Para Site Auction 2016 Catalogue

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Dear Friends of Para Site, 20 years ago, a group of enthusiastic local artists decided to embark on an adventure that would see Hong Kong’s most beloved space for contemporary art enter the consciousness of the city, just as Hong Kong was preparing for the most momentous date in its recent history, the handover. The story of Hong Kong and that of Para Site have been interlinked ever since, with our small but energetic institution being key to the development of contemporary art in Hong Kong and a testament to the hard work that has established its position at the core of both local and international debates on the myriad links between art and society. Over the past two decades, Para Site has grown, shifted, and reflected our beloved Hong Kong, closely following the city’s rhythm. And just as it is difficult to imagine Para Site anywhere else, it has become impossible to think of Hong Kong without its oldest and most active space for encountering contemporary art. While Para Site has become one of the best known midsize institutions on the international scene, where it often collaborates with much larger and older institutions, it has remained a uniquely Hong Kong space.

In our 20th year, Para Site has developed its programmes like never before, offering a small glimpse into what the next 20 years could bring! We have greatly expanded what we are able to offer back to the community, in the number of exhibitions, public programmes, residencies, new publications, visitor numbers, and overall impact on the local arts community. We have grown our educational programmes, including our prestigious intensive workshop for emerging art professionals from Hong Kong and abroad, held in conjunction with our annual international conference - which was, yet again, a major event on the global art agenda. We are particularly proud of the developments in our long-term project engaging with Hong Kong’s domestic worker community, which has seen dozens of workshops, meetings, events, and exhibitions organised together with this community, so often marginalised in our city.

These have all joined our much applauded exhibition programme. The World is Our Home. A Poem on Abstraction was a groundbreaking, museum-level exhibition that gathered together, for the first time, outstanding historical artists from all across the world. Afterwork, looking at the broad issues of domestic work, labour, and migration in Hong Kong and beyond, has been one of the most successful exhibitions in recent years, with thousands of visitors and hundreds of reviews in leading local and international media.

Samson Young’s solo exhibition, Orchestrations, gave Hong Kong audiences a chance to see the excellent work of the artist who will represent our city at the Venice Biennale next year. This was in addition to our already-established booth at Art Basel, every year featuring a promising local artist with newly commissioned work. That Has Been, and May Be Again continued our support of young Hong Kong curators in having the chance to realise their first largescale exhibition with all the opportunities Para Site has to offer: its space,

experience, and budget. Our current exhibition, Apichatpong Weerasethakul: The Serenity of Madness, is a unique opportunity to encounter the works of one the most original artists and filmmakers of our time. Soil and Stones, Souls and Songs, a major new survey with artists from across Asia and beyond, co-organised with Kadist (Paris/San Francisco) and held at the Museum of Contemporary Art and Design (MCAD) in Manila, showcases Para Site’s central position in debates within Asia and the international arts scene, as well as the regional and global scope of our activities. In the same vein, our exhibitions continue to travel successfully to several prestigious international venues this year, including Museo Universitario Arte Contemporáneo (MUAC) in Mexico City, and will continue to tour the world over the coming months, with openings planned in Kuala Lumpur, Bangkok, Rio de Janeiro, and Jakarta.

None of this would have been possible without the tremendous generosity of our Patrons and supporters. And because we would like you to know exactly how this support translates into our work, here are a few examples of the costs that went into these projects: $3,500 is the artist fee for participating in one of our group exhibitions $5,000 is the transportation of a visiting artist from the region $10,000 is the electricity in the gallery for one month $40,000 is the production of Para Site’s booth in Art Basel $70,000 is the production of a newly commissioned installation work $120,000 is the printing of a major Para Site publication $500,000 is the production of a regular Para Site exhibition $700,000 is the organisation of our International Conference

We are thus extremely grateful to all of you for supporting us; to all the artists, galleries, and friends who have donated an unprecedented set of works and experiences, to our expanding family of Founding Friends, Friends, and Associates, as well as to our Advisory Council, who have made our last year possible. Special gratitude goes to our Lead Corporate Sponsors: Phillips Auction House and The Outnet.com, to our Auction Preview Venue Partner: K11 Art Foundation, and to the following organisations for their contributions: Givergy, AXA Art Insurance, Gübelin, G4S, Aberdeen Street Social, Tatler Hong Kong, CoBo Social, The Artling, Casamigos Tequila, Altaya Wines, Aviation Gin and GH Mumm Champagne. Last but not least, our heartfelt and special thanks to Yana and Stephen Peel for generously hosting this anniversary evening.

In true Hong Kong tradition, we gather as a family to celebrate this anniversary and the thousands of people who have made it possible. And with the resilience and ambition of our city, we look forward to the next 20 years together!

Cosmin Costinas Executive Director and Curator Para Site

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Wilson Shieh 石家豪

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1984, 2016 Acrylic on canvas Unique 61 × 61 cm Estimate: HK$ 40,000 – 60,000 Courtesy of the artist and Osage Gallery

Wilson Shieh (b. 1970, Hong Kong) lives and works in Hong Kong. Shieh started his artistic practice in Chinese gong-bi style (meticulous fine-line) figure painting, presenting themes of sexuality, role-play, costume play, and cultural symbols using a contemporary approach. In recent years, he has expanded to other media such as printmaking, acrylic painting, drawing, and collage.

Recent exhibitions and projects include Works by Wilson Shieh, Osage Gallery, Hong Kong, Next Destination: Hong Kong, Sotheby’s Gallery, Hong Kong (2016); Here is Where We Meet, Duddell’s, Hong Kong (2015); Wilson Shieh…Sumbody, Osage Gallery, Hong Kong, Hong Kong Eye, ArtisTree, Hong Kong (2013); The Repository of Coherent Babbles - Painting On and On (1), Southsite, Hong Kong, Ink: The Art of China, Saatchi Gallery, London, Wilson Shieh Live in Soho, Osage Gallery, Hong Kong (2012).

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Samson Young 楊嘉輝 What the Light Houses Taught Me (July 1, 2016, 8:30am-10:00am, Control Deck (Bridge), ZIM Qiandao), 2016 Ink, pencil, colour pencil, watercolour and stamps on paper Unique 27.5 × 18.7 cm

What the Light Houses Taught Me (July 4, 2016, 3:10pm-4:00pm, Outside Bridge Facing to the right, ZIM Qiandao), 2016 Ink, pencil, colour pencil, watercolour and stamps on paper Unique 27.3 × 18.8 cm

Estimate: HK$ 60,000 – 90,000 Generously donated by the artist and Edouard Malingue Gallery

Samson Young (b. 1979, Hong Kong) lives and works in Hong Kong. Young’s diverse, researchbased practice draws from the avant-garde compositional traditions of aleatoric music, musique concrète, and graphical notation. His drawings, radio broadcasts, performances, and compositions appropriate the components of music to flesh out global conflicts that have affected our past and present. Young will be representing Hong Kong at the 2017 Venice Biennale. He is also the inaugural winner of the Art Basel – BMW Art Journey Award 2015, and was named the Artist of the Year (Media Art) by the Hong Kong Arts Development Council in 2013. He has participated in numerous international music and performing art festivals.

Recent exhibitions and projects include Orchestrations, Connecting Space (presented by Para Site), Hong Kong (2016); Pastoral Music, Team Gallery, New York City, Video Program: Samson Young, Hiroshima City Museum of Contemporary Art, Japan, Avant-Garde on Speed, TKG+, Taipei, and Change Seed, Center on Contemporary Art, Seattle, USA (2015); the Asia Triennial Manchester 2014, United Kingdom, and China’s Changing Landscape, Nordiska Akvarellmuseet, Sweden (2014); the Shanghai West Bund Biennale of Architecture and Contemporary Art (2013); and A Journal of the Plague Year. Fear, ghosts, rebels. SARS, Leslie and the Hong Kong Story, Para Site, Hong Kong (2013-14).

Simryn Gill

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Egg Drawing #23, 2016 Collage and pencil on paper Unique 28.5 × 90 cm Estimate: HK$ 80,000 – 100,000 Generously donated by Jhaveri Contemporary, Tracy Williams Ltd., and Utopia Art Sydney

Simryn Gill (b. 1959, Singapore) lives and works in Sydney and Malaysia. Gill is one of the most prominent artists in the Asia-Pacific region; known for her diverse art practices, including photography, sculpture, installation, writing, and drawing. Her works often focus on transforming found objects and examining the relationships between culture, knowledge, and place. Egg Drawing #23 is a work for which she dismantled found books – objects of knowledge – and rendered them unreadable in their new, aestheticised form, relating to the history of museums as institutions of colonialism.

Recent exhibitions and projects include Hugging the Shore, NTU Centre for Contemporary Art, Singapore (2015); Sites of Reason: A Selection of Recent Acquisitions, Museum of Modern Art, New York (2014); Here art grows on trees, Australian Pavilion, 55th Venice Biennale, Venice, Lasting Images, Solomon R. Guggenheim Museum, New York, and the 5th Moscow Biennale of Contemporary Art, Moscow (2013); dOCUMENTA 13, Kassel (2012); Untitled (12th Istanbul Biennial), Istanbul (2011); Simryn Gill: Inland, Centre for Contemporary Photography, Melbourne (2009); and dOCUMENTA 12, Kassel (2007).

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Trevor Yeung 楊沛鏗

Yuen Long Wet Market at Night, 2010 C-print on archival paper Edition 2 of 3 80 × 120 cm Estimate: HK$ 40,000 – 55,000 Generously donated by the artist and Blindspot Gallery

Trevor Yeung Pui Hang (b. 1988, China) lives and works in Hong Kong. Yeung’s practice incorporates elements of botany, zoology, ecology, horticulture, photography, and installations that serve as metaphors for the emancipation of everyday aspirations toward human relationships. He creates worlds that operate within their own undisclosed logic and that hint at his personal aspirations, limits, and failures. His photography is grounded in the social conditions of intra-subjectivity and collective memory, while examining notions of selfhood.

Recent exhibitions and projects include The Sunset of Last Summer, Blindspot Gallery, Hong Kong, Sea Pearl White Cloud, Observation Society, Guangzhou, China, Daguerreotypes, Neptune, Hong Kong, and Adrift, OCT Contemporary Art Terminal, Shenzhen, China (2016); no pressure :), Zürcher Hochschule der Künste, Zurich, Switzerland, Garden Cruising: It’s not that easy being green, Blindspot Gallery, Art Basel HK, Hong Kong, China 8: Contemporary Art from China on the Rhine and Ruhr, Osthaus Museum, Hagen, Germany, and A Hundred Years of Shame – Songs of Resistance and Scenarios for Chinese Nations, Para Site, Hong Kong (2015); That Dog at that Party, Gallery EXIT, Hong Kong, Social Factory, the 10 Shanghai Biennale, and Ten Million Rooms of Yearning, Para Site, Hong Kong (2014). Yeung was one of the 3 shortlisted artists for the BMW Art Journey award. th

Dan Attoe

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Partiers at Waterfall, 2015 Oil on canvas over MDF Unique 30.5 × 30.5 cm Estimate: HK$ 160,000 – 220,000 Generously donated by the artist and Peres Projects, Berlin

Dan Attoe (b. 1975, USA) lives and works in the U.S.. His works often deal with elements of nature – forests, fields, water bodies - and the dynamics between people and their vast, immersive environments. The portrayals are testament to Attoe’s immense understanding of his surroundings. Partiers at Waterfalls is one such evocative depiction and yet its relatively small, fragile inhabitants seem disinterested in the majesty of their environment. Attoe is poignant in highlighting the self-absorbed alienation emanating from his figures.

Recent exhibitions and projects includes Wild Style: Exhibition of Figurative Art, Peres Projects, Berlin, and Recent Landscapes, Half Gallery, New York (2016); love Story – Works from Erling Kagge’s Collection, Astrup Fearnley Museet, Oslo (2015); Landscapes With Water, Peres Projects, Berlin, Somos Libres II, Pinacoteca Gianni e Marella Agnelli, Turin, and The Crime Was Almost Perfect, Witt de With, Rotterdam (2014).

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Frog King Kwok 蛙王

Kindness, 2016 Diptych, mixed media on canvas Unique 141 × 90 cm each Estimate: HK$ 120,000 – 200,000 Generously donated by the artist and 10 Chancery Lane Gallery

Kwok Mang-ho (b.1947, China), also known as Frog King, lives and works in Hong Kong. As a multi-media artist, Kwok has produced numerous performances, sculptures, paintings, and installations. He has explored multiple dimensions, mediums and experiences under the motto “Art is Frog”. He has explored methods of 2D painting, sculpture, environment, space, time, happenings, and live art only to return to the free spirit and “ordinary heart”. Kwok has discovered the “Yum dimension”, a place wherein art can be created in any volume, form, media, idea, and dimension.

Kwok received Urban Council Fine Arts Awards in the field of sculpture and mixed media in 1975 and 1998, respectively. He was awarded the Yomoma Arts Group Award – The Best Community Art Service by the New York City Hall in 1987, the Hong Kong Arts Development Council Emeritus Fellowship in 1998, and Documentaries of Chinese Performance Art by the Macau Museum of Art in 2005. His works are collected by local and overseas museums and private collectors.

Adrian Wong 王浩然 and Shane Aspegren

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Ceremonial Nomad, 2016 Oil on canvas Unique 150 × 150 cm Estimate: HK$ 80,000 – 100,000 Generously donated by the artists

Adrian Wong (b. 1980, USA) lives and works in Hong Kong and Los Angeles, U.S.A. Relying heavily on a research-based methodology, Wong’s installations, videos, and sculptures draw from varied subjects and explore the intricacies of his relationship to his environment (experimentally, historically, culturally, and through the filter of fantastical or fictionalised narratives). Wong is the co-founder and director of Embassy Projects, an arts consultancy and independent production studio in Hong Kong. He was awarded the Sovereign Asian Art Prize in 2014 and the Xian Rui Artist Excellence Award, San Francisco, in 2012.

Shane Aspegren (b. 1975, U.S.A.) lives and works in Hong Kong. His work includes music, video, sound design, performance, photography, and other multi-media. He started working with a diverse list of electronic, pop, and experimental projects while pursuing a degree in film. Moving to Hong Kong in 2012, he has collaborated on dozens of studio albums, world tours, and one-off projects; created sound design and soundtracks for a number of commercial and theatrical releases; as well as visual, sound, and performative works for museums and art spaces across North America, Europe, and Asia.

Ceremonial Nomad is a collaborative piece from a series of works exploring the concept of cymatics and cromniomancy. The duo tie together the study of wave phenomena with the practice of divination by onions, finding the connections between frequencies and cosmic mysticism.

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Michael Joo

Untitled (Banner 1), 2015 Silver nitrate and epoxy on canvas Unique 74.9 × 59 cm Estimate: HK$ 70,000 – 100,000 Generously donated by the artist

Michael Joo (b. 1966, U.S.A.) lives and works in New York. Michael Joo’s artwork investigates concepts of identity and knowledge in a hybridised, contemporary world. He often blends and collides seemingly disparate elements such as science and religion, fact and fiction, high and low culture, using a range of materials and media, with an emphasis on process. Untitled (Banner 1) is one such arresting, hybrid work; part spiritual manifestation, part Rorschach test.

In it, Joo juxtaposes humanity’s various states of knowledge and culture, addressing the fluid nature of identity itself, and prompting us to question how and why we perceive the world as we do.

Recent exhibitions and projects include Radiohalo, Blain|Southern, London, Perspectives: Michael Joo, The Smithsonian’s Museum of Asian Art, Washington D.C., Still (the) Barbarians, EVA International Biennale, Limerick, Ireland (2016); Sharjah Biennial 12: The past, the present, the possible, Sharjah Art Foundation, Sharjah; America Is Hard To See, Film & Video Screenings: MIND EYE BODY, Whitney Museum of American Art, New York (2015); Drift (Bronx), The Bronx Museum of Arts, New York (2014); Michael Joo, M Building, Art Basel Miami Beach, Miami (2013); Roundtable, 9th Gwangju Biennale, Gwangju (2012).

Lee Kit 李傑

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Johnson’s baby oil – No more lonely night., 2016 Emulsion paint, inkjet and pencil on paper 41 × 29.5 cm Estimate: HK$ 80,000 – 100,000 Generously donated by the artist and Massimo de Carlo

Lee Kit (b. 1978, Hong Kong) lives and works in Taiwan. Extensively shown around the world, Lee’s practice often derives inspiration from everyday and domestic situations. Imparting intimate confessions and political commentary into his works through embedded use of banal materials, he often refers to the omnipresent market capitalism surrounding Hong Kong’s history as a global city.

Lee represented Hong Kong in the 55th Venice Biennale. Recent exhibitions and projects include Lee Kit: Hold your breath, dance slowly, Walker Art Centre, USA, Lee Kit: A small sound in your head, S.M.A.K., Ghent, He Knows Me – Lee Kit, Massimo de Carlo, London (2016); We’ll never go back again, Vitamin Creative Space, Guangzhou, Please Wait, Motherʼs Tankstation, Dublin, Ireland and the Sharjah Biennial, Sharjah, UAE (2015); Ten Million Rooms of Yearning: Sex in Hong Kong, Para Site, Hong Kong, Room Service, Staatliche Kunsthalle, Baden-Baden, Germany, and the Kiev Biennial, Kiev, Ukraine (2014); A Journal of the Plague Year. Fear, ghosts, rebels. SARS, Leslie and the Hong Kong story, Para Site, Hong Kong, and You(you). (2013-15).

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Leung Chi Wo 梁志和

Fearless to Sacrify, Daring to Win, 2016 Duratran, LED light box, engraving on plexiglas and steel frame Unique 45.5 × 35.5 × 8 cm Estimate: HK$ 85,000 – 110,000 Generously donated by the artist and Blindspot Gallery

Leung Chi Wo (b. 1968, Hong Kong) lives and works in Hong Kong. His reflexive practice combines historical exploration with conceptual inquiry within a contemporary urban landscape, being particularly interested in memory, temporality, space, movement, paradox, and identity. Ranging from photography and video to text, performance, and installation, he is concerned with the undetermined relationship between conception, perception, and understanding; especially in relation to site and history within cultural/political frameworks.

One of Para Site’s founders in 1996, Leung’s recent exhibitions and projects include This is my song, Rokeby, London, That Has Been, and May Be Again, Para Site, Hong Kong (2016); Press the Button… Leung Chi Wo: A Survey Exhibition, OCT Contemporary Art Terminal, Shenzhen, Museum of the Lost, Blindspot Gallery, Hong Kong, and China 8, NRW-Forum, Düsseldorf, (2015); So I don’t really know sometimes if it’s because of culture, Harmonious Society, Asia Triennial, Manchester, and Run Run Shaw Creative Media Centre, Hong Kong (2014); Great Crescent: Art and Agitation in the 1960s – Japan, South Korea, and Taiwan, Para Site, Hong Kong, and Bright light has much the same effect as ice, 2P, Hong Kong (2013).

Vera Lutter

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New York City, Waxing Crescent, 2011 Archival pigment print Unique Framed: 65.7 × 86 cm Estimate: HK$ 120,000 – 180,000 © Vera Lutter. Courtesy Gagosian.

Generously donated by the artist and Gagosian Gallery

Vera Lutter (b. 1960, Germany) lives and works in New York. Since the early 90’s, Lutter has employed the technique of camera obscura, or pinhole camera, in projects around the world, where she photographically renders architecture, abandoned factories, shipyards, and other industrial sites. With a keen interest in lunar patterns, her recent project, New York City, Waxing Crescent, explores the origins of light and its essential role in manifesting vision and time. The artist photographed the moon during its various stages, and captured the moment it emerges from the night sky, recalling the way in which her pinhole subjects luminously materialise from the darkness of their surroundings.

Recent exhibitions and projects include Vera Lutter, Gagosian Gallery, New York, Industry, Now Contemporary Photographs From the Mast Collection, Group Show, MAST Foundation, Bologna, Italy, Framing Desire: Photography and Video, The Modern Art Museum of Fort Worth, Texas, and The Memory of Time: Contemporary Photographs from the National Gallery of Art, Acquired with the Alfred H. Moses and Fern M. Schad Fund, National Gallery of Art, Washington, D.C. (2015); Vera Lutter: Venice, Weinstein Gallery, Minneapolis, SPOT ON, Stiftung Museum Kunstpalast, Düsseldorf, Convergences: Selected Photographs from the Permanent Collection, Getty Centre, Los Angeles, and Now You See It: Photography and Concealment, The Metropolitan Museum of Fine Art, New York (2014).

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Maria Taniguchi

Untitled, 2016 Acrylic on archival paper Unique 83.8 × 57.15 cm Estimate: HK$ 30,000 – 50,000 Courtesy of Maria Taniguchi and Silverlens

Maria Taniguchi (b. 1981, Philippines) lives and works in Manila. Taniguchi consistently explores the possibilities of form in her brick paintings, engaging time and labor-intensive processes in her seemingly neutral surfaces. Her work becomes performative, in her deliberateness to first draw out a grid and then paint each brick individually. This process also removes the uniformity that her paintings might present at first glance.

Recent exhibitions and projects include Afterwork, Para Site, Hong Kong, Histories of a Vanishing Present: A Prologue Chapter 2, The Mistake Room, LA, and Globale: New Sensorium, ZKM/Center for Art and Media, Karlsruhe (2016); the 8th Asia Pacific Triennial, Queensland Art Gallery, Reverence and Reproach: Modernist Legacies in Contemporary Film and Video, Tate Britain, London (2015); Maria Taniguchi, Silverlens, Manila, Maria Taniguchi, Ibid. London, (2014). She won the Hugo Boss Asia Art Award for Emerging Asian Artists at the Rockbound Art Museum in Shanghai in 2015.

Ma Liuming 馬六明

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Dialogue with Gilbert and George, 1993 C-print Edition 6 of 10 60.9 × 40.6 cm Estimate: HK$ 55,000 – 95,000 Generously donated by the artist and Hakgojae Gallery

Ma Liuming (b. 1969, China). Often performing through the alter ego of Fen-Ma Liuming, Ma deals with the politics of sexual identity, including issues of sexual ambiguity, appearance and truth, and crises in identity. Ma continuously asks questions targeting relationships between the past and the present, man and woman, adult and child, artist and audience, the subject and the other. Dialogue with Gilbert and George presented here is one of the most iconic art works of the nineties in China. During a visit by Gilbert & George to his Beijing studio in 1993, Ma used his sexually ambiguous appearance to engage in a “dialogue” with the art duo. He stripped off his shirt and cut into a bag of red ink hidden in the ceiling, which then poured down over his body like blood. This was Ma Liuming’s first performance in which he used the body as a medium instead of paint and canvas. It also showed the eagerness of Chinese artists of that era to interact with the international art world in a desire to become integrated within it.

Recent exhibitions and projects include That Has Been, and May Be Again, Para Site, Hong Kong, (2016); A Journal of the Plague Year. Fear, ghosts, rebels. SARS, Leslie and the Hong Kong story, Para Site, Hong Kong (2013-2015); Ma Liuming, Hakgojae Gallery, Seoul, West Says East Says, The United Art Museum Wuhan (2014); I’m Not Involved in Aesthetic Progress: A Rethinking of Performance, 798 Dashanzi Art District, Beijing (2013); Conceptual Renewal – A Brief History of Chinese Contemporary Photographical Art, Si Shang Art Museum, Beijing (2012); and Red, 10 Chancery Lane Gallery, Hong Kong (2011).

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Philippe Parreno

Chickenman, 2005, 2013 Green phosphorescent ink on paper Edition 3 of 6 + 2 AP 141 × 100 cm Estimate: HK$ 120,000 – 160,000 Generously donated by the artist and Pilar Corrias Gallery, London

Philippe Parreno (b. 1964, Algeria) lives and works in Paris. One of the leading artists of our time, Parreno creates artwork that questions the boundaries between reality and fiction, exploring the nebulous realm in which the real and the imagined blur and combine. Working in a diverse range of media including sculpture, drawing, film, and performance, Parreno seeks to expand our understanding of duration, inviting us to radically re-evaluate the nature of reality, memory, and the passage of time. Central to Parreno’s practice is his quest for an ultimate form of communication capable of transcending language.

Recent exhibitions and projects include, Hyundai Commission: Philippe Parreno: Anywhen, Turbine Hall, Tate Modern, London (2016-2017); IF THIS THEN ELSE, Gladstone Gallery, New York, in 2016; H{N}YPN(Y)OSIS: Philippe Parreno, Park Avenue Armory, New York, 56th Venice Biennale – All the World’s Futures, Venice, (2015); Philippe Parreno: Quasi-Objects, Esther Schipper, Berlin, Philippe Parreno: With a Rhythmic Instinction to be Able to Travel Beyond Existing Forces of Life, Pilar Corrias, London, UK (2014); Anywhere, Anywhere Out of the World, Palais de Tokyo, Paris, Philippe Parreno, The Garage Centre for Contemporary Culture, Moscow (2013).

Hou Chun Ming 侯俊明

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Lutine, 2016 Wax Ink, acrylic Unique 247 x125 cm Estimate: HK$ 200,000 – 300,000 Generously donated by the artist

Hou Chun Ming (b. 1963, Taiwan) lives and works in Taiwan. Hou’s body of work reflects on his obsession with depicting mythical elements, tales, and legends. His works are characterised by their bold, spartan lines; creating an iconography that connects traditional religious rituals, explicit sexual encounters, and a densely-layered exploration of the human body. The exhibited work is one of the most iconic works by Hou, and one of the best-known works dealing with the issue of Hong Kong identity. It represents Lo Ting, a mythical figure from Lantau Island, halfhuman, half-fish, and indigenous to Hong Kong, which becomes a metaphor for the changing identity of contemporary Hong Kong.

Recent exhibitions and projects include HOU CHUN MING — The Asian Father Interview Project: “Fathers of Male Homosexuals in Hong Kong”, Hui Gallery, New Asia College, Chinese University of Hong Kong, Hong Kong (2016); Ten Million Rooms of Yearning. Sex in Hong Kong, Para Site, Hong Kong (2014); the 55th Venice Biennale, and Rolling: Visual Art in Taiwan, Seoul Museum of Art (2013); Mandala of Love, Ai Kowada Gallery, Tokyo (2010).

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Eddie Peake

34=55 = Zombie Hand, 2014 Spray paint on copper panel Unique 60 × 50 cm Estimate: HK$ 150,000 – 200,000 Generously donated by the artist and White Cube

Eddie Peake’s (b. 1981, U.K.) artistic practice includes performance, video, photography, painting, sculpture, and installation, exploring the realms of voyeurism, sexuality, and gender through the means of pop motifs, anarchic humour, and spectacle. 34=55 = Zombie Hand is one of his mirror paintings, vibrant as it is disquiet. Through the jagged, harsh forms and lettering, colour and contrast, the painting evokes a fragile state of mind.

Recent exhibitions and projects include Penetrates The Body, Nullifies The Senses, Peres Projects, Berlin (2014); Performa13, New York, Video, Focal Point Gallery, Southend, Adjective Machine Gun, White Cube, São Paulo (2013); A House of Leaves, The David Roberts Art Foundation, Amidst A Sea of Flailing High Heels and Cooking Utensils, part 1, The Tanks, Tate Modern in conjunction with the Chisenhale Gallery (2012).

Tobias Rehberger

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Present for James Benning, 2016 Printed paper, wool, steel, leather, silicone Edition 2 of 2 54 × 57 × 62 cm Estimate: HK$ 120,000 – 180,000 Generously donated by the artist and neugerriemschneider, Berlin

Tobias Rehberger (b. 1966, Germany) lives and works in Frankfurt and Berlin. Drawing on a repertoire of quotidian objects appropriated from everyday mass-culture, Rehberger translates and alters the familiarity these objects or situations hold. At once utilitarian, ambient and perceptually powerful, Rehberger’s objects and environments mimic the glossy perfection of the manufactured. Idiosyncrasies in terms of their colour, size, function, and location however, demand new rules of engagement on behalf of the beholder. Present for James Benning is part of a project celebrating the artist’s community of supporters, in which he creates personalised tokens of friendship that speak to significant historical influences, including Dada and Surrealist games, modernist abstraction, and even the Japanese art of origami.

Rehberger received the Golden Lion award for best artist at the 53rd Venice Biennale in 2009.

Recent exhibitions include Home and Away and Outside, Schirn Kunsthalle, Frankfurt, Tobias Rehberger: Wrap it up, MACRO Museum of Contemporary Art, Rome (2014); The 9th Gwangju Biennale: Roundtable, Gwangju, South Korea (2012), and OUR MAGIC HOUR, Yokohama Triennale 2011, Yokohama (2011).

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Jimmie Durham

Shiny Self-Portrait, 2016 Inkjet print on Hahnemeuhle fine art paper 308gsm Edition 1 of 20 + 5 AP 66 × 86 cm Estimate: HK$90,000 – 130,000 Generously donated by the artist

Jimmie Durham (b. 1940, USA) lives and works in Berlin. Durham’s artistic research looks at what happens “away from language”. One of the leading international artists of the last few decades, Durham works against Western rationalist logic, posing big questions that consider the history of oppression, the futility of violence, and the powerlessness of minorities in the world. Shiny Self-Portrait is an emblematic self-reflection on his own identity, as an artist, a nomad, a Native American, a citizen of the world, and a perpetual contrarian. Using both natural and artificial materials in his work, Durham is particularly drawn to those that have been used throughout history as tools, such as bones, wood, feathers, and stones that he finds and collects while taking walks. He uses stone as his primary material in exploring the polemics of nature vs. culture, religion, architecture, and euro-centric ideas of history, specifically for its role in defining power dynamics of culture and society through architecture and ideas of monumentality.

Durham has exhibited extensively in the Venice Biennale (1999, 2001, 2003, 2005, and 2013), dOCUMENTA (IX, XIII) and the Whitney Biennale (1993, 2006, and 2014). Recent exhibitions and projects include Jimmie Durham: Various Items and Complaints, Serpentine Gallery, London (2015); Jimmie Durham: Traces and Shiny Evidence, Parasol Unit, London (2014); the 13th Istanbul Biennial, Istanbul (2013); and Jimmie Durham, Museum van Hedendaagse Kunst Antwerpen, Antwerp (2012). His upcoming retrospective Jimmie Durham: At the Centre of the World will travel across North America in 2017.

Firenze Lai 黎清妍

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The Maximum Angle, 2016 Acrylic on canvas Unique 60 × 50 cm Estimate: HK$120,000 – 170,000 Generously donated by the artist and Vitamin Creative Space

Firenze Lai (b. 1984, Hong Kong) lives and works in Hong Kong. One of Hong Kong’s most outstanding artists, Lai studied fine arts at the Hong Kong Art School and majored in painting.

Lai’s paintings explore the concepts of space and context, and how one adapts the mind and body in different circumstances. Individuals are captured in highly expressive portraits, such as in The Maximum Angle, where dominant feelings and moods overtake not just the entire figure of the character but also the pictorial background of the works.

Recent exhibitions and projects include A Hundred Years of Shame – Songs of Resistance and Scenarios for Chinese Nations, Para Site, Hong Kong, Surround Audience 2015 Triennial, New Museum, New York, and Turbulence, Mirrored Gardens, Guangzhou, China (2015); Day and Daylight, CL3, Hong Kong Arts Centre, Hong Kong, the 10th Shanghai Biennale, Shanghai (2014); A Journal of the Plague Year. Fear, ghosts, rebels. SARS, Leslie and the Hong Kong story, Para Site, Hong Kong (2013-14); disturbances, Gallery EXIT, Hong Kong (2013); Painting On and On 2, Gallery EXIT, Hong Kong, and Sensory Training, Vitamin Creative Space, Guangzhou (2012).

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Experience

A Decadent Getaway to a Private Balinese Villa

Estimate: Priceless Starting bid: HK$ 70,000 Generously donated by Damien Dernoncourt

Spend six nights in a blissful 8,000 square-foot villa in Seminyak, Indonesia, home of some of the most glorious beaches in Bali. This unforgettable experience begins immediately upon arrival, where one is greeted by the main entrance’s 21-foot doors made of ironwood lightly washed in gold. All of the materials used to build the villa were sourced locally, from the Balinese petrified wood for the living room table to the ironwood tiles lining the bar.

Both breathtaking and sustainable, the villa is meticulously designed, featuring solar panels on the roof, which generate part of the home’s electricity, and ceiling fans nestled within the LED-illuminated recessed lighting. Once an artist’s studio, this unique and open-plan space lets in light everywhere, and includes 5 ensuite bedrooms, which can fit up to four couples and six children.

The grounds include both a loggia and a pool.

This exclusive experience can be scheduled with 2-month advance notice anytime within a year from the date of the Auction, except Christmas and Easter.

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Silent Auction

92

Pio Abad

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Every Tool is a Weapon if You Hold it Right XXVI, 2015 Acid dye print on hand-stitched silk twill Unique 100. 08 × 100.08 cm Estimate: HK$ 50,000 – 80,000 Generously donated by the artist and Silverlens

Pio Abad (b. 1983, Philippines) lives and works in London. Abad’s practice is often concerned with social and political issues. His work, in a range of media including drawing, installation, and photography, uses strategies of appropriation to mine alternative or repressed historical events, unravel official accounts, and draw out threads of complicity between incidents, ideologies, and people. Often taking on the form of domestic accessories, like Every Tool is a Weapon if You Hold it Right XXVI, Abad’s artworks glide seamlessly between these histories, enacting quasi-fictional combinations with their leftovers.

Recent exhibitions and projects include South by Southeast, Guangdong Times Museum, China, Udlot-udlot, Asia Art Archive, Hong Kong (2016); A Short History of Decay, Silverlens Gallery, Gillman Barracks, Singapore, CORRUPTION: Everybody Knows..., e-flux, New York City (2015); Some Are Smarter Than Others, Gasworks, London, The Collection of Jane Ryan and William Saunders, Vargas Museum, Manila (2014); Every Tool is a Weapon if You Hold it Right, Silverlens Gallery, Manila, For Anti-Imperialist Solidarity, Peace and Friendship, Zabludowicz Collection, London (2014); Market Forces: A Friction of Opposites, Osage Gallery, Hong Kong (2013).

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Nadim Abbas 唐納天

TTRGRMMTN, 2013 Light-jet print on Duratran with lightbox Edition 2 of 4 + 2AP 40 × 30 cm each, a set of 4 from a series of 16 Estimate: HK$ 40,000 – 60,000 Generously donated by the artist

Luxor, Las Vegas (Image source: Wikimedia Commons) Palace of Peace and Reconciliation, Kazakhstan (Image source: Jirka DI, Wikimedia Commons) Aquarium Pyramid, Moody Gardens, Texas (Image source: Wikimedia Commons) Walter Pyramid, Long Beach, California (Image source: Summum, Wikimedia Commons)

Nadim Abbas (b. 1980, Hong Kong) lives and works in Hong Kong. His work explores the structural and political properties of images and their precarious relationships with reality. His installations are complex set pieces where objects exist in an ambiguous relationship with their own image. In TTGRMMTN, he weaves together extensive research with sophisticated visual manoeuvres to destabilise our perception of space. Abbas often frames his practice as a Nietzschean eternal return sprinkled with elements of Hollywood post-apocalyptic disaster film.

Recent exhibitions and projects include Nadim ABBAS and Tuo WANG: Only the Lonely, inCube Arts, New York (2016); Triennial: Surround Audience, New Museum, New York (2015); Going, going, until I meet the tide, the Busan Biennale Asian Curatorial Exhibition, South Korea, FOCUS: CHINA, The Armory Show, Gallery EXIT, New York (2014); Satellite, CL3 Architects, Hong Kong (2013); Tetraphilia, Hermès, Singapore (2013); rites, thoughts, notes, sparks, swings, strikes. a hong kong spring, Para Site, Hong Kong (2012); Marine Lover – A Hermatypic Romance, Gallery EXIT, Hong Kong (2011); and Cataract, Gallery EXIT & EXPERIMENTA, Hong Kong (2010).

Poklong Anading

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Ocular (No. 54), 2009-2016 Photograph Edition 1 of 3 20.32 × 30.48 cm Estimate: HK$ 15,000 – 30,000 Generously donated by the artist and 1335MABINI

Poklong Anading (b. 1975, Philippines) lives and works in Manila. Anading’s spectrum of work ranges from video, installation, and photography to drawing and painting, continuously expanding on allegedly autonomous projects that reinforce a substantial discourse with an investigative, descriptive character. Often based on an interactive approach, engaging with the subject and the audience, Anading’s work is defined by a unique standpoint on social occurrences and structures from which calculated intrusions arise.

Recent exhibitions and projects include Afterwork, Para Site, Hong Kong (2016); Urban canyon, 1335MABINI, Manila, the Philippines, Hit or miss is a hit, Alliance Francaise de Manille, Makati, the Philippines (2015); No Country: Contemporary Art for South and Southeast Asia, Solomon R. Guggenheim Museum, New York, NTU Centre for Contemporary Art Singapore, Singapore (2013-2015); The Bald Sopranos, Gallery Exit, Hong Kong, and Brave New World, Metropolitan Museum, Manila, the Philippines (2014); Sharjah Biennial 11: Re:emerge, Sharjah, United Arab Emirates (2013); the 9th Gwangju Biennale, Gwangju, South Korea (2012); LSSIISLTENNT, Osage Gallery, Hong Kong (2011). Anading is a two-time recipient of the Ateneo Art Awards (Manila, the Philippines 2006 and 2008).

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Nobuyoshi Araki 荒木経惟

LIFE, 1972-1973 Gelatin silver print Vintage edition 1 of 4 25.9 × 30.5 cm Estimate: HK$ 65,000 – 90,000 Generously donated by the artist and Taka Ishii Gallery

Nobuyoshi Araki (b. 1940, Japan) lives and works in Tokyo. Araki has often addressed subversive themes in his provocative depictions of female bodies, bondage, flowers, food, his cat, and neighborhoods. Eros and Thanatos - sex and death - have been the central themes in his work. His abiding fascination with Tokyo street scenes manifests itself in LIFE, referred to here with its original title. This image was part of the ‘Tokyo in Autumn” publication of 1984, an example of the artist’s skill in collating photo books.

Recent exhibitions and projects include Photo-Mad Old Man A 76th Birthday, Taka Ishii Gallery Photography/Film, Tokyo, Provoke: Photography in Japan between Protest and Performance, 1960–1975, Albertina, Vienna (2016); ARAKI, Musée national des arts asiatiques Guimet, Paris (2015); ARAKI Ojo Shashu - Photography for the After Life: Alluring Hell, Foam Photography Museum, Amsterdam, the Netherlands, Ai No Tabi, Niigata City Art Museum, Japan, and Love on the Left Eye, Taka Ishii Gallery, Tokyo, Japan (2014); All You Need Is LOVE: From Chagall to Kusama and Hatsune Miku, Mori Art Museum, Tokyo, Japan, and Hana Shosetsu, Okanoyama Museum of Art, Hyogo, Japan (2013); Yokohama Triennial, Japan (2011).

Xyza Cruz Bacani

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Tear Gas 01, 2014 Inkjet print Edition 1 of 10 60 × 40 cm Estimate: HK$ 25,000 – 50,000 Generously donated by the artist

Xyza Cruz Bacani (b. 1987, Philippines). While working as a domestic helper in Hong Kong for almost a decade, Cruz Bacani used photography to raise awareness about under-reported stories, focusing on migrants and their personal lives, as well as human rights issues. Tear Gas 01, encapsulates a moment of high tension during the Umbrella Revolution democracy protests in Hong Kong. The image takes a neutral viewpoint but one witness to the negotiations of space and ownership in the city, much like the tensions that domestic workers in Hong Kong face daily. She has received numerous accolades for her work, including the Special Merit in Human Rights Press Award in 2015. Cruz Bacani is 2015 Magnum Foundation Human Rights Fellow, one of the BBC’s 100 Women of the World 2015, 30 Under 30 Women Photographers 2016, Forbes 30 Under 30 Asia 2016, and a Fujifilm Ambassador.

Recent exhibitions and projects include Afterwork, Para Site, Hong Kong, and Humans of Makati, Ayala Triangle Garden, Manila, the Philippines (2016); Behind Concrete Walls, KUC space, Hong Kong University, Hong Kong, Shared Past, The Foreign Correspondents Club, Hong Kong, and Unpredictable… Unscripted, Vargas Museum, Quezon City, the Philippines (2015); Xyza in Focus, Pintura Circle, Hong Kong, Streetscapes, The Photographic Angle, UK (2014); and The Nature Conservancy, Hong Kong (2013).

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Hernan Bas

Untitled #12, from the series ‘A bunch of fairies’, 2011 Gelatin silver print Edition 1 of 3, AP 1/2 39.1 × 31.1 × 4.4 cm Estimate: HK$ 35,000 – 45,000 Generously donated by the artist and Lehmann Maupin, New York and Hong Kong

Hernan Bas (b. 1978, U.S.A.) lives and works in Detroit. Bas creates works of literary intrigue, tinged with nihilistic romanticism and old world imagery. Influenced by the aesthetic and decadent writers of the 19th century, in particular Oscar Wilde and Joris-Karl Huysman, Bas’s works weave together stories of adolescent adventures and the paranormal with classical poetry, religious stories, mythology, and literature.

Bas’s work has been exhibited in numerous solo exhibitions around the world, including a major presentation at the Rubell Family Collection, Miami (2007), which subsequently traveled to the Brooklyn Museum of Art in 2009, and a retrospective exhibition at the Kunstverein Hannover, Germany (2012). Bas has participated in a number of important group exhibitions, including The Collectors at the 53rd Venice Biennale (2009); Triumph of Painting: Part III, Saatchi Gallery, London (2005), and the Whitney Biennale (2004).

Monica Bonvicini

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Desire, 2010 Digital pigment print on ‘Hahnemühle’ DFA William Turner 190 g/qm AP 5 of 5, 9 editions 64 × 80 cm Estimate: HK$ 45,000 – 55,000 Generously donated by the artist and VG Bild-Kunst, Bonn

Monica Bonvicini (b. 1965, Italy) lives and works in Berlin. Bonvicini’s practice investigates the relationship between architecture, power, gender, space, surveillance, and control, creating works that question the meaning of making art, the ambiguity of language, and the limits and possibilities attached to the ideal of freedom. Dry-humored, direct, and imbued with historical, political and social references, Bonvicini’s art never refrains from establishing a critical connection with the sites where it is exhibited, the materials that comprise it, and the roles of spectator and creator.

Bonvicini has an extensive history of exhibitions, most recent of which include Homosexualität_ en, LWL Museum für Kunst und Kultur, Münster, Germany (2016); Forget All Instructions, Peter Kilchmann, Zurich, Germany (2015); Monica Bonvicini, Peter Kilchmann (2014); Disegni, KÖNIG GALERIE, Berlin (2013); and Cut ‘n’ Paste, the Museum of Modern Art, New York (2013). Her work has been featured in prominent biennales including the 2015 Venice Biennale, All the World’s Futures; the 8th Berlin Biennale in 2014; and in Intense proximité, La Triennale, Paris, in 2012. Bonvicini has received numerous awards, including the Golden Lion at the Biennale di Venezia (1999); the Preis der Nationalgalerie für junge Kunst, from the Staatliche Museen zu Berlin (2005); and the Rolandpreis für Kunst for art in the public from the Foundation Bremen, Germany (2013).

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Colette Brunschwig

Sans titre (Untitled), 2000 Caséine, Indian ink and acrylic on paper Unique 14 × 20.5 cm Estimate: HK$ 10,000 – 15,000 Generously donated by the artist and Galerie Jocelyn Wolff, Paris

Colette Brunschwig (b. 1927, France) lives and works in Paris. Brunschwig’s work is intimately connected to the experience of destruction from the Second World War, a void from which her work takes its starting point. In a process of research that is as much material as it is spiritual, Brunschwig works on canvas or thick paper using layering and stencil techniques, diluting, thickening, scraping, and scratching. The medium becomes a palimpsest or a matrix animated by an alchemical process.

Recent exhibitions include Papier, Galerie Jocelyn Wolff, Paris (2016); Colette Brunschwig, Galerie Convergences, Paris (2014); Colette Brunschwig et André Marfaing, Galerie Olivier Nouvellet, Paris (2011).

Kurt Chan Yuk Keung 陳育強

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Spring, perhaps you don’t know yet?, 2014 Acrylic on canvas Unique 71 × 102 cm Estimate: HK$ 30,000 – 50,000 Generously donated by the artist

Kurt Chan Yuk Keung (b. 1959, Hong Kong) lives and works in Hong Kong. Chan’s body of work includes drawings, installations, and mixed-media art pieces that explore the relation between the means of art and the nature of art. Newly retired and now an adjunct professor in the Department of Fine Arts at The Chinese University of Hong Kong, Chan has taught there as a full time professor for 27 years and had nurtured many well-known Hong Kong artists. As a veteran artist, he has participated in over 90 exhibitions, including the 51st Venice Biennale and the 2nd Asia Pacific Art Triennial.

Chan was the chief editor for Hong Kong Visual Art Yearbook for several years; the Art Director of the public art project, City Art Square next to City Town Hall in Shatin, and he is, at present, a board member of Para Site, the Hong Kong Institute of Aesthetic Education, and an advisor to Asia Art Archive and Yale-China Association. Recent exhibitions and projects include Ceramics Show by Non-ceramics Artists, 1a space, Hong Kong (2015); and Ghost – Disappeared Hong Kong Art (1): 90s, Kurt Chan, Lam Tung Pang, New York (2013).

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Oscar Yik Long Chan 陳翊朗

Deimos, 2016 Ink and emulsion paint on canvas Unique 46 × 91 × 3.5 cm Estimate: HK$ 20,000 – 25,000 Generously donated by the artist

Oscar Yik Long Chan (b. 1988, Hong Kong) lives and works in Hong Kong. Chan works with a wide range of media, including installation and ceramics, to explore real personal experiences and the human responses to uncomfortable, taboo, or feared themes. In Deimos, Chan confronts his inner demon, giving it/him an existence, something that many are not willing to do. He makes friends of these spirits in the process of realising their form and shape. Chan was awarded the New Trend Award 2011 by Artist Commune, Hong Kong, and received the Project Grant for Emerging Artists by Hong Kong Art Development Council, Hong Kong, in 2013.

Recent exhibitions and projects include Mountain Sites: Views of Laoshan, Sifang Art Museum, Nanjing, China (2016); Stars and Monsters, Neptune, Hong Kong (2016); The Devil, Probably, Observation Society, Guangzhou, China (2015); Imagine there’s no country, Above us only our cities, Para Site, Hong Kong (2015); A Journal of the Plague Year. Fear, ghosts, rebels. SARS, Leslie and the Hong Kong Story, Para Site, Hong Kong (2013-15); The Circle of _____, Detour 2014, PMQ, Hong Kong (2014); we all sleep alone, Platform China, Hong Kong (2013); and ReUnDefined, Galerie Ora Ora, Hong Kong (2013).

Cheng Yee Man (Gum) 鄭怡敏(阿金)

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GPS (Gum / Prabhakar / Sumesh) No. 1, 2014 Oil on wood 125 × 114 cm Estimate: HK$30,000 – 50,000 Generously donated by the artist

Cheng Yee Man (b. 1976, Hong Kong) lives and works in Hong Kong. Cheng is a co-founder of the art space C&G Artpartment, and chairman of the Hong Kong non-profit art group “Project 226.” He works with various artistic media, including painting, drawing, performance, stopmotion animation, photography, video, and installation, and his curatorial direction focuses on politics, social issues, and the art ecosystem.

Recent exhibitions and projects include Afterwork, Para Site, Hong Kong and Identity, WYNG Masters Award Exhibition, Hong Kong Central Library, Hong Kong (2016); After One Hundred, Oil Street Art Space, Hong Kong, TransWALK, C&G Artpartment, Hong Kong (2015); Curate No More, C&G Artpartment, Hong Kong (2013-15); Eros (presented by Para Site), University Museum and Art Gallery, Hong Kong, and Not as Trivial as You Think: Hong Kong Art Quiz, Asia Art Archive, Hong Kong (2014); I Think It Rains, Cattle Depot Artist Village, Hong Kong, International Sick Leave Day 2013, West Kowloon Waterfront, Hong Kong, and Grounded: Ping Yeung School of Art Contemporary Art Exhibition, Former Ping Yeung Public School Campus, Hong Kong (2013); Art Hotpot in Sopot, Official Retraining Scheme, C&G Artpartment, Hong Kong (2012).

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Cheng Ting Ting 鄭婷婷

In Front of the Billboard, 2015 Oil on plywood Unique 80 × 40 cm Estimate: HK$ 30,000 – 50,000 Generously donated by the artist and Gallery EXIT

Cheng Ting Ting (b. 1990, Hong Kong) lives and works in Hong Kong. She demonstrates a fierce passion for oil painting with the use of outlandish colours. Cheng graduated from the Academy of Visual Arts, Hong Kong Baptist University, specialising in painting and drawing.

She has shown a keen interest in capturing random occurrences in daily life. Fascinated by the subtle affection and unique ambience rooted in every happening, the artist explores her personal memories through a wandering perspective. Her artwork provides a narrative yet foreign sense, entangling intangible feelings into her brushstrokes.

Recent exhibitions and projects include The Imaginary Order, Gallery EXIT, Hong Kong (2016); Open Close Quotation, Wan Fung Art Gallery, Perpetual Production & Consumption, Star Projects, Imagine there’s no country, Above us only our cities, Para Site, and Autographs: Young Artists Exhibition Autographs, HKUST Arts Festival 2015, Hong Kong (2015); According to ‘Them’, L0 Gallery of Jockey Club Creative Arts Centre, Fotanian, Hong Kong (2014). She received the AVA Award in AVA BA(VA) Graduation Exhibition 2013 and the Red Elation Award from Red Elation Gallery.

Luke Ching 程展緯

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Sunrise to Sunset, 1995 Mixed media Unique 28 x 22 cm each, Set of 3 Estimate: HK$ 30,000 – 50,000 Generously donated by the artist

Luke Ching Chin Wai (b. 1972, Hong Kong) lives and works in Hong Kong. Broadly acknowledged as one of Hong Kong’s most active conceptual artists, Ching assumes the role of both artist and observer within and beyond the city, creating a discursive system of his own that transcends conventional forms, restrictions and controls, and which responds to and interrogates the cultural and political collisions that occur.

Recent exhibitions and projects include Ceramics Show by Non-ceramics Artist, 1a space, Hong Kong, Drawing. Art of Re-Zuo, AMNUA, Nanking (2015); Luke CHING: Screensaver, Gallery EXIT, Hong Kong, The Invisible Hand: Curating as Gesture, CAFAM Biennale, Beijing (2014); Community Art Project, Pokfulam Village, Hong Kong, Topology of Urban Resistance, Hanina art space, Israel (2013); Dezipcoding: Project Glocal at DiverseCity, Singapore Art Museum, Singapore, Market Force, Osage Gallery, Hong Kong, and Post-Straight: Contemporary Hong Kong Photography, Hong Kong Heritage Museum, Hong Kong (2012); Posing Museum – A conversation between Luke Ching & Ducky Tse, Lumenvisum, Hong Kong, and Primitive Craftsmanship. Contemporary Mechanism, Artist Commune, Hong Kong (2011).

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Heman Chong 張奕滿

The White Castle / Orhan Pamuk, 2012 Acrylic on canvas Unique 61 × 46 × 4 cm Estimate: HK$ 40,000 – 50,000 Generously donated by the artist and Rossi & Rossi

Heman Chong (b.1977, Malaysia) lives and works in Singapore. He is an artist, curator, and writer whose work is located at the intersection between image, performance, situations, and writing. His work continuously interrogates the many functions of the production of narratives in our everyday lives. Between 2012-2014, he produced Moderation(s), a programme between Witte de With Contemporary Art in Rotterdam and Spring Workshop in Hong Kong that involved more than fifty artists and included a conference, three exhibitions, three residencies, and a book of short stories.

Recent exhibitions and projects include If, Ands of Buts, Rockbund Art Museum, Shanghai, China (2016); An Arm, a Leg and Other Stories, South London Gallery, London, and Never a Dull Moment, Artsonje, Seoul (2015); Of Indeterminate Time Or Occurrence, FOST Gallery, Singapore, and the 10th Gwangju Biennale, Korea (2014); Moderation(s), a collaboration between Witte de With, Rotterdam, and Spring Workshop, Hong Kong, and The Part in the Story Where We Lost Count of the Days (1)-(3), a three-part series in The Reading Room, Bangkok; Future Perfect, Singapore; and Rossi & Rossi, Hong Kong (2013); the Asia Pacific Triennial 7, Brisbane, Australia (2012); and Two Thousand Eleven, Para Site, Hong Kong, and Performa 11, New York (2011). He represented Singapore in the 50th Venice Biennale in 2003.

Come Inside 來了

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Balls, 2016 Light jet on canvas, paint marker, silkscreen, glitter Unique 70 × 70 cm Estimate: HK$ 12,000 – 20,000 Generously donated by the artists and Gallery EXIT

COME INSIDE is a Hong Kong based art collective founded by Mak Ying Tung (麥影彤) and Wong Ka Yin (黃嘉瀛). Mak graduated from the School of Creative Media, City University of Hong Kong and Wong graduated from the Fine Arts Department of the Chinese University of Hong Kong, both striving to become artists over the past three years. In 2016, their art journey came to a new page as they became fed up with the formalised system and depressed atmosphere of Hong Kong society. They have decided to attack the world with COME INSIDE. COME INSIDE welcomes everyone to join their newly created, fancy and funny world, and wish everyone to experience the ART ORGASM from the bottom of their inner-self. The energetic duo aims to surprise people, bring the BOOM refreshing feelings to the public, test the limits of creativity, and break the rules, creating guerilla art in diverse spaces and occasions, from communities to institutions, the street to white cubes. Their first attempt was to try various part-time jobs in Hong Kong, to support the low-income lifestyle of artists in this city. They have worked as hawkers, waitresses, tutors, sales, actresses, and cleaning ladies, with more to come.

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Olafur Eliasson

The gaze of Versailles, 2016 Glass spheres, gold, brass 6th of January (ed. 6/366) 2 spheres with dia 2.5cm Estimate: HK$ 36,600 – 56,600 Generously donated by the artist and neugerriemschneider, Berlin

Olafur Eliasson (b. 1967, Denmark) lives and works in Copenhagen and Berlin. Eliasson’s art is driven by his interests in perception, movement, embodied experience, and feelings of self.

Eliasson strives to make the concerns of art relevant to society at large. Art, for him, is a crucial means for turning thinking into doing in the world. Eliasson’s diverse works – in sculpture, painting, photography, film, and installations – engage the broader public sphere through architectural projects and interventions in civic space. The gaze of Versailles is a special series of 366, one edition for every day of the year in 2016. Para Site is honored to receive the January 6th edition, marking our institution’s founding anniversary.

Since the mid-1990s, Eliasson has participated in numerous major exhibitions and projects around the world. In 2003, Eliasson represented Denmark at the 50th Venice Biennale, with The Blind Pavilion; later that year, he installed The Weather Project in Tate Modern’s Turbine Hall, London. Recent exhibitions and projects include Olafur Eliasson: Verklighetsmaskiner, Moderna Museet, Stockholm, Sweden (2015); Olafur Eliasson: Turner colour experiments, Tate Britain, Linbury Galleries, London, Olafur Eliasson: Contact, Fondation Louis Vuitton, Paris, France (2014); and Olafur Eliasson: Little Sun, Tate Modern, London, UK (2012). Take your time: Olafur Eliasson, a survey exhibition organised by SFMOMA in 2007, travelled until 2010 to various venues, including the Museum of Modern Art, New York.

Köken Ergun

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zeynebiye mosque, 2011 C-print Edition 2 of 5 55 × 40 cm Estimate: HK$ 25,000 – 50,000 Generously donated by the artist and protocinema

Köken Ergun (b. 1976, Turkey) lives and works in Istanbul. His video and performance works address the politics and aesthetics of contemporary rituals, exploring the dynamics of social conclaves. His films often deal with communities that are not known to the greater public and the importance of ritual in such groups. Ergun usually spends a long time with his subjects before starting to shoot and engages in a long research period for his projects. He also collaborates with ethnographers, historians, and sociologists for publications and lecture series as extensions to his artistic practice.

Recent exhibitions include Afterwork, Para Site, Hong Kong and Young Turks, Garage Museum of Contemporary Art, Moscow, Russia (2016); Köken Ergun, Salt Ulus, Ankara, Turkey, and a screening at Protocinema, New York (2013); About Stupidity, Petach Tikva Museum, Petach Tikva, and Men Amongst the Ruins, TEOR/éTica, San José (2012). His multi-channel video installations have been exhibited internationally at the 9th Asia Pacific Triennial of Contemporary Art (2016); Jakarta Biennale (2015); and Intense Proximité, La Triennale, Palais de Tokyo, Paris (2012), as well as the Oberhausen, Rotterdam, Sydney, VideoZone and Zagreb Film Festivals. He was awarded the Special Mention Prize at the 2013 Berlinale, and is the 2007 recipient of the Tiger Award of the Rotterdam Film Festival.

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Dora García

Mad Marginal Charts series, Dream, 2016 Pencil on paper Unique 32 × 23 cm Estimate: HK$ 15,000 – 25,000 Generously donated by the artist

Dora García (b. 1965, Spain) lives and works in Barcelona. García creates situations of interaction and performance, using the exhibition space as a platform to investigate the relationship between artwork, audience, and place. She performed The Sinthome Score in the 56th Venice Biennale, All the World’s Futures, Venice, Italy (2015). She has participated in dOCUMENTA 13, Kassel, Germany, in 2012; and represented Spain in the 54th Venice Biennale in 2011.

Recent exhibitions and projects include I see words, I hear voices, The Inadequate, The Power Plant, Toronto (2015); Dora Garcia, Des crimes et des rêves, Centre d’arts visuels, Montreal, Canada, Exile, Galería Juana de Aizpuru, Madrid, Spain (2014); Thought, Disorder, 3bisf, Marseille, France (2013); Dora Garcia, Aubette 1928, Strasbourg, France, The Beggar’s Things, Galerie Michel Rein, Paris (2012); and For Nothing Against Everything, OPA Oficina Para Proyectos de Arte A.C., Guadalajara, Mexico (2011).

María García-Ibàñez

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Micrographia – Mountains, 2013 Glazed and crackled ceramic, 14 individual pieces Unique Dimensions variable Estimate: HK$ 70,000 – 100,000 Generously donated by the artist and Puerta Roja

María García-Ibàñez (b. 1978, Spain) lives and works in Spain and Mexico. Fascinated with anatomical constructions and organic forms, García-Ibàñez’s work analyses underlying structures, cells, veins, and roots present in anatomical and geographical maps. She tackles themes related to identity as related to mobility, belonging, the different scales of territory, and issues that ultimately imply a revision of the origin, from a spatial and psychological point of view. The simplicity, purity, and elegance of her work belies the deep discourse and moral dilemmas that they embody.

Recent exhibitions and projects include Anamnesis: The reasoned doubt, Puerta Roja Gallery, Hong Kong (2016); Cóncavo, Paula Alonso Gallery, Madrid, Arada, Guijarro de Pablo Gallery, Mexico City, México, Femsa Biennal, Antiguo Colegio San Ildefonso, México (2015); Variations of a Hexagon, Galeria Gorila, Oaxaca, México, Tierras Continuas, Galeria AJG, Sevilla, España (2014); Windgällen, Galeria Distrito 14, Monterrey, México, Micrographia, Puerta Roja and Cat Street Gallery, Hong Kong (2013); Notes for a Lair, La Miscelánea Gallery, Mexico City, Mexico (2012); and Below the last stratum, Begoña Malone Gallery, Madrid, Spain (2011).

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Hit Man Gurung

The Bride, 2014 Triptych, acrylic on canvas Unique 61 × 76 × 2 cm each Estimate: HK$ 40,000 – 60,000 Generously donated by the artist

Hit Man Gurung (b. 1986, Nepal) lives and works in Nepal. His figurative paintings address the phenomenon of transitory Nepalese labourers who leave their families and country behind to join the work forces of foreign countries. He was a 2011 recipient of the Australian Himalayan Art Award and was selected in 2012 as one of the winners of Imagining our Future Together: A Vision of a Better Common Future in South Asia.

Recent exhibitions and projects include Afterwork, Para Site, Hong Kong, For an Image, Faster than Light, 1st Yinchuan biennale, Yinchuan Museum of Contemporary Art, China (2016); 2nd Dhaka Art Summit, Dhaka, Bangladesh, Synthetic Flow, Climate +Change, Indira Paryavaran Bhavan, New Delhi, India (2014); Images Festival, Occupy Utopia 2013, The Center for culture and Development, Denmark (2013); Kathmandu International Art Festival, Kathmandu, Nepal, and Under the Bodhi Tree, Siddhartha Art Gallery, Kathmandu, Nepal (2012).

Hai Bo 海波

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Untitled No. 36, 2001 Black and white photograph Edition 18 of 18 38 x 56.7 cm Estimate: HK$ 30,000-50,000 Generously donated by the artist and Pace Hong Kong

Hai Bo (b. 1962, China) graduated from the Printmaking Department of the Fine Art Institute of Jilin in 1984. His artistic ideals involve the restoration of the past through photography. Hai Bo’s work is less about what changes through time and more about what endures. His photography often depicts people shown in various stages of life as well as the passage of time.

Recent exhibitions include Hai Bo, Pace Gallery, Hong Kong, New York, Beijing (2016, 2013, 2012); Perspectives: Hai Bo, Smithsonian’s Arthus M. Sackler Gallery, Washington, D.C (2010), North of Taiping Mountain is All Grassland, Beijing Commune, Beijing (2008).

42

He Xiangyu 何翔宇

Five Lemons 0801, 2016 Pencil, acrylic on paper Unique 31 × 41 cm Estimate: HK$ 40,000 – 80,000 Generously donated by the artist

He Xiangyu (b. 1986, China) lives and works in Beijing. He Xiangyu’s art practice could be seen as a proving ground or a laboratory of materials and concepts, in which he investigates and engages with a variety of personal, social, and political subjects. Having grown up in a dramatic period of rapid urbanisation in China, He’s practice is centred on representing or manipulating cognitive senses through transformation between different materials.

Recent exhibitions and projects include Chinese Whispers, Zentrum Paul Klee, Bern, Switzerland (2016); Dotted Line III, WHITE SPACE BEIJING, New Directions: He Xiangyu, Ullens Center for Contemporary Art, Beijing, He Xiangyu, Bischoff Projects, Frankfurt, Fire and Forget. On Violence, Kunst-Werke Institute, Berlin, Germany (2015); He Xiangyu, White Cube Gallery, London (2014). His works have been collected by the Uli Sigg Collection (Switzerland), Rubell Family Collection (Miami, U.S.A.), Kunstmuseum Bern (Bern, Switzerland), François Pinault Collection (France), White Rabbit Gallery (Sydney, Australia), Domus Collection (New York, U.S.A.), Boros Collection (Berlin, Germany), Long Museum (Shanghai, China), Stiftung Mercator (Essen, Germany), M Woods Gallery (Beijing, China), and the Si Shang Art Museum (Beijing, China).

South Ho Siu Nam 何兆南

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Absolute Territory #2 – Para Site, 2015 Archival pigment inkjet print Edition 1 of 5 60.96 × 88.9 cm Estimate: HK$ 15,000 – 25,000

South Ho Siu Nam (b. 1984, Hong Kong) lives and works in Hong Kong. As a photographer, Ho explores the societal concerns of his native metropolis through the camera. While his earlier works were inspired by personal experiences and states of mind, the artist has gradually wandered into commenting on the society and era he lives in. In 2013, he co-founded 100 ft.

PARK, a non-commercial art space dedicated to providing an open platform for exhibiting and sharing art. Ho was awarded the Hong Kong Contemporary Art Biennial Awards 2009. He was selected as a finalist of The Sovereign Asian Art Prize 2011 and was a nominee for the Société Générale Chinese Art Awards 2010.

Past exhibitions and projects include good day good night, Blindspot Gallery, Hong Kong, CHINA 8: Works in Progress, Museum Folkwang, Essen, Germany and Casal Solleric, Palma de Mallorca, Spain, and After/Image, Studio 52, Hong Kong (2015); 780s, Blindspot Gallery, Hong Kong, Kiyosato Museum of Photographic Arts’ 20th Anniversary Commemorative Exhibition: Basically. Forever, Kiyosato Museum of Photographic Arts, Tokyo, Japan, Art Paris Art Fair 2014, Booth: Blindspot Gallery, Grand Palais, Paris, France, and Affordable Art Fair 2014, Booth: 100ft2 Park and Young Talent Hong Kong, Hong Kong (2014); Every Daily, Blindspot Gallery, Hong Kong, Relativity in City, Total Museum of Contemporary Art, Seoul, Korea, Read it yourself!, The A-lift Gallery ‘Platform’, Shenzhen, China, A Better Tomorrow: a contemporary art exhibition relating to Hong Kong, Yan Club Arts Centre, Beijing, China, and Affordable Art Fair 2013, Booth: Young Talent Hong Kong, Hong Kong (2013); and Into Light, Blindspot Gallery, Hong Kong (2011).

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Hon Chi Fun 韓志勳

Mountainly Yours, 1968 Serigraphy AP copy 41 × 31 cm Estimate: HK$ 40,000 – 50,000 Generously donated by the artist

Hon Chi Fun (b. 1922, Hong Kong) lives and works in Hong Kong. A member of the Modern Literature and Art Association (1958-64) and later the Circle Art Group (1964-1971), Hon was one of the artists with the highest visibility inside and out of Hong Kong during the 1960s-70s.

In 2013, Hon received the Medal of Honour from the Hong Kong SAR Government in recognition of his outstanding artistic achievements in the past five decades of his career.

Major exhibitions and projects include A Permanent Instant: instant photography from 1980s-2000s by Hong Kong artists, Blindspot Gallery, Hong Kong (2016); Ten Million Rooms of Yearning. Sex in Hong Kong, Para Site, Hong Kong (2014); travelling exhibition Hong Kong Eye, Saatchi Gallery, London and ArtisTree, Hong Kong (2013); and Conceptual Feeling beyond Images: The Works of Hon Chi Fun, CityU Gallery, Hong Kong (2007).

Hu Yun 胡昀

45

Relics, 2014 Mixed media, photograph, porcelain, Plexiglas box 1 of 60 30 × 20 × 15 cm Estimate: HK$ 20,000 – 30,000 Generously donated by the artist and Aike-Dellarco

Hu Yun (b. 1986, China) lives and works in Shanghai. Hu Yun’s works range from graphite and watercolours to performance, video, and installation. Interested in how an individual positions him or herself within the course of history, he constructs the links that probe the inseparable coexistence of past and present, individual and public. He is adept at mobilising various personal and historical experiences, incorporating previously produced materials into his artworks; as a consequence, it is impossible to consider any of Hu’s works in isolation since they all share a common theme, an element of foreshadowing, and they are all conceptually interconnected. Fascinated by the ways that museums embrace to bring the audience back to some context, Hu Yun frequently borrows and imitates in his installation works some of these techniques commonly seen in museum shows in order to prompt people to reflect on the relationship between the objects displayed and themselves.

Recent exhibitions include 11th Gwangju Biennale (2016); 4th Guangzhou Triennial (2012); Up to the Sky, Magician Space Beijing (2010); Image of Nature, Natural History Museum London (2010). His works have also been exhibited at Power Station of Art Shanghai (PSA), Centre Pompidou Paris, and Times Museum Guangzhou.

46

Jin Shan 靳山

Failed Flight, 2015 Horse skin, plastic, steel Unique 42 × 34 × 43 cm Estimate: HK$ 40,000 – 70,000 Generously donated by the artist and BANK, Shanghai

Jin Shan (b. 1977, China) lives and works in Shanghai. A leading voice in an emerging generation of socially engaged contemporary artists in China, Jin Shan is an agent provocateur.

Preferring wit and satire to aggression and conflict, his work uses allegory and play to draw audiences into a confrontation with the social, cultural, and political problems of the day. While specifically describing aspects of contemporary China, his investigation of human motivation extends beyond national boundaries to the seemingly insatiable desire for power programmed into humanity’s DNA. Recent exhibitions and projects include We - A Community of Chinese Contemporary Artists, chi K11 art space, Shanghai (2016); Divine Ruse - Jin Shan, Bank, Shanghai, Not On Site Absolute Threshold And A type of Site-specific Drift, Art Museum of Nanjing University of the Arts, Nanjing, China (2015); There Is No End To This Road, Cheryl Pelavin Fine Art, New York, USA (2012); and It Came From the Sky, Spencer Museum of Art, Lawrence, Kansas, USA (2011). His work Migration Addicts was exhibited at the 52nd Venice Biennale in 2007, as well as the Singapore Biennale in 2006.

Joseph Kosuth

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Joseph Kosuth: Set of 10 artworks Editions variable, signed, dated and numbered Dimensions variable Estimate: HK$ 30,000 – 80,000 Generously donated by the artist, Yana and Stephen Peel

Joseph Kosuth (b. 1945, U.S.A.), is one of the foremost American conceptual artists, living and working in New York and London. Kosuth is the pioneering figure in a broadly international generation of conceptual artists that began to emerge in the mid-1960s and advanced the use of words as replacement for visual imagery. His often self-referential works explore the relationship between language and inherent meaning within art.

Kosuth has exhibited internationally, notably at dOCUMENTA V, VI, VII and IX (1972, 1978, 1982, 1992) and the Biennale di Venezia (1976, 1993 and 1999). Recent exhibitions and projects include Cher (e)s Ami(e)s: Hommage aux donateurs des collections contemporaines, Centre Pompidou, Paris (2016); ‘Agnosia, an Illuminated Ontology’ an Installation by Joseph Kosuth, Sean Kelly Gallery, New York, and Made At Conception, Castelli Gallery, New York (2015); Amnesia: Various, Luminous, Fixed. Sprueth Magers, London (2014); Insomnia: Assorted, Illuminated, Fixed, Sprueth Magers, Berlin (2013); The Wake (An arrangement of references with all the appearance of autonomy, Kuad Gallery, Istanbul (2012).

48

Klara Kristalova

Study for on the Road, 2016 Ink on paper Unique 42 × 42 cm Estimate: HK$ 25,000 – 35,000 Generously donated by the artist and Galerie Perrotin

Klara Kristalova (b. 1967, Czech Republic) lives and works in Sweden. Inspired by the decorative and craft tradition of 18th-century Meissen porcelain figurines, Kristalova imbues a contemporary twist, tapping into the uncanny inherent in ordinary life and dark fantasies looming beneath its iridescent surface. Her figures are often captured in the midst of a transformation reminiscent of pubescent growth and maturity, with hybrid bodies, ghoulish colour tones and monstrous forms. They blur the boundary between the ordinary and the surreal, human and animal, idealism and monstrosity. Kristalova’s desire to upend the highbrow nature of art through a lowbrow medium creates an interesting clash with the white cube environment in which her work is shown.

Recent exhibitions and projects include Hello Stranger, Galerie Perrotin, Hong Kong (2016); Future Seasons Past, Lehmann Maupin, New York, (2015); Klara Kristalova: Turning Into Stone, Norton Museum of Art, West Palm Beach, Florida, Where I Come from and Where I Will Be, Hunt Kastner, Prague, Czech Republic, Under the Skin, Lehmann Maupin, Hong Kong (2014); Klara Kristalova, Västerås konstmuseum, Västerås, Sweden (2013); Wild Thought, Galerie Perrotin, Paris (2012); New Work Series, SFMOMA, San Francisco, and Klara Kristalova – Sounds of Dogs and Youth, Lehmann Maupin, New York (2011).

Kyunghwan Kwon 權煥慶

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The Home Sculpture – Tension, 2014 L angle light steel, screw, anticorrosive paint Unique 80 × 34 cm Estimate: HK$ 20,000 – 25,000 Generously donated by the artist and AIKE-DELLARCO

Kyunhwan Kwon (b. 1977, South Korea) currently lives and works in Seoul. Kwon’s work spans multiple media platforms include painting, drawing, video, and sculpture. He continues his exploration of mass media imagery on the subject of countless deaths as the object of fear, taboo, and the satisfaction of our voyeuristic desire to witness such events. He standardises such imagery in repeated formats.

Recent exhibitions include Sigh and Whistle, ONE AND J. Gallery, Seoul, South Korea (2016); Condensation, O’NewWall Space, South Korea, Sewoon Shopping Mall, Seoul Foundation of Art and Culture, Seoul Art Space Geumcheon, South Korea (2015); The Rule Before Drying, Ilmin Museum of Art, Seoul, South Korea (2014); A Cabinet in the Washing Machine, Seodaemun-gu Recycling Center, Seoul, South Korea (2012).

50

Sarah Lai Cheuk Wah 黎卓華

Elizabeth®, 2016 Oil on canvas, plastic Unique 28 × 22 cm Estimate: HK$ 30,000 – 50,000 Generously donated by the artist

Sarah Lai Cheuk-Wah (b. 1983, Hong Kong) lives and works in Hong Kong. Lai’s paintings are tranquil, isolated vignettes that restore a fascination with mundane objects, public spaces and man-made structures. Lai utilises the expressive capacities of paint and the ability of a photograph to archive unusual spaces and moments, which she then reorganises into landscapes. She imbues qualities of stillness and softness into her compositions in response to prevalent attitudes of utility and efficiency in society, as a way to manage the insecurity of being human.

Recent exhibitions and projects include Spotting the light onto a light, Southsite, Hong Kong, Gallery EXIT, Hong Kong International Art Fair, Hong Kong Convention and Exhibition Centre (2013); Philosopher’s (knock-off) Stone: Turning Gold into Plastic, Osage Gallery, Hong Kong, Painting On and On, Southsite, Hong Kong, and Why Do Trees Grow Till the End?, Southsite, Hong Kong (2012); Safety Island, Gallery EXIT, Hong Kong, and After Agnes, Gallery EXIT, Hong Kong (2011).

Jaffa Lam 林嵐

51

Container of Your Soul, 2015 Recycled wood, speaker Unique 50 × 70 × 190 cm Estimate: HK$ 40,000 – 60,000 Generously donated by the artist

Jaffa Lam (b. 1973, China) lives and works in Hong Kong. She works with sculpture; in particular large-scale site-specific works of mixed-media sculptures and installations, which are primarily made with recycled materials such as crate wood, old furniture, and umbrella fabric. In recent years, she has been involved in many public art and community projects in Hong Kong and overseas. Her works often explore issues related to local culture, history, society, and current affairs.

Recent exhibitions and projects include Modern Weavolution, Hong-gah Gallery, Taiwan (2015-16); Jaffa Lam • Looking For My Family Story, Lumenvisum, Hong Kong, and In the Name of Art, Museum of Contemporary Art, Taipei (2015); The Wind Shifts - Dialogues with Hong Kong Artists, Chi Art Space, Hong Kong (2014); Jaffa Lam Laam Collaborative: Weaver, Pao Gallery, Hong Kong Art Centre, Hong Kong, and Micro Economy, RMIT School of Art Gallery, Melbourne, Australia, (2011).

52

Jims Lam Chi Hang

EXP 30. 06. 17, 2016 Archival inkjet print Edition 1 of 5 + 1AP 41 x 28 cm Estimate: HK$ 20,000 – 30,000 Generously donated by the artist

Jims Lam Chi Hang (b. 1987, Hong Kong) lives and works in Hong Kong. With an interest in exploring visual culture and the developments of modernity through the lens of Chinese culture, Lam combines elements from the tradition of classical Chinese paintings and contemporary cityscapes into visual presentations that transcend the polarity of East and West.

Through his works, Lam often attempts to create a space in which audiences are invited to be in a different temporality, where they are encouraged to re-examine everyday scenes and happenings in their lives.

He was awarded the Hong Kong Art Prize in 2013. Lam was also the Head of Production and Associate Curator at Para Site (2011-2015), he curated Imagine there’s no country, Above us only our cities, Para Site, Hong Kong in 2015. Recent exhibitions and projects include Noon Gazette and Daily Spy, Duddell’s, Hong Kong (2016); LOUD: Mapping the Aesthetics of Visual Silence, Kassel, Germany, 80: AVA Graduation Exhibition 2011, Academy of Visual Arts, Hong Kong, and Art Medley, State-of-the-Arts Gallery, Hong Kong (2011).

Lau Wai 劉衛

53

1961 Beijing # Monument, from the series “Album”, 2014 Archival pigment print Edition 1 of 6 80 × 76.8 cm Estimate: HK$ 20,0000 – 30,000 Generously donated by the artist

Lau Wai (b. 1982, Hong Kong) lives and works in Hong Kong. She explores the confluent relationship between history, personal memories, and the notion of belonging through the lenses. Lau’s photography work is closely tied to her family’s nostalgia and migration stories from China, as well as her relationship with her parents and Hong Kong.

Recent exhibitions and projects include Adrift, OCAT Shenzhen, Shenzhen, China (2016); Imagine there’s no country, Above us only our cities, Para Site, Hong Kong, A Room With A View: Her Hong Kong-Stories Through the Lens of Six Female Artists, HKBU, Hong Kong, and the 6th Dali International Photography Festival, Dali, China (2015); Staging Encounters, Lianzhou International Photo Festival, China (2014); Dozens of Photography Works, Lumenvisum, Hong Kong (2013); and About us, About Life & About the City, AO Vertical Art Space, Hong Kong (2012). She was a finalist in the 7th TSPA Three Shadows Photography Award 2015 as well as the Xitek 2014 New Photo Award (Beijing, China).

54

Zoe Leonard

Police Museum (No. 1-4), 1990 – 2000 Photogravures Edition 5 of 100 35.6 × 55.8 cm each, set of 4 Estimate: HK$ 40,000 – 70,000 Generously donated by the artist and Galerie Gisela Capitain, Cologne

Zoe Leonard (b. 1961, U.S.A.) is an American artist who works primarily with photography and sculpture. From her earliest aerial photographs to her images of museum displays, anatomical models, and fashion shows, much of Leonard’s work reflects on the framing, classifying, and ordering of vision. She has exhibited extensively since the late 1980s in institutions around the world, and has been included in some of the most seminal exhibitions of recent decades, including dOCUMENTA IX and dOCUMENTA XII, as well as the 1993, 1997, and 2014 Whitney biennials. An extensive retrospective exhibition of her work will be on show at the Museum of Contemporary Art, Los Angeles and at the Whitney Museum of American Art, New York in 2017 – 2018.

Recent exhibitions and projects include Zoe Leonard, Hauser & Wirth, New York, and Nothing Personal: Zoe Leonard, Cindy Sherman, Lorna Simpson, Art Institute of Chicago, U.S.A. (2016); Analogue, Museum of Modern Art, New York, Greater New York 2015, Long Island City, New York, and Zoe Leonard, Antony Meier Fine Arts, San Francisco (2015); 100 North Nevill Street, Chinati Foundation, Marfa, Texas, and Masculin / Masculin, L’Homme nu dans l’art de 1800, Musée d’Orsay, Paris (2013); and Zoe Leonard, Murray Guy, New York (2012).

Gabriel Leung 梁思鳴

55

Observing the Crowd Observing #02, 2016 Pencil on vellum Unique 21 × 29.7 cm Estimate: HK$ 12,000 – 18,000 Generously donated by the artist

Gabriel Leung (b. 1983, Hong Kong) lives and works in Hong Kong. His practice focuses on conceptual and aesthetic research on the ambiguity of information transmission and reception in relation to uncertainty. With multi-media installations, sculptures, and photography, his research develops out of a conceptual tension between the fragment and the whole, while embracing uncertainty and suspending its impact on our human condition.

Recent exhibitions and projects include First, then and after, Gallery Exit, Hong Kong, A Journal of the Plague Year, Kadist Art Foundation and The Lab, San Francisco, and Jimei X Arles: East West Encounters International Photo Festival, Three Shadows Art Center, Xiamen, China (2015); And with the benefit of Hindsight, Gallery Exit, Hong Kong, and At a Still Point of the Turning World, Galerie Ora-Ora, Hong Kong (2014); and Glasgow Malmö International Artists’ Exchange, Glasgow (2013).

56

Li Hongbo 李洪波

Brick, 2016 Newspaper Unique 34 × 18 × 10 cm Estimate: HK$ 30,000 – 50,000 Generously donated by the artist and Contemporary by Angela Li

Li Hongbo (b. 1974, China) lives and works in Beijing. Li Hongbo plays with the appearances and connotations of paper. The material is to him an endless source of inspiration and interpretation. His reinvention of the material’s form challenges viewers’ expectations of the medium as an artistic vehicle.

Recent exhibitions and projects include Textbooks, Klein Sun Gallery, New York, On Paper Supreme 2016, National Exhibition Center 2H Museum, Shanghai, China (2016); Irons for the Ages, Flowers for the Day, SCAD Museum of Art, Savannah, GA, River Festival, Asian Civilizations Museum, Singapore (2015); Tools of Study, Klein Sun Gallery, New York, Paper – Existence, Tianjin Art Museum, China (2014); Li Hongbo – Out of Paper, Kunstverein Ludwigsburg, Ludwigsburg, Germany (2013); Self, Schoeni Art Gallery, Hong Kong, A Tree, Mizuma & One Gallery, Beijing, China (2012); The World – Li Hongbo New Works Exhibition, Founding Museum, Beijing, China, Modern Art Gallery, Taichung, Taiwan (2011).

William Lim 林偉而

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Random Planes Taken From a Drawing of H Queen’s, 2016 Colour pencil on paper Unique 42 × 59.4 cm Estimate: HK$ 20,000 – 25,000 Generously donated by the artist

William Lim (b. 1958, Hong Kong) lives and works in Hong Kong. He is an artist, designer and architect helming CL3, the multidisciplinary architecture and interior design firm behind projects including East Hong Kong, Hotel ICON, and Marina Bay Sands in Singapore. Lim is also an active figure in the Hong Kong art scene and has enriched both his home city and international locations with a number of large-scale sculptural installations.

Recent exhibitions and projects include William Lim/ Fundamental: 40 Years of Design Inspiration from the East, ArtisTree (2015); Space Journey: William Lim, A Decade of Installations, ArtisTree, Hong Kong (2012); Drifting Pavilion, 7th Dutch Design Week (2008); and Crossings: An Exhibition of Conceptual Art Forms by William Lim, Grotto Fine Art, Hong Kong (2007). Lim has also represented Hong Kong twice at the Venice Architecture Biennale, in 2006 and 2010, and at the Hong Kong & Shenzhen Bi-City Biennale of Urbanism/Architecture in 2007, 2009, and 2012.

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Lin Zhipeng 林志鵬

Lace, 2009 Giclee print mounted on aluminium Edition 1of 5 67 × 100 cm Estimate: HK$ 20,000 – 30,000 Generously donated by the artist and de Sarthe Gallery

Lin Zhipeng (b. 1979, China) is a photographer and freelance writer based in Beijing. Though very intimate, Lin’s photographs act as a collective not-so-private diary of a young generation that wants to escape the pressures of society and play with its limits. Lin’s pictures are never dramatic nor glaucous, sometimes punk and trash, sometimes very poetic. They carry a soft carelessness, a playful innocence, a certain optimism in a hedonistic life going against the expected pleasures of the middle class dream.

Recent exhibitions and projects include Hidden Track, Stieglitz 19 Gallery, Antwerp, Belgium (2016); Teetering at The Edge of The World – Reading the Chinese Contemporary, Espacio de Arte Contemporeáno, Montevideo, Uruguay, and the Changjiang International Image Biennale, Chongqing, China (2015); 223, Loppis Galleria, Parma, Italy, and Velvet Pogo, Kui Yuan Gallery, Guangzhou, China (2014); The Peaches, ATTIC, Taipei, Taiwan, and Equal Relationships, Blindspot Gallery, Hong Kong (2013). Lin has contributed to numerous creative and fashion magazines as editor and writer and has produced photo shoots for magazines such as Vice, S magazine, VISION, iLOOK, City Pictorial, and others. Since 2005 he has been working on a self-publishing project.

Liu Chuang 劉窗

59

Untitled (Dancing Partner), 2010 Photograph 105 × 77 cm Edition 2 of 6 + 2AP Estimate: HK$ 30,000 – 50,000 Generously donated by the artist

Liu Chuang (b. 1978, China) lives and works in Beijing. Known for engaging the borders of social, economic, and urban realities, he charts a manifold understanding of the systems and patterns that underpin and structure our everyday experience of modernity. Liu Chuang analyses closely the traits shared amongst objects and patterns, with a particular focus towards how they resurrect themselves through different periods in time by adapting into new variants. For Liu, the unpredictable encounters between these different systems allude to a wider topological system activated by a chain-reaction of poetic events and unpredictable behavioural changes.

Recent exhibitions include That Has Been, and May Be Again, Para Site, Hong Kong (2016); Image-History-Existence, Taikang Art Collection, National Art Museum of China, Beijing; Moving Image in China: 1988-2011, Minsheng Art Museum, Shanghai (2011); China Power Station, Pinacoteca Giovanni e Marella Agnelli, Turin and Studies & Theory, Kwadrat, Berlin (2010); The Generational: Younger Than Jesus, New Museum of Contemporary Art, New York (2009).

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Liu Ding 劉鼎

The Disappearing Frontier (No.1), 2016 Painting on paper Unique 59.2 × 67 cm Estimate: HK$ 30,000 – 50,000 Generously donated by the artist

Liu Ding (b. 1976, China) lives and works in Beijing. Liu is an artist and curator who investigates the various mechanisms, categories, and rules of the art system. His practice involves photography, sculpture, installation, painting and performance, jeopardising the various signs and structures used to confer value and meaning onto artworks. These include pricing schemes, artist signatures, methods of production, notions of originality, and sites and modes of display. Liu curated Little Movements: Self-Practices in Contemporary Art, OCT Shenzhen, in 2011, and the 7th Shenzhen Sculpture Biennale in 2012. He also represented China in the 53rd Venice Biennale, Italy, in 2009.

Recent exhibitions and projects include That Has Been, and May Be Again, Para Site, Hong Kong, and Li Jianguo Born in 1952, Antenna Space, Shanghai, China (2016); Discordant Harmony, Hiroshima City Museum of Contemporary Art, Hiroshima, Japan, Asia Pacific Triennale, Brisbane Australia, (2015-2016); New Man, MOT International, London, the 14th Istanbul Biennial, Istanbul, Turkey (2015); the 10th Shanghai Biennale, China (2014); Almost Avantgarde, Galeria Ursmeile, Beijing, China, (2013); and the Taipei Biennial, Taiwan (2012).

Liu Shiyuan 劉詩園

61

But My Apple..., 2015 Apple, arrow Edition 1 of 3 Dimensions variable Estimate: HK$ 35,000 – 55,000 Generously donated by the artist and Leo Xu Projects

Liu Shiyuan (b. 1985, China) lives and works in Beijing and Copenhagen, Denmark. Having studied at School of Visual Art, Liu lived and worked in New York before relocating to Copenhagen. Liu has developed an artistic sensibility in response to the contemporary Chinese diaspora and its ensuing pattern of cultural shocks. Manipulating everyday objects, stock images, and theatrical gestures, her practice navigates the subtle border between rationality and mystery, reality and action.

Recent exhibitions and projects include For an Image, Faster Than Light, Yinchuan Biennale 2016, Museum of Contemporary Art Yinchuan, China, The Exhibition of Annual of Contemporary Art of China, Beijing Minsheng Art Museum, Beijing, China, and The King And The Mockingbird, Copenhagen, Denmark (2016); As Simple As Clay, YUZ Museum, Shanghai, China, From ‘Happiness’ to ‘Whatever’, Leo Xu Projects, Shanghai, China, Lost in Export, White Space Beijing, Beijing, China (2015); My Paper Knife, Local Futures, Alter-Circuit, Asian Contemporary Arts Consortium and Et al. gallery, San Francisco, U.S.A., Beyond The Pale, Andersen’s Contemporary, Copenhagen, Denmark (2014); and The Edge of Vision, or the Edge of the Earth, White Space Beijing Gallery, Beijing, China (2013).

62 63

Joyce Lung 龍悅程

62 They Belong to Nowhere – Picnic Vase, 2015 Ceramics Unique 18 × 18 × 29 cm Estimate: HK$ 15,000 – 25,000 Generously donated by the artist

63 They Belong to Nowhere – Hometown Vase, 2015 Ceramics Unique 14.5 × 15 × 18.5 cm Estimate: HK$ 15,000 – 25,000 Generously donated by the artist

64

64 Random Thoughts, 2015 Ceramics Unique Dimensions variable, Set of 4 Estimate: HK$ 30,000 – 50,000 Generously donated by the artist

Joyce Lung Yuet Ching (b. 1992, Hong Kong) lives and works in Hong Kong. With her great concerns of human identity, Lung’s work takes its starting point from her close relationship with her domestic helper, negotiating ownership and the disjunction between space and place.

Depicting the daily life and thoughts of domestic workers on the ceramics, They Belong to Nowhere explores the ambiguous identity of foreign domestic workers in Hong Kong, a site of extended stay that hesitates to grant them a true sense of belonging.

Recent exhibitions and projects include Afterwork, Para Site, Hong Kong, A Hong Kong Everyday, Karin Weber Gallery, Hong Kong, and From Here to There, Kunstquartier Bethanien, Berlin (2016); Back to the Future, The Cat Street gallery, Hong Kong, 2015 Contemporary Asian Ceramics Exchange Exhibition, Hang Zhou, and the Wood-Fired Ceramics Exhibition, Academy of Visual Arts, Hong Kong Baptist University, Hong Kong (2015).

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Ma Desheng 馬德升

Untitled, 1980 Woodblock print on Chinese paper Edition C of J 67 × 69 cm

Untitled, 1980 Woodblock print on Chinese paper Edition G of J 69 × 57.5cm

Estimate: HK$ 30,000 – 50,000 Generously donated by the artist and Rossi & Rossi

Ma Desheng (b. 1952, China) lives and works in Paris. Ma Desheng self-trained as a woodblock craftsman, producing highly expressive monochrome prints, as well as the traditional Chinese medium of ink and brush. His depictions of stones and his unromanticised portrayal of the working class and peasants offered a shocking and rare counter to the propaganda imagery offered at the time by the Chinese Communist Party. Ma rose to prominence in the late 1970s as one of the founding members of the Stars Group, which organised two public exhibitions that were both quickly quashed by authorities. After suffering physical injuries, Ma was forced to begin working in a different medium: acrylic paint, creating large and bold pieces that continued to reflect the stone motifs touched upon in some of his earlier woodblock prints and ink paintings.

Recent exhibitions and projects include 1992-2002 Renaissance, A2Z Art Gallery, Paris, Selected Works 1979-1987, Rossi & Rossi, London (2015); Voice of the Unseen – Chinese Independent Art Since 1979, Arsenale, Venice, Italy, Selected Works 1978-2013, Rossi & Rossi, London, UK (2013); Ma Desheng–Xing Xing Group, Galerie Frank Pages, Geneva, Switzerland (2012); Ma Desheng: les êtres de Pierre, souffle de vie, Asian Art Museum, Nice, France (2011). Ma’s works are held in public and private collections around the world, including the Ashmolean Museum, Oxford, U.K.; the British Museum, London, U.K.; Fundação Oriente, Macau, China; the Fukuoka City Museum, Japan; Musée de Melun, France; Musée d’art moderne de la ville de Paris, France; Musée d’histoire contemporaine, Paris, France; and the University Museum and Art Gallery, University of Hong Kong.

Kingsley Ng 伍韶勁

66

Sun Over the Placid World, 2012 Mixed media (c-print, silk screen print) Edition 1 of 5 75 × 50 cm Estimate: HK$ 25,000 – 30,000 Generously donated by the artist and Osage Gallery

Kingsley Ng (b. 1980, Hong Kong) lives in Hong Kong and works internationally. He is an interdisciplinary artist focusing on conceptual, site-specific and community projects. Often through spatial interventions using light and sound, his practice casts light on the disregarded and forgotten, and rediscovers sensible relationships between people and their surroundings.

He was awarded Best Artist (Media Arts) at the Hong Kong Arts Development Awards in 2013.

Recent exhibitions and projects include In the Name of Art, Taipei Museum of Contemporary Art, Taiwan (2015); To the Moon, Jordan Valley Park, Hong Kong, Mountains and Above, Goethe Gallery, Hong Kong (2014); Etudes, Osage Gallery, Hong Kong, Conceptual Walk Through, Espace Louis Vuitton, Hong Kong (2013); the Guangzhou Triennial, Guangdong Art Museum, Guangzhou, China, Minamata: A Requiem, Lee Shau Kee School of Creativity, Hong Kong (2012); and In-between, Osage Soho Gallery, Hong Kong (2011).

67

Tomie Ohtake

Untitled, 2002 Etching 100 × 70 cm Edition 30 of 90 Estimate: 40,000 – 60,000 Generously donated by the artist and Galeria Nara Roesler

Tomie Ohtake (1913, Japan – 2015, Brazil) was a Japanese-Brazilian artist, who is best known for her painting, printmaking, and sculpture. Her career as an artist began at the age of 37, when she became a member of the Seibu group, which brought together artists of Japanese descent. In 1957, invited by critic Mário Pedrosa, she presented her first solo exhibition at the Museu de Arte Moderna in São Paulo, which was followed four years later by her participation in the São Paulo Biennial in 1961. Initially a painter, Ohtake began to experiment with various printmaking methods during the 1970s. Her works are often discussed in terms of Zen Buddhism and calligraphy in relation to her Japanese origin. Over the course of her life working as an artist, she was featured in 20 International Biennales had more than 120 solo exhibitions staged all over the world.

Her major exhibitions and projects include The World is Our Home. A Poem on Abstraction, Para Site, Hong Kong (2016); Tomie Ohtake 100-101, Instituto Tomie Ohtake. São Paulo, Brazil (2015); Exposição Único, Biennial Foundation, Carbono Gallery at SP-Arte, São Paulo, Brazil (2014). Her works are included in the collections of Hara Museum of Contemporary Art, Tokyo; MASP, Museu de Arte de São Paulo Assis Chateaubriand, São Paulo; MAM-SP, Museu de Arte Moderna de São Paulo, São Paulo; MAM-RJ, Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro; MAC-USP, Museu de Arte Contemporânea da Universidade de São Paulo, São Paulo; MAC-Niterói, Museu de Arte Contemporânea de Niterói, Niterói; Patricia Phelps de Cisneros Collection, Caracas; and Pinacoteca do Estado de São Paulo, São Paulo.

Ou Jin 歐勁

68

Untitled 4, 2014 Acrylic paint and mixed media on wood board Unique 43 × 63.5 × 3 cm Estimate: HK$ 25,000 – 50,000 Generously donated by the artist and Boers-Li Gallery

Ou Jin (b. 1978, China) lives and works in Beijing. His work critiques the mechanised and bulk production of visual symbols and ideology, assimilating a ritual process of craftsmanship with the use of computer-generated images. The artist invites the audience to participate in the endless emerging layers of meaning and inspirations that are suggested in the artwork.

Recent exhibitions and projects include Ou Jin: new works, Boers-Li Gallery, Beijing (2016); Text, Pause, Boers-Li Gallery, Beijing, Rebellion and Nomadic – The Alchemy of City Experience, Li Art Museum, Changsha, China (2015); First but not Least, KCAA Opening Exhibition, Beijing (2014); Visibility@me, Shijiazhuang art museum, The state of different, Shitianxia art museum, Beijing (2013); @me, Hong Kong contemporary art museum, Beijing, China’s future, Today art museum, Beijing (2012); and the Busan Flower Village International Nature Art Festival, Busan, Korea (2011).

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Pak Sheung Chuen 白雙全

A Shadow that Stays on the Moving Train (Self-portrait/ Fotan KCR Station/ 30 Seconds/ 2004-3-28), 2004 Photography Edition 1 of 3 60 × 45 cm Estimate: HK$ 40,000 – 80,000 Generously donated by the artist

Pak Sheung Chuen (b. 1977, China) lives and works in Hong Kong. Pak’s practice often deals with and reflects upon the contradicting absurdness and ordinariness of everyday life in a poetic and humorous nature, thus creating a critical yet poignant sentiment for its viewers. Well known as a regular visual arts columnist in the local newspaper Mingpao Daily News between 2003 and 2007, Pak has exhibited his works internationally, at the Taipei Biennial in 2010 and 2012, Liverpool Biennial 2012, Biennale Cuvee 10 in 2010, 3rd Yokohama Triennial in 2008, 3rd Guangzhou Triennial in 2008, and 6th Busan Biennale in 2006. He represented Hong Kong at the 53rd Venice Biennale in 2009.

Recent exhibitions and projects include Discordant Harmony, Kuandu Museum of Fine Arts, Taipei, Taiwan, Mountain Sites: Views of Laoshan, Sifang Art Museum, Nanjing, China (2016); Tales From The Taiping Era, Red Brick Art Museum, Beijing, China (2015); Killing 3000, He Xiangning Art Museum, Shenzhen, China, CAFAM-Future Exhibition, CAFA Art Museum, Beijing, China (2012); Vision of Nature, Hong Kong Arts Centre, Hong Kong (2011); and Hong Kong Diary, Hong Kong Museum of Art, Hong Kong (2010). He received Best Artist in the Chinese Contemporary Art Awards in 2012, and Best Artist Award in Hong Kong by the Hong Kong Arts Development Council in 2013. Pak was awarded the Overseas Exchange Prize (Chinese Performance Art) by the Macao Museum of Art in 2005 and 2008.

Park Chan Kyong 朴贊慶

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갑사(Gabsa), 2009 Digital c-type print Edition 1 of 3 35 × 52 cm Estimate: HK$ 30,000 – 45,000 Generously donated by the artist and Kukje Gallery

Park Chan-Kyong (b. 1965, South Korea) lives and works in Seoul. His subjects have extended from the Cold War to traditional Korean religious culture, from ‘media-oriented memory’ to ‘history reconstruction.’ He was awarded the Fasken Martineau Best Feature Film or Video Award for the Toronto Reel Asian International Film Festival, Toronto, Canada in 2014; the New Vision Award at the Muju Film Festival, Muju, Korea in 2012; the Golden Bear award for Best Short Film in the 61st Berlin International Film Festival, Berlin in 2011; and the Grand Prize for a Korean Feature Film at the 12th Jeonju International Film Festival, Jeonju, Korea in 2011.

Recent exhibitions and projects include Pa-gyong: Last Sutra Recitation, Iniva, London, The Young and The Restless, Common Center, Seoul, Korea (2015); ANIMISM, Ilmin Museum of Art, Seoul, Korea, Homeworks 6, Artheum, Beirut, Lebanon (2013); Natacha Nisic & Park ChanKyong, Atelier Hermès, Seoul, Korean Film Festival DC 2012, Freer|Sackler, The Smithsonian’s Museums of Asian Art, Washington D.C (2012); Korean Rhapsody - Crossing the History, Leeum, Samsung Museum of Art, Seoul, Second Worlds, Steirischer Herbst Festival 2011, Austria (2011); Radiance, PKM Gallery | Bartleby Bickle & Meursault, Seoul, Brinkmanship, REDCAT, Los Angeles, U.S.A. (2010).

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Dan Perjovschi

PARASITE, 2016 8 postcards sent from 8 countries, mail art, ink on postcards Unique Variable Estimate: HK$ 20,000 – 30,000 Generously donated by the artist

Dan Perjovschi (b. 1961, Romania) lives and works in Bucharest. He is an artist, writer, and cartoonist.

Perjovschi’s wall drawings in art spaces interrupt the sanitised space of the museum and offer sharp, relevant, site-specific political commentary. This postcard series, made especially for Para Site’s anniversary, comes in two parts. The winning bidder of this lot will receive the remaining four postcards via mail from the artist himself, from four different countries.

Perjovschi received the George Maciunas Prize in 2004 and ECF Princess Margriet Award in 2013.

Recent exhibitions and projects include Meanwhile, what about Socialism?, NewBridge Project Space, Newcastle, England, MOT Annual 2016: Loose Lips Save Ships, Museum of Contemporary Art of Tokyo, Tokyo, Japan, and South by Southeast, Osage Gallery, Hong Kong (2016); Dan Perjovschi – For the Moment, Artwall Gallery, Prague (2015-2016); Dan Perjovschi: Pression, Liberté, Expression, Magasin – Centre National dʼArt Contemporain, Grenoble, France, Back to Back, Lombard Freid Gallery, New York, Neither Forward Nor Back, Jakarta Biennale 2015, Gudang Sarinah, Jakarta, Indonesia (2015); I come, I draw, I go, Mesogios Art Space, Heraklion, Crete, Greece, Playtime, Kunstbau/ Lenbachhaus Muchen, Munich, Germany (2014); From the Empty Universe to the Empty Pockets, Stacion Center for Contemporary Art Prishtina, Kosovo, Unframed, Kiasma Museum of Contemporary Art, Helsinki, Finland (2013); Perjovschi, Rejkyavik Museum of Art, Iceland, Dan Perjovschi: Daily, Weekly, Monthly, ifa Gallery, Berlin & Stuttgart, Intense Proximity: Art as Network, La Triennale Paris, Palais de Tokyo, Paris, France (2012); and Hong Kong First, Para Site, Hong Kong (2011).

Miljohn Ruperto

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Demonology: Pazuzu, 2015 Digital Print Edition 1 of 50 55 × 31 cm Estimate: HK$ 10,000 – 15,000 Generously donated by the artist

Miljohn Ruperto (b. 1971, Philippines) lives and works in Los Angeles, California. The subjects of Ruperto’s recent works are taken from the mysterious Voynich manuscript. Dating back to the 15th century, the book contains indecipherable text, whose authorship has been credited throughout history to aliens, ancient Mayans, and long forgotten tribes. The illustrations of plants and figures, drawn in a weirdly fantastical style, tell a story which seems to mirror life’s age old mysteries. In Assyrian and Babylonian mytology, Pazuzu is considered to be the King of the Wind Demons, depicted in Ruperto’s Demonology: Pazuzu as a geomantic being embodying the intersection of dust, wind, and plague.

Recent exhibitions and projects include Afterwork, Para Site, Hong Kong, Nervous Systems, Haus der Kulturen der Welt, Berlin (2016); Survival Is Not Enough, RODEO, London, The As-if Principle., Magazin4 Bregenzer Kunstverein, Austria (2015); Whitney Biennial, Whitney Museum of American Art, New York, Another, Once Again, Many Times More, Martos Gallery, New York (2014); Spectators, Rendered and Regulated, Koenig & Clinton, New York, Ulrik Heltoft and Miljohn Ruperto, Voynich Botanical Studies, Thomas Solomon Gallery, Los Angeles, California (2013); and Raze; Revert; Repeat, Pepin Moore Gallery, Los Angeles, California (2012).

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Michael Shaowanasai

Tellulha with the Prince, 2012 Photograph Edition 1 of 4 98 × 98 cm Estimate: HK$ 32,000 – 45,000 Generously donated by the artist and 10 Chancery Lane Gallery

Michael Shaowanasai (b. 1964, U.S.A.) lives and works in Bangkok. Shaowanasai works across a broad spectrum of media including performance, photography, video, film, painting, and installation. Known for his iconic cross-dressing monk portrait of a man in a habit garment, Shaowanasai is a versatile artist whose conceptual pieces, often text-based, are effective for their aesthetic brilliance and formal command. Michael Shaowanasai is often labeled as a gender artist known for his performative photography in which he poses in drag. He uses cross-dressing and his own body and sexuality as the elements to construct arguments on such various topics as the relationship between the country and individuals.

Shaowanasai has been exhibited in Asia, Europe (Venice Biennale 2003), Australia, and North America and his film and video works include The Adventure of Iron Pussy (2003), which was screened at the Tokyo International Film Festival, the Berlin Film Festival, and the Melbourne International Film Festival, among others. Shaowanasai is represented in several institutional collections including the Singapore Art Museum.

Angela Su 徐世琪

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Tyrannophasma gladiator, 2007 Ink on drafting film Unique 60 × 84 cm Estimate: HK$ 40,000 – 60,000 Generously donated by the artist

Angela Su (b. 1966, Hong Kong) lives and works in Hong Kong. Before pursuing visual arts, Su studied biochemistry in Canada. By adopting existing scientific belief systems, Angela creates works that prompt us to contemplate our own being, our inscription in space and in time. Her biological drawings combine the precision of scientific sketches with a mythical sense of aesthetics to challenge our position and perception of ecological and evolutionary systems.

Recent exhibitions and projects include Time Test: International Video Art Research Exhibition, CAFA Art Museum, Beijing, China, LOOP Barcelona, Spain (2016); The Human Body: Measure and Norms, Blindspot Gallery, Hong Kong, I submit to the wisdom of the body, Silverlens Gallery, Manila (2015); Ten Million Rooms of Yearning. Sex in Hong Kong, Para Site, Hong Kong, and the 2nd CAFAM Biennale, CAFA Art Museum, Beijing, and Artists’ Film International (2014); In Berty We Trust!, Gallery EXIT, Hong Kong, The Spirit of Ink, Sotheby’s, Hong Kong (2013); Stigmatics – The Hardford Girl and Other Stories, Gallery EXIT, Hong Kong, Hong Kong Eye, ArtisTree, Hong Kong, and Saatchi Gallery, London (2012); A Brief History of Time, RBS Gallery, Malaysia, and BwO, Grotto Fine Art, Hong Kong (2011); and the 17th Sydney Biennale, Museum of Contemporary Art, Sydney, Australia (2010).

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Tang Kwok Hin 鄧國騫

Current Nature; Mist, 2016 Photo paper with acrylic case Edition 2 of 6 60 × 90 × 1.5cm Estimate: HK$ 35,000 – 45,000 Generously donated by the artist

Tang Kwok Hin (b. 1983, Hong Kong) lives and works in Hong Kong. Tang focuses on the occasion, space, time, and way of encountering images or symbols to explore hidden rules in living and the existing context for self-expression. In his view, art is about selecting and underscoring something in a complete sentence: to remove is to emphasise what remains.

Tang was awarded the Asian Cultural Council Fellowship in 2013, the Young Artist Award at the Hong Kong Arts Development Awards in 2010 and first prize at the Hong Kong Contemporary Art Biennial in 2009. He was a finalist for the Sovereign Asian Art Prize in 2014.

Recent exhibitions and projects include Child, Solo Exhibition of Tang Kwok-hin, 100 ft. PARK, Hong Kong, la Biennale di Venezia: 15th International Architecture Exhibition, Venice, Italy (2016); Imagine there’s no country, above us only our cities, Para Site, Hong Kong, Needs, Gallery EXIT, Hong Kong, Peace Hotel, Art Taipei 2015, Taiwan, and The Past is Continuing, Hong Kong Heritage Museum, Hong Kong (2015); Is It (Y)ours?, Museum Bärengasse, Zurich, Switzerland (2014); One Day Perhaps There’s Discovery of That Unbeauty, Kuandu Museum of Fine Arts, Taipei (2013); and Do Androids Dream of Electric Sheep? The Paradox of Choice in a Time of Anxiety, Para Site, Hong Kong (2012).

TRES

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Journey to Another World (Ubiquitous Trash Series - Hong Kong Edition), 2015 Digital photograph on Acrylic and Aluminium Museum Mount AP edition 1 of 8 67.5 × 90 cm Estimate: HK$ 25,000 – 35,000 Generously donated by the artists and Puerta Roja

TRES, founded by Ilana Boltvinik and Rodrigo Viñas, is an art research collective based in Mexico City that has focused on exploring the implications of public space and garbage through artistic practices that concentrate on the methodological intertwining and dialogue with science, anthropology, and archaeology among other disciplines. They were recently awarded the Robert Gardner Fellowship for Photography of the Peabody Museum at Harvard University. Journey to Another World is part of a publication and accompanying exhibition Ubiquitous Trash: Hong Kong Edition that resulted from the artists winning the WMA 2015 Commission in Hong Kong.

TRES has published three books and their works have been extensively presented in Latin America and Europe since 2009, most notably in the Abandon Normal Devices Festival 2015 (U.K.), the Metropolis Biennale 2009 (Denmark), the public art section of the XV Festival of Mexico City FMCH, the Amsterdam Global City #2: Mexico at the World Cinema Festival (Netherlands), the ViBGYOR International Film Festival (India), the Electronic and Video Arts Festival Transitio MX_05 (Mexico City), and at the Cultural Center of Spain (Mexico City). The artists exhibited for the first time in Hong Kong in 2016 and are represented by Puerta Roja in Asia.

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Eason Tsang Ka Wai 曾家偉

A failed light box No. 3, 2016 Wooden light box, slide, fluorescent light Unique 83 × 56 × 18 cm Estimate: HK$ 35,000 – 55,000 Courtesy of the artist and Blindspot Gallery

Eason Tsang Ka Wai (b. 1986, Hong Kong) lives and works in Hong Kong. Developing from the theme of living in the city, Tsang is shifting his focus from public space to interiors or closed spaces in his recent works. Between images of daily life and exposed interiors, the set of light boxes in A failed light box pinpoints a breakdown of order that is illuminated.

Recent exhibitions and projects include Powerless, Blindspot Gallery, Hong Kong, (2016); Imagine there’s no country, Above us only our cities, Para Site, Hong Kong, Familiar Otherness: Art Across Northeast Asia, Hong Kong Arts Centre, Hong Kong (2015); 780s, Blindspot Gallery, Hong Kong, Shampoo Whatever, A.lift Gallery, Hong Kong (2014); HKFOREWORD13, 10 Chancery Lane Gallery, Hong Kong, architekturbild 2013 | Focus of Attention, Deutsches Architekturmuseum (DAM), Germany (2013); Three Dimensions - Architectural Photography, Blindspot Gallery, Hong Kong (2012).

Annie Wan Lai Kuen 尹麗娟

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Radio Days, 2014 Ceramic Unique 18 × 24 × 10 cm Estimate: HK$ 38,000 – 55,000 Generously donated by the artist and Karin Weber Gallery

Annie Wan Lai Kuen (b. 1961, Hong Kong) lives and works in Hong Kong. Wan’s works tend to the physical and temporal properties of ceramic material, something traditionally defined by craftsmanship, but which has come up against the contemporary move from raw material to found object, from the hand to the brain, and from the singular to the multiple object. She re-thinks ceramics as a vital medium for responding to the contemporary conceptual turn, bringing its concerns closer to material reality. She was awarded the Winner (Sculpture) of the Philippe Charriol Foundation Art Competition in 1999, the Asian Cultural Council Fellowship in 2000, the Overseas Residency Grant by the Hong Kong Arts Development Council in 2003, and the Award Winner of the Hong Kong Art Biennial in 2003.

Recent exhibitions and projects include the 9th Gwangju Biennale (2016); Black + White, Karin Weber Gallery, Hong Kong, The Past is Continuing, Hong Kong Heritage Museum, Hong Kong, First, then and after, Gallery Exit, Hong Kong (2015); Lodge of Tranquility, Karin Weber Gallery, Hong Kong (2014); Text • Book, 1a Space, Hong Kong, Hong Kong Eye, Saatchi Gallery, London, I Think It Rains, Burger Collection, Cattle Depot, Hong Kong, and All of These Are Made of Clay, Museum of Contemporary Ceramic Art, Shigaraki, Japan (2013); 2011 Asian Contemporary Ceramics Exhibition, Foshan Ceramics Museum, China, and Open the Pages You See Me Seeing You, Kubrick Bookshop, Beijing, 1a Space, Hong Kong (2011).

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Wang Sishun 王思順

Apocalypse 16.1.19, 2016 Bronze sculpture Edition 2 of 6 30 × 23 × 17 cm Estimate: HK$ 95,000 – 140,000 Generously donated by the artist and Long March Space

Wang Sishun (b. 1979, China) lives and works in Beijing. Wang’s installations and sculptures are a product of a Dada-inspired de-contextualisation and re-contextualisation of objects. The project Apocalypse surrounds the artist’s collection of stone formations that resemble familiar portraits from all over the world.

Recent exhibitions and projects include Apocalypse, Long March Space, Beijing, China, A Beautiful Disorder, Cass Sculpture Foundation, Goodwood, U.K., The Shadow Never Lies, Shanghai 21st Century Minsheng Art Museum, Shanghai, China (2016); Truth, New Galerie, Paris, France, Madein Gallery, Shanghai, China (2014-2015); The invisible hand: curating as gesture, CAFA Art Museum, Beijing, China, Harmonious Society, Asia Triennial Manchester, Manchester, U.K. (2014).

Apichatpong Weerasethakul

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First Light, 2016 Lambda digital c-type print Edition 3 of 3 + 2 AP 22 × 30 cm Estimate: HK$ 35,000 – 50,000 Generously donated by the artist

Apichatpong Weerasethakul (b. 1970, Thailand) lives and works in Bangkok. Weerasethakul’s films are often non-linear, dealing with memory, subtly addressed personal politics, and social issues. He is active in promoting experimental and independent filmmaking, and co-founded the production company, Kick the Machine, in 1999. Weerasethakul has received numerous awards, including The International Critics’ Award in 2003, Best Film and Special Jury Prize, Palme d’Or, Cannes Film Festival, France (2010); The Sharjah Biennial Prize and the Fukuoka Prize (Art and Culture) (2013); and the Yanghyun Prize (2014).

Recent exhibitions and projects include Apichatpong Weerasethakul: The Serenity of Madness, Para Site, Hong Kong and MAIIAM Contemporary Art Museum, Chiang Mai, Thailand, Apichatpong Weerasethakul: Mirages, Tate Modern, London (2016); A Journal of the Plague Year. Fear, ghosts, rebels. SARS, Leslie and the Hong Kong story, Para Site, Hong Kong (201315); Fireworks (Archives), SCAI the Bathhouse, Tokyo (2014); Primitive, Hangar Bicocca, Milan, Italy, The New Museum, New York, Overgaden Institute for Contemporary Art, Copenhagen, University Museum of Contemporary Art, Mexico City, Haus der Kunst, Munich, FACT, Liverpool, and Musee d’art moderne de la Ville de Paris, Paris (2009-2013); the 11th Sharjah Biennial, UAE (2013); and dOCUMENTA13, Kassel, Germany (2012).

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Lawrence Weiner

(Image courtesy: Burger Collection)

Lifesaver, 2007 Sculpture 7 of 12 71 × 71 × 10 cm Estimate: HK$ 110,000 – 140,000 Generously donated by the artist

Lawrence Weiner (b. 1942, U.S.A.) lives and works in New York. Weiner is among the pioneers of the 1960s who began to present art as language. He defines his sculptural medium as ‘language + the material referred to’, suggesting that language is a material for construction.

In determining sculpture through the use of language, Weiner’s works transcend and move between cultures without metaphor. He leaves the works open to interpretation and the individual needs of the viewer, in a deliberate act to redefine the artist/receiver relationship.

Recent exhibitions and projects include Lawrence Weiner: MADE TO BE, Regen Projects, Los Angeles, (2016); Within a Realm of Distance, Blenheim Palace, Oxfordshire, U.K. (2015); All in Due Course, South London Gallery, London, U.K. (2014); The Grace of A Gesture, Palazzo Bembo, collateral event of the 55th Venice Biennale, Venice, Italy (2013). He has also participated in numerous international exhibitions including dOCUMENTA 5, 6, 7, and 13 (1972, 1977, 1982, and 2012); the 36th, 41st, 50th and 55th Venice Biennales (1972, 1984, 2003, and 2013), and the 27th Biennale de São Paulo (2006).

Weng Fen 翁奮

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Staring at the Sea No. 3, 2004 C-print Edition 7 of 10 80 × 100 cm Estimate: HK$ 65,000 – 95,000 Generously donated by the artist and Tang Contemporary

Weng Fen (b. 1961, China) lives and works in Hainan, China. His work deals with themes of transformation, globalisation, boundaries, and migration. His understated pictures often feature vast, blue skies, and an individual or small group of people looking upon rising cityscapes, large bodies of water, or utopic natural landscapes, their bodies dwarfed by the scale and magnitude of their surroundings. In the Staring at the Sea series, the works features a group of family gazing out to the ocean with their backs to the camera, and likewise the viewer, conveying his ideals and hopes for contemporary China.

Recent exhibitions and projects include M+ Sigg Collection: Four Decades of Chinese Contemporary Art, ArtisTree, Hong Kong (2016); The M+ Sigg Collection: Chinese art from the 1970s to Now, The Whitworth Art Gallery, Manchester, U.K. (2015); Rising Dragon: Contemporary Chinese Photography, San Jose Museum of Art, San Jose, U.S.A. (2013); Between Here and There: Dislocation and Displacement in Contemporary Photography, Metropolitan Museum of Art, New York, U.S.A. (2010-2011). Weng has also exhibited at the Centre Georges Pompidou in Paris, the San Diego Museum of Art, the Shanghai Art Museum, the Taipei Contemporary Art Museum, the Mori Museum in Tokyo, the Kunstmuseum Wolfsburg, the International Center of Photography in New York, and the Singapore Art Museum.

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Kenny Wong 黃智銓

dist.visualcapture_1, 2016 Inkjet print on lightbox Unique 57 × 32 × 5.5 cm Estimate: HK$ 20,000 – 30,000 Generously donated by the artist and Pearl Lam Galleries

Kenny Wong (b. 1987, Hong Kong) lives and works in Hong Kong. Wong’s works explore the delicate relationship between daily experiences and perceptual stimulations by hybridising analogue and digital representations. Wong is interested in exploring visual patterns, motions, and sound textures, as well as presenting works in the form of computational kinetic sculptures. Wong actively works as a collaborating artist, multimedia designer, mechanical engineer/designer, and art researcher.

Recent exhibitions and projects include The Canvas of Resonance, Cube Gallery, Phoenix Art Centre, Leicester, UK, The Interstitial: Alan Kwan and Kenny Wong Two-Person Exhibition, Pearl Lam Galleries SOHO, Hong Kong, International Digital Arts Biennial, Montreal, Canada (2016); Test Exposure, 16th WRO Media Art Biennale, Wroclaw, Poland (2015); displace_pivot, 100 ft.

Park, Hong Kong, Squint, Fuse::Artist-In-Residence, Videotage, Hong Kong, 20th International Symposium on Electronic Art, Dubai, UAE (2014). In 2014, Wong received the Award for Young Artist (Media Arts) for The Hong Kong Arts Development Awards, as well as the Golden 15 of the 3rd International Emerging Artist Award.

Martin Wong 黃馬丁

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Firefly Evening, 1968 Offset print Unnumbered edition of 200 152.4 x 43.18 cm Estimate: HK$ 18,000 – 25,000 Generously donated by the artist and PPOW Gallery

Martin Wong (1946 -1999, U.S.A.) was a painter whose meticulous visionary realism is among the lasting legacies of New York’s East Village art scene of the 1980’s and a precursor of the identity-driven work of the 90’s. In the heyday of the East Village, where local styles tended toward graffiti art, neo-Expressionism, and late Conceptualism, Wong carved out a territory all his own. His art was as culturally complex as his appearance, which was usually distinguished by a Fu Manchu mustache and a cowboy hat. And it certainly lived up to his background, which included a degree in ceramics, a stint with a gay performance street troupe in San Francisco, and expertise in such diverse areas as Asian painting, calligraphy and decorative arts, American antiques, the gift shop souvenirs of San Francisco’s Chinatown, and graffiti art, which he acquired in such abundance that in 1993 he donated 300 works to the Museum of the City of New York. Martin’s estate is administered by the PPOW Gallery in New York.

Recent exhibitions of his work include Voices, P.P.O.W., New York, U.S.A., Human Instamatic, Wexner Center for the Arts, Columbus, U.S.A. (2016); Painting is Forbidden, CCA Wattis Institute for Contemporary Arts, San Francisco, U.S.A., America is Hard to See, Whitney Museum of American Art, New York, U.S.A. (2015); Loisaida: New York’s Lower East Side in the ‘80s, Phillips Academy, Andover, U.S.A. (2014) and Martin Wong Works 1980-1998, Galerie Daniel Buchholz, Cologne, Germany (2013).

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Ming Wong 黃漢明

Production Still from a Chinese Science Fiction Opera (colour) (I), 2015 Colour archival print from a photographic series Edition 1 of 5 70 × 80 cm Estimate: HK$ 40,000 – 70,000 Generously donated by the artist

Ming Wong (b. 1971, Singapore) lives and works in Singapore and Berlin. Wong received the Award of the Distinguished Alumni Medal at NAFA in 2012. Ascent to the Heavenly Palace I is a stunning image that is representative of Wong’s theatrical interest in the intersection of sci-fi and traditional Chinese culture, particularly Cantonese opera. Wong is using this speculative association to tackle issues such as Chinese modernity, the role of popular culture in building national identities, as well as the position of Hong Kong and the Cantonese world in the wider history and culture of China.

Recent exhibitions and projects include Windows on The World Part 2, 20th Sydney Biennale, Sydney, Australia (2016); Aku Akan Bertahan / I Will Survive, 8th Asia Pacific Triennial, Queensland Art Gallery, Brisbane, Australia (2015-2016); Next Year | L’Année Prochaine, Ullens Center for Contemporary Art, Beijing, 8TH Asia Pacific Triennial, Brisbane, Australia, Happy Together, Tina Kim Gallery, New York, and Open Sea, Musée d’art contemporain de Lyon, France (2015); A Journal of the Plague Year. Fear, ghosts, rebels. SARS, Leslie and the Hong Kong story, Para Site, Hong Kong (2013-15); Ming Wong: Angst Essen, Kunstraum Lakeside, Klagenfurt, Austria, the 10th Shanghai Biennial, China, Islands Off the Shores of Asia, Para Site and Spring Workshop, Hong Kong, the 4th Mediations Biennial, National Gallery Poznan, Poland (2014). Wong represented Singapore in the 53rd Venice Biennale in 2009 and was awarded Special Mention for his presentation.

Wu Chen 武晨

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Studio Portrait, 2014 Acrylic on canvas Unique 55 × 55 cm Estimate: HK$ 45,000 – 65,000 Generously donated by the artist and Magician Space

Wu Chen (b. 1983, China) currently lives and works in in Chengdu and Beijing. His paintings encompass a series of layered references culled from sources as varied as picture handbooks or exquisite illustrations from art history. They undergo a child-like process of distortion and reassembly, thriving on the border between morbidity and a whimsical sense of imagination.

Working between the different paintings, Wu Chen often shifts between artistic styles, historical periods, characters, and formats - bridging painter and the process of painting together within a wider historical and narrative arc.

Recent exhibitions and projects include Wu Chen Solo Exhibition: Matisse’s Skirt, Magician Space, Beijing, China, The Bride Stripped Bare By Her Bachelors, Even, PekinGallery, Beijing, China (2015); 6th Chengdu Biennale (2013); and M50 Creative District, Shanghai (2009).

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Yang Yi Shiang 楊依香

Getting Closer: Alice and Pepe, 2014 Acrylic on canvas Unique Diameter 80cm Estimate: HK$ 25,000 – 45,000 Generously donated by the artist and Galerie Ovo

Yang Yi-Shiang (b. 1981, Taiwan) lives and works in Taiwan. Her paintings are dreamscapes that access unique states of emotion, interweaving elements of nostalgia, fantasy, and reality. Yang Yi Shiang has received numerous awards, including the 2013 and 2015 Young Artist Collection, National Taiwan Museum of Fine Arts (2014), Asia Art Archive Awards, Hong Kong, Kaohsiung Museum of Fine Arts, Taiwan, and the 2013 Special Jury Prize for Spirit of Travel, Espace Louis Vuitton Taipei.

Recent exhibitions and projects include Art Taipei, Taipei, Taiwan, London Calling 015, London, U.K., Infinite Love – International Female Contemporary Art Exhibition, Hong Kong City Hall, Hong Kong (2015); Beyond the Silver Lining, Galerie OVO, Taipei, Forest of Illusions, Galerie Perrotin, Hong Kong (2014); Spirit of Travel – The Ten Years, Espace Louis Vuitton Taipei Audition, Taipei, Taiwan, The 18th Da-Dun Fine Arts Exhibition at the Da-Dun Cultural Center, Taichung, and Migration, Apollo Art Gallery, Taipei (2013).

Yao Jui Chung 姚瑞中

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Jhonghe, New Taipei city Surround the Border, “Roaming Around the Ruins IV”, 1998 Black and white photo print on fine art paper Edition 1 of 3 116.5 × 167.5 cm Estimate: HK$ 65,000 – 85,000 Generously donated by the artist and TKG+

Yao Jui-Chung (b. 1969, Taiwan) lives and works in Taiwan. Yao’s works range from photography to installation and painting. He is interested in examining the absurdity of the human condition, exploring the question of Taiwan’s identity in military takeover and subverting modern Chinese political myths in Reclaiming Mainland China. In recent years, he has created photo installations, combining the style of “gold and green landscape” with the superstitions that permeate Taiwanese folklore, expressing a false and alienated “cold reality” that is specific to Taiwan.

Yao has exhibited internationally, representing Taiwan at the 46th Venice Biennale (1995), and participating in the Taipei Biennial (2010), Shanghai Biennale (2012), Beijing Photo Biennale (2013), Shenzhen Sculpture Biennale (2014), Asia Triennial Manchester (2014), and the Asia Biennale and 20th Biennale of Sydney (2015). In 2013 and 2014, Yao was awarded the Asia Pacific Multitude Art Prize.

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Ye Linghan 葉凌瀚

Gold Circle Tiger 04, 2014 Acrylic on canvas Unique 98 × 147.5 cm Estimate: HK$ 70,000 – 100,000 Generously donated by the artist and Ben Brown Fine Arts

Ye Linghan (b. 1985, China) lives and works in Beijing, China. Ye is a multi-disciplinary artist, showing equal virtuosity in his works on paper, paintings, photography and digital work. Ye attended the China Academy of Art in Hangzhou where he studied traditional mural painting and drawing, his academic training evident in his highly detailed drawings and animations.

Recent exhibitions and projects include China – A Summer Show 2015, Ben Brown Fine Arts, Hong Kong (2015); Ye Linghan: Gold. Circle. Tiger, Ben Brown Fine Arts, Hong Kong (2014); Animal Portraits, Ben Brown Fine Arts, Hong Kong, 99 Gods, Yang Gallery, Beijing, China (2013); Ye Linghan: Floating Spring, Ben Brown Fine Arts, Hong Kong, Below Zero, Force Gallery, Beijing (2012); and Go Back To Future, Vanguard Gallery, Shanghai, and The Other Wave: Contemporary Chinese Photography, Ben Brown Fine Arts, London (2011).

Yu Cheng Ta 余政達

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Yu Cheng-Ta’s Work: Tennis Players, 2013 Digital Photograph Edition 1 of 8 100 × 70 cm Estimate: HK$ 15,000 – 20,000 Generously donated by the artist and Chi-Wen Gallery

Yu Cheng-Ta (b.1983, Taiwan) currently lives and works in Taipei. Working primarily with nonprofessional actors who are made to perform or enunciate in languages that are not their own, Yu creates works that deal with the interstitial gaps and humorous misunderstandings that arise when different languages and cultures collide.

He has participated in major international shows such as Forum Expanded at 65th Berlin Film Festival (2015); Social Factory, Shanghai Biennale (2014); the 5th International Biennial of Media Art at Experimenta in Melbourne, Australia (2012); Made in Asia Art Festival in Toulouse, France (2012); the 6th Taipei Biennial (2010); the 53rd Venice Biennale (2009); and World Selection of Contemporary Art, Biennale Cuvée (2009); and Linz (2009).

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Experience

Sparks of Fire Diamond and Gemstone Set of Rings and an Exclusive Private Dinner at the GĂźbelin Salon

Sparks of Fire Set of three rings in rose gold Estimate: Priceless Starting bid: HK$ 60,000 Generously donated by GĂźbelin Jewellery

The House of Gübelin is a Swiss, family-owned firm known for its exquisite high-end jewellery, gemstone expertise, and as purveyors of some of today’s most sought-after luxury watch brands. The company, which was founded in 1854, is deeply inspired by the internal and external beauty of fine gems and watches. Its combination of jewellery, gemstone and horological expertise is unique in the industry, a product of both its history and the Gübelin family’s high regard for beauty, knowledge, authenticity, craft and the trust of its clients.

Gübelin serves its international clientele exclusively through its ten boutiques at prime locations in Switzerland, Kuala Lumpur and Hong Kong. These elegant and engaging spaces are meant to make customers feel at home while enjoying the full attention and expert service of Gübelin’s highly knowledgeable sales personnel.

A set of 3 Rings “Sparks of Fire” in rose gold 750 with brilliant-cut diamonds and Green Tourmaline, Rubellite and Aaquamarine gemstones, handmade by the Gübelin Ateliers in Switzerland.

Sparks of Fire is part of Gübelin’s Glowing Fire world of jewellery.

Gemstones: 24 Brilliant-cut Diamonds, F-G, VS, Total 0.180ct

1 Round - shape Green Tourmaline, Total 0.400ct

24 Brilliant-cut Diamonds, F-G, VS, Total 0.180ct 1 Round - shape Rubellite, Total 0.760ct

24 Brilliant-cut Diamonds, F-G, VS, Total 0.180ct

1 Round - shape Aquamarine, Total 0.270ct

The House of Gübelin invites you to a fine 3-course wine dinner for a maximum of 12 people in their private dining room in Central. Before dinner, guests may preview their exclusive collections of coloured gemstone under the guidance of their gemologists in their private salon and appreciate the exquisite pieces from Switzerland. Such occasion is normally by invitationonly but as a gesture of support towards Para Site, Gübelin shares their treasures with the philanthropists in town.

92

Christopher K. Ho

Game Night, 2016 Glass cubes and spheres Unique 38.1 × 45.7 × 30.48 cm (the size of an average Thanksgiving turkey) Estimates: HK$ 75,000 – 100,000 Generously donated by the artist

Christopher K. Ho (b. 1974, Hong Kong) lives and works in New York. Ho employs diverse formats to explore often-invisible social forces implicating contemporary art. ‘Game Night’ is composed of 88 3-inch glass cubes and two spheres. It unpacks into four games: a 3-D puzzle of a turkey; a chess-like game played with opposing colleges; a domino-like game in which icons of celery, onion, crouton, and sage leaf are matched; and a game using spherical die.

Ho’s most recent solo exhibition, Grown Up Art, opened in May at Present Company, New York (2016). His solo show Demoiselles d’Avignon (2013, Y Gallery, New York) refracted Western abstraction through the eyes of a future class of refined Chinese princelings, while Privileged White People (2013, Forever & Today, NY) examined the sensibility of artists who grew up during the affluent Clinton presidency. He has had solo exhibitions at Winkleman Gallery, New York (2010, 2008); FJORD, Philadelphia (2013); and Galeria EDS, Mexico City (2009). His work has been reviewed in the New York Times, LEAP, RanDian, Art in America, Modern Painters, Artforum, and ArtReview. He participated in the Incheon Biennial (2009), the Chinese Biennial Beijing (2008), and the Busan Bienniale (2008), and produced site-specific pieces for Storm King (2013) and the Cranbrook Art Museum (2011), where he was the 2010 Critical Studies Fellow. He has additionally taught at Virginia Commonwealth University and at RISD.

ARTISTS

A—H

Pio Abad 21 Nadim Abbas 22

Jims Lam 52 Lau Wai 53

Poklong Anading 23 Nobuyoshi Araki 24

Lee Kit 9 Zoe Leonard 54

Adrian Wong and Shane Aspegren 7

Gabriel Leung 55 Warren Leung 10

Dan Attoe 5 Xyza Cruz Bacani 25

Li Hongbo 56 William Lim 57

Hernan Bas 26 Monica Bonvicini 27

Lin Zhipeng 58 Liu Chuang 59

Colette Brunschwig 28 Kurt Chan 29

Liu Ding 60 Liu Shiyuan 61

Oscar Chan 30 Cheng Yee Man (Gum) 31

Lung Joyce 62, 63, 64 Vera Lutter 11

Cheng Ting-Ting 32 Luke Ching 33

I—L

M—V

Ma Desheng 65

Heman Chong 34 Jimmie Durham 18

Ma Liuming 13 Kingsley Ng 66

Olafur Eliasson 36 Köken Ergun 37

Tomie Ohtake 67 Ou Jin 68

Dora García 38 María García-Ibàñez 39

Tozer Pak 69 Park Chan Kyong 70

Simryn Gill 3 Hit Man Gurung 40

Philippe Parreno 14 Eddie Peake 16

Hai Bo 41 He Xiangyu 42 Christopher K. Ho 92 South Ho 43 Hon Chi Fun 44 Hou Chun Ming 15 Hu Yun 45

Dan Perjovschi 71 Tobias Rehberger 17 Miljohn Ruperto 72

Come Inside 35 Jin Shan 46 Michael Joo 8 Joseph Kosuth 48 Klara Kristalova 47 Frog King Kwok 6 Kyunghwan Kwon 49 Firenze Lai 19 Sarah Lai 50 Jaffa Lam 51

Michael Shaowanasai 73 Wilson Shieh 1 Angela Su 74 Tang Kwok Hin 75 Maria Taniguchi 12 TRES 76 Eason Tsang 77 W—Z

Annie Wan 78 Wang Sishun 79 Apichatpong Weerasethakul 80 Lawrence Weiner 81 Weng Fen 82 Kenny Wong 83 Martin Wong 84

SUPPORTING GALLERIES

Ming Wong 85 Wu Chen 86

10 Chancery Lane Gallery 1335Mabini

Yang Yi Shiang 87 Yao Jui Chung 88

AIKE-DELLARCO BANK Gallery

Ye Linghan 89 Trevor Yeung 4

Ben Brown Fine Arts Blindspot Gallery

Samson Young 2 Yu Cheng-Ta 90

Boers-Li Gallery Chi-Wen Gallery Contemporary by Angela Li de Sarte Gallery Edouard Malingue Gallery Gagosian Gallery Galeria Gisela Capitain Galeria Jocelyn Wolff Galeria Nara Roesler Galerie Ovo Galerie Perrotin Gallery EXIT Hakgojae Gallery Karin Weber Gallery Kukje Gallery Lehmann Maupin Leo Xu Projects Long March Space Magician Space neugerriemschneider One and J. Gallery Osage Gallery Pace Hong Kong Pearl Lam Galleries Peres Projects Pilar Corrias Gallery P.P.O.W. Gallery Puerta Roja Rossi & Rossi Silverlens Taka Ishii Gallery Tang Contemporary Art TKG+ Vitamin Creative Space White Cube

ACKNOWLEDGEMENTS

Lu Jie Edouard Malingue

Para Site wishes to thank the following individuals who made the event possible:

Claire Melwani Trevor Mo

Adriana Alvarez-Nichol

Etsuko Nakajima Roxanne Nederpel

Corey Andrew Barr Anneliis Beanell

Iris Ng Wendy Osloff

Waling Boers Mathieu Borysevicz

Baohui Pan Javier Peres

Ben Brown Roberto Ceresia

Penny Pilkington Paolo Pong

Vivienne Chan Winnie Chan

Eloise Poole Kejie Qu

Adrian Cheng Shiori Ching

Peet Rademeyer Charlotte Raybaud

Sooyoung Choi Pilar Corrias

Rachel Rillo Daniel Roesler

Sylvie de Sarthe Pascal de Sarthe

Fabio Rossi Monika Simm

Katie de Tilly Regina Fiorito

Luigi Singson Paola Sinisterra

Talenia Phua Gajardo Ignacio Garcia

Stephanie Smith Bo Young Song

Maia Gianakos Katie Gill

Irina Stark Nick Suminovic

Maud Glemot Mimi Gradel

Anthony Tao Kim Tay

Charles Kim Amanda Hon Joanne Huang Chi-Wen Taka Ishii Lorraine Kiang Nicole Kuo Ada Lam Pearl Lam Pauline Lau Athena Lee Michelle Lee Patrick Lee Angela Li Li Yan Agnes Lin Leng Lin Jessica Lonergan Isa Lorenzo Dervla Louli Lu Jia

Isadora Tharin Sylvie Tiao Selina Ting Shasha Tittmann Yonnie Tse Julia Tung Elisa Uematsu Stephan Urbaschek Karin Weber Jocelyn Wolff Nick Buckley Wood Woo Chankyu Leo Xu Kenneth Young Adrian Wang Linn Weile Zhang Wei Shelly Wu Laura Zhou Birgit Zimmerman

FOUNDING FRIENDS

FRIENDS

Mimi Brown and Alp Ercil Burger Collection, Hong Kong

Nick and Cordula Adamus-Voegtle Christine and James Boyle

Kevin and Reina Chau De Sarthe Gallery, Hong Kong

Doryun Chong Lawrence Chu

Mimi and Chris Gradel Inna and Tucker Highfield K11 Art Foundation Wendy Lee

Andrew L. Cohen Jane DeBevoise Faux Amandine and Edouard Hervey

Lisina and Nick Leung Edouard and Lorraine Malingue

Ada Lam and Stephanie Ho Poon David Legg

marc & chantal design Yana and Stephen Peel

Yuri and Jane Mirkin Elaine W. Ng and Fabio Rossi

Stefan Rihs SUNPRIDE FOUNDATION

Nadine Ouellet Mina Park

Honus Tandijono Sarina Tang Currents Art and Music

Emma and Magnus Renfrew Andrew & Lily Riddick

Susanne and Gregor Theisen Benjamin Vuchot

Esther Schipper Silverlens

Virginia Yee

TICOLAT TAMURA Zelie Walker Frank F. Yang

ASSOCIATES

James and Su Chen Stefano Del Vecchio Anna Dickie Anjali and Gaurav Grover Shirley Hiranand and Reyna Harilela Khadinn Khan Alfred Lam Yifawn Lee Angelika Li Ocula Jay Parmanand and Diana d’Arenberg Janis Provisor and Brad Davis Leslie Van Eyck and Tom Meganck Andres Vejarano & Kee Foong

BOARD OF DIRECTORS

STAFF

Alan Lau Ka Ming Chair

Cosmin Costinas Executive Director/Curator

Jehan Chu

Frances Wu Giarratano

Vice Chair

Deputy Director

Mimi Chun Mei-Lor Vice Chair

Freya Chou Curator of Education and Public Programmes

Bonnie Chan Woo Tak Chi Treasurer Sara Wong Chi Hang Secretary

Qu Chang Associate Curator Olivia Chow Assistant Curator

Yana Peel Alan Y Lo

Fanny Chan Project Coordinator/ Curatorial Assistant

Kurt Chan Yuk Keung Mina Park

Apoorva Rajagopal Development and Communications Coordinator

ADVISORY COUNCIL Tobias Berger Mimi Brown Chow Yung Ping Reina Chau David Clarke Deborah Ehrlich Patrick Foret Anselm Franke Claire Hsu Hu Fang Tim Li Man-Wai Kai-Yin Lo Jessica Morgan Magnus Renfrew (Chair) Honus Tandijono Wong Wo Bik

SPECIAL THANKS TO YANA AND STEPHEN PEEL

Lead Corporate Sponsors

Venue Partner

Partnering Corporate Sponsor

Additional Sponsors

Media Partners

Catalogue designed by Debbie Poon and Wai Ming Ng

Online Auction Partner

HACK SPACE 8.11 – 8.12.2016

Artists: Simon Denny, aaajiao, Cao Fei, Cui Jie, Guo Xi, Hu Qingtai, Firenze Lai, Li Liao, Liang Shuo, Tao Hui, Xu Qu and Zhai Liang.

Curated by Hans Ulrich Obrist, Amira Gad chi K11 art museum, Shanghai Presented by K11 Art Foundation and the Serpentine Galleries

Guan Xiao: Elastic Sleep 8.11 – 8.12.2016

Curated by Katharine Stout chi K11 art museum, Shanghai Presented by K11 Art Foundation in association with ICA, London

Neil Beloufa: Soft(a)ware 8.11 – 8.12.2016 Curated by Victor Wang chi K11 art museum, Shanghai Presented by K11 Art Foundation

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