撿來的時間，撿來的故事 Composing Stories with Fragments of Time
29. 6 - 12. 8. 2017 陳育強 尹麗娟 余偉聯 程展緯 徐世琪 劉智聰 吳嘉敏 賴明珠 Kurt Chan Annie Wan Francis Yu Luke Ching Angela Su Lau Chi Chung Carmen Ng Elva Lai
撿來的時間，撿來的故事
信紙的重量只有幾克，然而時間相隔越久，舊信件拿在手上的感覺就會變 得更重。 時間的距離從信件郵寄的一刻出現。有書信就有寄件與收件者，寫信與讀 信兩者。寫信並投寄給一位可信任的對象，信件便附上個人的情感，示意、說 理及抒情，各色其色。書信是筆桿在紙上的活動，它在那處出現，那處就遺下 筆跡。至今人們仍相信筆跡可看出人的個性，信紙的顏色和質地賦予回憶多重 意思。寫信與讀信是很私密的事。在面書及智能電話即時通訊的年代，私密已 變成奢侈品，＂親愛的＂及＂你的誠摯的＂已消失得無影無踪。 一封廿年前由移民外國的香港人所寫的信，是展覽「撿來的時間，撿來的 故事」的引子。信是從云云舊信中得來，寫信人不詳，他既非學者，也非藝術 家或名人。信中內容沒記載任何大事，可是書寫的一刻是回歸前港人經歷的見 證。大眾喜歡聽故事，藝術家有豐富的想像及創造力，所以最懂得說故事。香 港已故作家也斯(1949-2013)認為香港的故事不好說1，是由於香港的多元、拼 湊、混雜及包容的特性。參展藝術家當中，有對回歸前後仍有深刻印象的陳育 強、尹麗娟及程展緯；有當時正在外地唸書而對回歸一刻感覺疏離的余偉聯及 徐世琪；有當時仍未懂事的吳嘉敏及賴明珠。展覽的著眼點並非在於紀念回 歸，後者提供了背景敍事僅此而已。 從藝術家的「回信」中，清楚感受到主旋律的欠奉。陳育強從信的文本出 發，重組了句子與句子之間的停頓，刪減及加添寥寥幾字，節奏改變了，使原 本平凡的字詞變得頗堪玩味。在《吃飯種花》作品裏，藝術家寫到兩句：「活 把年紀相聚少」、「此間繁花綿飾綠」，時光有限期，唯許多年後，那種對平 凡的嚮往是永恆的。書法用字樸素簡練，圖像採用白描的畫法正呼應寫信人的 心境。藝術家嘗試在形式中尋找詩意。這造就出藝術家對「書」的見解。另外 兩幅作品《大仙人》及《桃園》，藝術家運用電腦造字軟件，憑直覺及對設計 的心得，將書法加以改動，然後直接打印在宣紙上，並製成五張同樣的版本。 對傳統書法的逆向思維，構成對「法」的當代演繹。
廿年前所寫的信於展覽當中展出 Original letter on display
已故哲學家及現代新儒家代表唐君毅(1909-1978)的著作在一般人印象中 或許是非常學術性的。唐氏的《至廷光書》是作者寫給未婚妻的書信，除讀到 他的愛情觀，他對愛情的直率亦表露無遺。尹麗娟把部分書信抄寫了不下五十 次，然後把手抄本移印在作品上。驟眼望去像信紙，卻是經特別處理的陶瓷所 造。藝術家選擇將作品郵寄，所以它又是一封信，展示的作品上面有由於郵遞 造成一的絲絲裂痕。這件作品帶出了藝術家更多的個人感受，羨慕唐氏可以透 過書信與妻子分享對感情的想法及人生哲理。
《香港文化十論》，也斯著，2012年出版。
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寫信者在信中提到自己活像一位「吃飯神仙」，觸發了余偉聯創作出同名 的繪畫來。正所謂民以食為天，而且食物不單止是食物，更包含了回憶、文 化及感情。或許藝術家繪畫的米飯形象令人看起來像一雙雙的鞋子。若是鞋的 話，可會予人聚散離合的感覺呢？現成物件的拼合標誌了藝術家的繪畫語言。 藝術家在畫布旁邊裝置了香港人熟悉牌子「壽星公」煉奶的罐頭，聯繫顯而易 見。弔詭的是，煉奶牌子的始創人是香港人，有人稱他為情痴，在「九七」陰 影下移居美國。他的故事為人樂道，跟那封信及這幅畫的巧合，莫非是冥冥中 的安排？ 九七前香港的通用郵票現已喪失效用，程展緯卻觀察入微，並賦予它們新 的意義。《下雨天》是由一張貼上舊郵票的凌霄閣明信片，及一疊九十九枚舊 郵票組成的作品。郵票取其數目是等於英國與中國於一八九八年簽署租借新界 的期限。藝術家在明信片正面及郵票畫上滂沱大雨的畫面，除記載了七一回歸 當天的天氣，還反映了部分香港人當時的心情。藝術家認為凌霄閣外貌酷似舊 約聖經的挪亞方舟，而上帝為了懲罰人類，下了四十天的雨。明信片上面印有 二零一七年的郵戳，彷彿歷史重複地上演。郵戳為憑，《片語》的舊郵票中， 在香港開埠的畫面上蓋有「請勿濫用藥物」，及英女皇圖案上的「請把你對綠 皮書的意見速寄民匯署」，均是香港歷史的重要印記。《維多利亞港》中波浪 形的郵戳代表了港人在國藉、身份及前途的浮沉狀態。郵票象徵國家的主權， 在《想像世上沒有國家，想像世上沒有天堂》當中一枚一九九一年發行的港英 旗郵票，是當時首枚不採用英女皇側影的通用郵票。 徐世琪在《裏島》化身為故事構思者及錄像裏的訪問者，受訪的是由裏島 前來香港打工的漢子。一切包括裏島、它下沉的事及那名漢子都是虛構出來， 然而在互聯網上卻充斥著這個虛擬島嶼的歷史背景資料。在後真相年代，人們 在紀念時，究竟紀念什麼呢？作品回應展覽的同時，個人跟集體回憶未必一 致，不同人對過去的不同年代有憧憬等等，一連串值得人思考。 走遍香港各處廢墟，如快要因重建而要拆卸的住宅、主人移居外地而荒廢 了的大屋都化身為劉智聰的臨時影樓，就地取材。藝術家本人愛搜集收藏舊 物，當中包括大量黑白照片。把新舊照片放在一起構成一種對話的方式，而且 照片的組合有時是根據抽象化來處理。藝術家這創作模式與展覽本身有莫大的 共通點，就是原著者(包括信件及舊相片)的身份不詳卻又存在。 吳嘉敏童年大部分時間於父親的印刷廠渡過，放學後在那裏做家課及打理 瑣事。由於回歸時年紀尚少，藝術家對當年的回憶只剩父親因前途問題舉行的 家庭會議。當時父母、藝術家及姊姊一起談論他應否放棄經營多時的印刷廠而 移民外國。父親最終決定留低，卻於展覽之前一個月，因為年紀及傳統凸版印 刷的式微，結束了生意。藝術家及家人未曾試寫過信給對方，她幻想假若當天 家人圍坐討論的情景，換成了家人之間的書信往來會怎樣。藝術家緩慢地用 水彩把橫線逐條畫下，模擬出印刷的效果。完成的作品從遠處望去，是四封整
齊排列的信件，近觀下看見信中文字換成行內叫「攝」的空白字粒。作品盛載 著夕陽行業的故事 。 在德國萊比錫兩年的求學生活，造就出賴明珠創作了與之前大相徑庭的作 品。當地很多時候因為敍利亞難民問題變得緊張，本地人分成兩大陣形，歧視 與接納難民，於是當地充斥著不同的標語。藝術家認為香港的情況相同，新移 民及少數族裔不受尊重。雖然很多人想留下來，把香港當作家，但香港是移民 城市的身份似乎不會改變。 雖然無法得知寫信人的背景及寫信動機，但信裏你中有我，我中有你，是 不少港人的寫照。這封信所盛載的感情，於多年後的今天仍感受到那份真摰。 香港作家及文化評論人鄧小樺，曾在展覽的一次分享場合上指出：「舊信件很 多時候提供了入口讓人們擁有重新去重組世界的方法。信裏衍生出的世界與現 實世界是平行的。我們要保持對溝通的信念。」
A piece of paper weighs almost nothing. Yet the moment a person holds in their hand a letter written several decades ago, the feelings it evokes suggests the paper is heavily laden. The distance of time grows once a letter is posted. The process instantly creates a sender and a receiver. A writer and a reader. To write and post letter to a trusted someone, one inevitably attaches one’s emotions, which can be a combination of reasoning, expressing and signifying. Letter writing is made up of the movement of pen on paper – twists and turns, cross-outs and Tipp-Ex. Handwriting reveals individual character. The type and texture of paper used casts another layer of meaning onto the letter. To write and to read a letter is truly a personal matter. Days of intimacy are long gone with Facebook and Whatsapp and so are “Dear” and “Sincerely”. A letter written by an anonymous Hong Kong man twenty years ago sets the tone and focus for the exhibition ‘Composing Stories with Fragments of Time.’ Its author is not a scholar, a literary figure, an artist, or well-known in any way, and what he writes does not relate to any significant event or individual. However, the letter is testament to a landmark era in Hong Kong’s history, the return of the formerly British colony to China in 1997.
Late Hong Kong writer Leung Ping Kwan (1949-2013), pen name Yesi, once commented that it is not easy to recount a story about Hong Kong owing to its diversity and jumbled, inclusive, melting-pot like nature.1 Nonetheless, people love to hear stories and artists, with their abundant 1
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Composing Stories With Fragments Of Time
‘Ten Essays in Hong Kong Culture’, Yesi, 2012. 5
creativity and imagination, are good storytellers. Eight Hong Kong artists offer their artistic response as a reply to the letter. Their background varies. Kurt Chan, Annie Wan and Luke Ching still possess vivid memories of Hong Kong in the period immediately prior to 1997. Francis Yu and Angela Su remain detached from the handover nostalgia as they were living overseas. Carmen Ng and Elva Lai could barely walk at that time. Key to this exhibition is not a commemoration of the handover. It merely provides the backdrop for the artists’ stories. The absence of a mainstream stance is a prominent feature in the artists’ individual ‘replies’ to the letter. Actual letter text provides the main source of inspiration for Kurt Chan. By rearranging the pauses between sentences, adding and deleting single words, the artist encourages consideration of the aesthetic and rhythmic qualities of day-to-day language. In Eat Rice, Plant Flower, the text used to describe hours flying by without notice is juxtaposed with the sheer appreciation of instant beauty in nature. The image made by line drawing using Chinese ink complements the artist’s poem using plain and concise language. Based on Chan’s artistic instinct and understanding of design, he uses special software to generate calligraphy characters and output directly onto rice paper for the other two works, thus modifying calligraphy brushstrokes in an unconventional way. Late Chinese philosopher Tang Junyi (1909-1978), one of the leading exponents of New Confucianism, is normally known for being very scholarly. His work Zhi Tingguangshu (Letters to my Wife, Pen Name Tingguang) is a compilation of letters Tang wrote to his wife before their marriage. Readers not only learn of his philosophical view of love but also his candid expression of love. In her work (Lost) Art Of Writing Letters/Hand-copy Of Excerpts From Zhi Tingguangshu By Tang Junyi, artist Annie Wan copied excerpts of Tang’s letters using her own handwritting and transferred the image to ceramic using ceramic stain. At first glance, the work can easily be mistaken as paper because of its thinness. It was treated as a letter by Wan choosing to send it to the gallery using regular post. This resulted in tiny cracks, caused by the posting process. The final piece on display reveals Annie Wan’s very deep personal yearning for the sharing of thoughts and emotions between couples through letters. The author of the original letter stated he was like an immortal, inspiring Francis Yu to create a painting around the letter’s subject. As the saying goes, “food is the first necessity of the people;” food is more than just food. It implies memory, culture and emotions. The rice grains depicted in his work Rice and Milk resemble shoes, which, in turn, echo a feeling of parting and togetherness. Incorporating ready made objects with paintings is Yu’s 6
signature style. Several empty cans of condensed milk by Longevity brand are affixed onto the canvas and their association with the painting is obvious. The founder of this milk brand was a Hong Kong man and was described by others as a romantic lover who emigrated to the USA before 1997. The coincidence of his story and the Yu’s painting Rice and Milk makes one wonder about the role of destiny. Hong Kong postage stamps issued prior to 1997 are invalid nowadays due to the change of issuing country. Luke Ching uses close observation to ascribe new meanings to these demonetized stamps. Rainy Day is created from an old postcard featuring the Hong Kong Peak Tower and a stack of ninety-nine stamps, ninety-nine being the number of years the New Territories were leased to the United Kingdom by China in 1898. Ching drew pouring rain on the postcard and stamps in an accurate record of the weather condition on handover day 1st July 1997 and, equally, the mood of the majority of Hong Kong people. In this work, the Peak Tower resembles the appearance of Noah’s Ark in the Old Testament. God caused it to rain forty days to penalize the earth. History seems to repeat itself as a 2017 postmark is stamped onto the postcard. Luke Ching’s works Phrase and Victoria Harbour also contain postmarks used in pre-handover days. The former has the postmark “Say No To Drugs” on the stamp, featuring a depiction of Hong Kong when it was first opened as a trading port for the British, and another postmark, written in Chinese, which encouraged people to voice their opinion towards the green paper for political development in 1991. The latter features a particular postmark shaped like sea waves, which implies the up and down status of Hong Kong people towards their national identity and future. The significance of a stamp to represent sovereignty is demonstrated in ‘Imagine There’s No Countries, Imagine There’s No Heaven’. One of the stamps was the first in circulation without the profile image of Queen Elizabeth before 1997. Angela Su acted as both the story creator and interviewer in her video Caspiar. The interviewee is a man who claims to come from the island Caspiar. The island, its history and the man are all fictitious. Nonetheless, the internet offers a multitude of information about the virtual island. In the era of post truth, how much of the Hong Kong handover commemoration is genuine? The video invites contemplation of personal and collective memories, and individuals’ longing for a different period in the past. Lau Chi Chung visited numerous deserted ruins in Hong Kong to take photos. Some are apartments waiting to be demolished for redevelopment. Others are villas left behind as their owners migrated overseas. Lau himself is a collector of vintage objects, including black and white photos. His works create a dialogue by juxtaposing vintage photos with his own, 7
more recent photos, similar to the exhibition itself, where both the author of the original letter and the vintage photographer are unknown. Carmen Ng spent most of her childhood in her father’s printing factory, where she did her homework and helped out with small jobs. As Ng was only a little girl in 1997, her only memory is her father discussing whether he should give up his factory business and emigrate with the family. In the end, they decided to stay. However, her father decided to close his factory one month before this exhibition, in June 2017, because of his age and the decline of letterpress printing. Ng and her family have never written a single letter to each other. She imagined what it would be like if their gathering that day, twenty years ago, was replaced by letter writing. Lines in her work Missing Words are laboriously drawn with watercolour to simulate machine printing. When viewed from afar, the finished painting resembles four letters arranged in an orderly fashion. Details show they are made up of what look like spacers in letterpress printing. The experience of living in Leipzig, Germany, has significantly shaped Elva Lai’s work. The city’s residents are divided by of their treatment of and attitude towards Syrian refugees. Slogans with conflicting messages towards refugees can be seen everywhere. Lai draws parallels with new immigrants into Hong Kong, whose views, together with those of ethnic minorities, is frequently overlooked. Although people want to create their home, Hong Kong’s status as city of immigrants is not going to change. In the show ‘Composing Stories from Fragments of Time’, nothing is known about the background or motivation of the original letter’s author. Yet the letter portrayed many Hong Kong people’s frame of mind, and its emotions still resonate after a twenty year period. As Hong Kong writer and cultural critic Tang Siu Wa commented in a talk about the exhibition, “Old letters often provide an opening to help human beings reconstruct their views towards the world. A world derived from a letter and reality can exist hand in hand. We must uphold our belief in communication.”
Dear Michael & Margaret, Time flies. It has already been six months since I migrated to Australia. I now stand back from the world and live freely. However, I regret not being able to keep up the friendship I used to have back at home. I have settled down and sometimes I have flashbacks. I used to try to earn a lot of money when I was young. But in hindsight, I neglected my wife’s feelings. Time will not wait. We have lived together for almost forty years. As we get older, we will have less and less time together. I suddenly noticed your mother has aged a lot recently, and my body is not what it used to be. Every morning, I exercise, prune flowers, help to cook and do household chores with your mother. I am a family man now. Blooming flowers and greenery are everywhere. It seems like I am living in paradise. Sometimes I think of myself as an immortal who does not need to concern himself with real life anymore.
寫於1997年信件的英文翻譯本 English translation of the letter written in 1997
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如果仙人的快樂來自吃飯，我覺得是頗可憐的。 If the happiness of an immortal comes from having rice, this is quite sad.
陳育強 Kurt Chan
吃飯種花 Eat Rice, Plant Flower 水墨宣紙、拼貼 ink on rice paper, collage, scroll 180 x 50 cm 2017 10
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陳育強 Kurt Chan
陳育強 Kurt Chan
大仙人 The Great Hermit 噴墨打印、宣紙 ink jet on rice paper 50 x 40 cm, 5 editions 2017
桃園 Peach Garden 噴墨打印、宣紙 ink jet on rice paper 50 x 40 cm, 5 editions 2017 13
回歸到那些年，寫信並不是藝術，祗是實在的溝通。 Back in those days, letter writing was not an art form, it was a factual form of communication.
尹麗娟 Annie Wan
(遺失)書信藝術/手抄唐君毅“致廷光書”謫要 (Lost) Art Of Writing Letters / Hand-copy Of Excerpts From Zhi Tingguangshu By Tang Junyi 陶瓷、舊信封 ceramics, used paper envelope 25 x 17.7 cm, 24.3 x 17.5 cm, 25 x 18 cm 2017 14
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為什麼寫信人不吃麵包或牛扒，而去煮飯呢? 這引起我的好奇心。 Shouldn’t the author have bread or steak instead of cooking rice whilst living overseas? This I find intriguing.
余偉聯 Francis Yu
吃飯神仙 Rice And Milk 布面油畫、油墨、噴漆、煉奶罐 oil, texture ink, spray paint on canvas with milk cans 190.5 x 142 cm 2017 16
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郵票雖然是細小的物件， 但它蘊含重大議題，可以是有關權力及文化。 Stamps are small objects. Yet they embody major issues which can be about sovereignty and culture.
程展緯 Luke Ching
程展緯 Luke Ching
下雨天 Rainy Day 名信片、郵票、塑膠彩、信箱 postcard, stamp, acrylic, letter box 25 x 22 x 8 cm 2017
想像世上沒有國家, 想像世上沒有天堂 Imagine There’s No Countries, Imagine There’s No Heaven 郵票、信封 stamp, paper envelope 10.5 x 23 x 2.6 cm 2017
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程展緯 Luke Ching
程展緯 Luke Ching
維多利亞港 Victoria Harbour 舊郵票、信封 used stamp, paper envelope 20.5 x 28 x 3.6 cm 2017
片語 Phrase 舊郵票、信封 used stamp, paper envelope 10.5 x 23 x 2.4 cm 2017 21
對過去的回憶就算像氣味那麼平常的東西來得強烈及真誠。 The memory of the past is more intense and genuine from something as simple as taste and smell.
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舊相片於我有很大的吸引力，照片是誰人 拍不重要，反而給予我更大的想像空間。 Old photos have great appeal for me. It doesn’t matter who took the photos, allowing more room for my imagination.
徐世琪 Angela Su
劉智聰 Lau Chi Chung
裏島 Caspiar 單頻錄像 single channel video, 5’20” 5 editions + 2 AP 2017
沒文字的信 1 Letter Without Words 1 噴墨打印、舊相片、混合媒 介 、舊相架 inkjet print, vintage photo, mixed media with vintage frame 34.5 x 22.5 cm, unique 2017 23
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劉智聰 Lau Chi Chung
劉智聰 Lau Chi Chung
沒文字的信 2 Letter Without Words 2 噴墨打印、舊相片、混合媒介、舊相架 inkjet print, vintage photo, mixed media with vintage frame 37 x 31.5 cm, unique 2017
沒文字的信 3 Letter Without Words 3 噴墨打印、舊相片、混合媒介、舊相架 inkjet print, vintage photo, mixed media with vintage frame 46.5 x 39 cm, unique 2017 25
想着以前工廠的舊式印刷機，發出刷啦的列印聲。 畫畫時覺得自己是部打印機。 I keep thinking of the sound made by a letterpress print machine. I imagine myself a print machine when I paint.
我們對九七前那段日子的嚮往，反映出對現狀的不滿。 Our discontent is reflected in our pursuit of the good old days before the handover.
吳嘉敏 Carmen Ng
賴明珠 Elva Lai
失蹤文字 Missing Words 紙本水彩, 字粒 watercolor on paper, typesetting 34 x 83 cm 2017
Voice Welcome 絲印、棉布、貼紙 screenprint on cotton cloth, paper stickers 100 x 110 cm 2017
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陳育強 Kurt chan (b.1959) 曾參與逾百個展覽，包括第51屆威尼斯雙年展、第二屆亞太當代藝術 三年展等。陳氏曾擔任《香港視覺藝術年鑑》主編多年，並於香港中 文大學藝術系任教逾25年。現為Para Site藝術空間及香港美感教育機 構董事局成員，以及為亞洲藝術文獻庫和雅禮協會擔任顧問。 Kurt Chan has participated in over 100 exhibitions, including the 51st Venice Biennale and the 2nd Asia Pacific Triennial. Chan was the chief editor for Hong Kong Visual Arts Yearbook for several years, and taught at The Chinese University of Hong Kong for over 25 years. Chan is now a board member of Para Site Art Space and the Hong Kong Institute of Aesthetic Education, as well as an advisor to the Asia Art Archive and the Yale-China Association.
學歷 Education 1988 畢業於克蘭布魯克藝術學院藝術創作碩士 Master of Fine Arts, Cranbrook Academy of Art, Michigan, United States 1983 畢業於香港中文大學藝術學士 Bachelor of Arts in Fine Arts, The Chinese University of Hong Kong
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收藏 collections
香港藝術館 香港文化博物館 私人收藏 Hong Kong Museum of Art Hong Kong Heritage Museum Private collections
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尹麗娟 ANNIE WAN 現任職於香港浸會大學視覺藝術院為助理教授。曾代表香港於2014年 印度高知Kochi-Muziris雙年展、2014年曼徹斯特亞洲三年展及2016年 韓國光州雙年展。 Annie Wan currently teaches in the Academy of Visual Arts of Hong Kong Baptist University as an Assistant Professor. Wan has represented Hong Kong in the Kochi-Muziris Biennale in India in 2014, the Asia Triennial Manchester in UK in 2014, and the Gwangju Biennale in South Korea in 2016.
學歷 Education 1999 畢業於香港中文大學藝術碩士 Master of Fine Arts, The Chinese University of Hong Kong 1996 畢業於香港中文大學藝術學士 Bachelor of Arts in Fine Arts, The Chinese University of Hong Kong 1991 畢業於前香港理工學院工作室陶瓷高級文憑 Higher Certificate in Studio Ceramics, Hong Kong Polytechnic 1982 畢業於前香港理工學院設計文憑 Diploma in Design, Hong Kong Polytechnic
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收藏 Collections
香港藝術館 香港文化博物館 瑞士Burger Collection 瑞士蘇黎世Time Capsule Collection 英國曼徹斯特索爾福德大學 台灣鶯歌博物館 韓國SUROYO Ceramic Creative School 香港夏利豪基金會 私人收藏 Hong Kong Museum of Art Hong Kong Heritage Museum Burger Collection, Switzerland Time Capsule Collection, Zurich, Switzerland The University of Salford Art Collection, Manchester, UK New Taipei City Yingge Ceramics Museum, Taiwan SUROYO Ceramic Creative School, Korea Philippe Charriol Foundation, Hong Kong Private collections
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余偉聯 Francis Yu (b.1963) 現任職於香港浸會大學視覺藝術院為助理教授。曾於香港、英國、澳 洲及加拿大舉辦個人展覽。 Francis Yu currently teaches in the Academy of Visual Arts of Hong Kong Baptist University as an Assistant Professor. Yu’s works have been exhibited in the UK, Australia, Canada, and Hong Kong.
學歷 Education 2012 畢業於中國杭州中國美術學院油畫系繪畫創作 實踐與理論研究博士學位 Doctor of Philosophy in Practice and Theory of Painting, China Academy of Art, Hangzhou, China 1999 畢業於倫敦皇家藝術學院繪畫碩士學位 Master in Painting, Royal College of Art, London, UK 1993 畢業於多倫多約克大學純藝術學士學位， 主修視覺藝術 Bachelor of Fine Arts in Visual Arts, York University, Toronto, Canada
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收藏 Collections
加拿大多倫多約克大學 加拿大安大略省貴湖大學 英國倫敦TI Art Collection 香港菲力浦·夏利豪有限公司 中國杭州西湖當代美術館 私人收藏 York University, Toronto, Canada Guelph University, Ontario, Canada The TI Art Collection, London, UK Philippe Charriol Ltd, Hong Kong Westlake Museum of Contemporary Art, Hangzhou, China Private collections
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程展緯 Luke Ching (b.1972) 作品曾在香港巴塞爾藝博會、台北當代藝術館、德國德累斯頓衛生博 物館等地展出。他獲得2016年香港藝術發展獎視覺藝術獎。 Ching’s works have been exhibited in Art Basel Hong Kong, the Museum of Contemporary Art in Taipei, and the Deutsches Hygiene-Museum in Germany. Ching is the winner of the 2016 HK Arts Development Award for Visual Arts.
學歷 Education 1998 畢業於香港中文大學藝術碩士 Master of Fine Arts, The Chinese University of Hong Kong 1996 畢業於香港中文大學藝術學士 Bachelor of Arts in Fine Arts, The Chinese University of Hong Kong
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收藏 Collections
香港M+博物館 香港藝術館 英國布萊克本博物館 英國利物浦Open Eye畫廊 私人收藏 M+ Museum, Hong Kong Hong Kong Museum of Art Blackburn Museum, Blackburn, UK Open Eye Gallery, Liverpool, UK Private collections
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徐世琪 Angela Su 作品曾於2010年第17屆悉尼雙年展、2014年第2屆中央美術學院美術 館雙年展展出。 Su’s works have been exhibited in the 17th Biennale of Sydney in 2010 and the 2nd CAFAM Biennale in 2014.
學歷 Education
收藏 Collections
1994 畢業於加拿大多倫多安大略藝術設計學院 修讀視覺藝術 Visual Arts, Ontario College of Art and Design University, Toronto, Canada
香港M+博物館 中國北京中央美術學院 私人收藏
1990 畢業於加拿大多倫多大學修讀生物化學 Biochemistry, University of Toronto, Canada
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M+ Museum, Hong Kong The Central Academy of Fine Arts, Beijing, China Private collections
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劉智聰 Lau chi chung (b.1976) 作品曾於利物浦國際攝影節、阿根廷國際攝影節、新加坡國際攝影節 等展出，當中攝影作品《山水文明》系列獲得2013年連州國際攝影 節”新攝影年度藝術家獎”。 Lau’s works have been exhibited in the Liverpool International Photography Festival, Argentina International Photography Festival and Singapore International Photography Festival. Lau’s photography series “Landscaped Artifacts” has won him the “New Photography Artist of the Year” at Lianzhou Foto Festival in China in 2013.
學歷 Education
收藏 collections
1999 畢業於英國薩里藝術設計學校專修室內設計學士 Bachelor of Arts in Interior Design, The Surrey Institute of Art and Design, University College, England
香港文化博物館 私人收藏
1996 畢業於香港明愛白英奇專業學校專修室內設計文憑 Diploma in Interior Design, Caritas Bianchi College of Careers, Hong Kong
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Hong Kong Heritage Museum Private collections
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吳嘉敏 Carmen Ng (b.1988) 作品曾獲得不少獎項，包括2013年Spring工作室地圖比賽冠軍及2014 年第三屆中華區插畫獎中華區最佳創作插畫獎。 Carmen Ng was the winner of the Spring Workshop Map Drawing Competition in 2013 and the Best Illustration (Published) Awards in the 3rd Greater China Illustration Awards in 2014.
學歷 Education
收藏 collections
2011 畢業於香港浸會大學視覺藝術文學士 Bachelor of Visual Arts, Hong Kong Baptist University
私人收藏 Private collections
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賴明珠 Elva Lai (b.1989) 作品曾於德國、西班牙、台灣及香港展出。她是2014年香港人權藝術 獎得主。 Lai’s works have been exhibited in Germany, Spain, Taiwan, and Hong Kong. Lai was the winner of the Hong Kong Human Rights Art Prize in 2014.
學歷 Education
收藏 collections
Present 現於德國萊比錫藝術學院作碩士後研究 Master student, Hochschule für Grafik und Buchkunst (Academy of Fine Arts), Leipzig, Germany
香港Justice Centre 私人收藏
2015 畢業於香港中文大學藝術碩士 Master of Fine Arts, The Chinese University of Hong Kong
Justice Centre, Hong Kong Private collections
2013 畢業於香港中文大學藝術學士 Bachelor of Arts in Fine Arts, The Chinese University of Hong Kong
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凱倫偉伯畫廊 KARIN WEBER GALLERY
凱倫偉伯畫廊在1999 年由德國的 Karin Weber 女士創立，今 年踏入第18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。畫廊很榮幸獲選為2015及2016連續兩年 BLOUIN ARTINFO「全球500最佳畫廊」。 我們的合夥人於倫敦、孟買和柏林有辦事處，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。 Established in 1999 by German-born Karin Weber and now in its 18th 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 year-round program of curated exhibitions, talks, and collector events. Karin Weber Gallery has been named by BLOUIN ARTINFO as one of ‘500 Best Galleries Worldwide’ for two consecutive years in 2015 and 2016. The gallery’s unique network of partners based in London, Mumbai and Berlin allows it to source emerging and established contemporary art from around the world. Karin Weber Gallery is equally passionate about presenting works by local artists. The gallery assists artists through exhibitions, art fairs, and residency programs throughout the world. Small in size, yet global in outlook, Karin Weber Gallery is one of Hong Kong’s truly international boutique galleries.
20 Aberdeen Street, Central, Hong Kong 香港中環鴨巴甸街20號地下 +852 2544 5004 karinwebergallery.com art@karinwebergallery.com © 2017 Karin Weber Gallery All Rights Are Reserved
封面圖片: 一封寫於1997年的信件 cover image: original letter written in 1997 46
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