Of All Things Cute by Chow Chun Fai, Daisuke Teshima, Joey Leung & Rosanna Li exhibition catalog by Karin Weber Gallery

OF ALL THINGS CUTE 乜咁Q

OF ALL THINGS CUTE 乜咁Q Group Exhibition by Chow Chun Fai, Daisuke Teshima, Joey Leung Ka YIn and Rosanna Li Wei Han 27th June to 15th August 2020

Front cover image ROSANNA LI

Cute Bill

stoneware, hand painted with underglaze, readymade object 29 x 16 x 10.5cm, 2020

INTRODUCTION

It is almost impossible for us to dislike things that are ‘cute,’ an aesthetic we are biologically designed to appreciate and enjoy. Our senses respond to things that are diminutive, wide eyed, round and tactile; suggesting innocence and a need for protection. As the world around us becomes more uncertain and dangerous, many individuals seek refuge in the safe, happy and gender-neutral spaces provided by friends that are furry, smily and entirely unthreatening. ‘Cute,’ originally derived from the English word ‘acute’ (meaning sharp or quick witted), suggests charming and coy, yet also ingenious and cunning in western culture. Primarily an American and Americanised concept, the notion of ‘cute’ as a broader social theme originated in the first half of the 20th century with child actress Shirley Temple and literary characters such as Lolita and Dorothy in the Wizard of Oz, flanked by a cast of familiar Disney characters. There may be a hidden, darker side to western ‘cute’, which taps into human desires to control, own and exploit. Its closest Asian counterpart is ‘kawaii’, an aesthetic concept which is rooted in Japanese manga drawings, ‘Kawaii’ culture gained traction as a creative response to post war rigidity and consumerism in the second half of the 20th century, with characters such as Hello Kitty (dating to the 1970s) and Pokemon (1990’s) now firmly embedded in global pop culture. However, ‘kawaii’ does not entirely mirror ‘cute’ in that it is more rooted in its country of provenance, more innocent, yet also somewhat more derisory as a term than its western counterpart. Cuteness in art becomes more complex and multifaceted. Jeff Koons’ ‘Balloon Dogs’ achieve record breaking market prices, as do Takashi Murakami’s superflat smiling flowers and Yoshitomo Nara’s more sinisterlooking portraits of children and animals. Artists harness the instant visual appeal of cute or kawaii subjects as an easy entry point to deliver a message that is far more edgy and complex than its medium. In ‘Of All Things Cute’, four East Asian artists engage the spontaneous appeal of their subjects to draw their own conclusions on the human condition, politics or gender. Chow Chun Fai departs from his signature moviethemed acrylic paintings to explore cuddly toys as messengers of political commentary. His wood-carved iconic Hong Kong taxis carry advertising for the IKEA ‘Lufsig’ wolf and Winnie The Pooh, referencing popular memes that were in circulation around the 2014 umbrella movement.

Rosanna Li connects her well known ceramic chubby people and groups of ready made installations to more recent events in her new series tellingly titled ‘This Is Not Cute.’ So-so Distancing is a group of four men and women sitting back to back, allegedly socially distancing but almost touching. Distance is suggested by their faces, each one hidden behind their various face coverings and messy hair, and their cowering stance as they are absorbed by their mobile phones. Masked To Kill turns the Coronavirus into a multicoloured beach ball, enticingly presented by a masked bather sporting devil horns. The Missing Tooth - Will You Marry Me offers ironic twists on popular beliefs of longevity and authenticity. Li subverts ‘cute’ in her own creations: as viewers connect with the funky beach ball, fake teeth or the smiling bather, a sharper, more toxic edge is revealed. Japanese artist Daisuke Teshima introduces a range of wooden heads and figures, enlivened with human imagination and interactions. For Teshima, much of his work is more humorous than typical ‘kawaii’, such as Comical Element No.1 a golden Buddha statue in Varadamudra pose, disturbed in its serenity by its cartoon-like head with staring, acid eyes. Whirling and With The Connection, Teshima’s other pieces in the show, present rear views of diminutive female figures, brought to life by their thoughts and imagination. Teshima’s second piece in the show, references Buddhist philosophy in a faceless figure who presents her rear view to expose rich brown hair styled into an infinity knot. Hair also features strongly in Joey Leung’s ink paintings, Cartoon-like girls inhabit tempting fairy lands which are abuzz with curious plants, tiny animals and mythical creatures. Yet there is an intrusive, sharp edge to each magical world, In Murmur, leaves are snipped, as Leung’s love for her favourite house plant is challenged by an onslaught of caterpillars. Selfies are snapped and enhanced in Perfect History, while Miss Happy looks quite the opposite as she perches atop a bouncy fish toy in an underwater seascape, underlining how Leung’s magic is interlaced with some twisted tales. As elves, chubby people, chattering heads and miniature toys converge in ‘Of All Things Cute’ at Karin Weber Gallery, we are often reminded that what looks dreamy and easy on the outside often transports a deeper, more disruptive meaning within. Karin Weber Gallery, July 2020

引言

我們幾乎不可能不喜歡那些「可愛」的東西，這是一種我們與生俱來欣賞和享受的美學：我們的五官自動對小巧、大眼、圓滾滾、摸起來舒服，可憐可愛的東西有所回應。隨著我們周圍的世界變得更加不確定和危險，許多人都轉向毛茸茸的、令人開心的和無威脅的「朋友」提供的安全、快樂的空間裏之中尋求庇護。「可愛」（Cute）來自英語acute（尖銳及靈敏）一字，其中有迷人而腼腆的感覺，然而在西方文化中，又有聰敏及狡黠的意思。「可愛」原本是個受美國文化影響的這個概念，它在20世紀上半葉轉化成一個含義更闊的社會主題，其中代表人物有童星秀蘭．鄧波兒 (Shirley Temple) 、文學作品中的蘿莉塔 (Lolita) 和《綠野仙蹤》中的桃樂西等，加上後來各式家傳戶曉的迪士尼人物。在西方文化中，「可愛」又有其隱藏的黑暗面，表現了操控、佔有及剝削等人性。這與亞洲文化中的「卡娃伊」（Kawaii）這個來自日本漫畫概念相近，「卡娃伊」文化以對20世紀戰後的緊張情況及消費主義的一個反響而風行日本。例如 70年代的「吉蒂貓」和90年代的「寵物小精靈」等角色都深入影響環球流行文化。然而「卡娃伊」並不完全等同「可愛」（Cute），前者有日本本身的文化脈絡，比起西方的概念，它更多了一重調侃意味。

手嶋在這次展覽的第二件作品中，無相的人物以她盤成無限標誌一樣的棕色髮髻回應佛教哲學。頭髮在梁嘉賢的水墨畫中亦十分重要，卡通般的女孩寄居於有着奇花異卉、微型動物及神話異獸的世界。然而每個魔幻世界中都有它尖銳之處。在《喃喃》中，樹葉都被剪過，粱氏對她最鍾愛的盆栽的愛受到肆虐的毛蟲挑戰。在《完美歷史》中自拍又修圖，然而在《歡樂小姐》中，女子則大異其趣地在水底坐在富彈力的錦鯉之上，體現了梁氏的魔境是如何充滿扭曲的故事。在精靈、胖子、喋喋不休的頭和微型玩具彙聚在凱倫偉伯畫廊的「乜咁Q」時，我們不其然想起那些外表看來夢幻而輕鬆的事物可能蘊含着更深的、更黑暗的意義。凱倫偉伯畫廊，2020年7月

藝術中的「可愛」則更為複雜和多面。傑夫．昆斯（Jeff Koons）的「氣球狗」、村上隆的「超扁平」(superflat) 微笑花朵和奈良美智的狡黠兒童和動物的肖像都創下了價格新高。藝術家們利用「可愛」或「卡娃伊」主題的即時視覺吸引力來傳遞比其媒介更前衛複雜的訊息。在「乜咁Q」中，四位東亞藝術家從他們所描繪對象的自發魅力中，得出對人性、政治及性別議題的看法。周俊輝暫時放下他著名的電影主題繪畫，以探討可愛的玩具如何表現政治批判。他的木雕的士有宜家家居「路姆西」玩具和小熊維尼的廣告，兩者都是2014年雨傘運動時廣為流傳的迷因。李慧嫻以她的陶瓷胖子人物和現成裝置藝術串連起近日事件，創作出「唔係咁Q 」系列。《隔離，隔籬》系列中四個男女背對背坐，說要保持社交距離但又近乎接觸到對方。所謂的社交距離或許最能表現在他們的臉上，他們都戴上口罩、頭髮蓬鬆，縮起來專心玩手機。《鬼咁Cute！》把冠狀病毒化為多彩的沙灘球，由一個長了魔鬼角的弄潮兒呈上。《咬住你唔放!》和《唔見咗隻牙》則諷刺地扭曲了一般人對長壽及真實的信念。李慧嫻在她的創作中顛覆了「可愛」之為物：觀眾眼中的沙灘球、假牙和在笑的弄潮兒，又有更為尖銳黑暗的一面。日本藝術家手嶋大輔的木雕頭像則有着豐富的想像力及交流。對手嶋來說，他的作品比一般所謂的「卡娃伊」更多了一重幽默，例如《喜劇元素（一）》這尊作與願印的金色立佛，它的卡通化大頭和尖銳凝視的大眼便打破了本身的安寧之感。手嶋在是次展覽的另外兩件作品《漩渦》及《有連接》，則以細小的女性形象的背影表現她們的想法和創意。

ARTWORKS

CHOW CHUN FAI

Taxi-Lufsig 的士- 路姆西 acrylic, wood 塑膠彩、木 11 x 25 x 9cm 2020

DAISUKE TESHIMA

Taxi-the-Pooh 的士維尼 acrylic, wood 塑膠彩、木 11 x 25 x 9cm 2020

Comical Element No.1 喜劇元素(一) color pencil, acrylic, gold brass foil, wood 木顏色、塑膠彩、金黃銅箔、木 41 x 13 x 15cm 2020

Whirling 漩渦 color pencil, acrylic, wood 木顏色、塑膠彩、木 38 x 18 x 17cm 2020

With The Connection 有連接 color pencil, acrylic, wood 木顏色、塑膠彩、木 46 x 13 x 12cm 2020

JOEY LEUNG KA YIN

Murmur 喃喃 gouache, Chinese ink, drawing pen, acrylic, acrylic gouache, coloured pencil on rice paper水彩、水墨、素描筆、塑膠彩、不透明塑膠彩、顏色筆、紙本 39.5 x 62cm 2020

Miss Happy 歡樂小姐 gouache, Chinese ink, drawing pen, acrylic gouache, coloured pencil on rice paper 水彩、水墨、素描筆、不透明塑膠彩、顏色筆、紙本 84.5 x 55cm 2020

Inscription reads: Passion can be easily swayed; Once he appears; My fondness of it ends.

Inscription reads: My magic knows no boundary; It cannot make you pleased; My Dear; Do you still have wishes that you want to come true?

Perfect History 完美歷史 graphite lead, acrylic, acrylic gouache on watercolour paper 石墨鉛筆、塑膠彩、不透明塑膠彩、水彩紙 76 x 112cm (set of two) 2020

Inscription reads: Memory is mischievous often deceiving people; A selfie seems most reliable; But adding a few touches; Makes the picture more beautiful and fascinating.

ROSANNA LI WEI HAN ‘This Is Not Cute!‘ Series 唔係咁Q系列

Cute Kills I Q嬌I (Left) stoneware, hand painted with underglaze, readymade object 高温陶、手繪釉上彩、現成物 27 x 22 x 14.5cm 2020

Masked To Kill 鬼咁 Cute! (Left) stoneware, hand painted with underglaze, handmade surgical mask, readymade object 高温陶、手繪釉上彩、手工口罩、現成物 24 x 12.5 x 13.5cm 2020

Cute Kills II Q嬌II (right) stoneware, hand painted with underglaze, readymade object 高温陶、手繪釉上彩、現成物 26 x 23 x 16cm 2020

Cute Bill 宅標 (right) stoneware, hand painted with underglaze, readymade object 高温陶、手繪釉上彩、現成物 29 x 16 x 10.5cm 2020

So-so Distancing III 隔離，隔籬III (left) stoneware, hand painted with underglaze, handmade surgical mask, readymade object 高温陶、手繪釉上彩、手工口罩、現成物 19.5 x 12.5 x 15cm 2020

So-so Distancing IV 隔離，隔籬IV (left) stoneware, hand painted with underglaze, handmade surgical mask, readymade object 高温陶、手繪釉上彩、手工口罩、現成物 21.5 x 13 x 18cm 2020

So-so Distancing I 隔離，隔籬I (right) stoneware, hand painted with underglaze, handmade surgical mask 高温陶、手繪釉上彩、手工口罩 19 x 13.5 x 17cm 2020

So-so Distancing II 隔離，隔籬II (right) stoneware, hand painted with underglaze, handmade surgical mask, readymade object 高温陶、手繪釉上彩、手工口罩、現成物 19 x 12.5 x 15cm 2020

Will You Marry Me? 咬住你唔放! (Left) 24k gold plated tooth, brass ring, readymade object 24k鍍金牙、黃銅戒指、現成物 7 x 8 x 6.5cm, 5 editions 2020

Watch Out! 小心熊出没! readymade object, handmade surgical masks 現成物、手工口罩 8 x 6.5 x 4cm each (5 pieces) 2020

The Missing Tooth 唔見咗隻牙 (right) 24k gold plated tooth, platinum plated ring, readymade object 24k鍍金牙、鍍鉑金戒指、現成物 7 x 8 x 6.5cm, 5 editions 2020

CHOW CHUN FAI

Born in 1980, Hong Kong. Currently lives and works in HK Education BA and MFA, Department of Fine Arts, The Chinese University of Hong Kong (CUHK) Solo Exhibitions (selected) 2020 ‘Portrait From Behind’, Gallery Exit, HK 2018 ‘CHOW Chun Fai’, Eli Klein Gallery, New York, US 2016 ‘CHOW Chun Fai: Everything Comes With An Expiry Date’, Klein Sun Gallery, New York, US 2015 ‘CHOW Chun Fai: I Have Nothing To Say’, Hanart TZ Gallery, HK 2013 ‘CHOW Chun Fai: I Have Something To Say’, Hanart TZ Gallery, HK ‘Cultural Rights – Artist Running An Election’, The Hong Kong University of Science and Technology, HK 2010 ‘Reproduction Of Reproduction’, Hanart TZ Gallery, HK 2009 ‘Not Fine Art’, Hanart TZ Gallery, HK 2008 ‘Shanghai Tan - Paintings By CHOW Chun Fai’, Galleria dell’Arco, Shanghai, China ‘Paintings By CHOW Chun Fai’, ViennaFair, Vienna, Italy ‘Paintings By CHOW Chun Fai’, China International Gallery Exposition, Beijing, China ‘Paintings, Videos And Photography By CHOW Chun Fai’, Hanart TZ Gallery, HK 2005 ‘Significance Form: Paintings By CHOW Chun Fai’, Grotto Fine Art, HK

Group Exhibitions (selected) 2020 ‘Of All Things Cute’, Karin Weber Gallery, HK 2015 ‘Venice Meeting Point’, Arsenale Venice, Italy ‘The Past Continuing’, Hong Kong Heritage Museum, HK 2014 ‘All Are Guests – Homecoming’, Hong Kong Museum of Art, HK ‘Light And Shadows- Caravaggio- The Italian Baroque Master’, Asia Society, HK ‘This Slow‧That Fast: Animamix Biennale’, Run Run Shaw Creative Media Centre, HK 2013 Art Basel, HK 2012 ‘Hong Kong Eye’, Saatchi Gallery, London, UK Liverpool Biennial, UK Collections Deutsche Bank, HK Hotel Icon, HK Harbour City, HK Himalayas Art Museum, Shanghai, China Hangart-7, Austria Hong Kong Museum of Art Hong Kong Heritage Museum Uli Sigg, Switzerland Swire Properties, HK

周俊輝 1980年生於香港。現生活並工作於香港學歷香港中文大學藝術系碩士 (藝術創作) 香港中文大學文學士 (主修藝術) 個展（擇錄） 2020 「背影」，香港安全口畫廊 2018 「周俊輝」，美國紐約奕來畫廊 2016 「每個東西上都有一個有效期」，美國紐約凱尚畫廊 2015 「周俊輝：無話可說」，香港漢雅軒 2013 「周俊輝：我有話說」，香港漢雅軒「文化權利─藝術家參選的前因後果」，香港科技大學 2010 「衍生的衍生」，香港漢雅軒 2009 「不純藝術」，香港漢雅軒 2008 「上海灘 - 周俊輝作品展」，中國上海莫干山路艾可畫廊「VIENNAFAIR - 周俊輝作品展」，奧地利維也納「2008 中藝博國際畫廊博覽會 - 周俊輝作品展」，北京「周俊輝繪畫錄像及攝影展」，香港漢雅軒 2005 「Significance Form: Paintings By CHOW Chun Fai」，香港嘉圖現代藝術

2012 「香港眼」，英國薩奇畫廊英國利物浦雙年展收藏德意志銀行香港唯港薈香港海港城中國上海喜瑪拉雅博物館奧地利Hangart-7 香港藝術館香港文化博物館瑞士烏利‧希克香港太古地產

聯展（擇錄） 2020 「乜咁Q」，香港凱倫偉伯畫廊 2015 「威尼斯集合點」，意大利威尼斯「時間遊人」，香港文化博物館 2014 「身是客 - 歸來」，香港藝術館「光.影 - 意大利巴洛克藝術大師 - 卡拉瓦喬」，香港亞洲協會「慢之極之快:動漫美學雙年展」，香港邵逸夫創意媒體中心 2013 「香港巴賽爾藝術展」，香港會展展覽中心

DAISUKE TESHIMA

‘Love & Peace Exhibition’, Heis Gallery, Japan ‘Shin-Sapporo ART WALL Special Exhibition’, Shin-Sapporo Gallery, Japan ‘Making Museum Art’, Sapporo Museum, Japan 2013 Heis Gallery, Japan ‘Making Museum Art’, Sapporo Museum, Japan 2012 ‘Daegu Art Fair’, South Korea Born in 1977, Fukuoka, Japan. Currently lives and works in Japan Education 2002 Master’s Degree, Tokyo Zokei University, Japan 2001 Bachelor Degree, Tokyo Zokei University, Japan Selected Exhibitions 2020 ‘Of All Things Cute’, Karin Weber Gallery, HK Artsy x Art Central, Karin Weber Gallery, HK 2019 Art Taipei, Contemporary HEIS art, Taiwan ‘20/20’, Karin Weber Gallery Anniversary Exhibition, HK Ginza Mitsukoshi, Tokyo, Japan Art Central, Karin Weber Gallery, HK 2018 ‘Food Matters’, Karin Weber Gallery, HK ‘Human Nature’, Karin Weber Gallery, HK ‘Drawings For Sculptures’, Heis Gallery, Japan 2017 ‘Art Élysees’, France ‘Seattle Art Fair’, USA ‘Art Fair Asia Fukuoka’, Japan 2016 ‘Unknown Eyes’, Heis Gallery, Japan ‘Art Busan’, South Korea ‘Art Élysees’, France 2015 ‘Sculpture/Doll’, Fukuoka Art Museum, Japan ‘Drawing Exhibition’ Heis Gallery, Japan 2014 ‘Art Élysees’, France ‘Sculpture Works Joint Exhibition Daisuke Teshima & Dong-hon Kwak’, Heis Gallery, Japan

Awards 2008 Award winner, ‘62nd Yamaguchi Art Exhibition’, Yamaguchi Prefectural Art Museum, Japan 2006 Grand Prize Award, ‘60th Yamaguchi Art Exhibition’, Yamaguchi Prefectural Art Museum, Japan Award winner, ‘Kitakyushu Art Festival’, City Art Museum of Kitakyushu, Japan Collections Contemporary Art Foundation, Tokyo, Japan Private collections in Japan, South Korea, HK, France, China

手嶋大輔 1977年生於日本現生活並工作於日本學歷 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 2020 「乜咁Q」，香港凱倫偉伯畫廊 Artsy x Art Central，香港凱倫偉伯畫廊 2019 台北國際藝術博覽會，日本Contemporary HEIS art 「20/20」，香港凱倫偉伯畫廊周年紀念展覽日本東京銀座三越 Art Central，香港凱倫偉伯畫廊 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 2017 「Art Élysees」，法國「Seattle Art Fair」，美國「Art Fair Asia Fukuoka」，日本 2016 「不明之眼」，日本Heis畫廊「Art Busan」，韓國「Art Élysees」，法國 2015 「雕塑／娃娃」，日本福岡美術館「繪畫展」，日本Heis畫廊 2014 「Art Élysees」，法國「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 日本Heis畫廊「制作博物館藝術」，日本札幌博物館

2012 「Daegu Art Fair」，韓國獎項 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、中國)

JOEY LEUNG KA YIN 梁嘉賢 1976年生於香港。現生活並工作於香港

Born in 1976, Hong Kong. Currently lives and works in HK Education 2007 Master of Fine Arts, Chinese University of Hong Kong (CUHK) 2000 BA in Fine Arts, CUHK Solo Exhibitions (selected) 2018 ‘Mollywood’, Grotto Fine Art, HK 2014 ‘Unpoetic Poems’, Grotto Fine Art, HK 2013 ‘Series Of “Photo-Mirror”: Japan’, Aquvii TOKYO, Tokyo, Japan Group Exhibitions (selected) 2020 ‘Of All Things Cute’, Karin Weber Gallery, HK 2019 ‘A Sense Of Place – From Turner To Hockney, Hong Kong Section’, Hong Kong Museum of Art, HK ‘Together We March Forward: New Asia 70th Anniversary Art Exhibition’, H Queen’s, HK 2018 ‘Charming Tastes And Fragrance: Literature And Visual Arts Exhibition ‘, Hong Kong Arts Centre and JCCAC, HK ‘Fantasia’, Spoke Art, San Francisco, USA ‘The Strangeness Of Her Narratives’, Rossi & Rossi, HK Public Art Project 2018 Dr Sun Yat-sen Historical Trail at Po Hing Fong (Reception Centre of the Tongmenghui) and 2 Bridges Street (Preaching House of the American Congregation Church)

學歷 2007 香港中文大學藝術系碩士 (藝術創作) 2000 香港中文大學文學士 (主修藝術) 個展（擇錄） 2018 「毛島風光好」，香港嘉圖現代藝術 2014 「不詩意詩集」，香港嘉圖現代藝術 2013 「照片鏡系列之日本」，日本東京Aquvii TOKYO 聯展（擇錄） 2020 「乜咁Q」，香港凱倫偉伯畫廊 2019 「觀景‧景觀—從泰納到霍克尼」（香港部分），香港藝術館「結隊向前行」新亞七十藝術展，香港H Queen’s 2018 文學季2018 「氣味相投：文學x視覺藝術」，香港藝術中心，賽馬會創意藝術中心「Fantasia」，美國三藩市Spoke Art 「The Strangeness Of Her Narratives」，香港Rossi & Rossi 公共藝術計劃 2018 孫中山史蹟徑(第三站普慶坊：中國同盟會招待所舊址，第四站必列者士街2號：美國公理會福音堂萏址) 收藏香港藝術館阿什莫林博物館 (英國牛津大學) 私人收藏

Collections Hong Kong Museum of Art Ashmolean Museum, Oxford University, UK Private collections

ROSANNA LI WEI HAN 2019-2020 ‘Beyond’ In ‘Classics Remix – The Hong Kong Viewpoint’, Hong Kong Museum of Art, HK 2018-2019 ‘Claylaboration – Contemporary Ceramic Art Exhibition’, Hong Kong Heritage Museum, HK

Born in Hong Kong. Currently lives and works in HK Education 2007 MA in Cultural Studies, Lingnan University, HK 1989 MA in Educational Management, Cheltenham and Gloucester College of Higher Education, UK 1986 B.Ed. (Hons), University of Liverpool, UK 1983 Higher Certificate in Studio Ceramics, Hong Kong Polytechnic, HK 1981 Diploma in Art Education, University of London Institution of Education, UK Experiences 2010-2016 Part-time visiting lecturer, School of Design, Hong Kong Polytechnic University 1990-2010 Assistant Professor, School of Design, Hong Kong Polytechnic University Solo Exhibitions (selected) 2019 ‘For Old Time’s Sake – An Exhibition Of Rosanna Li Wei Han’s Ceramic Figurines’, Touch Ceramics, HK 2018 ‘Happiness In The Making – An Exhibition Of Works By Rosanna Li Wei Han’, Lee Shau Kee Library, Hong Kong University of Science & Technology, HK ‘Love Books, Love Puffs, Love Mobiles – An Exhibition Of Rosanna Li Wei-Han’s Ceramic Figurines’, Grotto Fine Art, HK 2017 ‘Toast-To-Go - Ceramics Solo Exhibition Of Rosanna Li’, Giant Year Gallery, HK Group Exhibitions (selected) 2020 ‘Of All Things Cute’, Karin Weber Gallery, HK ‘Women’s Touch In Hong Kong – Rosanna Li, Annie Wan, Sara Tse’, Touch Ceramics, HK ‘Uniquely Hong Kong – A Celebration Of Hong Kong Art’, Alisan Fine Arts, HK

Public Art Projects 2015-present Triple Happiness – 3 Couples, Lee Tung Avenue, commissioned work 2014-2015 Heaven, Earth and Man - A Hong Kong Art Exhibition: Happy Folks I & II, Art Square at Salisbury Garden; commissioned by the Hong Kong Leisure and Cultural Services Department 2005-present Art in MTR - People Passing By, People Lazing By, MTR Yau Tong Station; commissioned by the Hong Kong MTR Corporation Awards 2020 Artist Of The Year (Visual Arts), Art and Development Council Awards, HK 2016 Finalist, Asian Art Prize, Sovereign Art Foundation, HK 2013 ‘Hong Kong Women Of Excellence In The Six Arts’ Award, (Visual Arts - Sculpture/ Ceramics), Hong Kong Federation Of Women, HK 2005 Secretary For Home Affairs Commendation Medal (Achievements In the Promotion of Arts And Culture), Home Affairs Bureau, HK 2000 Silver Award in Ceramics, Guangdong Museum of Art, China 1999 Artist Of The Year (Sculpture), Hong Kong Artists’ Guild, HK 1985 Fine Art Award (Ceramics), Hong Kong Urban Council, HK Artist In Residency 2016 Shigaraki Cultural Park, Shigaraki, Japan 1996 International Workshop of Ceramics Tokoname, Japan Collections Hong Kong Museum of Art, HK Hong Kong Heritage Museum, HK Guangdong Museum of Art, China Shiwan Ceramic Museum, China Zhejiang Museum of Art, China New Taipei City Yingge Ceramics Museum, Taiwan

李慧嫻生於香港。現於香港工作。學歷 2007 香港嶺南大學文化硏究碩士學位 1989 英國卓涵學院教育管理碩士學位 1986 英國物浦大學藝術教育（榮譽）學士學位 1983 香港理工學院設計學院高級陶藝證書課程 1981 英國倫敦大學教育硏究院藝術教育文憑工作經驗 2010-2016 香港理工大學客席講師 1990-2010 香港理工大學設計學院助理教授個展（擇錄） 2019 「舊歡.如胖 - 李慧嫻陶塑展」，香港活陶藝廊 2018 「學而時習之— 李慧嫻作品展」，香港科技大學李兆基圖書館「愛書、愛煙、愛手機 — 李慧嫻陶塑展」，香港嘉圖現代藝術 2017 「多士幹線 —李慧嫻陶塑展」，香港巨年藝廊聯展（擇錄） 2020 「乜咁Q」，香港凱倫偉伯畫廊「她們在香港做陶 —李慧嫻、尹麗娟、謝淑婷三人展」，香港活陶藝廊「頌讚 — 香港藝術」，香港藝倡畫廊 2019-2020 「原典變奏—香港視點」，香港藝術館 2018-2019 「合.陶 — 當代陶瓷藝術展」，香港文化博物館

2005-現在《行人、閒人》，香港油塘港鐵站獎項 2020 藝術家年獎（視覺藝術），香港藝術發展局 2016 入選香港Sovereign傑出亞洲藝術獎 2013 「香港六藝卓越女性」獎（視覺藝術——彫塑／陶藝），香港各界婦女聯合協進會 2005 香港民政事務局局長頒發嘉許獎章 (文化藝術推廣) 2000 陶藝銀獎，中國廣東美術館 1999 香港藝術家年獎（雕塑） 1985 香港市政局藝術獎（陶藝）藝術家駐留計劃 2016 日本滋賀縣信樂市「陶藝之森」國際藝術家駐留計劃 1996 日本常滑國際陶瓷工作室駐留計劃收藏香港藝術館香港文化博物館中國廣東美術館中國廣東石灣陶瓷博物館中國浙江美術館台灣新北市立鶯歌陶瓷博物館

公共藝術計劃 2015-現在《喜相逢》，香港灣仔利東街 2014-2015 《心滿意足I 及II》，香港藝術館梳士巴利雕塑花園

KARIN WEBER GALLERY 凱倫偉伯畫廊

Established since 1999, 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. A 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. 凱倫偉伯畫廊創立於1999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、孟買和柏林有辦事處，使我們能夠幾乎遍佈世界各地為客戶提供服務並搜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。