'Food Matters' Exhibition Catalog by Karin Weber Gallery

FOOD MATTERS 在乎吃喝程展緯霍凱盛劉逸偉李可穎石家豪尤巴薩·瑞他手嶋大輔謝俊昇

Luke Ching Eric Fok Yat Wai Lau Michelle Lee Wilson Shieh Ubatsat Sutta Daisuke Teshima Chun Sing Tse

22.11.2018 - 12.01.2019

INTRODUCTION As the title ‘Food Matters’ suggests, this exhibition draws on our collective concern around the topic of food. Many of us crave comfort food after a long day. It shows how important food can be. Food can act as an identifier of race, communicate creativity and connect communities. Using food as a point of departure, the eight participating artists contemplate how food connects with them and the society of which they are a part. The reputable Taiwanese writer Ang Li, who likes to deal with sex as subject matter in her books through the metaphor of food, once commented that “food” is more dangerous than “sex”. ‘Food can affect the stomach and stomach is like one’s brain.’ A good example is the bible story of Adam, Eve and the forbidden fruit which has become the origin of sin for human being. The work From One To Two by Daisuke Teshima, comprised of sculptures and a charcoal drawing, easily leads viewers to connect with the story of the forbidden fruit. Coincidentally, the theme also appears in the painting Banquet by Eric Fok. Does the apple represent redemption or fall of human beings? Gathered around the apple in Fok’s intricate work are twelve animals, all of which which are consumed as meat by humans. Industrial? raising and slaughter of animals has long been criticized as inhumane. Some critics point out that meat consumption causes air and water pollution. In addition, meat production is highly resource intensive, thus rendering it ineffective in tackling food shortages. Sushi is undeniably the most globally popular Japanese food. However, few people know that the way sushi is prepared or consumed in overseas is not one hundred percent authentic. For instance, people do not follow the correct order in the consumption of different kinds of sushi, and the idea of having the sushi made into rolls by putting rice on the outside is to cater to Western market. Nevertheless, the illusion of having traditionallymade sushi outside of Japan persists. There is a pair of saba sushi on top of the palms in Wilson Shieh’s painting Nap Sushi, like the apple of an eye. Shieh studied Chinese ink painting by copying the Dunhuang Cave drawings, where buddhas are frequently seen holding holy ritual items in their hands. The ‘palm-of-your-hand’ composition indicates how easily we can enjoy sushi nowadays compared with some two decades ago when sushi was considered a luxury, only to be afforded by the wealthy. The humble potato is claimed by some scientists to be the solution of food and energy crises, both high on the agenda for future generations. With this in mind, Michelle Lee created three works in the exhibition which are all related to potato – both as a source of electricity and as an object in the photograms resembling the planet Haumea also known as the ‘dwarf potato’ planet. It takes human imagination rather than logic to solve our own problems once and for all. The name ‘pineapple bun’ (a famous Hong Kong street food) is itself

misleading, as it does not contain pineapple. Yat Wai Lau addresses the issue of Hong Kong gradually losing its identity through the use of a real pineapple bun and a fake bun bought on Taobao (China’s equivalent of eBay), to create two almost identical porcelain objects. In one of Chun Sing Tse’s works Buy You An Ice-Cream After You Have Finished This, the bitter-melon-like object turns whilst the music of a local ice cream van is being played. Tse recollects his experience of adults who fail to keep their promises – his mother promising him ice cream if he ate his bitter melon gourd, and failing to deliver.

Bauhinia Leaf, the title of Ubatsat Sutta’s work, is made into the shape of teak wood food containers - the leaves are also used as one of the ingredients for making a Thai soup called Kaeng Pak Siaw. Whilst studies show more and more people are eating alone as households become smaller, Sutta’s beautifully shot video reminds us once again that the greatest joy in having a meal lies in sharing. How much are we focused on taking time to enjoy food and celebrate food occasions? Do we still have family dinners as often as in the past? Luke Ching has poignant memories of the day China celebrated the successful launch of its astronauts into outer space over ten years ago. At the same time, the iconic ‘White Rabbit’ candy was discovered to contain melamine, a product used in making plastic that makes the protein level in milk appear higher, causing illness in some 52,000 children. During the Great Leap Period, Mao Zedong proclaimed to overtake Britain and America in steel production in fifteen and twenty years respectively. Milk was rationed in those days but peasants found a way of making their own milk by melting White Rabbit candies. Whilst China has caught up with the superpower countries, yet, food safety remains one of the main issues even today. There are numerous reports of Chinese people flocking to buy baby milk powder in overseas supermarkets as they do not trust the country’s own products. Luke’s second work, Salivary Yours, consists of ice pillars made from a bottle of drinking water he consumed. Seventy to eighty percent of Hong Kong’s water supply comes from Dongjiang, or East River, in Guangdong province. In a test conducted by Greenpeace in 2015, it was discovered that three of Hong Kong’s water reservoirs contained higher than average level of polyfluorinated chemicals (PFCs), carcinogenic substances used in the production of the fabric Gore-Tex. At the time, they were suspected to originate from the factories in Guangdong producing clothing for outdoor brands. Food is an issue that leaves few of us completely unemotional. Our relationship with food can be intensely personal, such as the works by Wilson Shieh and Chun Sing Tse, or point to much broader social issues, as seen in the works of Luke Ching, Michelle Lee and Ubatsat Sutta. The complexities of food are uniquely captured in the apple themed works of Daisuke Teshima and Eric Fok. Above all, ‘Food Matters’ to each and every one of us.

導言展覽題為「在乎」表達出對食物的關注。簡單一句「辛苦揾黎自在食」已道出食物的重要。食物甚至是構成人群之間的認同、傳遞創意及塑造社會連結的關鍵方法。展覽嘗試從食物出發，誘發八位藝術家思想食物如何跟自身及當前的社會狀況聯繫起來。台灣擅長以「食」書「性」的女作家李昂曾謂「食物」比「性」更危險，「因為它會影響人的胃，而胃等於腦袋。」不信？聖經裏，亞當及夏娃偷吃了禁果，從此人得到原罪。由雕塑與畫組成的手嶋大輔的作品，容易令人聯想到聖經裏人類祖先偷吃禁果的故事。不約而同地，蘋果也出現於霍凱盛的作品。究竟這顆蘋果代表墮落抑或犢罪？不同的是，圍坐着有十二隻動物，皆是人類不同種族的肉類佳肴。人類果腹動物作為糧食，但由飼養至屠宰的過程是否人道，一直以來被人詬病。甚至有批評指出，肉類的消耗導致空氣及水汚染，而且在解決糧食短缺問題上缺乏効率。壽司是日本在全球最受歡迎的食物，相信不容置疑。在外國，明明食法或做法不是百份百正宗，譬如進食壽司有一定次序，把米飯包在卷物上非日本傳統做法。可是在外國光顧壽司店，總給人「品嘗傳統」的想法。石家豪的作品中有一對握在掌心的鯖魚壽司，有如掌上明珠。藝術家從前臨摹敦煌壁畫，觀察到佛像往往手持法器。這的構圖方法，正好道出壽司在現今的受歡迎程度，而壽司店如雨後春筍，越開越多。相比廿年前，壽司是奢侈食品，非普羅大衆負擔得來。薯仔雖然普通，但部份科學家相信它可能是解決未來糧食與能源短缺的方法。李可穎在展覽中的三件作品均與薯仔有關。薯仔裝置附有銅片及電線用來產生電力，薯仔亦被用來製作出摸擬妊神星(另一匿稱是矮薯仔星)的天體照片。解決人類自己造成的問題，或許非憑邏輯方法，而是需要幻想力的幫忙。菠蘿包是香港著名地道美食。其實菠蘿包的名稱本身就不對，因為它不包含菠蘿的成份。劉逸偉運用一只真的菠蘿包和一只由淘寶購得的假菠蘿包，做出一雙差不多一模一樣的白瓷物件，來表達出對逐漸消失的香港身份的關注。而謝俊昇那狀似苦瓜的作品，伴隨着流動雪糕車播出的音樂，訴說藝術家本人在孩童時期，成年人為了說服他吃苦瓜而又不守諾言的記憶。懂吃苦就長大，大人教的。尤巴薩·瑞他模仿洋紫荊葉做出柚木做的盛載食物器皿，而洋紫荊葉亦是用來做出在泰國稱為Kaeng Pak Siaw湯的其中一款食材。在單獨用膳變得越來越普遍的今天，藝術家拍得的錄像，光線扮演着重要的角色，提醒我們分甘同味才獲得最大快樂。我們不禁自省，把心思放在進食為慶祝的理由上。十年前中國順利發射載人火箭上太空，為了提高牛奶中的蛋白質成份，同一日

大白兔糖被驗出含有三聚氰胺，導致五萬二千個兒童患病。毛澤東在大躍進期間聲稱在鍊鋼上分別要在十五及廿年超越英國及美國。那段時間，鮮奶受到配給，但農民發現把大白兔糖溶掉，便會變成一杯牛奶。雖然中國已一躍為世界大國，但似乎食物安全的監管仍落後。時不時有新聞報導中國公民在外國超級市場搶購嬰兒奶粉。程展緯第二件作品《口水尾》是從他喝過的水做成冰箱冰柱。七至八成的香港供水來自東江水，而2015年綠色和平的測試發現，其中三個香港水塘的水含有過高濃度的全氟化合物。令人懷疑是廣東省內專門生產户外用品的工廠所做成。我們每人均有自己親身經歷食物的體驗，與食物的聯繫可以是非常個人化，正如石家豪及謝俊昇兩位。又或者像程展緯、李可穎及尤巴薩·瑞他三位，把食物放在一個與社會歷史發展息息相關的位置。手嶋大輔及霍凱盛則以宗教層面帶出他們所關心的食物的一隅。

LUKE CHING 程展緯

Salivary Yours 囗水尾, dongjiang water, 83 x 48 x 53cm, 2018

White Rabbit Candy 大白兔糖, tape, candy, food can, glass jar, 14 x diameter 13cm, 2018

Chinese astronaut Yang Liwei made the first successful attempt to travel into space in the Shenzhou 5 spacecraft atop a Long March rocket on 15th October 2003 at 9a.m. Beijing time. China became the third country to possess the technology enabling human spaceflight. The first televised statement from astronaut Yang was “I feel good,” whilst the first question his son asked was “Dad, what have you eaten?” Five years later, when Shenzhou 7 spacecraft took off on 25th September 2008, it was discovered that the popular White Rabbit candy contained melamine.

2003年10月15日北京時間9時，楊利偉乘由長征二號F火箭運載的神舟五號飛船首次進入太空。中國成為第三個掌握載人航天技術的國家，第一句由中國人在太空傳回地球的說話是：「自我感覺良好」，而第一句由中國小朋友傳到太空的問題是：「爸爸，你吃什麼？」 2008年9月25日，神舟七號載三太空人升空，同日大白免糖驗出了含三聚氰胺。 10

ERIC FOK 霍凱盛

Banquet 盛宴, ink on tea-dyed paper, 36 x 35 cm, 2018

My painting is based on the Last Supper, which depicts the awe, uneasiness and anxiety of the disciples when confronted with death. The animals represent the meat consumed by various races. In the middle of the painting sits a scapegoat, having dinner with other animals. The apple on the dish represents the ability to distinguish right from wrong, and is also a symbol of knowledge, temptation, and sin.

作品參照最後的晚餐，描繪教徒面對死亡或預知死亡前的驚恐、不安、憂慮等畫面。圖中的動物為不同民族地區的主要肉食。畫面正中的代罪羔羊與其他動物回到動物的世界共聚晚餐，餐碟中的蘋果在西方文化中視為是分辨善惡樹的果實，也是知識、試探、墮落或是罪本身等的象徵。 14

YAT WAI LAU 劉逸偉

No Butter 不要牛油, porcelain, pineapple bun, 6 x diameter 9.5cm each, a set of 2, 2018

My work is made out of porcelain slip and food substance. Although it resembles the shape of the original bun, its true content is lost. Only a piece of â&#x20AC;&#x2DC;chinaâ&#x20AC;&#x2122; remains.

融合瓷泥和食物燒製而成的瓷器雖帶有原來食物的形態，但已失去食物原來真正的內容，剩下只是一件“china ”— 中國。 18

MICHELLE LEE 李可穎

Something Glowing 一些發光的東西, potatoes, LED light bulb, acrylics on acrylic board, charcoal on tracing papers, pencil on drawing papers, alligator clips, galvanized nails, copper plates, basket, clips and magnets, dimensions varied, 2018

MICHELLE LEE 李可穎

Something That Absorbs Light, Rotates And Makes Me Sneeze 一些吸光、

旋轉和令我打噴嚏的東西, gelatin silver print, 20 x 20 cm each, set of 8pcs, 2018

Something Growing 一些生長的東西, pencil, colour pencil, charcoal, watercolour, tracing paper, acrylic, screws, paper, 42 x 30cm, 2018

The series of work sheds light on narratives around potatoes using various associations. Haumea (136108) 2003 EL61 is also named as dwarf potato planet due to its physical resemblance. The encounter of the planet, potato, goddess of fertility and food represents an interstellar force.

薯仔終於育成。作品以物質表象的相似性，作為編寫薯仔故事的素材。太空領域的「妊神星」，(136108) 2003 EL61，形似薯仔而被描述為薯仔矮行星，而矮行星、薯仔、生育之神哈烏美亞、糧食等就此碰面，展示一個如星際的物件網絡。

WILSON SHIEH 石家豪

Nap Sushi 瞌壽司, Chinese ink and

gouache on silk, 44 x 60 cm, 2018

During the 1970s to 80s, Japanese cuisine was very expensive in Hong Kong. My first visit to a Japanese restaurant took place in the early 1990s when I was still in university. At that time, sushi was served on a conveyor belt, which was hugely popular, and it always came as a dish of two pieces. Should I consider it as opposite or same sex? When I first started doing gongbi painting, I was living in hardship. Enjoying affordable sushi and turning it into the subject matter of my painting is my bittersweet memory.

在我成長的一九七零至八零年代，日本料理於香港可說是非常昂貴的菜式。我人生首次光顧日本菜餐館，要去到一九九零年代初，即是我讀大學時期，在港興起的廉價迴轉壽司店，而迴轉壽司帶上每小碟的壽司，總是以同款兩件為多。一對同款的壽司，究竟應該算作一雌一雄，還是一對同性的呢？在我剛開始創作工筆人物畫的階段，也是我仍然窮困的年代，欣賞及品嚐廉價壽司，並化為畫中人物，是苦中帶甜的生活紀事。現在二十年後回憶起來，覺得不妨再把壽司記載多一次，尤其懷緬那經歷年月變得更為稀罕的小確幸。 28

UBATSAT SUTTA 尤巴薩·瑞他

Bauhinia Leaf 洋紫荊葉, teak wood, recipe, video, Kaeng Pak Siaw cooked by artist, 6.5 x diameter 19cm, video duration 15m27s, 3 editions + 2AP, 2018

Video still

For lunch of the day, there is a dish called Kaeng Pak Siaw, a hot spicy local vegetable soup with dried fish and antsâ&#x20AC;&#x2122; eggs, local vegetables including bauhinia leaf are used as ingredients. Cooking always depends on what is seasonal; yet we do not really pay much attention how meaningful ingredients are. Where does the bauhinia leaf come from? Does it resemble an umbrella? I have a flashback to the umbrella movement.

有一味地道的泰國辣湯叫做Kaeng Pak Siaw，材料包括曬乾的魚、螞蟻蛋、洋紫荊葉及其他蔬菜。烹調好壞取決於時令新鮮，然而人們不太關心食材的意義。洋紫荊葉從何而來？它的形狀似雨傘嗎？我偶而想起雨傘運動。 32

DAISUKE TESHIMA 手嶋大輔

From One To Two 從一到二, pencil, coloured pen, acrylic, camphor wood, charcoal on paper, 14 x 11 x 12 cm & 15 x 11 x 12 cm & 51 x 39.7 cm, 2018

The apple is my central motif. It has mythological implications such as forbidden fruit, Adam and Eve, love and intelligence. It also reflects my own understanding of human beings.

蘋果是我的核心主題。它在神話故事裡象徵禁果、亞當與夏娃、愛及智慧。反影我對人類的領悟。

CHUN SING TSE 謝俊昇

Buy You An Ice-Cream After You Have Finished This 食完帶你買雪糕, cement, wood, MP3 player, audio, 18 x 10 x 10cm, 2018

White Flag 舉白旗, cement, wood, brass, white flag, 40 x 8 x 5cm, 2018

My dad always said, “You can say only no when you have tasted the food.” Although I knew I was not going to like bitter melon, I still had to take a bite. Every bite I took was an attempt to surrender. I hate bitter melon. The slowly rotating bitter melon whilst music of Mobile Softee is playing recalls how my mother tried to persuade me into eating bitter melon. She used to tell me she would buy me an ice cream after I ate it. My mind was on the Mobile Softee whereas I had a mouthful of bitter melon. And mother still hasn’t fulfilled her promise.

我爸總是說：「嚐過味道後，才能夠說不吃。」即使知道它的味道一定差，還是需要吃一口。而每次吃苦瓜的我就是在換取投降的資格。我討厭吃苦瓜。放慢了的雪糕車音樂加上慢慢轉動的苦瓜，就像小時候媽媽哄我吃苦瓜說：「食完帶你買雪糕。」滿腦子想著雪糕車的雪糕，口裡卻吃著討厭的苦瓜，整件事充滿矛盾。而且媽媽好像至今仍未兌現承諾。 40

LUKE CHING (b.1972) 1998 Master of Fine Art, The Chinese University of Hong Kong 1996 Bachelor of Arts in Fine Art, The Chinese University of Hong Kong Exhibitions 2018 ‘Food Matters’, Karin Weber Gallery, HK ‘Faultlines’, Gwangju Biennale, Gwangju, South Korea ‘Dismantling The Scaffolding’, Tai Kwun, HK 2017 ‘Composing Stories with Fragments of Time’, Karin Weber Gallery, HK ‘Allegory Practice of Personification’ performingART project, Oil Street Art Space, HK ‘Look/17 Liverpool International Photography Festival’, Open Eye Gallery, Liverpool, UK 2016 ‘For Now We See Through A Window, Dimly’, Gallery EXIT, HK ‘One Belongs Where One Is Content’, 1a space, HK ‘Connect 4’, Simon Lee Gallery, HK ‘Language’, Deutsches Hygiene-Museum, Dresden, Germany ‘No Cause For Alarm’, La MaMa Galleria, New York, USA 2015 ‘In The Name of Art: Hong Kong Contemporary Art Exhibition’, Museum of Contemporary Art, Taipei, Taiwan ‘Imagine There’s No Country, Above Us Only Cities’, Para/Site, HK ‘First, Then and After’, Gallery EXIT, HK 2014 ‘The Invisible Hand: Curating As Gesture’, CAFAM Biennale, China Awards 2016 ‘Artist Of The Year’, Visual Arts Category, HK Arts Development Award 2006 Freeman Studio Fellowship, Vermont Studio Center, USA 2005 Award Winner, Hong Kong Art Biennial Exhibition 2005, HK Collections M+ Museum, HK Hong Kong Museum of Art Blackburn Museum & Art Gallery, Blackburn, UK Open Eye Gallery, Liverpool, UK

程展緯 (1972年生) 1998 香港中文大學藝術碩士 1996 香港中文大學藝術學士展覽 2018 「在乎吃喝」，香港凱倫偉伯畫廊韓國光州雙年展「拆棚」，香港大館 2017 「撿來的時間，撿來的故事」，香港凱倫偉伯畫廊「擬人法的寓言練習」矚目登場系列，香港油街實現英國利物浦LOOK/17國際攝影節 2016 「小窗大景」，香港安全口畫廊「心安是歸處」，香港1a space 「四子棋」，香港Simon Lee畫廊「語言」，德國德累斯頓衛生博物館「沒有警報的原因」，美國紐約La MaMa畫廊 2015 「以藝術之名：香港當代藝術展」，台北當代藝術館「如果只有城籍而沒有國籍」，香港Para/Site藝術空間「First, Then And After」，香港安全口畫廊 2014 「無形的手—策展作為立場」CAFAM雙年展，北京中央美術學院美術館獎項 2016 香港藝術發展獎視覺藝術獎 2006 弗里曼工作室獎學金(Freeman Studio Fellowship)，美國佛蒙特藝術中心 (Vermont Studio Center) 2005 香港藝術雙年展2005獲獎者收藏香港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

ERIC FOK (b.1990) 2013 Bachelor of Visual Art, Macao Polytechnic Institute Exhibitions 2019 ‘The Glorious Age of Tainan City’, Tainan Art Museum, Taiwan 2018 ‘Food Matters’, Karin Weber Gallery, HK ‘Hong Kong–Macao Visual Art Biennale’, Beijing Minsheng Art Museum, China ‘Across Ancient Map’, Helios Gallery, Taiwan ‘The Sun Teaches Us That History Is Not Everything’, Osage Art Foundation, HK 2017 ‘Far East Chronicle’, Karin Weber Gallery, HK 2016 ‘Paperscapes’, Karin Weber Gallery, HK 2014 ‘Conforming To Vicinity – A Cross-strait Four-Region Artistic Exchange Project’, HK, Macau, Taiwan , China Awards 2014 Selected in Taiwan 2014 International Art Competition 2013 Selected in 50th BOLOGNA Illustration Exhibition Selected in CHINA 2013 Art Nove Selected in western paintings group, XXXIX The Artist Collective Exhibition of Macau 2012 Plastic Arts Award, Oriente Foundation’s collection, Oriente Foundation, Macau Selected in western paintings group, XXVIII The Artist Collective Exhibition of Macau Collections Museum of the Orient, Portugal Macau Government Headquarters Cultural Affairs Bureau of the Macau SAR Macau Museum of Art Oriente Foundation, Macau MGM Cotai, Macau University Museum and Art Gallery, University of Hong Kong, HK

霍凱盛 (1990年生) 2013 澳門理工學院視覺藝術學士展覽 2019 「府城榮光」，台灣台南市美術館 2018 「在乎吃喝」，香港凱倫偉伯畫廊港澳視覺藝術雙年展，中國北京民生現代美術館「今昔輿。圖」, 台灣台北日帝藝術「The Sun Teaches Us That History Is Not Everything」，香港奥沙畫廊 2017 「遠東誌」，香港凱倫偉伯畫廊 2016 「風景如紙」，香港凱倫偉伯畫廊 2014 「因地制宜—第六屆兩岸四地藝術交流計劃」，香港丶澳門丶台灣丶中國獎項 2014 入選台灣2014年國際藝術家評選賽 2013 入選意大利博洛尼亞國際插畫展入選中國2013年青年藝術100 入選「第二十九屆全澳書畫聯展」西畫組 2012 「東方基金會榮譽獎」，澳門入選「第二十八屆全澳書畫聯展」西畫組收藏葡萄牙東方博物館澳門政府總部澳門文化局澳門藝術博物館澳門東方基金會澳門美獅美高梅香港大學美術博物館

YAT WAI LAU (b.1985) 2011 Bachelor of Arts (Hons) in Visual Arts, Hong Kong Baptist University Exhibitions 2018 ‘Food Matters’, Karin Weber Gallery, HK ‘1st International Fantastic Teapot Exhibition’, Anadolu University Arts Museum, Turkey ‘Espresso And Cappuccino Cups’, Museo Civico e della Ceramica, Italy ‘Conversations in Ceramic’, Karin Weber Gallery, HK 2017 ‘Espresso And Cappuccino Cups’, MIDeC International Museum of Ceramic Design, Italy ‘URNEN’, European Ceramic Workcentre, Netherlands ‘Pray: Cherishing Life, Thematic Exhibition in Yeoju Gyeonggi International Ceramic Biennale 2017’, South Korea 2016 ‘Lau Yat Wai Solo Exhibition’, Lu Zhu Nan, Taiwan ‘The 6th Taiwan International Gold Teapot Prize Pottery Design Competition and Exhibition’, Ceramics League of Taiwan, Taiwan ‘Tea Ware by Hong Kong Potters’, Hong Kong Museum of Art, HK ‘The Exhibition of Asia Youth Ceramics Creation Camp Workshop’, China 2015 ‘Contemporary Asian Ceramics Exchange Exhibition’, China Academy of Art, Hangzhou, China 2011 ‘Shiwan Cup: The 3rd National College Ceramics Competition Exhibition’, Guangdong Shiwan Ceramics Museum, China Awards 2018 Selected, Tea Ware by Hong Kong Potters, Hong Kong Museum of Art 2016 Finalist, The 6th Taiwan International Gold Teapot Prize, Ceramics League of Taiwan, Taiwan Selected, Tea Ware by Hong Kong Potters, Hong Kong Museum of Art 2011 Selected, Shiwan Cup: The 3rd National College Ceramics Competition, Guangdong Shiwan Ceramics Museum, China Collections Private collection (HK, Taiwan, Japan)

劉逸偉 (1985年生) 2011 香港浸會大學視覺藝術院獲學士(榮譽) 展覽 2018 「在乎吃喝」，香港凱倫偉伯畫廊「濃咖啡和卡布奇諾咖啡杯」，意大利陶瓷博物館「首屆國際茶具展覽」，土耳其安納托利亞大學藝術館「瓷中對談」，香港凱倫偉伯畫廊 2017 「濃咖啡和卡布奇諾咖啡杯」，意大利MIDeC國際陶瓷設計博物館「URNEN」，荷蘭歐洲陶瓷研究中心「京畿世界陶瓷雙年展主題展-敘事。歌頌人生」，韓國京畿陶瓷博物館 2016 「劉逸偉陶藝展」，台灣籚竹湳「第六屆臺灣國際金壺獎陶藝設計競賽展」，台灣「陶瓷茶具創作比賽展」，香港茶具文物館「國際(亞洲)柴燒陶藝工作營展」，中國廣東石灣 2015 「實驗室/新課題 - 亞洲現代陶藝交流展」，中國杭州美術學院 2011 「石灣杯: 第三屆全國大學生陶藝大賽展」，中國廣東石灣陶瓷博物館獎項 2018 入選陶瓷茶具創作比賽，香港茶具文物館 2016 入選第六屆台灣國際金壺獎陶藝設計競賽，台灣陶藝聯盟入選陶瓷茶具創作比賽，香港茶具文物館 2011 入選石灣杯: 第三屆全國大學生陶藝大賽，中國廣東石灣陶瓷博物館收藏私人收藏(香港丶台灣丶日本)

MICHELLE LEE (b.1983) 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 Exhibitions 2018 ‘Food Matters’, Karin Weber Gallery, HK ‘Seoul Media City Biennale’, Seoul Museum of Art, Seoul, South Korea ‘Made to be Filled in’, The Chinese University of Hong Kong, HK ‘Back to the Void’, Floating Projects, HK 2017 ‘It Flows Until It Doesn’t’, The Chinese University of Hong Kong, HK ‘(Trans)Medial Drawing and Painting’, Zurich University of the Arts, Zurich, Switzerland ‘Empathy Park’, CMC Gallery, City University of Hong Kong, HK 2013 ‘Detached Oeuvre’, Amelia Johnson Contemporary, HK ‘Painting On and On: Intertextuality 4’, Lingnan University, HK 2011 ‘Voltage: The Reading Room: Exhibition of Lee Ho Wing and Lee Kai Chung’, Amelia Johnson Contemporary, HK Awards 2018 Finalist of WMA Commission 2010 Judges Prize in Impression-Eileen Chang-Inaugural Painting Award 2006 Ramon Woon Creative Prize Collections Annie Wong Art Foundation Private collection (HK, USA)

李可穎 (1983年生) 2018 香港中文大學藝術碩士 2006 香港中文大學（榮譽）藝術學士展覽 2018 「在乎吃喝」，香港凱倫偉伯畫廊「Seoul Media City 雙年展」，韓國首爾美術館「走進去就卡住了」，香港中文大學「推回到空處」，香港據點。句點 2017 「流轉至不再」，香港中文大學「(Trans)Medial Drawing and Painting」，瑞士蘇黎世藝術大學「移情公園」，香港城市大學 2013 「Detached Oeuvre」，香港Amelia Johnson Contemporary 「繪畫大道中4-互為文本」，香港嶺南大學 2011 「Voltage: The Reading Room」，香港Amelia Johnson Contemporary 獎項 2018 WMA委託計劃入圍 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）

WILSON SHIEH (b. 1970) 2001 Master of Fine Arts, The Chinese University of Hong Kong 1994 Bachelor of Arts in Fine Arts, The Chinese University of Hong Kong Exhibitions 2018 ‘Food Matters’, Karin Weber Gallery, HK ‘Architecture Costume – Gongbi Figure Painting by Wilson Shieh’, Experimental Gallery, Hong Kong Arts Centre, HK ‘A Century of Women in Chinese Art’, Ashmolean Museum, UK 2017 ‘Hi! Houses: Wilson Shieh X Dr. Sun Yat-sen Museum’, Dr. Sun Yat-sen Museum, HK 2015 ‘Ink Remix: Contemporary Art from Mainland China, Taiwan and Hong Kong’, Canberra Museum and Gallery, Canberra, Australia 2013 ‘Wilson Shieh… Sumbody’, Osage Gallery, HK 2012 ‘Ink, The Art of China’, Saatchi Gallery, London, UK 2010 ‘Legacy and Creations – Ink Art vs Ink Art’, Shanghai Art Museum, China 2009 ‘Wilson Shieh: Music Families’, Singapore Tyler Print Institute, Singapore 2008 ‘The 6th International Ink Painting Biennial of Shenzhen’, Shenzhen Art Academy, China 2007 ‘Ladyland’, Grotto Fine Art, HK 2004 ‘Past in Reverse – Contemporary Art of East Asia’, San Diego Museum of Art, California, USA Collections Ashmolean Museum, University of Oxford, UK Asian Art Museum, San Francisco, USA Davis Museum, Wellesley College, USA M+ Museum, HK Hong Kong Heritage Museum Hong Kong Museum of Art Queensland Art Gallery, Brisbane, Australia National Taiwan Museum of Fine Arts, Taichung, Taiwan

石家豪 (1970年生) 2001 香港中文大學藝術碩士 1994 香港中文大學藝術學士展覽 2018 「在乎吃喝」，香港凱倫偉伯畫廊「稱身大廈」，香港藝術中心實驗畫廊「過去一個世紀中國藝術裏的女性形像」，英國牛津大學艾希莫林博物館 2017 「石家豪 X 孫中山紀念館」，香港孫中山紀念館 2015 「墨變：中國大陸、臺灣、香港當代藝術」，澳洲坎培拉藝術博物館 2013 「眾身-石家豪」，香港奧沙畫廊 2012 「水墨－中國的藝術形式」，英國倫敦薩奇畫廊 2010 「承傳與創造：水墨對水墨」，中國上海美術館 2009 「音樂家庭：石家豪」，新加坡泰勒版畫院 2008 「第六屆深圳國際水墨雙年展」，中國深圳畫院 2007 「女界」，香港嘉圖現代藝術 2004 「顛倒的過去－東亞當代藝術展」，美國加州聖地牙哥美術館收藏英國牛津大學艾希莫林博物館美國三藩市亞洲藝術館美國衛斯理書院戴維斯博物館香港文化博物館香港藝術館香港西九龍文化藝術區 M+視覺文化博物館澳洲布里斯本昆士蘭美術館臺灣臺中國立臺灣美術館

UBATSAT SUTTA (b. 1980) Present Doctor of Philosophy in Buddhism, Mahachulalongkorn University, Thailand 2007 Master of Arts in Philosophy and Religion, Chiang Mai University, Thailand 2003 Bachelor of Arts in Painting, Chiang Mai University, Thailand Exhibitions 2018 ‘Food Matters’, Karin Weber Gallery, HK ‘Articulation Existence’, Baan Tuek Art Center, Chiang Mai, Thailand 2017 ‘In the Remembrance of the Great King’, Bangkok Art & Culture Centre, Thailand ‘Resilience Paradise’, Joshibi University, Tokyo, Japan ‘This is Not My Solo Exhibition’, Brother Joseph McNally Gallery, LASALLE College of the Arts, Singapore ‘Across The Sea Of Stars’, Chiang Mai University Art Center, Thailand ‘Human Rice’, Schemata Gallery, Bangkok, Thailand 2016 ‘Outside Text’, Chiang Mai University Art Center, Thailand 2014 ‘Local Everywhere’, Creative Urban Solutions Center, Chiang Mai, Thailand ‘Inson Wongsam: The Autonomous Spirit’, Bangkok Art & Culture Centre, Thailand ‘Zodiac In The House Of Element’, Pongnoi Community Art Space, Chiang Mai, Thailand 2013 ‘Quality Secondhand Art: Re-Creation’, VER Gallery, Bangkok, Thailand ‘Cross Stitch’, Bangkok Art & Culture Centre, Bangkok, Thailand ‘A Tale Of Two Cities’, Jing Jai Market, Chiang Mai, Thailand ‘MUANG NAI (S) MOG’, Nature Study Center, Chiang Mai, Thailand 2012 ‘The Sleeping Volcano On Crazy Star’, V64, Bangkok, Thailand ‘311 Tohoku – Wakabacho – Asia’, Art Lab OVA, Yokohama, Japan Residency 2017 Rikuzentakata Artist in Residence Program, Rikuzentakata, Japan Paradise AIR, Tokyo Japan

尤巴薩·瑞他 (1980年生) 現在泰國摩訶朱拉隆功大學佛學博士生 2007 泰國清邁大學哲學與宗教系碩士 2003 泰國清邁大學藝術系繪畫學士展覽 2018 「在乎吃喝」，香港凱倫偉伯畫廊「Articulation Existence」，泰國清邁Baan Tuk藝術中心 2017 「In The Remembrance Of The Great King」，泰國曼谷藝術文化中心「Resilience Paradise」，日本東京女子美術大學「This Is Not My Solo Exhibition」，新加坡拉薩爾藝術學院Brother Joseph McNally畫廊「Across The Sea Of Stars」，泰國清邁大學藝術中心「Human Rice」，泰國曼谷Schemata畫廊 2016 「Outside Text」，泰國清邁大學藝術中心 2014 「Local Everywhere」，泰國清邁Creative Urban Solutions Center 「Inson Wongsam : The Autonomous Spirit」，泰國曼谷藝術文化中心「Zodiac In The House Of Element」，泰國清邁Pongnoi Community藝術空間 2013 「Quality Secondhand Art: Re-Creation」，泰國曼谷VER畫廊「Cross Stitch」，泰國曼谷藝術文化中心「A Tale of Two Cities」，泰國清邁Jing Jai Market 「MUANG NAI (S) MOG」，泰國清邁Nature Study Center 2012 「The Sleeping Volcano On Crazy Star」，泰國曼谷V64 「311 Tohoku – Wakabacho – Asia」，日本橫濱Art Lab OVA 藝術駐留計劃 2017 日本陸前高田市日本千葉縣Paradise AIR

DAISUKE TESHIMA (b. 1977) 2002 Master’s Degree, Tokyo Zokei University, Japan 2001 Bachelor Degree, Tokyo Zokei University, Japan Exhibitions 2018 ‘Food Matters’, Karin Weber Gallery, HK ‘Human Nature’, Karin Weber Gallery, HK ‘Drawings for Sculptures’, Heis Gallery, Japan 2016 ‘Unknown Eyes’, Heis Gallery, Japan 2015 ‘Sculpture/Doll’, Fukuoka Art Museum, Japan ‘Drawing Exhibition’ Heis Gallery, Japan 2014 ‘Sculpture works Joint exhibition Daisuke Teshima & Dong-hon Kwak’, Heis Gallery, Japan ‘Love & Peace’, Heis Gallery, Japan ‘Shin-Sapporo ART WALL Special Exhibition’, Shin-Sapporo Gallery, Japan ‘Making Museum Art’, Sapporo Museum, Japan 2013 Solo exihibition, Heis Gallery, Japan ‘Making Museum Art’, Sapporo Museum, Japan Awards 2008 Award winner, ‘62nd Yamaguchi Art Exhibition’, Yamaguchi Prefectural Art Museum, Japan 2006 Grand prize award. ‘60th Yamaguchi Art Exihibition’, Yamaguchi Prefectural Art Museum, Japan Award winner ‘Kitakyushu Art Festival’, City Art Museum of Kitakyushu, Japan Collections Contemporary Art Foundation, Tokyo Private collection (Japan, South Korea, HK, France)

手嶋大輔 (1977年生) 2002 東京造形大學雕塑碩士 2001 東京造形大學雕塑學系學士展覽 2018 「在乎吃喝」，香港凱倫偉伯畫廊「人性」，香港凱倫偉伯畫廊「個人展覽」，日本Heis畫廊 2016 「不明之眼」，日本Heis畫廊 2015 「雕塑／娃娃」，日本福岡美術館「繪畫展」，日本Heis畫廊 2014 「手嶋大輔及Dong-hon Kwak雕塑聯展」，日本Heis畫廊「愛與和平」，日本Heis畫廊「Shin-Sapporo ART WALL特別展覽」，日本Shin-Sapporo畫廊「制作博物館藝術」，日本札幌博物館 2013 個人展覽，日本Heis畫廊「制作博物館藝術」，日本札幌博物館獎項 2008 第62屆山口藝術展獲獎藝術家，日本山口県立美術館 2006 第60屆山口藝術展大獎，日本山口県立美術館北九州藝術節獲獎藝術家，日本北九州市立美術館收藏日本現代藝術振興財團私人收藏(日本、韓國、香港、法國)

CHUN SING TSE (b. 1995) 2017 Bachelor of Arts (Hons) in Visual Art, Hong Kong Baptist University Exhibitions 2018 ‘Food Matters’, Karin Weber Gallery, HK ‘The 23nd ifva Awards – Media Art Category Finalist Exhibition’, Pao Galleries, HK ‘Weighty Light – Young Talent Hong Kong 2018’, Affordable Art Fair, HK ‘Hashtag’, Ping Pong Gintonería 129, HK ‘I know you are but what am I’, Vancouver International Centre for Contemporary Asian Art, Vancouver, Canada 2017 ‘Double Yellow Lines’, Koo Ming Kown Exhibition Gallery, Hong Kong Baptist University ‘DesignXcel Exhibition’, Hong Kong Central Library, HK ‘Fresh Trend 2017 Art Graduates Joint Exhibition’, Chi K11 Art Space, HK ‘Ill-ustrations Exhibition’, Koo Ming Kown Exhibition Gallery, Hong Kong Baptist University Awards 2017 WMA for Young Talent award, Academy of Visual Arts BA Graduation Exhibition Karin Weber Gallery Art Award, Fresh Trend AVA Award, Academy of Visual Arts, Hong Kong Baptist Uiversity Residency 2018 Sonic Transmission Artist Exchange Program Vancouver International Centre for Contemporary Asian Art, Canada 2017 Spring Workshop, HK

謝俊昇 (1995年生) 2017 香港浸會大學視覺藝術院視覺藝術文學士(榮譽) 展覽 2018 「在乎吃喝」，香港凱倫偉伯畫廊「第二十三屆ifva媒體藝術展覽」，香港藝術中心包氐畫廊「甸甸的輕 – Young Talent Hong Kong 2018」，香港Affordable Art Fair 「Hashtag」，香港乒乓城「I know you are but what am I」，加拿大溫哥華亞洲當代藝術國際中心 2017 「雙黃線」，香港浸會大學傳理視藝大樓顧明均展覽廳「DesignXcel展覽」，香港中央圖書館展覽廳「出爐2017藝術畢業生聯展」，香港K11藝術空間「Ill-ustrations Exhibition」，香港浸會大學傳理視藝大樓顧明均展覽廳獎項 2017 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 AVA Award，香港浸會大學視覺藝術院本科畢業展藝術駐留計劃 2018 Sonic Transmission Artist Exchange Program 加拿大溫哥華亞洲當代藝術國際中心 2017 香港Spring Workshop

KARIN WEBER GALLERY 凱倫偉伯畫廊 Established in 1999 by German-born Karin Weber and now in its 20th 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. Consistently named one of ‘500 Best Galleries Worldwide’ by Blouin Artinfo, 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. 凱倫偉伯畫廊在1999年由德國的 Karin Weber 女士創立，今年踏入第20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。