity, HK

Artist In Residence

2017

Spring Workshop, HK

1993年生於香港

現生活並工作於香港

學歷

2017

畢業於澳洲墨爾本理工大學藝術及香港藝術學院藝術文學士（主修雕塑）

2014

畢業於香港藝術學院藝術高級文憑

2012

畢業於香港兆基創意書院

聯展 (摘錄)

2022

「有書Act 1」，香港凱倫偉伯畫廊

2021

「離牆3厘米的雕塑」，香港藝術中心

「典亞藝博」，香港

2020

「致阿冬」，香港Parallel Space

「物料與物理」，香港藝術學院藝廊

2018

「還有 別處」，香港海港城‧美術館

2017

「出爐2017藝術畢業生聯展」，香港K11 Art Space

「We Don’t Make Mistakes. We Just Have Happy Accidents. 」，香港

「風乎舞雩藝術交學畢業展2017」，香港藝術中心

2016

「等候當代發落」，香港

「天上人間-香港雕塑雙年展2016」，香港 「六個富德實驗體」，香港富德樓

2014

「社區藝術實驗計劃(二) 週街展(二)」，香港

2012

「Our Big Top Carnival - 兆基創意書院畢業展」，香港兆基創意書院 藝術家駐留計劃

2017

Spring 工作室駐場計劃

CHAN SAI LOK 阿三

Currently lives and works in Hong Kong

Education

2009

Master of Arts in Gender Studies, The Chinese University of Hong Kong

2008

Master of Fine Arts (MFA), The Chinese University of Hong Kong

2001

Bachelor’s Degree in Fine Arts, The Chinese University of Hong Kong

Solo Exhibitions (selected)

2021

‘Art Next Expo 2021’, Lanson Place Hotel, Causeway Bay, HK

2020

‘Everyday Practice at 20’, Hidden Space, HK

2019

‘“Seven Reds Towards Light” poetry installation’, ARoS Art Museum, Aarhus, Denmark

‘Everyday Practice’, Flux Factory, New York, USA

‘Land on Longing and Exile’, Experimental Gallery, Hong Kong Arts Centre, HK

Group Exhibitions (selected)

2022

‘A Book Act 1’, Karin Weber Gallery, HK

‘LOVE+: Awakening Exhibition’, Hong Kong Arts Centre, HK

‘Be 40 Mixed Media Exhibition’, Fringe Club, HK

‘“Made in Hong Kong” special collection’, Art Central, HK

2021

‘The Name Red’, Fringe Club, HK

Awards

2017 UOB Art in Ink Award

Awardee of the Ting Yen Yung Memorial Creative Award

The Awards for Creative Writing in Chinese Professor Mayching Kao Art History Award

Artist In Residence (selected)

2019

Artist-collective-in-residence at ARoS Aarhus Art Museum, Aarhus, Denmark

現生活並工作於香港

學歷 2009

香港中文大學性別研究文學碩士

2008

香港中文大學藝術碩士（藝術系）

2001

香港中文大學文學士

個展 (摘錄)

2021

「2021新藝潮博覽會」，香港銅鑼灣香港逸蘭銅鑼灣酒店

2020

「Everyday Practice at 20」，香港Hidden Space

2019

「通往光的七道紅」詩歌裝置，丹麥奧胡斯ARoS Art Museum

「Everyday Practice」，美國紐約Flux Factory

「一夕餘地」，香港藝術中心實驗畫廊

聯展 (摘錄)

2022

「有書 Act 1」，香港凱倫偉伯畫廊

「LOVE+: Awakening Exhibition」，香港藝術中心

「邊渡四十年」混合媒介展覽展覽，香港藝穗會

「香港製造」，香港Art Central

2021

「The Name Red」，香港藝穗會

獎項

2017大華銀行年度水墨藝術大獎 丁衍庸藝術創作獎

中文文學創作獎

高美慶教授藝術史獎學金

藝術家駐留計劃 (摘錄)

2019

ARos Art Museum藝術家組合駐留，丹麥阿路斯

CLAIR CHAN 陳嘉翹

Born in 1995, Toronto, Canada

Currently lives and works in Hong Kong

Education

2017

Bachelor’s Degree in Fine Arts (Visual Arts), The Chinese University of Hong Kong

Solo Exhibitions

2021

‘It’s Always You’, K11 Art Mall, HK

‘You are not alone’, RNH Space, HK

2019

‘Darling, Don’t Come So Fast’, Para/site, Art Basel, HK

Group Exhibitions (selected)

2022

‘A Book Act 1’, Karin Weber Gallery, HK

‘HIGH RES WORLD: GOK DOU LIVE’, Asia Society, Art Central, HK

‘Meet Me Under the Cherry Tree’, Ground Floor, Vancouver, Canada

2021

‘ZE/RO’, Ben Brown Fine Arts, HK

‘Please Mind the Gap’, School of Creative Media MFA Graduation Show, HK

2020

‘Un___able Folder S2: You As Well’, Negative Space, HK

2019

‘Very Natural Actions’, Tai Kwun JC Contemporary, HK

‘We [ breath ] in the space between’, ASC MIR Project Space, London, UK

‘Yummy Gummy’, Women Festival 2019, Eaton Hotel, HK

‘TNDR’, Kino Roland, Zurich, Switzerland

2018

‘A Tree Fell in the Forest, and No One’s There’, Power Station of Art, Shanghai, China

‘Post-Flu Syndrome’, Art Center Experimental Gallery, HK

2017

‘The Best is yet to come’, Residency Programme Exhibition, K11 chi art space, HK

‘Happily Ever After’, Blind Spot Gallery, HK

1995年生於加拿大多倫多

現生活於香港

學歷

2017

香港中文大學藝術（藝術系）

個展

2021

「It’s Always You」，香港K11 Art Mall

「你不是一個窿」，香港RNH Space

2019

「慢慢黎啦，打令」，香港Para/site, Art Basel

聯展 (摘錄)

2022

「有書 Act 1」，香港凱倫偉伯畫廊

「角度」，香港亞洲協會，Art Central

「Meet Me Under the Cherry Tree」，温哥華Ground Floor

2021

「ZE/RO」，香港Ben Brown Fine Arts

「留意間隙」，香港城市大學創意媒體學院藝術創意媒體碩士畢業展暨學生展

2020

「得不到Folder 2.0 依然是你」，香港Negative Space

2019

「藏木於林」，香港大館當代美術館

「We [ breath ] in the space between」，英國倫敦ASC MIR Project Space

「夾軟糖」女人節2019，香港 Eaton Hotel酒店

「TNDR」， 蘇黎世Kino Roland, Zurich

2018

「林中的樹倒下而沒有人在」，中國上海當代藝術博物館

「Post-Flu Syndrome」，香港藝術中心實驗畫廊

2017

「之後將會發生美好的事」駐留成果展覽，香港chi K11美術館

「從始幸福快樂」，香港Blind Spot Gallery

STACEY CHAN 陳樂珩

Born in 1995, Australia

Currently lives and works in Hong Kong

Education

2017

Bachelor of Arts (Honours) in Visual Arts, Hong Kong Baptist University, HK

Solo Exhibitions (selected)

2021

‘Placebo’, Gallery Exit, Hong Kong

2018

‘In-Itself’, Toni Areal Gallery, Zürich, Switzerland

Group Exhibitions (selected)

2022

‘A Book Act 1’, Karin Weber Gallery, HK

2020

‘A Return to Forms’, Negative Space, HK

‘Hong Kong Art Basel’,1a Space, HK

‘Museum of Half Truths’, 1a Space, HK

‘Castles In The Air’, Karin Weber Gallery, HK

2019

‘Chinese Whispers’, Austrian Museum of Contemporary Art (MAK), Vienna, Austria

‘International Contest of Contemporary Art(YICCA)’, Prsten Gallery HDLU Museum, Croatia

Awards

2018

Finalist, YICCA Contest, Italy

2017

AVA Award, Hong Kong Baptist University AVA BA Graduation Show, HK

Vitamin D Prize, Hong Kong Baptist University AVA BA Graduation Show, HK

Artist In Residence

2018

Zürich University of the Arts, Switzerland

Collections

Uli Sigg’s Private Collection Academy of Visual Art Studies Collection

Private Collections

1995年生於澳洲 現生活並工作於香港

學歷

2017

香港浸會大學視覺藝術文學士（榮譽）

個展 (摘錄)

2021

「安慰劑」，香港安全口畫廊

2018

「物自身」，瑞士蘇黎世Toni Areal 畫廊

聯展 (摘錄)

2022

「有書Act 1」，香港凱倫偉伯畫廊

2020

「A Return to Forms」，香港Negative Space 「香港巴塞爾藝術展」，香港1a空間

「Museum of Half Truths」，香港1a空間

「空中樓閣」，香港凱倫偉伯畫廊

2019

「中國私語」，奧地利維也納應用藝術博物館(MAK)

「International Contest of Contemporary Art(YICCA) 」，克羅地亞Prsten Gallery HDLU博物 館

獎項

2018

入選義大利YICCA比賽

2017

香港浸會大學視覺藝術院獎 香港浸會大學維他命D獎

藝術家駐留計劃

2018

瑞士蘇黎世藝術大學

收藏

烏利．希克私人收藏 香港浸會大學視覺藝術院收藏

私人收藏

LAW MAN LOK 羅文樂

Born in 1978

Currently lives and works in Hong Kong

Education

2007

MFA, Goldsmiths College, University of London

2001

Bachelor’s Degree in Fine Arts (Visual Arts), The Chinese University of Hong Kong

Exhibitions (selected)

2022

‘A Book Act 1’, Karin Weber Gallery, HK

2017

‘The ABCs of Law’ by Lawman, Things that can happen, HK

2015

‘First, Then and After’, Gallery Exit, HK 2013

Salon: Jan Lesák and Law Man Lok, International Studio and Curatorial Program, NY, USA

Awards

Silver Award of the Animation Category in the Hong Kong ICT Awards 2013: Best Digital Entertainment Award

The 16th DigiCon6 ASIA Awards (Hong Kong)

Artist In Residence

2015

Vermont Studio Centre Residency supported by Art Development Council, USA

2014

Largo das Arte Artist-in-residence supported by Home Affair Bureau and Art Development Council

2012

“Art Hotpot” - an art exchange program between visual artists from Sopot and Hong Kong, Zatoka Sztuki and C&G Artpartment, Sopot

International Studio and Curatorial Program (ISCP), supported by the Asian Cultural Council, NY, USA

2008

Project “Out of institution”, The Philosophy Department, The Lingnan University, HK

1978年香港出生 現生活並工作於香港

學歷

2007

英國倫敦大學金匠學院藝術碩士

2001

香港中文大學藝術系學士 展覽（擇錄）

2022

「有書 Act 1」，香港凱倫偉伯畫廊

2017

「咩囉」羅文樂個展，香港咩事藝術空間

2015

「First, Then and After」，香港安全口畫廊

2013

「Salon: Jan Lesák and Law Man Lok」，美國紐約ISCP

國際藝術工作室

獎項 2013年香港資訊及通訊科技獎動畫組銀獎：最佳數碼娛樂獎 第16屆DigiCon6 亞洲大賞

藝術家駐留計劃

2015

美國佛蒙特工作室中心

2014

巴西Largo das Arte

2012

「打邊爐」，香港與波蘭藝術交流項目 美國紐約ISCP國際藝術工作室

2008

「Out of institution」，香港嶺南大學哲學系視覺文化課程作駐場藝術家

MICHELLE LEE 李可穎

Born in 1983, Hong Kong

Currently lives and works in Hong Kong

Education

2018

Master of Fine Arts, The Chinese University of Hong Kong

2006

Bachelor of Arts (Hons) in Fine Arts, The Chinese University of Hong Kong

2005

Participated in reciprocal Exchange program to study at Carnegie Mellon University, Pittsburgh, Pennsylvania, United States

Group Exhibitions (selected)

2022

‘A Book Act 1’, Karin Weber Gallery, Hong Kong

‘To the Ordinary People Walking in Wanhua’, Taipei, Taiwan

‘The Liminality of X’, Waley Art, Taipei, Taiwan

2019

‘Exit Strategies’, H Queen’s, Hong Kong

‘Courses of Action’, Goethe-Institut, Hong Kong

‘Café do Brasil’, Para Site, Hong Kong

2018

‘Food Matters’, Karin Weber Gallery, Hong Kong

‘Made to be Filled in’, The Chinese University of Hong Kong, Hong Kong

‘Back to the Void’, Floating Projects, Hong Kong

‘Seoul Media City Biennale’, Seoul Museum of Art, Seoul, South Korea

Awards

2010

Judges Prize in Impression-Eileen Chang-Inaugural Painting Award

2006

Ramon Woon Creative Prize

Collections

Annie Wong Leung Kit Wah Art Foundation

Private Collections (HK, USA)

1983年生於香港 現生活並工作於香港

學歷

2018

香港中文大學藝術碩士

2006

香港中文大學（榮譽）藝術學士

2005

參與美國賓夕法尼亞州匹茲堡Carnegie Mellon University交換生計劃

聯展 (摘錄)

2022

「有書Act 1」，香港凱倫偉伯畫廊 「給平凡人的萬華散策」，台灣台北

「X的閾限」，台灣台北水谷藝術

2019

「出。略」香港H Queen’s 「行動教程」，香港歌德學院

「巴西咖啡室」，香港Para Site

2018

「在乎吃喝」, 香港凱倫偉伯畫廊

「走進去就卡住了」, 香港中文大學

「推回到空處」, 香港據點。句點

「Seoul Media City Biennale」, 韓國首爾美術館

獎項

2010

印象．張愛玲．首屆繪畫獎評審獎 2006

翁凌宇藝術創作獎

收藏

梁潔華藝術基金會收藏 私人收藏（香港、美國）

CHINO NG 吳國璋

Born in 1987, Hong Kong

Currently lives and works in Hong Kong

Education

2011

Academy of Visual Arts, Hong Kong Baptist University

Solo Exhibitions

2020

‘Until U R Safe’, Parallel Space, HK

2016

‘An installation of paint’, A Walk with A3 Space, HK ‘Stone After Stone’, A Walk with A3 Space, HK

Duo Exhibitions

2018

‘Nature/Objects’, Kubrick, HK

Group Exhibitions (selected)

2022

‘A Book Act 1’, Karin Weber Gallery, HK

‘38.4’, Art Space 1999 & Wure Area, HK

2018

‘Selected by ASYAAF & Hidden Artists Festival’, Seoul, Korea

‘A month an artist joint exhibition’, HK

2017

‘Chill at work’, HK

2015

‘That Guy’, Koo Ming Kwan Exhibition Gallery, Hong Kong Baptist University, Hong Kong

Artist In Residence

2015

Artist residency of Essentis Ecohotel, Berlin, Germany

1987年生於香港 現生活並工作於香港

學歷 2011

香港浸會大學視覺藝術院

個展 2020

「Until u r safe」，香港Parallel Space

2016

「A installation of paint」，香港A Walk with A3 Space

「Stone after stone」，香港A Walk with A3 Space

雙個展 2018

「自然/物」 ，香港Kubrick

聯展 (摘錄)

2022

「有書Act 1」，香港凱倫偉伯畫廊

「38.4」，香港Art Space 1999 & 香港 Wure Area

2018

「Selected by ASYAAF & Hidden Artists Festival」，韓國首爾

「A month an artist joint exhibition」，香港 2017

「Chill at work」，香港

2015

「嗰條友」，香港浸會大學顧明均展覽廳

藝術家駐留計劃

2015

德國柏林Essentis Ecohotel

Born in 1995, Hong Kong

Currently lives and works in Hong Kong

Education

2021

Master of Arts (MA) in Visual Arts , Academy of Visual Art, Hong Kong Baptist University, Hong Kong

2017

Bachelor of Arts (Hons) in Visual Art, Hong Kong Baptist University

Solo Exhibition

2020

‘Out Of Focus’, PMQ, HK

Group Exhibitions (selected)

2022

‘A Book Act 1’, Karin Weber Gallery, HK

Fine Art Asia, Karin Weber Gallery, HK

“ARTique” - Fine Art Asia, Art Basel Hong Kong 2022, Hong Kong

2021

Fine Art Asia, Karin Weber Gallery, HK

UNSCHEDULED Fair, Karin Weber Gallery, HK

‘On the Grid’, HKBU MAVA Graduation Show 2021, Hong Kong Baptist University, HK

‘The Nest’, WURE AREA, HK

Art Basel, 1a space, HK

2020

‘ANOTHER DAY’, Contemporary by Angela Li, HK ‘Gently’, PMQ, HK

Awards

2020

Media Arts Award, FutureTense Awards 2020

2017

AVA Award, Academy of Visual Arts BA Graduation Exhibition

WMA for Young Talent Award, Academy of Visual Arts BA Graduation Exhibition

Karin Weber Art Award, Fresh Trend 2017

Artist In Residence (selected)

2018

Sonic Transmission Artist Exchange Program, Vancouver International Centre for Contemporary Asian Art, Vancouver, Canada

1995年生於香港 現生活並工作於香港

學歷

2021

香港浸會大學視覺藝術院 視覺藝術文學碩士

2017

香港浸會大學視覺藝術院視覺藝術文學士(榮譽)

個展

2020

「鬆郁曚」，香港元創方

聯展 (摘錄)

2022

「有書Act 1」, 香港凱倫偉伯畫廊 典亞藝博，香港凱倫偉伯畫廊

「ARTique」聯展 - 典亞藝博,巴塞爾藝術展2021,香港會議展覽中心

2021

典亞藝博，香港凱倫偉伯畫廊

Art Basel，香港1a Space UNSCHEDULED Fair，香港凱倫偉伯畫廊 「在網格之上」，香港浸會大學視覺藝術院文學碩士畢業展二零二一，香港浸會大學 「温床」，香港WURE AREA

2020 「易日」，香港李安姿當代空間 「輕輕」，香港元創方

獎項 2020

媒體藝術獎，未來時態，FutureTense Awards 2020

2017

AVA Award，香港浸會大學視覺藝術院本科畢業展

WMA媒體藝術新秀獎，香港浸會大學視覺藝術院本科畢業展 凱倫偉伯藝術獎，出爐2017藝術畢業生聯展

藝術家駐留計劃 (摘錄)

2018

Sonic Transmission Artist Exchange Program ，加拿大溫哥華亞洲當代藝術國際中心

Born in 1974, Hong Kong

Currently lives and works in HK

Education

2001

MFA, The Chinese University of Hong Kong

1998

BA (Hon.) in Fine Arts, The Chinese University of Hong Kong

Solo Exhibitions (selected)

2018

‘Wonderful World Of Color By Tse Yim On’, the Gallery by the Harbour, Harbour City, HK

Duo Exhibitions (selected)

2021

‘Double Men — A Painting Exhibition by Wilson Shieh and Tse Yim On in Celebration of the 20th Anniversary of MFA Graduation’, PMQ, HK

Group Exhibitions (selected)

2022

‘A Book Act 1’, Karin Weber Gallery, HK

‘New Order - Age of Consent’, SHOUT Contemporary, HK

‘A Renaissance in Mineral Pigment Art’, Hong Kong Baptist University, HK

2020

‘Now Showing’, Karin Weber Gallery, HK

2019

‘Together We March Forward: New Asia 70thAnniversary Art Exhibition’, Hart Hall, H Queen’s, HK

‘Under The Bridge Art Project: Once Upon A Lychee’, Mei Foo Bus Terminus, HK

Awards

1998

Urban Council Award, Contemporary Hong Kong Art Biennial Exhibition 1998, Hong Kong Museum of Art, HK

Collections

Hong Kong Museum of Art, HK

Private collections in HK and Singapore

1974年生於香港 現生活並工作於香港

學歷

2001

香港中文大學藝術碩士

1998

香港中文大學文學士(榮譽)學位，主修藝術

個展 (摘錄)

2018

「謝炎安的彩色美好世界」，香港海港城美術館

雙個展 (摘錄)

2021

「男子雙打─石家豪與謝炎安藝術碩士二十周年繪畫展」,香港元創坊

聯展 (摘錄)

2022

「有書 Act 1」，香港凱倫偉伯畫廊

「新秩序 – 應允年代」，香港SHOUT Contemporary 「緣古形新 – 岩彩繪畫展」，香港浸會大學

2020

「即日上映」，香港凱倫偉伯畫廊

2019

「結隊向前行：新亞七十藝術展」，香港H Queen’s 地下展覽廳 HART Hall 「荔枝」橋裝藝術計劃，香港美孚巴士總站

獎項 1998

香港當代藝術雙年展 1998，市政局藝術獎 (香港藝術館)

收藏

香港藝術館

香港和新加坡私人收藏

KARIN WEBER GALLERY 凱倫偉伯畫廊

Established in 1999 by German-born Karin Weber and now in its 24th year, Karin Weber Gallery is one of Hong Kong’s oldest contemporary art galleries. Situated on Aberdeen Street, in the heart of SoHo, the gallery presents a yearround programme of curated exhibitions, talks, and collector events.

As unique network of partners based in London and Mumbai allows us to source emerging and established contemporary art from around the world. We are equally passionate about presenting works by local artists. The gallery assists artists through exhibitions, art fairs, and residency programmes throughout the world. Small in size, yet global in outlook, Karin Weber Gallery is one of Hong Kong’s truly international boutique galleries.

凱倫偉伯畫廊在1999年由德國的Karin Weber女士創立，今年踏入第24年，是香港 其中一間最具歷史的當代藝術畫廊。畫廊位於蘇豪區鴨巴甸街，我們每年策劃不同的 展覽、講座及活動給藏家參與。

我們的合夥人於倫敦和孟買有辦事處，使我們能夠幾乎遍布世界各地為客戶提供服務 並蒐尋新晉和有豐富經驗的藝術家。我們熱愛把香港本地的藝術推介給全球的藏家。 我們畫廊代表的藝術家通過藝術博覽會，與其他畫廊的交流，還有駐留計畫發展自己 的事業。面積雖不大，但放眼全球，凱倫偉伯畫廊是香港真正國際化的精品畫廊之 一。