Silver Jubilee Auction

Para Site’s 1997 storefront on Po Yan Street, Sheung Wan

1996

Hong

2021

Kong

A U C T I O N

S I L V E R

P A R A

S I JT UE B I L E E

CONTENTS

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Foreword

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Conditions of Sale Acknowledgements

Online auction: Thursday, 11 November, 12 pm – Thursday, 25 November, 11:30 pm (HKT) →

PS25Auction.com

Silent Lots

Live Lots

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Samson Young 楊嘉輝 Charwei Tsai 蔡佳葳 Michael Armitage Stella Zhang 張爽 Lee Bul 李昢

30 31 32 33 34

Julieta Aranda Ho Sin Tung 何倩彤 Wu Jiaru 吳佳儒 Homer Shew Ming Wong 黃漢明

6 7 8 9 10

Lee Kit 李傑 Alfredo Jaar Abraham Cruzvillegas Wilson Shieh 石家豪 Yayoi Kusama 草間彌生

35 36 37 38 39

Ciprian Mureșan Jake Grewal Tsherin Sherpa Xper.Xr Paulina Olowska

11 12 13 14 15

Frog King 蛙王 Lee Seung Taek 李升澤 Roni Horn William Lim 林偉而 Firenze Lai 黎清妍

40 41 42 43 44

Jim Shaw Wu Shuang 吳霜 Torbjørn Røland Sin Wai Kin 單慧乾 Shuang Li 李爽

16 17 18 19 20

Angela Su 徐世琪 Zhu Jinshi 朱金石 Ed Ruscha 愛德華 ·魯沙 Jorge Pardo Antony Gormley

45 46 47 48 49

Cian Dayrit Stephen Thorpe Gordon Cheung 張逸斌 David Boyce Clément Rodzielski

21 22 23 24 25

Refik Anadol Beeple Pae White Wong Chun Hei 黃進曦 Lin Jinging 林菁菁

50 51 52 53 54

Erbossyn Meldibekov Revital Cohen & Tuur Van Balen Prabhakar Pandurang Pachpute Daniel Steegmann Mangrané Vvzela Kook 曲淵澈

26 27 28 29

Elmgreen & Dragset Cai Guo-Qiang 蔡國強 Dan Perjovschi Leung Chi Wo 梁志和

55 56 57 58 59

Cheung Tsz Hin 張子軒 Law Yuk-mui 羅玉梅 Candy Bird 糖果鳥 Sunmin Park Szeto Keung 司徒強

60 61 62 63 64

Xyza Cruz Bacani Minouk Lim 林珉旭 Bernd Behr 白伯恩 Deborah Brown Matthias Schaller 馬提亞 ·沙勒

65 66 67 68 69

Elaine Chiu 趙綺婷 Luke Ching Chin Wai 程展緯 Kim Woo Young 金祐暎 Heman Chong 張奕滿 Carrie Yamaoka

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Uri Aran William Lim Studio Visit Drawing Plants on Lantau Island with Zheng Bo

FOREWORD Dear Friends, 2021 has presented continuous challenges as the world navigates a safe path to reopen under the threat of the global health crisis. In this difficult year, we cannot help but be reminded of Para Site’s beginning as a self-organised space for artists in a period of uncertainty 25 years ago as Hong Kong prepared for its handover. It is more pertinent than ever that we see art’s unique power to bring communities together, to foster dialogue, and to imagine a better tomorrow. For this, we are extremely grateful and humbled by the support we have received from artists, galleries, and individuals in Hong Kong and beyond, who all believe passionately in art’s future and in the need for the places that nurture it to continue thriving.

While many activities in the arts remain online and remote, Para Site has strived to bring access to a variety of programmes and support for emerging talents, especially artists who have been left vulnerable by derailed plans. We continued the 2020 initiative PS Paid Studio Visits, which has supported over 60 local artists to date with a studio visit fee and one month of health insurance coverage for every virtual visit conducted with Para Site team members, and the list continues to grow. The NoExit Grant for Unpaid Artistic Labour, generously supported by an anonymous donor, is also in its second year with a special focus on the Philippines, with additional funding coming from three Filipino supporters. Besides providing some substantial subsidy for visual artists, curators, writers, filmmakers, and choreographers to pursue their creative practices at a crucial time when support is wanting overall, it is also a way to show regional solidarity. To nurture artists who are at the beginning of their careers and thinking into the future of Hong Kong’s art scene, for our 25TH anniversary year Para Site launched a new initiative entitled 2046 Fermentation + Fellowships, providing both opportunities for collective learning and guidance as well as financial support. We look forward to seeing the participants present their ongoing work and projects in the coming months.

As with every year, this year’s auction will contribute to a large percentage of our budget in the forthcoming year to ensure the continuation and development of our exhibitions as well as our public and educational programmes. Para Site is proud to have presented the solo exhibitions of Hong Kong artists Luke Ching ‘Glitch in the Matrix’ and Vvzela Kook ‘Confidential Records: Overwrite’. We also presented the ambitious collaboration with Rockbund Art Museum in Shanghai ‘Curtain’, which saw the first opening reception gathering after government regulations have loosened, and the Emerging Curators exhibition ‘Liquid Ground’ to wide acclaim and robust public programming. In December, to draw Para Site’s first 25 years to a close as we look ahead to the next, we are delighted to present an exhibition of the 18 artists participating in the inaugural edition of the 2046 Fermentation + Fellowships programme, in a format that revisits Para Site’s founding ethos of deep play and experimentation. None of these could have carried on without the generous donations through the successful 2020 auction and the support of individual donors.

Where the international residency programme has left a void, we have filled it with a Rooftop Studio Residency for local artists. They are invited to look into Para Site Archive, propose projects, and share their findings through social media take-overs and in-person public programmes. To celebrate our 25TH anniversary, artists with whom we have collaborated in the last 25 years have shared their artistic journey with both in-person and online audiences in the ongoing ‘25+25’ sessions.

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All our programmes have been mediated to a diverse audience through a record number of public events and multilingual tours for students and members of the general public. While in many parts of the world, audience numbers have dwindled as institutions remain closed, at Para Site, our audiences have actually increased, seeing new audiences in Hong Kong crossing our doorstep for the first time, strengthening our connection to the local community. These achievements would not be possible without the tremendous generosity of our patrons and supporters.

Para Site advocates the fair pay of artists by offering artist fees and health insurance to all its collaborators. As part of an effort to expand social protections for artists, in 2019 we started covering medical insurance costs for all Hong Kong artists working for Para Site projects (including those working on donations for the fundraising auction), covering both the production and exhibition periods. And because we would like you to know exactly the figures behind these plans and how your support translates into our work, we are listing below a few examples of the costs that go into these projects:

$ 5,000 artist fee for participating in one of our group exhibitions 10,000 artist medical and dental insurance coverage for a year 20,000 fellowship for a young artist as part of 2046 Fermentation + Fellowships 60,000 production of Para Site’s booth in Art Basel featuring a young artist 80,000 production of a newly commissioned installation work 100,000 production costs for annual public programmes and events 150,000 printing of a major Para Site publication 500,000 production of a regular Para Site exhibition or the entire budget for the NoExit Grant for Unpaid Artistic Labour

HK

We would thus like to thank all of you for supporting us; to all the artists, galleries, and friends who have donated an unprecedented set of works recognising the need for essential support in an unprecedented year, to our expanding family of Global Council Members, Founding Friends, Friends, and Associates, as well as to our Board and Advisors, who have made our past year possible and the future bright. Special gratitude goes to our Auction Venue Partner the St. Regis, Hong Kong; our Auction Preview Venue Partner Soho House Hong Kong and to Akarin Gaw; our Wine Sponsor Gelardini & Romani and Sarah Heller; our auctioneer Jehan Chu; and event designers Paola Sinisterra and Kaman Lam. We are also thankful to the following organisations for their support: Givergy, Brinks Fine Arts Services, Circle Asia, and Tatler. My heartfelt thanks to the Para Site team and interns for another year of hard work. Last, but certainly not least, our heartfelt and special thanks to Shane Akeroyd, Virginia Yee, and an anonymous host for generously hosting the auction gala.

Cosmin Costinaș Executive Director and Curator Para Site

LIVE L OTS 005

19-09-2020 (blocks and lines)

ASP UIA CLR TVA IE ORS N I JT UE B I L E E

b. 1979 in Hong Kong; lives and works in Hong Kong

07-10-2020 to 14-10-2020 (trying to conduct a brass ensemble from a hotel room)

Samson Young 楊嘉輝

2020 Pencil, ink, colour pencil, soft pastel, and stamp on paper 18 × 26 cm (set of 2) Unique Estimate: HK $ 60,000–100,000 Generously donated by the artist

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Samson Young’s multidisciplinary practice includes works in sound, performance, video, and installation. This series of works on paper, known as ‘relational drawings’, present a play of negotiation and interpersonal interactions that the artist has shared with people in 2020. In the first image, an ensemble of old and new friends who speculated on decentralised collaboration; in the second, a commission in Taipei that saw the artist attempting to ‘conduct’ a brass ensemble, from the confines of his quarantine hotel.

These interpersonal events are recounted through notations, mark-making, written word, and stamped symbols. He received his PhD in music composition from Princeton University in 2013. He was Hong Kong Sinfonietta’s Artist Associate from 2008 to 2009.

In 2017, he represented Hong Kong at the 57TH Venice Biennale.

His solo and group presentations include at Jameel Art Centre, Dubai (2021); Mori Art Museum, Tokyo (2020); Gropius Bau, Berlin (2019); Solomon R. Guggenheim Museum, New York (2018); the 21ST Biennale of Sydney (2018); M+ Pavilion, Hong Kong (2018); National Museum of Modern and Contemporary Art, Seoul (2017); documenta 14 (2017); Taipei Museum of Contemporary Art (2013); and Massachusetts Museum of Contemporary Art (2005). In 2020, he was awarded the inaugural Uli Sigg Prize.

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Charwei Tsai 蔡佳葳

Complete Fruition 圓滿成果

2016 Hand-inscribed photograph 86 × 86 × 5 cm Edition 2 of 3 Estimate: HK $ 75,000–95,000 Generously donated by the artist and TKG+

b. 1980 in Taipei; lives and works in Taipei

Central to Charwei Tsai’s practice is her use of ephemeral objects to reflect upon the transient nature of human perception. This work extends this examination to the immense possibility of our human mind to reverse perceptions of seemingly permanent entities or situations. What at first glance appears to be a planet turns out to be a close-up of off-casts that had been discarded in mass quantities by commercial fishing boats along the coast of central Vietnam. Highly personal yet universal concerns spur the multimedia practice of Tsai.

Geographical, social, and spiritual motifs inform a body of work, which encourages viewer participation outside the confines of complacent contemplation. Preoccupied with the human/nature relationship, Tsai meditates on the complexities among cultural beliefs, spirituality, and transience. Her work has been presented at Mori Art Museum, Tokyo (2021); Human Rights Art Festival, Green Island (2020); Jogja Biennale (2019); Rubin Museum of Art, New York (2019); Hayward Gallery, Southbank Centre, London (2016); Biennale of Sydney (2016); Sharjah Biennial (2013); the Museum of Modern Art, New York (2012); the 6TH Asia Pacific Triennial, Queensland Art Gallery, Brisbane (2009); Centre Pompidou, Paris (2008); ZKM Center of Art and Media, Karlsruhe (2007); and Singapore Biennale (2006). Tsai’s work is in public and private collections including those held at Tate Modern, London; Queensland Art Gallery, Brisbane; Mori Art Museum, Tokyo; Asian Art Museum of San Francisco; M+, Hong Kong; Faurschou Foundation, Copenhagen; and Kadist Foundation, San Francisco/Paris.

b. 1984 in Nairobi, Kenya; lives and works in Nairobi and London, United Kingdom

Michael Armitage

The Long Walk Home (Xala) 2020 Seven-colour lithograph on Somerset warm white velvet 400 gsm paper 59.5 × 32.7 cm Edition 24 of 35 Estimate: HK $ 70,000–90,000 Generously donated by the artist and White Cube

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Michael Armitage is best known for his paintings that weave together multiple narratives drawn from historical and current news media, Internet gossip, and his recollections of his birth country Kenya. The visual iconography of East Africa lies at the heart of his practice: urban and rural landscape, colonial and modern vernacular architecture, advertising hoardings, and thriving flora and fauna. Underlying his rich colour palette and seemingly dreamy imagery is a quiet exposition of Kenya’s socio-political issues such as wealth disparity and violence. In this lithograph, through the foliage, two monkeys overlook The Long Walk Home (Xala), a scene that references the 1975 Senegalese film Xala, where a man helps a disabled man walk across a stretch of water. Armitage’s work has been exhibited at Ny Carlsberg Glyptoteket, Copenhagen (2021); the Royal Academy of Arts, London (2021 and 2010); Haus der Kunst, Munich (2020); The Norval Foundation, Cape Town (2020); Studio Museum in Harlem, New York (2019); the 58TH Venice Biennale (2019); Nasher Museum of Art, Durham, North Carolina (2018); Berkeley Art Museum and Pacific Film Archive (2016); and the 13th Biennale de Lyon (2015). Armitage received his BA in from the Slade School of Fine Art, London (2007) and has a Postgraduate Diploma from the Royal Academy Schools, London (2010).

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Stella Zhang 張 爽

0-Viewpoint-8-13 2016 Mixed media 109 × 84 cm Unique Estimate: HK $ 100,000–150,000 Generously donated by the artist and Galerie du Monde

b. 1965 in Beijing, China; lives and works in San Francisco, CA, United States

Stella Zhang began her artistic journey at a young age in ink brush painting through her father, a professor at the Central Academy of Fine Art in Beijing, where she received her BFA in Chinese brush painting in 1989. She relocated to Japan to study Japanese painting at Tama Fine Art University and received her MFA from Tokyo Art University in 1996. In her 0-Viewpoint series, Zhang cross-examines the trinity of body, identity, and power through her manipulation of the canvas and painting as a medium. Each tear in the canvas serves as a starting point and can be seen as an act of artistic catharsis and a silent protest against the artist’s identity as a woman. The wrinkles, folds, and wound form a dramatically torn musculature that is taut yet supple and heaving at the seams, sealed with layers of glue and black paint. This dark contortion mimics the psyche of the artist at this frozen moment of brutality. Zhang has had solo exhibitions at Chinese Culture Center of San Francisco (2010, 2015, and 2020); National Art Museum of China, Beijing (2004). Her work has shown in group exhibitions at Yerba Buena Center for the Arts, San Francisco (2011) and Kuandu Art Museum, Taipei (2007). Zhang was the artistin-residence at Stanford University (2016) and was nominated for the Joan Mitchell Foundation Grant Program (2014) and the Fleishhacker Foundation Eureka Fellowship Program (2013 and 2016). Her work is featured in the collections of the National Art Museum of China, Beijing and the Tan Shin Fine Arts Museum, Tokyo.

b. 1964 in ​​Yeongju, South Korea; lives and works in Seoul, South Korea

Untitled (Structure for wraparound topography - flush) 2010 Acrylic, ink, and colour pencil on paper 60.5 × 45.5 cm Unique Estimate: HK $ 100,000–200,000 Generously donated by Studio Lee Bul and Lehmann Maupin, New York, Hong Kong, Seoul, and London

Lee Bul 李 昢

In this drawing, Lee Bul continues her exploration of utopia and the complexities of the human condition. Resembling small, imaginary landscapes or futuristic ruins, the surface of the drawing uses the brushstroke to evoke a poetic, painterly feel. It expands beyond a reference to the individual to address broader ideas of social structures, architecture, and cities, and presents a futuristic vision of urban landscapes. Drawing is an important part of Lee Bul’s practice as the process allows her to experiment with ideas that may eventually become sculptural works. Lee Bul has remarked, ‘I start to sketch or just write about my ideas and put them all over my wall in my studio, and every day I watch this grow into a map of ideas until one day I think, maybe I can make this more concrete and specific.’ Lee received her BFA in sculpture from Hongik University, Seoul, in 1987. In 1999 she represented South Korea at the 48TH Venice Biennale. Solo exhibitions of her work have been organised at the Seoul Museum of Art (2021); Hayward Gallery, London (2018); Gropius-Bau, Berlin (2018); Vancouver Art Gallery (2015); Mori Art Museum, Tokyo (2012); and Museum of Contemporary Art Australia, Sydney (2004). Her work has been included in important group exhibitions and biennials including at Tai Kwun Contemporary, Hong Kong (2019); Bonniers Konsthall, Stockholm (2019); the 58TH Venice Biennale (2019); and Institute of Contemporary Art Boston (2018). Her work is in numerous international collections, including the Los Angeles County Museum of Art; M+, Hong Kong; Mori Art Museum, Tokyo; Museum of Fine Arts, Houston; National Gallery of Victoria, Melbourne; Seoul Museum of Art; the Solomon R. Guggenheim Museum, New York; and Tate Modern, London.

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Lee Kit 李 傑

A4(II) 2019 Acrylic, emulsion, inkjet ink and pencil on cardboard 46.5 × 39 cm Unique Estimate: HK $ 250,000–350,000 Generously donated by the artist and MASSIMODECARLO

b. 1978 in Hong Kong; lives and works in Taiwan

Originally trained as a painter, Lee Kit is best known for his textile work where he paints fabrics with acrylic stripes, plaids, and song lyrics with obsessive care.

The painted cloths appear abstract and minimal, become tactile objects such as picnic blankets, towels, tablecloths, and window curtains, and take on Lee’s life and memories through collecting stains from everyday use. These paintings are then retired and displayed as testaments to the memories they witnessed. Lee represented Hong Kong at the 55TH Venice Biennale in 2013. His solo exhibitions has been organised by West, the Hague (2021); Art Sonje Centre, Seoul (2019); Hara Museum, Tokyo (2018); S.M.A.K., Ghent (2016); Walker Art Centre, Minneapolis (2016); and Para Site, Hong Kong (2007). He has participated in group exhibitions including at the Benesse Art Site Naoshima (2019); Palais de Tokyo, Paris (2017); National Gallery in Prague (2016); Sharjah Biennial (2015); New Museum, New York (2012 and 2015); Para Site, Hong Kong (2013 and 2014); the Museum of Modern Art, New York (2012); and Tate Modern, London (2010). In 2015, he co-founded the non-profit art space Things That Can Happen in Sham Shui Po, Hong Kong with Chantal Wong. Lee received his BA in fine art from the Chinese University of Hong Kong.

b. 1956 in Santiago, Chile; lives and works in New York, United States

Alfredo Jaar

Children (Whitehead Detention Centre) Death Corridor (Whitehead Detention Centre) Hope (Whitehead Detention Centre) 1994 Gelatin Silver Print 20.32 × 25.4 cm each AP Estimate: HK $ 160,000–200,000 HKD Generously donated by the artist

Artist, architect, and filmmaker Alfredo Jaar is known for his politically-charged installations, photographs, films, and community-based projects that draw attention to the public’s desensitisation to images of conflicts and geopolitical imbalance. Through his observant lens, he aims to reveal art’s limitations in representing human catastrophes such as genocides, epidemics, and famines. In 1990, Jaar visited Hong Kong to research the situation of thousands of Vietnamese ‘boat-people’ incarcerated by the British Military Administration of the island. He travelled on Hong Kong Police patrol boats to see the detention of refugees entering Hong Kong waters, visited refugee detention centres on the island, and interviewed refugees, Hong Kong military officials, and nongovernment organisations assisting in the camps.

These photographs were taken at the notorious Whitehead Detention Centre which, according to a Human Rights Watch report, ‘exemplified the prison-like regime employed by the Hong Kong government in its management of the Vietnamese.’

The series of installations and photographic works the artist created from this trip highlight the intolerable life conditions of the refugees in these facilities. Jaar has participated in the Venice Biennale (1986, 2007, 2009, 2013), São Paulo Biennial (1987, 1989, 2010, 2021), and documenta in Kassel (1987 and 2002). The artist has realised more than seventy public interventions around the world. Over sixty monographic publications have been published about his work. He became a Guggenheim Fellow in 1985 and a MacArthur Fellow in 2000. He received the Hiroshima Art Prize in 2018 and the Hasselblad Award in 2020.

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Abraham Cruzvillegas

b. 1968 in Mexico City, Mexico; lives and works in Mexico City

Reconstruction: The Five Enemies II, 1 2018 Acrylic, paint, wood, iron, plastic, cloth Dimensions variable Unique Estimate: HK $ 200,000–400,000 Generously donated by the artist and kurimanzutto

Abraham Cruzvillegas takes inspiration from Taoist philosophy, especially that of Chuang Tzu (399–295 BCE), which emphasises the natural way of being and the connections between different life forms. In his work, Cruzvillegas pays attention to the nature of discarded materials he collects, and his improvisational approach to these found objects is further informed by his surroundings. In recent years, he has created a body of work under the title autoconstrucción or ‘self-construction’, whose concept he drew from the intuitive and precarious building tactics he saw in his childhood neighbourhood Colonia Ajusco.

This work is from a series created for the 21ST Biennale of Sydney (2018). Suspended in mid-air, the pendulous structures have been appropriated from discarded objects and building materials left from previous events and restoration projects on Cockatoo Island, a former penal establishment and industrial shipyard that is now a heritage site in Sydney Harbour. His work has been included in exhibitions at the Aspen Art Museum (2019); Kunsthaus Zürich (2018); Ginza Maison Hermès: Le Forum, Tokyo (2017); Tate Modern, London (2015); Sharjah Biennial 12 (2015); Museo Jumex, Mexico City (2014); Haus der Kunst, Munich (2014); the Walker Art Center, Minneapolis (2013); dOCUMENTA 13, Kassel (2012); the 6TH Biennial Media City Seoul (2010); 10TH Biennial de Havana (2009); and the 50th Venice Biennale (2003). His collection of writings The Logic of Disorder (2016) was published by Harvard University Press. A Spanish edition was published as La voluntad de los objetos (2015).

b. 1970 in Hong Kong; lives and works in Hong Kong

Timeline of Modern and Contemporary Art Museums in the World 世界現代及當代美術館時序表列

2012 Acrylic on watercolour paper 220 × 75 cm Unique Estimate: HK $ 100,000–200,000 Generously donated by the artist

The drawing depicts the establishment of modern and contemporary art museums worldwide, arranged according to their developmental timeline in a sequence of different sizes and colours. Wilson Shieh is a painter trained in Chinese fine-brush (gongbi) technique, working on various mediums ranging from Chinese ink painting on silk, acrylic on canvas, to paper-cutout collage. Human bodies make up a major theme in his signature work, where he transforms figuration by means of tailor-made costumes, and thus questions the identity of modern humanity.

Shieh received his BA in fine arts (1994) and his MFA (2001) from the Chinese University of Hong Kong. His work has been the subject of solo and group exhibitions at Hong Kong Museum of Art (2021); Tai Kwun Contemporary, Hong Kong (2021); Ashmolean Museum, Oxford (2019 and 2018); M+ Pavilion, Hong Kong (2017); Dr. Sun Yat-sen Museum, Hong Kong (2017); and Harewood House, Leeds (2008); Asia Society Museum, New York (2006); and the Third Asia-Pacific Triennial, Queensland Art Gallery, Brisbane (1999).

Wilson Shieh 石家豪

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Yayoi Kusama 草間彌生

Beginning of Love 2012 Etching (2 colours) 57.5 × 61.5 cm Edition 8 of 30 Estimate: HK $ 120,000–200,000 Generously donated by the artist and Ota Fine Arts

b. 1929 in Matsumato, Japan; lives and works in Tokyo

From a young age, avant-garde artist, poet, and novelist Yayoi Kusama experienced visual and auditory hallucinations, and began creating net and polka-dot patterned pictures. Living in New York City from 1958 to 1973, Kusama participated in avant-garde circles while honing her signature dot and net painting motifs, developing soft sculptures, creating installation-based works, and staging spontaneous performance art. Overcoming various obsessions, she discovered an artistic philosophy of self-obliteration via the obsessive repetition and multiplication of single motifs, such as the eye in Beginning of Love. In 1993, she became the first solo artist to represent Japan at the Venice Biennale, after years of being better respected in New York than in her home country. Her work was the subject of large-scale retrospective exhibitions at the Museo Nacional Centro de Arte Reina Sofía, Madrid; Centre Georges Pompidou, Paris; Tate Modern, London; and the Whitney Museum of American Art, New York from 2011 to 2012. Most recently, her solo exhibitions were held at the New York Botanical Garden (2021) and the Gropius Bau, Berlin (2021). Her work is held in museum collections worldwide, including Centre Georges Pompidou, Paris; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Los Angeles County Museum of Art; the Museum of Modern Art, New York; National Museum of Modern Art, Tokyo; Stedelijk Museum, Amsterdam; Tate, London; and the Whitney Museum of American Art, New York. The Yayoi Kusama Museum opened in Tokyo in 2017.

b. 1947 in Guangdong, China; lives and works in Hong Kong

Frog King 蛙 王

Frog Dimension

蛙次元

2021 Mixed media on canvas, hanging installation 150 × 119.5 × 4 cm Unique Estimate: HK $ 150,000–180,000 Generously donated by the artist and 10 Chancery Lane Gallery

Front, back, left, right Down side up, upside down Travelling in spacetime through a pinhole, Through history and geography, In the spirit of experimentation, Conception precedes all else Tao originates from nothing, And from nothing something is born Three in all, all lives thrive The future is written from the past The laws of the outlaw— Lawlessness is a law Frog King breaks through them all Welcome to the hidden depths of Frogtopia

Kwok Mang Ho, also known as Frog King, is a pioneering conceptual and performance artist who has been breaking boundaries in Hong Kong and beyond since the late 1960s.

Originally trained in ink painting and calligraphy, he is one of the earliest Chinese contemporary artists to explore the use of ink painting as a conceptual tool, incorporating it as both action and material into multiple-media installations and performances.

With each of his pieces, he welcomes the viewer into his conceptual utopia. Past exhibitions and related events include those at Museum of Modern Art Tokyo (2019); Museum of Modern and Contemporary Art Korea (2019); National Gallery Singapore (2019); and Jeonbuk Museum of Fine Art (2015). In 1998, Para Site hosted his residency and performance ‘Art Life in 72 Hours: Multimedia Performance by Kwok Mang Ho’, and in 2012 he was part of the traveling exhibition ‘Taiping Tianguo: A History of Possible Encounters’ organised by Para Site that toured to SALT, Istanbul (2013); National University of Singapore Museum (2013); and e-flux, New York (2014). In 2011 Frog King represented Hong Kong at the 54TH Venice Biennale.

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Lee Seung Taek 李升澤

b. 1932 in Gowon, present-day North Korea; lives and works in Seoul, South Korea

Untitled 2017 Stone and rope on coloured canvas 55.3 × 70.2 × 6 cm Unique Estimate: HK $ 400,000–600,000 Generously donated by the artist and Gallery Hyundai

To Lee Seung Taek, ‘the act of tying would generate an illusion of materiality along with a consequent illusion of vitality, and this became the focus of my creative process.’ Tying is a conceptual aspect of Lee’s work and an important methodology through which he seeks to realise ‘non-sculpture’ works that invert the forms and nature of objects and subvert familiar everyday experiences. In this work, the stone and the rope tied to it are both placed on top of the canvas, revealing the tension in the rope and the direction of gravity. A visual and sensory illusion arises from the work and questions the boundaries between painting and sculpture. Lee relocated to South Korea in 1950, where he engaged in drawing and painting in the military. In 1955, he enrolled in the Department of Sculpture at Hongik University in Seoul. Around 1980, Lee established his concept of ‘non-sculpture’ and proceeded to visualise ‘non-material’ (smoke, wind, fire, and water) in fire performances and his Earth Play and Green Campaign series. In 2020 the National Museum of Modern and Contemporary Art, Seoul hosted his career retrospective. He has participated in international exhibitions including at the National Gallery Singapore (2019); Haus der Kunst, Munich (2016); the 5th and 8th Gwangju Biennale (2004 and 2010); the Museum of Modern Art, Saitama (1996); and the 6th Biennale of Paris (1969). His work can be found in the collections of major art institutions including the Museum of Contemporary Art Australia, Sydney; Tate Modern, London; M+, Hong Kong; and the Rachofsky Collection, Dallas.

b. 1955 in New York, NY, United States; lives and works in New York

a.k.a.

2008–2009 Inkjet prints on rag paper, 6 paired photographs 43.2 × 38.1 × 2.9 cm (framed) each Edition 3 of 5 (Group IV); no APs Estimate: HK $ 700,000–800,000 Generously donated by the artist and Hauser & Wirth

Roni Horn

Since the 1970s, Roni Horn has used drawing, photography, installation, sculpture and literature in her work to question and generate uncertainty to thwart closure. Important across her oeuvre is her longstanding interest in the protean nature of identity, meaning, and perception, as well as the notion of doubling. a.k.a. presents thirty images of the American artist throughout her life, shown as nonlinear pairs that leap back and forth in time. The concept of ‘portraits of the artist’ is manipulated through the cropped gazes of a range of emotions at various ages and in different styles of dress, conveying the impermanent, shifting sense of self. The set of six photographs is GROUP IV of this full body of work.

Horn’s work has been the subject of numerous exhibitions including at the Fondation Beyeler, Basel (2016); the Tate Modern, London (2009); the Whitney Museum of American Art, New York (2010); and the Institute of Contemporary Art, Boston (2009–2010).

Her works are featured in numerous major international institutions and collections including the Guggenheim Museum, New York; Museum of Modern Art, New York; The Art Institute of Chicago; Tate Modern, London; Kunsthalle Hamburg; Kunsthaus Zürich; and Centre Georges Pompidou, Paris. Horn was awarded the Joan Miró Prize in 2013.

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William Lim 林偉而

Exhibition Continues 2021 Oil on canvas 43.5 × 54 × 4.5 cm Unique Estimate: HK $ 100,000–150,000 Generously donated by the artist

b. 1957 in Hong Kong; lives and works in Hong Kong

This oil painting is from an ongoing series of works called Art Aid, where William Lim paints art spaces in Hong Kong as a way to help galleries through a difficult time during the 2020–2021 COVID-19 pandemic. This painting depicts the entrance to Para Site during the exhibition ‘Curtain’ (2021).

A coincidental sign that says ‘Exhibition Continues’ is also a wish for Para Site to continue their exhibitions for the years to come. An acclaimed architect and artist, Lim graduated from Cornell University and has been at the forefront of architecture, culture, and art globally. Since founding CL3 Architects in 1992, Lim has achieved recognition with award-winning architectural and interior projects for hotels, restaurants, retail, corporate, residences, and art installation design. Throughout his career his work has been shown internationally, most notably at the National Museum of Modern and Contemporary Art Korea, Seoul (2019); Hong Kong & Shenzhen Bi-City Biennale of Urbanism/Architecture in (2007, 2009 and 2017); and Venice Architecture Biennale (2006 and 2010). For his signature work, West Kowloon Bamboo Theatre, Design for Asia Award presented the Grand Award and Special Award for the Culture in 2013. He was conferred an Honorary Doctorate degree by Savannah College of Art and Design (SCAD) in 2018.

b. 1984 in Hong Kong; lives and works in Hong Kong

Firenze Lai 黎清妍

Theatre 劇場

2014 Pencil and charcoal on paper 20.9 × 29.5 cm Unique Estimate: HK ​​ $ 80,000–120,000 HKD Generously donated by the artist and Vitamin Creative Space

This work is accompanied by a special set of terms and conditions with the artist and gallery. Please refer to page 075.

As with many works by Firenze Lai, Theatre captures fragile moments from encounters between individuals and the external world. While the environment around the figures—seemingly situated in an abstract void—is almost always unclear, their poses, gestures, and a strong sense of discomfort hint at their increasingly aggressive surroundings. Her work engages with the representation of subjectivity, seeking to depict interior life and psychological landscapes in utmost simplicity, while drawing its viewers into the lifeworlds of individuals. Lai’s work has been the subject of solo and group exhibitions worldwide, including at Centre Pompidou, Paris (2020–2021). Para Site, Hong Kong (2013 and 2019); Tai Kwun Contemporary, Hong Kong (2019); Fosun Foundation, Shanghai (2018); the 57TH Venice Biennale (2017); New Museum Triennial, New York (2015); and the 10TH Shanghai Biennale (2014), among others.

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Angela Su 徐世琪

The First Desire of the Reclining Virgin 2011 Ink on drafting film 100 × 70 cm Unique Estimate: HK $ 80,000–120,000 Generously donated by the artist and Blindspot Gallery

b. 1958 in Hong Kong; lives and works in Hong Kong

The work of Angela Su investigates the perception and imagery of the body through metamorphosis, hybridity, and transformation. Her research-based projects materialise in drawing, video, hair embroidery, performance, and installation, which explore the interrelations between the human state of being and the advancement of technology.

This ink drawing by Su depicts a dismembered torso, while emerging from an orifice is a botanical expanse that appears to take over the body like weeds. The work belongs to the series BwO, referring to a body without organs, merely acting as a vessel without a centralised system, which Su uses as a metaphor for a society without organisation. Rendered in her signature pseudoscientific and anatomical style, Su’s raw and visceral execution confronts the dark side of our existence with psychological intensity, questioning what desire is without suffering, what pleasure is without pain, and what agency the body possesses without the existence of emotions and sensorial functions. Su has participated in exhibitions in museums and institutions internationally, including at Levyhalli, Suomenlinna, Helsinki (2021); Museo Universitario Arte Contemporáneo, Mexico City (2020); the Drawing Center, New York (2020); UCCA Center for Contemporary Art, Beijing (2020); Whitechapel Gallery, London (2019); Academy of Fine Arts Vienna (2017); CAFA Art Museum, Beijing (2014); and the 17TH Biennale of Sydney (2010). Su will represent Hong Kong at the 59TH Venice Biennale in 2022.

b. 1954 in Beijing, China; lives and works in Beijing

Zhu Jinshi produces abstract paintings whose surfaces are built up with thick, near-sculptural layers of oil paint. Resembling colourful landscapes in a range of palette and scale, Zhu is known to apply his oil paint with spatulas and shovels. Producing dense lashings of colour, the artist’s method recalls the style and techniques espoused by the German Expressionists, whom Zhu was profoundly influenced by during his years living in Berlin. Zhu belonged to a group of Chinese avant-garde artists named Xing Xing (stars) that formed in 1979 to challenge aesthetic conventions and exhibited their work publicly. The group had their first exhibition in Beihai Park in 1979 and their second exhibition at the National Art Museum of China in Beijing in 1980, a breakthrough in Chinese cultural expression that helped to establish the creative voice of the individual. Zhu’s work has been presented in international institutions including Vancouver Art Gallery (1997 and 2020–2021); National Gallery of Victoria, Melbourne (2019); Los Angeles County Museum of Art (2019); La Caixa Forum, Barcelona (2008); Prague City Museum (2002); and the 4TH Istanbul Biennial (1995). Zhu’s work is in the collections ofDeutsche Bank Collection; M+, Hong Kong; National Museum of Modern and Contemporary Art, South Korea; Picasso Foundation, Spain; the Guangdong Museum of Art, China; and Vancouver Art Gallery, Canada.

Zhu Jinshi 朱金石

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Impression of Huang Shan No.2

象是黄山 二

2021 Oil on canvas 30 × 40 cm Unique Estimate: HK ​ $ 95,000–150,000 Generously donated by the artist and Tang Contemporary Art

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Ed Ruscha 愛德華 ·魯沙

Angel 2014 3-colour lithograph 58.7 × 40.6 cm Ed. CTP 9, edition of 60 (RUSCH 2014.0152) Estimate: HK $ 70,000–100,000 Generously donated by the artist and Gagosian

b. 1937 in Omaha, NE, United States; lives and works in Los Angeles, CA, United States

Ranging freely and dexterously across traditional, unconventional, and sometimes even comestible materials, the prints by Ed Ruscha are a fluid forum for the spirited investigation of what a limited-edition artwork can be.

His absorption and rethinking of the requirements of each graphic procedure and format result in step-by-step transformations, in a process that echoes the eternal return of the subjects that make up his broader oeuvre. Ruscha arrived in Los Angeles in 1956 to study commercial art at the Chouinard Art Institute (now CalArts), and underwent a six-month apprenticeship with a printer beginning in 1958.

He began making lithographic editions in the early 1960s, infusing the Pop and Conceptual sensibilities of the time with vernacular wit and melancholy. His exquisitely refined prints engage a breadth of formal themes, from text and typography to still life and quotidian architecture, played out in a spirit of rigorous yet restless experimentation.

Abandoning academic connotations that came to be associated with Abstract Expressionism, he looked instead to tropes of advertising and brought words—as form, symbol, and material—to the forefront of painting. Solo exhibitions of his work have been held at Tate Modern, London (2012 and 2019–2021); the Getty Museum, Los Angeles (2013); Los Angeles County Museum of Art (2012); Louisiana Museum of Modern Art, Copenhagen (2018); Moderna Museet, Stockholm (2009); Jeu de Paume, Paris (2006); Whitney Museum of American Art, New York (2005); and National Gallery of Art, Washington, D.C.. His work is in major collections including the Chicago Institute of Art; the Metropolitan Museum of Art, New York; the Museum of Modern Art, New York; Centre Pompidou, Paris; and Stedelijk Museum, Amsterdam.

b. 1963 in Havana, Cuba; lives and works in Merida, Mexico

The interdisciplinary practice of Jorge Pardo explores the increasingly blurred lines between painting, mural, sculpture, and architecture. Untitled (Cat) is part of a body of work that features private photographs, snapshots and souvenir photos of family, friends, and pets, familiar sights in any living-room. Instead of presenting them as they were, the artist digitally manipulated the images and designed the unconventional, sculptural frames for each. In doing so, he reversed the function of image and frame, where the content now complements the context. Pardo studied at the University of Illinois and received his BFA from Art Center College of Design in Pasadena, California. His work has been the subject of solo exhibitions including at Pinacoteca de Estado São Paulo (2019); Musée des Augustins, Toulouse (2014); Irish Museum of Modern Art, Dublin (2010); and Los Angeles County Museum of Art (2008). His work is in the collections of the Centre Pompidou, Paris; Tate Modern, London; Museum of Contemporary Art, Chicago; Museum Boijmans van Beuningen, Rotterdam; the Museum of Modern Art, New York; and the Whitney Museum of American Art, New York. Pardo was the recipient of the MacArthur Fellowship Award (2010) and the Smithsonian American Art Museum Lucelia Artist Award (2001).

Jorge Pardo

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Untitled (Cat) 2008 Medium-density fibreboard (MDF), acrylic 89 × 88 × 6 cm Estimate: HK $ 180,000–250,000 Generously donated by the artist and Galerie Gisela Capitain, Cologne

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Antony Gormley

4TH BLOOD FIELD IV 2020 Blood on paper 76.1 × 56 cm Unique Estimate: HK $ 450,000–650,000 Generously donated by the artist

b. 1950 in London, United Kingdom; lives and works in London

For Antony Gormley, a drawing like 4TH BLOOD FIELD IV is a form of thinking. But it is also about the medium—using the intrinsic qualities of substances and liquids, a kind of oracular process that requires tuning into the behaviour of substances as much as to the behaviour of the unconscious, like reading tea leaves, trying to make a map of a path of feeling and a trajectory of thought.

Gormley is widely acclaimed for his sculptures, installations, and public artworks that investigate the relationship of the human body to space. His work has expanded the potential opened up by sculpture since the 1960s through a critical engagement with both his own body and those of others in a way that confronts fundamental questions of where human beings stand in relation to nature and the cosmos. Gormley has had solo exhibitions internationally, including at National Gallery Singapore (2021); the Royal Academy of Arts, London (2019); Uffizi Gallery, Florence (2019); Long Museum, Shanghai (2017); Centro Cultural Banco do Brasil (2012); State Hermitage Museum, St Petersburg (2011); Hayward Gallery, London (2007); Nagoya Art Museum (1996); and Louisiana Museum of Modern Art, Copenhagen (1989). Permanent public works can be found at Gateshead and Crosby Beach, England; and the Massachusetts Institute of Technology. He has also participated in major group shows such as the Venice Biennale (1986 and 1982) and dOCUMENTA 8 (1987). Gormley won the Turner Prize in 1994 and has been a member of the Royal Academy since 2003. He was made an Officer of the British Empire in 1997 and knighted in 2014.

b. 1985 in Istanbul, Turkey; lives and works in Los Angeles, CA, United States

Refik Anadol

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Wind Data Paintings is a series of site-specific, architecturalscale works that reconnect the audience with the patterns of invisible natural events. They emerge from Refik Anadol Studio and Media Lab’s seven-year-long research on using nature-based datasets to create pigments and dynamic data paintings and sculptures. Located in urban centres in Boston, Istanbul, Dubai, London, Miami, Seoul, Berlin, and New York, they present an approach to public art that harnesses datasets of wind speed, precipitation, and atmospheric pressure—all used to drive each work’s motion and colours. Anadol and his team synthesise such raw data into ethereal data pigments, and eventually into a representational form of fluid-inspired movements with the help of custom software and generative algorithms.

Creating an illusion of architectural multi-dimensionality and emphasising humankind’s embeddedness in nature, the series presents an entirely new and poetic way of relocating humans in relation to environmental forces.

Anadol’s global projects have received a number of accolades including the Lumen Prize Gold Award (2019), SEGD Global Design awards (2016, 2018 and 2019), Google’s first-ever Art and Machine Intelligence Residency Award (2017), Microsoft Research’s Best Vision Award (2013), among others.

Anadol’s site-specific audio/visual performances have been featured at the 17TH Venice Architecture Biennale (2021); Centre Pompidou, Paris (2020); the National Gallery of Victoria, Melbourne (2020); Walt Disney Concert Hall, Los Angeles (2018); and Hammer Museum, Los Angeles (2014).

Wind of Istanbul - Data Painting 2021 Edition 1 + 1 AP Estimate: HK $ 80,000–120,000 Generously donated by the artist

This NFT is accompanied by an archival print (43.2 × 55.9 cm)

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Beeple

REBIRTH Minted on 13 Apr 2021 Original resolution: 2,000 × 2,500 Edition of 100 Estimate: HK $ 200,000–300,000 Generously donated by the artist

Artist’s note: Today is a beautiful day.

b. 1981 in Fond du Lac, WI, United States; lives and works in Charleston, SC

Beeple is Mike Winkelmann, a graphic designer who does a variety of digital artwork including short films, Creative Commons VJ loops, everydays and VR/AR work. After he began releasing a set of widely used Creative Commons VJ loops, he has worked on concert visuals for Justin Bieber, One Direction, Katy Perry, Nicki Minaj, Eminem, Zedd, deadmau5 and many more. One of the originators of the current ‘everyday’ movement in 3D graphics, he has been creating a picture everyday from start to finish and posting it online for over ten years without missing a single day.

b. 1963 in Pasadena, CA, United States; lives and works in Los Angeles, CA

Pae White

Demimondmame C 2017 Porcelain, gold, platinum 32 × 32 × 5 cm Unique Estimate: HK $ 100,000–130,000 Generously donated by the artist and neugerriemschneider

The work of Pae White is driven by a fascination for materials, where she mixes the precious with the everyday, the high-tech with the artisanal in bold and curious compositions. In Demimondmame C, she transforms the delicate forms of egg shells into porcelain elements in an abstract composition of gold and platinum. Placed on a square picture plane, these imitations of broken egg shells are visually connected by thick bands of ceramic that appear supple and soft like leather.

The result is a visually confounding but balanced composition that plays with the viewer’s perception of media and texture.

White pursues an expansive practice that embraces sculpture, installation, and painting, as well as architecture, furniture, and graphics. She is recognised for her unconventional and innovative use of materials such as glass, fabric, paper, wire, and vinyl, creating a diverse body of work. Her work has been exhibited at STPI, Singapore (2020); Power Station of Art, Shanghai (2019); Institute of Contemporary Art, Boston (2019); Rockbund Art Museum, Shanghai (2018); Cini Foundation, Venice (2017); and San Francisco Museum of Modern Art (2016). Pae’s work is in the permanent collections of the Museum of Modern Art, New York; Tate Modern, London; Museum of Contemporary Art, Los Angeles; and Art Institute of Chicago.

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Wong Chun Hei 黃進曦

A Road Trip in Google Earth: Kirkjufell 2021 Acrylic on canvas 30 × 40 × 3.8 cm Unique Estimate: HK $ 40,000–60,000 Generously donated by the artist

b. 1986 in Hong Kong; lives and works in Hong Kong

Since the pandemic started in 2020, Stephen Wong Chun Hei started the journey of travelling and painting landscape around the world through Google Earth. The current painting is a continuation of this idea of virtual travelling. A red car is chosen from Wong’s toy car collection for the virtual road trip in Iceland.

Earlier in his career, Wong captured landscapes from video games, cultivating the idea of stressing the relationship between human and nature, virtual and reality. Since 2010, Wong has been painting the natural landscape of Hong Kong while hiking and sketching in plein air. The finished canvas combines his real hiking experiences in nature and his imagination. Wong graduated from the Fine Art Department of Chinese University Hong Kong in 2008. He has held solo exhibitions at Hong Kong Museum of Art (2019); Fringe Club, Hong Kong (2016); PMQ, Hong Kong (2015); and Cattle Depot Artist Village, Hong Kong (2008). Wong participated in Art Asia Miami 2011. Wong’s paintings are in private and public collections worldwide, including the Hong Kong Museum of Art.

b. 1970 in Shanghai, China; lives and works in Beijing, China, and New York, NY, United States

Lin Jingjing explores the depths of social and personal identity in the context of modern society, often examining themes such as confusion and quest, existence and absence, constraint and resistance through a lens of paradox. Her Lov-Lov (2018–present) series is an absurd but poetic interdisciplinary project that explores the meaning and significance of humans in the age of artificial intelligence. As humanity faces the consequences of shared growing greed and endless desires, morality is continually challenged and evaded, resulting in collective ignorance and denial. Lov-Lov’s pharmacy series advertises a medication regime perfect for indolent individuals. Lin’s works have been the subject of solo and group exhibitions around the world including at San Jose Institute of Contemporary Art (2020); Residency Unlimited (RU), New York (2018); Long Museum, Shanghai (2016); Museo Nacional de Bellas Artes, Santiago ((2011); and Ljubljana Castle (2004). She received her BFA from Fujian University, Fuzhou, in 1992 and MFA from School of Visual Arts, New York, in 2020.

Lin Jingjing 林菁菁

Embrace Mysteries

相擁神秘

2019 Archival pigment print on canvas 160 × 100 cm Unique Estimate: HK $ 120,000–160,000 Generously donated by the artist and de Sarthe

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Elmgreen & Dragset

Michael Elmgreen, b. 1961, Copenhagen, Denmark; Ingar Dragset, b. 1969, Trondheim, Norway; Live and work in Berlin, Germany

The Hours 2019 Bronze, patina, marble 35 × 31 × 49 cm Unique Estimate: HK $ 500,000–750,000 Generously donated by the artists and MASSIMODECARLO

Elmgreen & Dragset draw inspiration from the everyday world, criticising the contemporary social and political structure through an unsettling sense of humour. They are well known for their public architectural and performative installations that reframe their surroundings, such as Prada Marfa (2005). At first glance The Hours (2019) looks like a simple ready-made of a burnt white candle on a wooden crate, but it is in fact carefully crafted with white marble standing in for the wax in the candle, and bronze for the wood in the crate. This reflects the artists’ practice of transforming consumables into durable objects that demand maintenance and care, and thus questions the true value of the material. With this sculpture, the common painting motif of a burning candle since the Renaissance addresses ideas of time, memory, and legacy, as the marble candle cannot burn or measure time. The artists have had solo exhibitions worldwide, including at K11 Musea, Hong Kong (2020–2021); MASSIMODECARLO, Hong Kong (2019); Whitechapel Gallery, London (2018); Rockefeller Center, Public Art Fund, New York (2016); Samsung Museum of Art, Seoul (2015); and Centre Pompidou, Paris (2009). Elmgreen & Dragset were appointed curators of the 15T H Istanbul Biennial (2017). They were awarded a Special Mention at the 53RD Venice Biennale (2009) for The Collectors at the Danish and Nordic Pavilions and won the prestigious Preis der Nationalgalerie für Junge Kunst at Hamburger Bahnhof in Berlin in 2002.

b. 1957 in Quanzhou, China; lives and works in New York, United States

UFO! 2021 Gunpowder on canvas 25 × 25 cm Unique Estimate: HK $ 160,000–200,000 Generously donated by the artist

Cai Guo-Qiang 蔡國強

UFO! was created when Cai Guo-Qiang returned from Shanghai after the opening of ‘Odyssey and Homecoming’ (2021) featuring the kinetic light installation Encounter with the Unknown (2021) which weaves together images from stories and myths of humans who ‘defied gravity’ and ‘embraced the cosmos’, forming a tapestry of cosmologies from different civilisations.

While quarantining during the COVID-19 pandemic, Cai revisited his sketchbooks from the 1980s and 90s and wrote: ‘I had odysseys in the cosmos every day back then, pondering what “language’’ I should use to converse with extraterrestrials. I wasn’t thinking about dialogues between different cultures, because if I could communicate with extraterrestrials, I would naturally be able to converse with fellow humans.’ Trained in stage design at the Shanghai Theatre Academy, Cai began experimenting with gunpowder in his hometown Quanzhou, which led to the development of his signature outdoor explosion events. After relocating to Japan in 1986, he made strides toward transcending the East-West dichotomy by creating works that engage in dialogue with extraterrestrials and thus operate on a cosmic scale. Cai was awarded the Golden Lion at the 48TH Venice Biennale in 1999. In 2008 Solomon R. Guggenheim Museum in New York held his retrospective. Cai’s explosion event Sky Ladder (2015) became the subject of the Netflix documentary Sky Ladder: The Art of Cai Guo-Qiang (2016). In recent years, he has embarked on his Individual’s Journey Through Western Art History, a series of exhibitions in world-renowned museums. The Palace Museum in Beijing organised his latest solo exhibition in 2020, now on view at Museum of Art Pudong in Shanghai through March 2022.

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Dan Perjovschi

Buy PARA SITE 2021 Postcards Dimensions variable (set of 8) Editions of 10 Estimate: HK $ 12,000 Generously donated by the artist

b. 1961 in Sibiu, Romania; lives and works in Sibiu and Bucharest, Romania

This is a set of eight postcards from eight cities the artist will be visiting and exhibiting in, sent directly to the buyer. Each postcard will have a letter on the image and a messagedrawing on the back, handwritten and hand-drawn, posted directly into the buyer’s physical mailbox. With piercing irony Dan Perjovschi comments on the absurdities and cynicisms of the ‘brave new world’ in his daily drawings, completed with a few strokes. Current headlines of world affairs are put into sharp focus, including general social phenomena or issues that affect the artist personally. With his figures and scenarios, Perjovschi expansively populates the walls, floors, corridors, or windows of the spaces he exhibits in. In 1999 he represented Romania at the 48TH Venice Biennale with SubReal. Perjovschi has had solo exhibitions at Ludwig Museum of Contemporary Art, Budapest (2020); Kunsthalle Hamburg (2016); Kiasma, Helsinki (2009 and 2013); Para Site, Hong Kong (2011); the Museum of Modern Art, New York (2007); Tate Modern, London (2006); and Museum Ludwig, Cologne (2005). Perjovschi has participated in numerous biennials such as the Jakarta Biennial (2015); the 16TH Biennale of Sydney (2008); the 52N D Venice Biennale (2007) and the 9TH Istanbul Biennial (2005). Perjovschi received the Rosa Schapire Prize/Kunsthalle Hamburg (2016) and the George Maciunas Prize (2004).

b. 1968 in Hong Kong; lives and works in Hong Kong

Leung Chi Wo 梁志和

All we need is humour HUMOUR! Artist Leung Chi Wo calls for someone who embraces possibilities for a collaboration to make a business card. It’s not a design service but a dialogue for the meaning of representation and inspiration. In the picture is a sample Leung did for Katrin Becker as a portrait. Using photography, texts, found objects, performance, and installation, Leung combines historical exploration with conceptual inquiry to reinforce doubts on memory, power systems, and the ambivalence of history. Focusing on the 1967 anticolonial riots in Hong Kong, Leung continues to research different social, cultural, and political incidents that took place that year. In collaboration with Sara Wong, he represented Hong Kong for its first participation in the 49T H Venice Biennale in 2001. He had his first survey exhibition at OCT Contemporary Art Terminal in Shenzhen in 2015. His works have been exhibited at major international museums and institutions including Mori Art Museum, Tokyo (2015); Witte de With Center for Contemporary Art, Rotterdam (2014); Tate Modern, London (2010); the 4T H Gwangju Biennale (2002); and MoMA PS1, New York (2000). Leung is the co-founder of Para Site and currently Associate professor at the School of Creative Media of the City University of Hong Kong. Leung studied culture of photography at Centro di Ricerca e Archiviazione della Fotografia in Italy in 1991 and received an MFA Master of Fine Arts from the Chinese University of Hong Kong in 1997.

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Business As Unusual 2021 Performance (business card production), print on paper Dimensions variable Open edition Estimate: HK $ 10,000 Generously donated by the artist

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Julieta Aranda

A ghostly trace (#3) 2016 Watercolour ink marker on watercolour paper, mounted and framed 26.25 × 32.5 × 3 cm Unique (part of a series of 13 drawings) Estimate: HK $ 45,000–65,000 Generously donated by the artist

b. 1975 in Mexico City, Mexico; Lives and works in New York, NY, United States, and Berlin, Germany

A ghostly trace is a series of thirteen drawings realised during the artist’s zero-gravity flight experience. During the flights, Julieta Aranda strapped a Holter electrocardiogram recorder to herself, which registered her heartbeat throughout the duration of the entire journey. These are drawings of the artist’s ECG, a continuous line depicting a few seconds of her heartbeats at the moment in which the gravity changed from 2g to 0g. Because of the change in gravitational force, and due to the absorption of the paper, the moment when the artist became weightless during the flight is marked by a change of thickness of the drawing line. Each drawing was made with different coloured ink, and has been mounted and framed so as to match the colour of the ink used. In her artistic practice, Aranda composes sensorial encounters with the nature of time and speculative literature.

She observes the altering human-earth relationship through the lens of technology, artificial intelligence, space travel, and scientific hypothesis. Aranda‘s work has been featured in exhibitions at Gropius Bau (2019); Museum of Contemporary Art Detroit (2017); Solomon R. Guggenheim Museum, New York (2009 and 2015); the 55TH and 57TH Venice Biennale (2011 and 2015); dOCUMENTA 13, Kassel (2012); New Museum, New York (2010); and the 7TH Havana Biennial (2000). Aranda received her MFA from Columbia University, New York, in 2006. With Anton Vidokle, she is the co-director of the online platform e-flux.

b. 1986 in Hong Kong; lives and works in Hong Kong

Patient

病是恆久忍耐

2020 Colour pencil and pencil on paper 52.4 × 41.7 cm Unique Estimate: HK $ 20,000–40,000 Generously donated by the artist

Ho Sin Tung 何倩彤

A self-described cinephile, Ho Sin Tung is often informed by cinema in her artistic practice, reinterpreting and recreating the horrors and thought-provoking elements she finds in these narratives, resulting in works rich in visual references that resemble particular time periods and places. Her multimedia work often employs pencil, graphite, and watercolour, whereas her video work focuses on the process and experiments with narrative frameworks. The series Patient consists of paper works inspired by a scene from Billy Wilder’s film Witness for the Prosecution (1957). The drawing depicts a sequence of stacked pills, implying the passing of time, as did in the film. A pill symbolises the law of time, small in size yet powerful. Ho’s work has been featured in exhibitions at Cattle Depot, Hong Kong (2021 and 2017); Para Site, Hong Kong (2021, 2015, and 2013); M+ Pavilion, Hong Kong (2017); Witte de With, Rotterdam (2014); and Seoul Museum of Art (2013). She received her BFA from Chinese University of Hong Kong in 2008.

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Wu Jiaru 吳佳儒

untitled_excesstears_admiralty_1 2019 Oil and acrylic on canvas 72 × 40.5 × 2 cm Unique Estimate: HK $ 45,000–65,000 Generously donated by the artist

b. 1992 in Guangdong, China; lives and works in Hong Kong

Wu Jiaru experiments with imagined spaces and social norms in forms of painting, installation, moving images, printed edition, and image synthesis. Her practice covers a wide range of topics, including cross-boundary facilities, literature, modern service industries, manufacturing industries, technological innovation, romantic relationships, the business environment, quality living, education and talent, regional cooperation plans, as well as ecology. This painting was born of the artist’s dreams related to several traumatic events.

Wu received her BA in fine arts and English language and literature from Tsinghua University in 2014, and her MFA from the School of Creative Media at City University of Hong Kong in 2017. She has participated in exhibitions at Para Site, Hong Kong (2021); Hong Kong Arts Centre (2018); and UCCA Center for Contemporary Art (2016).

b. 1990 in Chicago, IL, United States; lives and works in New York, NY

Ten Izu

伊⾖⼩⻘

2021 Oil on canvas 38.1 × 30.5 cm Unique Estimate: HK $ 20,000–40,000 Generously donated by the artist and Edouard Malingue Gallery

Homer Shew

Ten Izu is an artist (pronouns: they/them), whose father is Japanese and mother is Chinese. Izu’s studio was three studios down from that of Homer Shew, and often they shared many resources and tools. Shew thinks Izu is very friendly, lovely, and sweet, although the two artists’ artistic practices are very different. Both are interested in the Asian American identity but the expressions are very different. They are working on the project of CFGNY, an ongoing dialogue on the intersection of fashion, race, identity, and sexuality started in 2016 with Tin Nguyen and Daniel Chew, with an emphasis on plural representations of the Asian identity, which Shew can relate to. Shew graduated from Bard College in 2012. As a Chinese American, Shew, since 2015 has been making paintings that deal with the re-aestheticisation and decaricaturisation of Asian faces, from a perspective that is singularly immanent. His work has been presented at the Museum of Chinese in America, New York (2021–2022); and New York Art Residency and Studios Foundation, Brooklyn (2018); . Shew has completed residencies in Chicago and Preston Ranch, WY, and will be an artist-in-residence at The Millay Colony For the Arts in Austerlitz, NY starting November 2021.

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Ming Wong 黃漢明

untitled 2021 Black and white photograph 60 × 40 cm Edition 1 of 5 + 2 AP’s Estimate: HK $ 30,000–60,000 Generously donated by the artist

b. Singapore; lives and works in Berlin, Germany, and Stockholm, Sweden

Through a retelling of world cinema and popular culture and rereadings of cultural artefacts from around the world, the artistic research and practice of interdisciplinary artist Ming Wong explore the politics of representation and how culture, gender, and identity are constructed, reproduced, and circulated. This work is from a photoshoot of Wong in preparation for his last solo exhibition in Tokyo entitled ‘Fake Daughter’s Secret Room of Shame’ at ASAKUSA in 2019, inspired by Wong’s research into Nikkatsu Roman Porno (1971–1988), a series of softcore films known for its erotic storytelling and sensational content, which continues to hold an important place in Japan’s cinematic history. Wong’s recent exhibitions and projects include those at Centre Pompidou, Paris (2020/21); MAIIAM Contemporary Art Museum, Chiang Mai (2021); Kunsthall Trondheim (2019); Bangkok Art & Culture Centre (2019); the 7T H Asian Art Biennial, Taichung (2019); Para Site, Hong Kong (2019, 2018, 2014, and 2013); Dak’Art Biennale, Dakar (2018); M+ Pavilion, Hong Kong (2017); the 20TH Biennale of Sydney (2016); the 8TH Asia Pacific Triennial, Queensland Art Gallery, Brisbane (2015–2016). Wong represented Singapore in the 53R D Venice Biennale and was awarded Special Mention for his presentation in 2009.

b. 1977 in Dej, Romania; lives and works in Cluj, Romania

Ciprian Mureșan

Untitled 2021 Colour pencil on paper 20.5 × 29.5 cm each Unique Estimate: HK $ 8,000–18,000 Generously donated by the artist and Plan-B Gallery

This is a series of three drawings by Ciprian Mureșan after the moulds of a monument representing Lucian Blaga (1895–1961), Romanian philosopher, poet and playwright that was made in the ’60s in Cluj, Romania. Lucian Blaga was a prominent philosopher in Romania during the period between the two world wars. Trained in both Eastern Orthodox theology and classical philosophy, he developed a speculative philosophy.

Unfortunately, the height of Blaga’s career coincided with WWII, after which Romania was occupied by Soviet troops that installed a socialist government. The new government removed Blaga and many other professors from their university posts.

Today Blaga is a national figure in Romania, but because of the unfortunate circumstances surrounding his career, he is barely known to the outside world. Since 2005, Mureșan has been an editor of Cluj-based IDEA art + society magazine. Solo exhibitions have been held at Centre Pompidou, Paris (2019); Ludwig Museum, Budapest (2015); Contemporary Art Gallery, Vancouver (2013); and Tate Modern, London (2012). Group exhibitions include those at 57 La Biennale di Venezia (2017); Museum Middelheim, Antwerp (2014); San Francisco Museum of Modern Art (2012); and New Museum, New York (2009).

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Jake Grewal

One Day 2020 Colour pencil on paper 29.7 × 22 cm Unique Estimate: HK $ 20,000–40,000 Generously donated by the artist and Jhaveri Contemporary

b. 1994 in London, United Kingdom; lives and works in London

Made using coloured pencil on paper, works by Jake Grewal reference traditional genres of portraiture and landscape as much as they do the language of Romanticism. Grewal’s figures often mirror his likeness but are not strictly autobiographical. Set in enchanted forests or against golden sunsets they merge with or emerge from natural settings which often echo the artist’s internal landscape. Allegory and fantasy inform his works which also address the male nude through a queer gaze. Grewal received his postgraduate degree from the Royal Drawing School, London, in 2019, and his BA from The University of Brighton in 2016. He has done residencies at Rhode Island School of Design, Providence (2020); and Borgo Pignano (2019). He has been nominated for Kleinwort Hambros Emerging Artist Award (2021), and was the recipient of Cass Art Award from National Open Art Exhibition (2016) and Woon Foundation Prize Judge’s Discretionary Award (2016).

b. 1968 in Kathmandu, Nepal; lives and works in Oakland, CA, United States

When he was twelve years old, Tsherin Sherpa began studying traditional Tibetan thangka painting with his father, Master Urgen Dorje Sherpa, a renowned thangka artist from Ngyalam, Tibet. After studying computer science and Mandarin in Taiwan, he returned to Nepal, where he collaborated with his father on several important projects, including thangka and monastery mural paintings. In 1998, Sherpa immigrated to California and he began to explore his own style, reimagining traditional tantric motifs, symbols, colours, and gestures, which he placed in resolutely contemporary compositions.

‘Spirit’ is a term layered with meanings; in the Himalayan context, it invokes sanctity; whilst in Western culture, it can refer to an alcoholic drink, petrol, or paraffin. The diverse array of options for what a spirit can be opens Sherpa’s image-making to multiple possibilities of engagement with and reimagination of both form and subject matter. Sherpa’s work is in the collections of the Asian Art Museum of San Francisco; the Queensland Art Gallery & Gallery of Modern Art, Brisbane; the Rubin Museum of Art, New York; the Victoria & Albert Museum, London; and the Virginia Museum of Fine Arts, Richmond.

Tsherin Sherpa

The White (Spirit) 2021 Acrylic, ink and platinum leaf on cotton 38 × 28.5 cm Unique Estimate: HK $ 40,000–60,000 Generously donated by the artist and Rossi & Rossi

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Xper.Xr

b. 1970 in Hong Kong; lives and works in Hong Kong

As I was going up the stair I met a man who was not there He wasn’t there again today I wish that man would go away

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The Man Who Sold The World 2021 Oil paint, Kryolan synthetic nasal mucus, pus and artificial vomit effect on pig skin 45.7 × 66 × 2 cm Unique Estimate: HK ​​ $ 70,000–90,000 Generously donated by the artist and Empty Gallery

Xper.Xr is an artist, performer, and provocateur belonging to the city’s first generation of experimental musicians. After releasing Murmur (1989), arguably the first industrial noise recording in the territory, he went on to release and perform alongside such names as Otomo Yoshihide, Merzbow, and Whitehouse. Characterised by a constitutional irreverence, deliberate courting of failure, and self-effacing aesthetic, Xper.Xr.’s practice represents a crucial moment of the city’s artistic counter-history. The man who sold the world is a man who no longer recognises himself. He doesn’t remember much either, but he does remember to forget certain things by the orders of the powers that be. No longer in control of his own thoughts and actions, he roams about social media dictating what others should speak and should not hear, duly do as he was told. From 2012 to 2015, Xper.Xr ran the seminal underground exhibition and performance venue CIA in Kowloon, organising shows with like-minded artists Kago Shintaro, Vagina Dentata Organ, New Noveta, Hermann Nitsch, Laibach, and Olivier de Sagazan.

b. 1976 in Gdansk, Poland; lives and works in Krakow, Poland

Paulina Olowska

Paulina Olowska has had a formative influence on the international art scene, using various working methods to explore the historical avant-garde, setting a dialogue with past iconography and questioning the borders of the present.

Ołowska studies the processes of urban transformation and social relationships in an era of growing consumerism, demonstrating an interest in communist Poland’s fascination with Western liberal capitalism. Olowska’s work often features the female, exploring the multiple angles of women in consumer culture, visual advertising, and the spectacle of fashion. Dressing Room of Villa Day, VIII mixes appropriated image, collage, and paint, engaging the eye with shifting ratios of paint and clippings. The work suggests an admiration for the French affichistes and American graffiti art offset by an involvement with the image bank of Polish postwar life, including Soviet and American propaganda magazines and the contrasts between official and underground culture. Olowska has had solo exhibitions at SCAD Museum of Art, Savannah (2021); Fondazione Furla, Museo del Novecento, Milan (2018); National Gallery of Art, Warsaw (2014); Stedelijk Museum, Amsterdam (2013); the Museum of Modern Art, New York (2011); CCA Wattis Institute for Contemporary Arts, San Francisco (2010); and Camden Arts Centre, London (2009). Olowska was awarded the 2014 Aachen Art Prize. In 2021 she presented performances at the Walker Art Center, Minneapolis, and the Art Institute of Chicago. Her work belongs to major private and public collections including Tate, London; Sammlung Boros, Berlin; San Francisco Museum of Modern Art; and Museum of Modern Art, New York.

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Dressing Room of Villa Day, VIII 2015 Gouache, acrylic, printed matter on paper 20.9 × 20.9 cm Unique Estimate: HK $ 45,000–65,000 Generously donated by the artist and Simon Lee Gallery

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Jim Shaw

Study for ‘Top Hat Baby’ (small) 2015 Pencil on paper 41 × 48 × 4 cm (framed) Unique Estimate: HK $ 35,000–55,000 Generously donated by the artist and Simon Lee Gallery

b.1952 in Midland, MI, United States; lives and works in Los Angeles, CA, United States

The rigorous research processes and systematic interrogation of cultural detritus of Jim Shaw employ strategies of the absurd to zoom in on themes such as failing economies and political corruption, deftly revealing the underbelly of society whilst commenting on the construction of individual and collective identity.

The imagery and motifs found in Study for Top Hat Baby are an extension of the artist’s long running series of top-hatted men. Shaw’s seductive, darkly comic works invite us to reflect on socioeconomic power systems and subjugation, American consumerism, and material wealth. Shaw’s work has been the subject of numerous solo exhibitions and projects, including at the Eli and Edythe Broad Art Museum, East Lansing (2018); The New Museum, New York (2016); Massachusetts Museum of Contemporary Art, West Adams (2015); Los Angeles County Museum of Art (2012); CAPC Musée d’Art Contemporain de Bordeaux (2010); MoMA PS1, New York (2007). He participated in major group exhibitions at National Gallery Victoria, Melbourne (2020); Met Breuer, New York (2018); Museum of Contemporary Art, Los Angeles (2014); The 55TH Venice Biennale (2013); Walker Art Center, Minneapolis (2010); the Museum of Modern Art, New York (2008); and Centre Pompidou, Paris (2006). His work is in collections worldwide including Centre Pompidou, Paris; National Gallery of Victoria, Melbourne; Musée d’Art Moderne et Contemporain, Geneva; Los Angeles County Museum of Art; Solomon R. Guggenheim Museum, New York; and the Museum of Modern Art, New York. Jim Shaw received his BFA from the University of Michigan, Ann Arbor, and an MFA from the California Institute of the Arts, Los Angeles.

b. 1986 in Chongqing, China; lives and works in Beijing

Wu Shuang 吳 霜

Asperger’s Syndrome

阿斯伯格綜合症

2020 Oil on canvas 90 × 70 cm Unique Estimate: HK $ 50,000–70,000 Generously donated by the artist and Whitestone Gallery

For Wu Shuang, beauty in life is fluid and related to time.

She prescribes through her paintings ‘the beauty of frozen time’ as a remedy to the nonstop modern lifestyle without a moment of stillness and people rue the passage of time while hoping to retain traces of it. The impermanence guided Wu’s search for beauty and she wishes to imbue meaning in her work. Her work has been exhibited at Fukuoka Asian Art Museum (2018); Today Art Museum, Beijing (2014 and 2016); Her work is in the collections of Hexiangning Art Museum, Shenzhen; and Today Art Museum, Beijing. Wu studied at Kunsthochschule Kassel, received her BA in oil painting from Sichuan Fine Arts Institute in 2009, and her MA in engraving from the Central Academy of Fine Arts in Beijing in 2014.

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Torbjørn Røland

Enamel Support 2015 Chromogenic print 78.4 × 62.2 × 3.8 cm Edition 1 of 3 + 1 AP Estimate: HK $ 110,000–130,000 Generously donated by the artist and David Kordansky Gallery

b. 1970 in Stavanger, Norway; lives and works in Los Angeles, CA, United States

Driven by his use of film-based cameras and chemical darkroom processes, Torbjørn Rødland portrays scenes designed to generate psychological reaction through his depiction of highly sensory visuals. His photographic images invite viewers to react and suggest various possible readings. Rødland also emphasises the formal attributes of his photographs, pushing the medium toward visual expressions associated with painting, and forging links between 20th-century art photography and 21st-century approaches to image-making found in advertising and social media. Produced as part of a body of work that was exhibited at Manifesta 11 in Zurich (2016), Enamel Support (2015) features molds of teeth on a tiled background. The image is both intimate and impersonal, with three-dimensional casts of the human mouth rendered in a brittle material and against a visual grid.

The picture can be seen as a study of light and shadow and an essay on the ‘grey’ area between black and white and colour photography. In ​​ 2021, Rødland was the subject of a solo exhibition at The Contemporary Austin, Texas. He has also participated in exhibitions at Bergen Kunsthall (2018); Fondazione Prada, Milan (2018); Serpentine Galleries, London (2017); and Whitney Museum of American Art, New York (2016). His work is in the permanent collections of Astrup Fearnley Museum of Modern Art, Oslo; Museum of Contemporary Art Chicago; Stedelijk Museum, Amsterdam; and the Museum of Modern Art, New York.

b. 1991 in Toronto, Canada; lives and works in London, United Kingdom

Like Something to Eat 2019 Makeup on face wipe 20.5 × 17.5 cm Unique Estimate: HK $ 45,000–60,000 HKD Generously donated by the artist and Blindspot Gallery

Sin Wai Kin 單慧乾

Sin Wai Kin (also known as Victoria Sin) is an artist using speculative fiction within performance, moving image, writing, and print to interrupt processes of desire, identification, and objectification. Sin uses drag as a practice of purposeful embodiment questioning the reification and ascription of ideal images within technologies of representation and systems of looking. Like Something to Eat is an imprint of Sin Wai Kin’s drag queen makeup from the performance work Never become anything without pretending to be it first, performed at the 5TH Do D!STURB Performance Art Festival at Palais de Tokyo, Paris (2019). In the process of using facial wipes to remove their makeup after each performance, Sin discovered that the ‘wet wipes were looking right back at [them]’, the imprinted wipes becoming an archive of their evolving characters. The facial wipes retain the unique traces of these painted faces, and become at once documentary evidence, mnemonic device, and shamanic paraphernalia. Sin’s performances and works were shown in international exhibitions and programmes, including at Institute of Contemporary Art, London (2017 and 2020); Solomon R. Guggenheim Museum, New York (2020); Museum of Contemporary Art, Toronto (2019); Hayward Gallery, London (2018 and 2019); the 58TH Venice Biennale (2019); Serpentine Galleries, London (2019); Taipei Contemporary Art Center (2018); and Tate Modern, London (2017).

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Shuang Li 李 爽

Untitled (Muscle Suit) 2020 Sculpture - mixed media, children’s costume, plexiglass, metal screws 60 × 40 cm Unique Estimate: HK $ 70,000–90,000 Generously donated by the artist and Peres Projects

b. 1990 in Wuyishan, China; lives and works in Shanghai, China

Made from children’s Halloween costumes sandwiched in transparent plexiglass that resembles a screen, Untitled (Muscle Suit) is a play on masculinity within the highly mediated world today. Situated in globalised communication systems and inspired by various localities and uneven information flows, Li’s work, which encompasses performance, interactive websites, sculpture, and moving image installations, studies various mediums that compose the contemporary digital landscape. Li received her MA in media studies from New York University in 2014. She has had solo exhibitions at independent art spaces such as Cherish, Geneva (2021); Callie’s, Berlin (2020); and SLEEPCENTER, New York.

She has participated in numerous institutional exhibitions including at Para Site, Hong Kong (2021); Contemporain Genève (2021); Flux Factory, New York (2017); chi K11 Art Museum, Shanghai (2016); and Fisher Gallery, Oberlin College (2015).

b. 1989 in Manila, Philippines; lives and works in the Philippines

Adversus Contradictores I 2019 Embroidery on textile, collaboration with Henry Caceres 182 × 122 cm Unique Estimate: HK $ 100,000–150,000 Generously donated by the artist and NOME, Berlin

Cian Dayrit

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Cian Dayrit’s interdisciplinary practice of painting, sculpture, and installation explores colonialism and ethnography, archaeology, history, and mythology. Through narratives that expose the inner workings of imperial power, his work invites viewers to reconsider how the world has been spatially perceived and interpreted. Informed by colonialism from the perspective of the Philippines, Dayrit’s work nonetheless defies being tied to a specific position or location and cross over geopolitical and supranational bearings.

His cartographic artworks in embroidery, textile, and mixed media collages depict the patterns of imperialism and feudalism in the extraction of natural resources and the displacement and exploitation of marginalised populations while recognising the overlapping struggles and periods of resistance. Dayrit studied at the University of the Philippines. He has been exhibited in international biennials including the 13th Gwangju Biennale (2020); Berlin Biennale for Contemporary Art; and New Museum Triennial, New York (2018). He has also participated in exhibitions at Para Site, Hong Kong (2018); Hammer Museum, Los Angeles (2018); and the Metropolitan Museum of Manila (2016 and 2017).

In 2019, he was an artist in residence at Gasworks, London. His work is in the 23R D Biennale of Sydney in 2022.

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Stephen Thorpe

Inherent Polarity 2020 Oil on canvas 92 × 76 cm Unique Estimate: HK $ 45,000–65,000 Generously donated by the artist and Ora-Ora

b. 1981 in Margate, United Kingdom; lives and works in Atlanta, GA, United States

Inherent Polarity differs from other corners through its composition. Two thirds of the painting is committed to the floor, with only one third to the wall. What it doesn’t show is happening in the immediate space of the viewer, beyond the canvas on the other side of the corner or even in the psychological interior. Stephen Thorpe received his MA in painting from the Royal College of Art in London and is currently a professor of painting at the Savannah College of Art and Design (SCAD). His work is included in prominent museum collections and has been featured in exhibitions at the Royal Scottish Academy, Edinburgh (2017 and 2011); Summerhall, Edinburgh (2012); and Aberdeen Art Gallery (2011). He serves on the Selection Committees for the Basil H. Alkazzi Scholarship Award and the Ali H. Alkazzi Scholarship at the Royal College of Art, as well as the Outstanding Student Award in Hong Kong.

b. 1975 in London, United Kingdom; lives and works in London

Window 2018 Unique piece of Financial Times newspaper, bamboo, and adhesive 76 × 95 cm Unique Estimate: HK $ 80,000–120,000 Generously donated by the artist, with special thanks to Yas Mostashari

Gordon Cheung 張逸斌

Gordon Cheung’s innovative approach of art making blurs virtual and actual reality to reflect on the existential questions of what it means to be human in civilisations with histories written by victors. Through his work he questions and critiques the effects of global capitalism, its underlying mechanisms of power on our perception of identity, territory, and sense of belonging.

The windows in Cheung’s work refer to homes in China with traditional window lattice designs that were demolished due to rapid urbanisation. The sculpture hovers between states of being, suggesting a ghost structure that would have supported the windows. The windows act as a demarcation between the march of unstoppable progress, and the framework of identity, history, and culture that defines the individual. Cheung received his BFA in painting in 1998 from Central Saint Martins College of Art and Design in London and his MFA in 2001 from the Royal College of Art in London. His work has been selected for exhibitions at Centre Pompidou Metz (2022); Liverpool Biennial (2020); Yale Center for British Art, New Haven (2017); Ann Norton Sculpture Gardens, West Palm Beach (2017); and Nottingham Castle Museum and Art Gallery (2015 . His work is in the collections of the Museum of Modern Art, New York; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; the Whitworth Art Museum, Manchester; Royal College of Art, London; and the British Museum.

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David Boyce

Untitled: IKB With A Walking Line 2021 Wool 200 × 180 cm Unique Estimate: HK $ 10,000–20,000 Generously donated by the artist and Karin Weber Gallery

b. 1960 in Christchurch, Aotearoa/New Zealand; lives and works in Hong Kong

David Boyce is a conceptual artist who works in a variety of mediums. His primary interests lie in exploring areas around influence and originality, memory, identity, and language. He is also interested in an area he refers to as ‘Random Beauty’, which considers and explores ideas around beauty in the overlooked, underappreciated and mundane aspects of the everyday world.

This work crosses into two of the artist’s areas of interest, namely that of ‘Random Beauty’ and the repurposing of industrial processes to create art. While rugs and carpets have a long history as works of art, they have generally been ones that required and utilised large amounts of skilled craftsmanship, which industrialisation has changed. Now most people can, as is the case with this work, design, order, and receive something in a matter of weeks that would have taken months previously. But underlying this is the ideal that art has become a commodity to be viewed as a fungible asset and a tradable token, something that often ignores the labour and desire of the creator. What are the artist’s hopes, and what are his dreams? Should the viewer even care? His work is in a number of collections in New Zealand, North America, Europe, and Asia.

b. 1979 in Albi, France; lives and works in New York, United States

Anime Series Unknown 2019 Paint on hand-painted anime production background 21.7 × 38.3 cm Unique Estimate: HK $ 20,000–40,000 Generously donated by the artist and Galerie Chantal Crousel, Paris

Clément Rodzielski

Clément Rodzielski queries the original meaning of images through their channels of distribution and reproduction. According to principles of duplication and representation, the artist reflects on the tumult of images in visual communication. The painting is part of a series on hand-painted Japanese cartoon backgrounds from the 1980s and 1990s. The artist’s brush strokes take up the spaces left empty and originally allocated for manga characters. This highlights the assembly line in the work of manga and cartoon artists and the mass production of this art form, not so different from the commonplace objects in the background of each frame. His work has been shown in exhibitions including Musée d’Art Moderne de la ville de Paris (2017 and 2010); Villa Arson, Nice (2015); Villa du Parc, Annemasse (2014); Palais de Tokyo, Paris (2012, 2008, and 2009); and Tate Modern (2010). Rodzielski’s work is in the collections of Centre Pompidou, Paris; Musée d’art Moderne de la ville de Paris; Centre national des Arts Plastiques, Paris; and Kadist Foundation, Paris.

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Erbossyn Meldibekov

Pik Pobeda - Peak of Victory 2012 Enamel and metal vessel 28 × 33 cm Unique Estimate: HK $ 40,000–60,000 Generously donated by the artist and Rossi & Rossi

b.1964 in Shymkent, Kazakhstan; lives and works in Almaty, Kazakhstan

Through drawing, installation, painting, photography, and video, Erbossyn Meldibekov explores the role of visual culture in the dissemination of power in post-Soviet Central Asia. For more than two decades he has created a unique practice that critiques the role of architecture, monumentality, and value systems in the public domain. Peak Pobeda (‘Peak of Victory’ in Russian, also known as Jengish Chokusu) is the tallest peak in the Tian Shan mountain system. It is located just ten miles south of the range’s second highest peak, Khan Tengri. Although Pobeda is much higher than its neighbour to the north, Khan Tengri was believed to be the highest peak in the range until Pobeda’s discovery in 1946. Pobeda’s long standing obscurity is testimony to its extreme remoteness. Meldibekov graduated from the Almaty Theatre and Art Institute. He has exhibited internationally, with recent notable exhibitions including at MacKenzie Art Gallery, Saskatchewan (2019); YARAT Contemporary Art Space, Baku (2017); A. Kasteev Museum of Arts, Almaty (2015); the 6TH Moscow Biennale (2015); the 9TH Gwangju Biennale (2012), and the Central Asia Pavilion at the Venice Biennale (2011 and 2015).

Revital Cohen, b.1981 in Israel; Tuur Van Balen, b.1981 in Belgium; based in London, United Kingdom

Revital Cohen & Tuur Van Balen work across objects, installation, and film to explore processes of production as cultural, personal, and political practices. Their practice could be thought of as ‘situated’, where the making of the work is performed within particular networks. The choreography of labour and extraction of minerals have been long standing interests, followed by the many forms of reality generated by the gambling industry. Animal bodies (human or otherwise) are a recurring consideration, in particular how these are shaped by the situations in which they operate. Sensei Ichi-gō is a machine capable of reproducing sterile goldfish and was first shown as part of Berlin’s Transmediale Festival for art and digital culture in early 2015. This drawing is part of a series that accompany the installation, some of which is in the collection of the Museum of Modern Art, New York. Their work was exhibited at Serpentine Galleries, London (2021); the 13TH Shanghai Biennale (2020); Philadelphia Museum of Art (2019); the Museum of Modern Art, New York (2017 and 2019); Para Site, Hong Kong (2016); Haus der Kulturen der Welt, Berlin (2015); Museum of Contemporary Art, Tokyo (2013); and Congo International Film Festival, Goma. Their works are in the permanent collections of the Museum of Modern Art, New York, and M+ Museum, Hong Kong.

Revital Cohen & Tuur Van Balen

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Sensei Ichi-gō (Cycle) 2015 Cyanotype on paper 49 × 69 cm Unique Estimate: HK $ 30,000–50,000 Generously donated by the artists

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Prabhakar Pandurang Pachpute

b. 1986 in Sasti, India; lives and works in Pune, India

Siren-III 2021 Watercolour and pencil on paper 28 × 35.6 cm Unique Estimate: HK $ 20,000–40,000 Generously donated by the artist

Prabhakar Pachpute works in an array of mediums and materials including drawing, light, stop-motion animations, sound, and sculpture. Pachpute often creates immersive and dramatic environments in his site-specific works, using portraiture and landscape with surrealist tropes to critically tackle issues of mining labour and the effects of mining on the natural and human landscape. The work Siren-III depicts a devious and amorphous creature ready for its flight. Armed with an excavator and carrying a symbol of alarm on its back which gives the scene an air of precariousness. The flight might fulfill the greed of humans, devour the landscape, and uncover the layers of buried history. Excavation or a mining operation can be seen as the fenestration of the earth or the removal of valuable deposits. But at the same time, this mining or excavation activity can be an encounter of the layers of memories and emotions, which are buried so deeply that one cannot even imagine their traces. They appear to us only during the excavation process, whether it be a deep dark tunnel or an open wide hollow in the earth. Pachpute’s work has been featured in solo and group exhibitions at Glasgow School of Art (2019); the 4th Kochi-Muziris Biennale (2018); Asia Culture Center, Gwangju (2017); Para Site, Hong Kong (2017); National Gallery of Modern Art, Mumbai (2016); the 14TH Istanbul Biennial (2015); and the 31ST São Paulo Biennial (2014). He is a member of Shunya Collective, founded in Mumbai in 2012.

b. 1977 in Barcelona, Spain; lives and works in Rio de Janeiro, Brazil

Daniel Steegmann Mangrané

The research of Daniel Steegmann Mangrané is particularly interested in biological processes and anthropological discourses, which inspires him to obscure the differentiation between culture and nature, subjects and objects, reality and dreams, visible and invisible, dissolving them into relationships of mutual transformation. The work Mask relates to Amerindian Indigenous cosmologies in two different ways.

On the one hand it investigates the geometric patterns of indigenous arts as a religious and ritual motif that connects the sacred and the everyday. On the other hand, the leaves are of species that are integral in Amerindian life, whether for sustenance, hunting, medicine, or rituals. The economic, medical, poetic, or religious aspects of Amerindian life then blend together in the gold drawings made on the leaves, with gold figuring prominently in Western imagination of the rainforest and its inhabitants. The work continues Steegmann Mangrané’s keen investigation on geometry and materiality by juxtaposing two contrasting materials in value and questioning topological ideas of surface, form, objecthood, and drawing. The artist has lived in Rio de Janeiro since 2004. His work has been part of exhibitions and biennials around the world, including the Taipei Biennial (2020), Pirelli Hangar Bicocca, Milan (2019); Hayward Gallery, London (2019); Museum of Contemporary Art, Chicago (2018); New Museum Triennial (2015); andthe São Paulo Biennial (2012). His work is in the permanent collections of Tate Modern, London; Museum of Modern Art, Rio de Janeiro; and Walker Art Center, Minneapolis.

Mask 2021 Gold leaf over camboatá leaf framed in plexiglass 57.5 × 48 × 6.5 cm Unique Estimate: HK $ 80,000–90,000 Generously donated by the artist, courtesy Esther Schipper and Mendes Wood DM galleries

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Vvzela Kook 曲淵澈

b. 1990 in China; lives and works in Hong Kong

Vvzela Kook is a new media artist who And if your head explodes with the dark forebodings to, mainly works in audiovisual mediums, I’ll see you on the dark side of the moon - Hiss including performance, theatre, computer 如果你的腦袋已被黑暗的預感撐爆 , 我將與你在月球之暗面相見 graphics, and drawing. Narrative plays 2017 an important role in her work, with Watercolour, pencil, and colour pencil on paper transmedia storytelling being part of the 52 × 32.5 cm artistic concept. Particularly, the mixing of Estimate: HK $ 20,000–40,000 delicate drawings, 3D printing, and video Generously donated by the artist game optics in her videos shows the wide range of media and materials the artist uses to visually translate her research-based projects. Outer space has been a dream place for centuries for humankind. The Mars 500 plan pulls humans even closer to this realm. Party on Mars will not be just an audacious assumption decades from now. But what awaits astronauts in space—cosmic rays, sensory deprivation, isolation, hallucination—day-to-day stresses can be equally life-changing.

NASA has considered behavioural and psychiatric conditions to be one of the most significant risks to the integrity of the space mission— not least as there is now significant evidence that space travel has mind-altering effects. Kook has participated in presentations at Para Site, Hong Kong (2020); C-Lab, Taipei (2019); Asia Society Hong Kong Center (2019); Tai Kwun, Hong Kong (2019); PuSh Performing Art Festival, Vancouver (2017), and ‘89+’ at Digital-Life-Design Conference, Munich (2012) co-curated by Hans Ulrich Obrist and Simon Castets.

b. 1987 in Hong Kong; lives and works Hong Kong

The work of Cheung Tsz Hin combines both realistic and imaginative depictions of sceneries that are often recalled from his memories. This particular work was inspired by his trip to Japan. Cheung was wandering along a hillside to visit a frozen waterfall. The artist was captivated by the calmness of the deserted hillside and was particularly drawn by a tree that was swaying calmly in the cold breeze. Back at the artist’s rooftop studio in Hong Kong, the mountain opposite reminds him of the tranquil scenery that he encountered in Japan. This sense of déjà vu is reflected in the work where he attempts to recreate a similar linkage to his everyday surroundings.

Painting to Cheung is a treasured opportunity to remember, to contain, and to record those trivial moments in life, as if he is writing a love letter to the past, which is also for himself to review in the future. Cheung received his Bachelor’s degree from the Chinese University of Hong Kong in 2010, and an MFA from the Taipei National University of the Arts in 2014. He has participated in group exhibitions including at Pasquart Kunsthaus Centre d’art, Switzerland (2019); Listhus Artspace, Iceland (2018); Hong Kong Visual Arts Centre (2017); and The Pier-2 Art Center, Taiwan (2015), among others.

Cheung Tsz Hin 張子軒

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scenery during the trip 2020 Oil on canvas 70 × 90 cm Unique Estimate: HK $ 30,000–50,000 Generously donated by the artist and Contemporary by Angela Li

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Law Yuk-mui 羅玉梅

The Last Land 2011 Black and white photography 49.5 × 38 × 2.5 cm Edition 2 of 5 Estimate: HK $ 20,000–40,000 Generously donated by the artist

b. 1982 in Hong Kong; lives and works in Hong Kong

Using image, sound, and installation as her mediums, Law Yuk-mui adopts the methodology of field study and collecting, intervenes in the mundane space and daily life of the city, and captures the physical traces of history, psychological pathways of humans, the marks of time, and the political power in relation to geographic space.

After obtaining her MFA from Chinese University of Hong Kong in 2010, Law went on a year of voluntary exile, taking the train from Hong Kong to Beijing.

A 1960 film camera manufactured in Singapore served as her companion on this trip, which she used to capture the photograph here in 2011. It was taken when Law got lost on the Wild Great Wall with two friends from Japan whom she met on the day of the 2011 Tohoku earthquake. She is the co-founder of the artist-run organisation Rooftop Institute. Her work has been extensively exhibited in Asia, including at Art Tower Mito (2020); Jogja Biennale (2019); and Para Site, Hong Kong (2018).

Law received The Awards for Young Artist (Media Art category) of Hong Kong Arts Development Awards and the Excellence Award (Media Art category) of The 23RD ifva Awards in 2018.

b. 1982 in Taipei; lives and works in Taipei

Doggie the daughter 狗女兒

2021 Photograph, ink, acid-free framing 66.8 × 56.6 × 3.5 cm Unique Estimate: HK $ 30,000–60,000 Generously donated by the artist

Candy Bird 糖果鳥

In this work, Candy Bird incorporates writings and interdisciplinary collaborations into his works, shifting and interlacing the positions of subjects throughout his art-making process, in order to deconstruct traditional graffiti and street art. In this way, he hopes to inspire viewers to construct a dialogue with their own life experiences. The work of Candy Bird first appeared as graffiti, voicing concerns of urbanism and marginalisation.

Since 2010, he has started to convey stories and views unattended by the mainstream media, making attempts to demonstrate his practice for society’s sake. Candy Bird has held solo exhibitions in Hong Kong and Taipei. He has participated in group exhibitions at Kaohsiung Museum of Fine Art (2018); Cho Why, Bangkok (2018); Koganecho Art Center, Yokohama (2017); Yinchuan Museum of Contemporary Art (2016); Tenri Cultural Institute, New York (2015); National Taiwan Museum of Fine Arts, Taichung (2013); and Taipei Contemporary Art Center (2010).

(Text in ink) This afternoon, a man in suit arrived at our home He had a black briefcase with him, and carefully took out many documents.

Apparently, Auntie wanted me to inherit her legacy in the future, but it seems the law forbids it.

Anxiously, Auntie discussed solutions with the lawyer (the man in the suit) She was also telling me about her daughter’s lack of filial piety.

Cheap perfume and the smell of saliva filled my nose: I was a little happy, but also uneasy. Because my small paws cannot operate human property (but at least my paws can stop my itch), and as for Auntie’s daughter, she might have a different understanding of fate.

However, I’m not sure what my fate is as a dog. (I can at least scratch myself?)

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這日下午，家裡來了一位西裝筆挺的人 他提著黑色的公事包

慎重地拿出許多文件，

原來，阿姨希望我將來可繼承財產 但是法律似乎不允許，

阿姨焦急地和律師商討辦法，

（就是那位西裝筆挺的人），

阿姨也對我說著女兒的不孝， 廉價香水和口水味， 充滿著我的鼻子：

我微微開心，卻也不安。 因為我的小小腳掌，是無法

掌控人類的財產的（至少能用

腳掌止癢），至於阿姨的女兒，

她或許是對人的天命，有不同的想法吧 但我也不清楚，

自己當狗的天命是什麼？

（至少能自己止癢？）

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Sunmin Park

BIG eats small and small eats big 2021 4K single-channel video, colour; 6'59" AP1 / Edition 1 of 3 Estimate: HK $ 40,000–70,000 Generously donated by the artist and ONE AND J. Gallery

b. 1971 in Seoul, South Korea; lives and works in Seoul

Working through the minute and detailed observation of microscopes and macroscopic vision of binoculars, Sunmin Park experiments with those that are intercepted and things that extend within the blind area of human senses. In particular, Park minutely observes natural phenomena, capturing what is usually overlooked by employing photography and video. The work is a video component of an experimentation process in which the movement of ambient water droplets freezing and melting was shot in a long take, and the video is edited to juxtapose images of water droplets dripping downward, combining to form bigger droplets, and droplets rising upwards, dividing into smaller droplets. When one immerses oneself in the movement of the small droplets, they appear not as water droplets but as living faces both big and small. They rise and fall in a mutual relationship, and their appearance conjures up visions of a gravity that eats everything in its path and a world without hierarchy. Park studied sculpture at Seoul National University, South Korea. Park achieved a Meister Schüler degree under Prof.

Rosemarie Trockel at Kunstakademie in Düsseldorf. Park has participated in exhibitions at MUSE Museum of Science, Trento (2021); Jeju Museum of Contemporary Art (2019); and Museo Nazionale della Montagna, Turin (2019). Her work has also been screened internationally.

b. 1948 in Guangzhou, China; d. 2011 in New York, NY, United States

Yellow Rose 黃玫瑰

1996 Colour photograph 63 × 76 cm Edition 15 of 100 Estimate: HK $ 30,000–50,000 Generously donated by the artist and Hanart TZ Gallery

Szeto Keung 司徒強

The rose, the most depicted subject in the work of Szeto Keung, is on the one hand a metaphor for the unattainable, unfulfilled goals in life, and on the other hand a symbol for homeland, love, youth, and ideals. Szeto once noted, ‘every rose is a love letter that cannot be delivered in life,’ referring to the flower as emotionally delicate with a perpetual tint of sadness. Szeto was a rare artist who utilised both realism and abstract techniques to present his artistic concept in Chinese classical literature.

His subtle and poetic blend of Chinese ink and brush painting and abstraction opened his work to rich discussions. Szeto had a solid background in Lingnan school painting, which he later combined with abstract expressionism and juxtaposed with photorealism for his unique undertaking, such as works depicting small items pinned to a backboard with tapes and paper strips trailing across it on a very shallow space, creating illusionary and abstract effect. By contrasting materials and representation, he offered an alternative presentation of the subject, ‘like telling the same story over and over, but slightly differently every time.’

Szeto received his BFA from National Taiwan Normal University in Taipei in 1973 and MFA from Pratt Institute in New York in 1979. In 2011 Kuandu Museum of Fine Arts in Taipei organised his career survey posthumously.

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Xyza Cruz Bacani

Refugees in Hong Kong 2015 Digital print on paper 56 × 84 × 7.5 cm Edition 1 of 10 Estimate: HK $ 20,000–30,000 Generously donated by the artist

b. 1987 in Nueva Vizcaya, Philippines; lives and works in the Philippines

Xyza Cruz Bacani reserves time to photograph the streets each day to reveal the voices and themes that are marginalised in mainstream society, with a specific focus on immigration and human rights. Her photographs, like Refugees in Hong Kong (2015), are portraits of individuals who are ethnic minorities, migrant domestic workers, labourers, or cleaners, all of whom are regularly seen on any street corner but tend to be overlooked.

Bacani meticulously captures these mundane scenes of work and daily life, confronting the viewers with what would have otherwise escaped their attention. Bacani, photographer as well as author, uses her work to raise awareness about under-reported stories.

Having worked as a second-generation domestic worker in Hong Kong for almost a decade, she is particularly interested in the intersection of labour migration and human rights. She is a Magnum Foundation 2015 Photography and Social Justice Fellow.

She is also the recipient of a resolution passed by the Philippines House of Representatives in her honour, HR No.1969. Cruz Bacani is one of Asia Society’s Asia 21 Young Leaders (2018); the WMA Commission grantee (2017); and a Pulitzer Center and an Open Society Moving Walls grantee (2017). She is one of BBC’s 100 Women of the World (2015), 30 Under 30 Women Photographers (2016), Forbes 30 Under 30 Asia (2016), Fujifilm ambassador, and author of the book We Are Like Air (WE Press, Hong Kong, 2018).

b. 1968 in Daejeon, South Korea; lives and works in Seoul and Paju, South Korea

Light 2011 Printmaking ink, oil pastel, marbling on paper 55.7 × 75.6 cm Unique Estimate: HK $ 30,000–60,000 Generously donated by the artist and Tina Kim Gallery

Minouk Lim 林珉旭

This work by Minouk Lim is a drawing that was developed from a series of projects called ‘Not to announce the end of the rainy season anymore’, which Lim began in 2008.

The artist found puddles that were naturally created in places that were initially designated as ‘new town’ areas but the construction was later suspended. By loosening the paint into the puddles, the artist dipped the papers into water, thereby capturing the coloured surface by chance. By choosing one work from this series, the artist then covered the marbled-pattern plane with a roller coated with black engraving ink. As a finishing touch, Lim added a lightning pattern with a golden oil pastel.

Lim works defy traditional disciplinary boundaries, deepening the scope of questions while encompassing writing, music, video, installation, and performance as her means of artistic expression. Lim’s work recalls historic losses, ruptures, and repressed traumas. Her solo exhibitions have been held at Samsung Museum of Art, Seoul (2015); and Walker Art Center, Minneapolis (2012). Shehas participated in exhibitions and biennials including the Asia Society Triennial, New York (2020); the Gwangju Biennial (2020 and 2014); the Setouchi Triennale (2016); Paris Triennale (2012); and Liverpool Biennial (2010). Lim’s work is in the collections of National Museum of Modern and Contemporary Arts, Korea, Seoul; Gyeonggi Museum of Art; Seoul City Art Museum; Kadist Art Foundation, San Francisco; Walker Art Center, Minneapolis; and ArtSonje Center, Seoul.

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Bernd Behr 白伯恩

b. 1976 in Hamburg, Germany; lives and works in London, United Kingdom

Amoy Gardens IV 2003 Digital C-print 31 × 44 × 4 cm Edition 1 of 6 Estimate: HK $ 10,000–15,000 Generously donated by the artist

This photographic print presented in a custom acrylic frame by Bernd Behr was part of a work included in ‘Journal of the Plague Year’, an internationally travelling exhibition organised by Para Site in 2013. Amoy Gardens consists of an analogue slide projection depicting 34 scenarios in and around the eponymous building complex in Hong Kong which became an epicentre of the region’s 2003 SARS crisis involving its ventilation and plumbing systems perpetually circulating the virus throughout its interior.

Accompanying the looped projection cycle is an audio recording of a young citizen of Hong Kong reading extracts from ‘Exact Air’, Le Corbusier’s treatise on hermetically sealed architecture (The Radiant City, 1933), playfully reinventing the manifesto toward a contingent space between crisis and proposal. Behr’s research-led practice across photography, video, sculpture, and writing explores historical junctures of optical technologies and the built environment to propose speculative futures for the photographic image. His work has been exhibited internationally, including solo exhibitions at Chisenhale Bloomberg Space, London (2010); High Desert Test Sites, California (2008); and Gallery, London (2006). Select group exhibitions include those at Kadist Foundation, San Francisco (2015); Para Site, Hong Kong (2013); and Storefront for Art & Architecture, New York (2009). Behr co-represented Taiwan at the 55th Venice Biennale (2013). He has held artist’s residencies and research fellowships at Bosch Research Campus, Renningen (2018); Akademie Schloss Solitude, Stuttgart (2010, 2011, and 2017); Taipei Artists’ Village (2012); and The Center for Land Use Interpretation, Wendover, UT (2005).

b. 1955 in Pasadena, CA, United States; lives and works in New York, NY

Windy Day 2021 Oil on masonite 61 × 46 cm Unique Estimate: HK $ 30,000–50,000 Generously donated by the artist and Unit London

Deborah Brown

The work of Deborah Brown draws on the history of portraiture in Western Art. Her Shadow Paintings derive from daily walks with her dog Trout during the year of the pandemic. The Shadow Paintings are structured around absence. The human protagonist is represented by her shadow, and a leash connects her to her canine companion who is often the only animate creature in the painting. Winter light and the low angle of the sun extend the shadows far into the distance, creating odd distortions and evocative patterns.

The artist places the viewer in the role of a protagonist navigating a landscape mostly devoid of human inhabitants. The absence of cars and people gives the work an existential cast as if the protagonist might be a survivor among the last inhabitants of a strange landscape. This theme takes on added meaning after a year of quarantine and isolation created by the global pandemic. Brown employs different perspectives to position the viewer in various roles: the observer, the intruder, the friend, and the narrator. Recent exhibitions include those at Hall Art Foundation, Derneburg (2021–2022); the Painting Center, New York (2019); and Maine College of Art and Design, Portland (2017). . Brown has been a visiting artist and lecturer at Penn State University, Hunter College, Pace University, Columbia University, and Maryland Institute College of Art. Brown was also a tenured professor at Carleton College in Minnesota where she taught painting and drawing, and subsequently taught in the Art Department of Yale summer programme.

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Matthias Schaller 馬提亞 ·沙勒

Fratelli D’Italia, Carpi 2005 C-Print mounted on plexiglass 100 × 103 cm Edition 1 of 6 Estimate: HK $ 60,000–100,000 Generously donated by Ben Brown Fine Arts

b. 1965 in Dillingen an der Donau, Germany; Lives and works in Vienna, Austria, and Milan, Italy

Matthias Schaller works digitally to construct his ‘portraits without the sitter’. The artist approaches photography with a poetic understanding and an academic platform from which he positions his subjects. The results are bold, compelling, and beautiful. Here Schaller invites the audience to think critically about the Italian identity using an aesthetic relevant to a time when the unity of Italy was called into question. Fratelli d’Italia literally translates to ‘Brothers of Italy’. The series involved photographing 150 opera house ceilings throughout the Italian regions from 2005 to 2008 and was inspired by the stages in Goethe’s Italian journey from Trento to Agrigento. This project was conceptually based on the analogy between political ideology and architecture. Schaller studied Cultural Anthropology in Hamburg, Göttingen, and Siena. He received the Ci Art Award 2004. He has had solo exhibitions at Goethe-Institut, New York; and Venice Architecture Biennale.

b. Hong Kong; lives and works in Hong Kong

Reimagining San Po Kong

幻想新蒲崗

2021 Acrylic on canvas 82 × 102.8 cm Unique Estimate: HK $ 25,000–45,000 Generously donated by the artist and JPS Gallery

Elaine Chiu 趙綺婷

Growing up in Yau Tsim Mong district, one of the busiest neighbourhoods in the city, Hong Kong artist Elaine Chiu has been witnessing the drastic and continuous transformation of urban space and the environment since her childhood. The transient, fluid, and intersecting memories and impressions on Hong Kong have been deeply rooted in her consciousness and identity. Titled Reimagining San Po Kong, the artwork is a continuation of Elaine’s previous on-site sketching and community art project. Centring her research around endangered buildings, architecture, cityscape, and memories of Hong Kong, her work explores different organic carriers, and their relationship with time and people, including community culture, architectural structures and memories, that are formed bottom-up in the urban space. Chiu explores architectural forms, memories, and identities of urban environments with paintings, on-location sketching, and community projects. Chiu received her BA in art history at the University of Hong Kong, where she was awarded the Talent Out Reaching Award (2016) and Development Scholarship (2015) from the Hong Kong Government. Recent projects include at Vivid Sydney Light Festival, Chatswood (2018); and Hong Kong UNESCO Global Geopark project (2020). Her work is in the collections of the University Museum and Art Gallery (UMAG), Hong Kong University; K11 Art Foundation, Hong Kong.

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Luke Ching Chin Wai 程展緯

b. 1972 in Hong Kong; lives and works in Hong Kong

Piso 2017 20-piso bills, strings 14.5 × 6.5 × 3 cm Unique Estimate: HK $ 30,000–50,000 Generously donated by the artist

The 20-piso note is the banknote with the lowest denomination in the Philippines. It is the equivalent of approximately 3 HKD, whereas its colour closely approximates that of the 1,000 HKD banknote.

Luke Ching obtained these banknotes through cash exchange with Philippine domestic helpers in Hong Kong, wearing the stack away until it resembles debris of bricks one might find on the ground. For the artist, a small banknote is nonetheless a quotidian declaration of authority by the government, whereas a broken brick remains one of the few tools available to members of the resistance. The Philippines was ruled by Spain for over 300 years. In Spanish, ‘piso’ can mean ‘ground’ or ‘apartment’. Bricks discarded on the ground during the resistance could’ve been the building blocks of houses. Under oppression, labour by domestic helpers in Hong Kong turns into houses in their hometowns.

Ching was a top-notch colour pencil artist in his pre-university years.

He was among the best in class at school, and he wasn’t too bad at seal carving, either. After turning 30, Ching not only learned to swim and cycle but also managed to get married (even before he was able to type in Chinese)—a feat he considers as his lifetime achievement. In his 30s, Ching took an interest in public space and the development of the gift economy. His current life ambition is to become his boss’s pet. Ching has participated in exhibitions and residencies worldwide, including Para Site, Hong Kong (2020); Gwangju Biennale (2018); Tai Kwun Contemporary, Hong Kong (2018); Blackburn Museum & Art Gallery (2008); the Fukuoka Asian Art Museum (2006), and P.S.1 Contemporary Arts Centre, New York (2000).

b. 1960 in Busan, South Korea; lives and works in South Korea and New York, NY, United States

Hanok 0053 2016 Archival pigment print 79 × 63 cm Edition 3 of 15 Estimate: HK $ 50,000–70,000

Kim Woo Young 金祐暎

With soft organic lines and shades of grey appearing to be fading and blending, Kim Woo Young captures the nostalgic beauty of Han-ok (traditional Korean houses) in the countryside of South Korea. The work bears striking resemblance to that of a calligraphy painting: wooden beams as strokes of black ink and the soil walls as mulberry paper. Despite these images appearing to be black-and-white, they are in colour, but not as a result of Kim’s retouching. Such an uncanny feature has to do with Kim’s ideal shooting time: the early morning and rainy days, and preferably winter time. Hanok 0053 conceptually illustrates the disruption of spatiality by capturing three-dimensional architecture and dwellings as two-dimensional, impeccably flat, and painting-like images. Kim received his BA and MFA in urban design and industrial design from Hongik University, and later a BFA and an MFA in photography from School of Visual Arts in New York. He has had exhibitions internationally at Seoul Museum of Art (2017); Choi Sunu House Memorial Museum, Seoul (2016); and Hofburg Imperial Palace, Vienna (2007). Kim’s work is in the collections of Seoul Museum of Art; Leeum Samsung Foundation, Seoul; Bonte Museum, Jeju; and Il-Min Museum, Seoul.

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Heman Chong 張奕滿

Things That Remain Unwritten #138 2021 Acrylic on canvas 46 × 61 × 3.5 cm Unique (Signed and dated verso) Estimate: HK $ 60,000–80,000 HKD Generously donated by the artist and Amanda Wilkinson Gallery

b. 1977 in Malaysia; lives and works in Singapore

Heman Chong is an artist whose work is located at the intersection between image, performance, situations, and writing. His practice can be read as an imagining, interrogation, and sometimes intervention into infrastructure as an everyday medium of politics.

The paintings that constitute the series Things That Remain Unwritten are images set adrift, castaways, and things that are lost. They exist within the territory of secrets. These are stories that have been forgotten, erased, censored, and unwritten. Humans gaze into the realm of the ambiguous, void, and suspense and encounter familiar genres within this state. The series evokes an autobiographical grapple with the histories of painting. A process started in July 2013, Things That Remain Unwritten complements an earlier series Cover (Versions), and both series are often presented in tandem without any clear boundaries, flowing in and around each other, constantly entangled and intertwined. Chong’s work has been the subject of solo exhibitions at Singapore Art Museum (2020); Jameel Art Centre, Dubai (2019); Swiss Institute, New York (2018); Rockbund Art Museum, Shanghai (2016); and Art Sonje Center, Seoul (2015). He has also participated in group exhibitions at Performa 19, New York (2019); the National Museum of Art, Osaka (2015 and 2018); Pirelli Hangar Bicocca, Milan (2017); Tate Modern, London (2015); and Para Site, Hong Kong (2011 and 2012). Chong is the co-director and founder (with Renée Staal) of The Library of Unread Books, a library made up of donated books previously unread by their owners.

b. 1957 in Glen Cove, NY, United States; lives and works in New York, NY

Operating at the interstices between painting and photography, the work of Carrie Yamaoka uses silver mylar as both ground and surface: the film on which an image emerges. Urethane resin is cast around or poured on mylar, and its reflective coating inevitably captures the viewer’s body in space—implicating them as subject and editor. The unstable image, distorted and in flux due to the viewer’s shifting position and changing light, crosses into abstract synthesis: a body plastiglomerate whose unsettled reflection engenders a liminal moment of appearance and disappearance, recognition and denial. This polyphony of outcomes renders Yamaoka’s paintings less static objects than networks of encounter, comprising the chains of happenstance linking casts and pours of resin with the meeting of viewer and object. Yamaoka received a BA from Wesleyan University in 1979 and attended the Tyler School of Art, Rome, Italy from 1977–78. Henry Art Gallery, University of Washington, Seattle organised her solo exhibition in 2019. Yamaoka has been featured in group exhibitions at Centre Pompidou, Paris (2020); Leslie-Lohman Museum, New York (2017 and 2018 2017); Bronx Museum of the Arts (2016); and MoMA PS1, New York (2015). Yamaoka’s work is in the collections of Albright-Knox Art Gallery, Buffalo; Centre Pompidou, Paris; Henry Art Gallery, Seattle; and Victoria and Albert Museum, London.

Carrie Yamaoka

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14 by 11 ( wall.peel #4) 2020 Urethane resin, reflective polyester film, mixed media, wood panel 36 × 28 × 4 cm Unique Estimate: HK $ 25,000–45,000 Generously donated by the artist and Commonwealth and Council

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Uri Aran

Clown Monument 2020 Oil pastel, graphite, china marker, colour pencil on paper 35.4 × 47.1 × 3.8 cm (framed) Unique Estimate: HK $ 40,000–60,000 Generously donated by the artist and Sadie Coles HQ, London

b. 1977 in Jerusalem, Israel; lives and works in New York, NY, United States

The practice of Uri Aran encompasses a wide range of media and subject matter, including film, sculpture, drawing, and assemblage. Throughout his practice, Aran constructs a language of indeterminate signifiers in an ongoing pursuit of graphic and linguistic systems, often pushing these systems to the point of disintegration.

Clown Monument (2020) forms part of a recent series of works on paper that began as an everyday practice in the artist’s studio and partly as a collaborative response to the writings of others. In each, gestural markings, anthropomorphic forms and automatist elements are interwoven, creating an open-ended narrative or internal logic that questions ways of seeing and interpretation.

The work’s title likewise follows this conception of a self-contained dialogue unfolding on the page: Clown Monument invokes an unexpected duality, denoting the gravity of traditional public memorials, impishly offset by the inflection of the absurd or the comedic. He has exhibited internationally including at the Drawing Center, New York (2020); Fruitmarket Gallery, Edinburgh (2019); Walker Art Center, Minneapolis (2016); Tel Aviv Museum of Art (2015); South London Gallery (2013); the Whitney Biennial, New York (2014); the 55TH Venice Biennale (2013); and the High Line, New York (2012).

Estimate: Priceless Generously donated by the artist

William Lim Studio Visit

Gain a behind-the-scenes look at the practice of William Lim, renowned artist, architect, and collector. As Founder and Managing Director of CL3 Architects, William Lim (b. 1957 in Hong Kong; lives and works in Hong Kong) brings over twenty years of experience to his projects.

William graduated from Cornell University and has been at the forefront of architecture, culture, and art globally.

Since founding CL3 in 1992, William has achieved worldwide recognition with award-winning architectural and interior projects for hotels, restaurants, retail, corporate, residences, and art installation design.

Throughout his art career he has been shown internationally, most notably Hong Kong & Shenzhen Bi-City Biennale of Urbanism/Architecture, in (2007, 2009 and 2017); Venice Architecture Biennale (2006 and 2010); .His signature piece, West Kowloon Bamboo Theatre, was awarded the Grand Award and Special Award for the Culture in Design for Asia Award in 2013.

He was conferred an Honorary Doctorate degree by Savannah College of Art and Design (SCAD) in 2018.

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Drawing Plants on Lantau Island with Zheng Bo

Estimate: Priceless Generously donated by the artist and Edouard Malingue Gallery

Join artist Zheng Bo (b.1974, Beijing; lives and works on Lantau Island, Hong Kong) on a walking and drawing exercise on Lantau Island, where the artist is based. In reaction to the deceleration forced upon him by COVID-19, Zheng started hiking each morning during lockdown and sketched the flowers, leaves, and stems of small plants that caught his attention, using tools as minimal as a piece of paper and a 6B pencil. The plant life on Lantau Island is oft-overlooked, and Zheng’s drawing exercise is a testament to Hong Kong’s subtropical biodiversity. Committed to more-than-human vibrancy, Zheng investigates the past and imagines the future from the perspectives of marginalised communities and marginalised plants. He creates weedy gardens, living slogans, eco-queer films, and wanwu workshops to cultivate ecological wisdom beyond the Anthropocene extinction. Zheng has had solo exhibitions at the Gropius Bau, Berlin (2021); Kadoorie Farm and Botanic Garden, Hong Kong (2021); Institute of Contemporary Arts at NYU Shanghai (2019); Parco Arte Vivente, Turin (2018); and TheCube Project Space, Taipei (2016). He has participated in group exhibitions at Para Site, Hong Kong (2021 and 2016); Liverpool Biennial (2021); Yokohama Triennale (2020); and Manifesta 12, Palermo (2018).

Zheng’s work is in the permanent collections of Power Station of Art, Shanghai; Hong Kong Museum of Art; Singapore Art Museum; and Hammer Museum, Los Angeles.

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CONDITIONS OF SALE The properties offered in this sale are donated by the artists and galleries to be auctioned at the 2021 Para Site Silver Jubilee Gala Auction held from November 10, 2021 to November 25, 2021, Hong Kong time. Proceeds from the sale of the properties will be used to support Para Site’s programming and initiatives worldwide. Please read carefully the following terms and conditions which govern the fundraising auction. They may be amended by posted notices or oral announcements made during the auction. By bidding at the fundraising auction the bidder agrees to be bound by these terms.

1 ( a ) Para Site does not assume any risk, liability, or responsibility for the authenticity of the authorship of any property offered at this auction (that is, the identity of the creator or the period, culture, source, or origin, as the case may be, with which the creation of any property is identified).

( b ) All property is sold “as is”, and the donors of the properties and Para Site do not make any representations or warranties of any kind or nature, expressed or implied, with respect to the property, and in no event shall it be responsible for the correctness of any catalogue or notices or descriptions of property, nor be deemed to have made any representations or warranty of physical condition, size, quality, rarity, importance, genuineness, attribution, authenticity, provenance, or historical relevance of the property.

No statement in any catalogue, notice, or description, or made at the sale, in any bill of sale invoice or elsewhere, shall be deemed such a representation or warranty or any assumption of liability. Para Site does not make any representation or warranty, expressed or implied, as to whether the purchaser acquires any reproduction rights in the property. Prospective bidders should inspect the property before bidding to determine its condition, size, and whether or not it has been repaired or restored.

( c ) Any property may be withdrawn by Para Site at any time before the actual sale without any liability thereof.

2 Absentee bids will only be accepted via Para Site absentee bid form by November 24, 2021, noon (12 p.m.) Hong Kong time. Para Site confirms absentee bids only by email and will confirm receipt of absentee bids by email. Para Site reserves the right to reject a bid from any bidder. The highest bidder acknowledged

by Para Site shall be the purchaser. In the event of any dispute between bidders, Para Site shall have the sole and final discretion either to determine the

successful bidder or to reoffer and resell the article in dispute. If any dispute arises after the sale, Para Site’s sale records shall be conclusive in all respects. The successful bidder assumes full responsibility for the lot and payment of the lot.

3 All lots without a reserve will be sold to the highest bidder, regardless of the pre-auction estimate printed in this program. No buyer’s premium will be charged for any of the lots. If the auctioneer determines that any opening bid is not commensurate with the value of the property offered, s/he may reject the same and withdraw the property from sale, and if, having acknowledged an opening bid, s/he decides that any advance thereafter is insufficient, s/he may reject the advance.

4 At the auction’s end, the highest bidder shall be deemed to have purchased the offered lot subject to all of the conditions set forth herein and thereupon (a) assumes the risk and responsibility thereof (including without limitation damage to frames or glass covering artworks), (b) will sign a confirmation of purchase thereof, and (c) will pay the full purchase price as well as a transaction fee therefor, including without limitation any taxes where applicable. All property will be sent to a public professional art warehouse for the account and risk of the purchaser. Para Site will allow the purchaser to arrange the transportation of the property from the warehouse within 30 calendar days, and the purchaser is expected to cover any expenses related to the transportation of the property from the warehouse to the purchaser’s desired destination.

If the foregoing conditions and other applicable conditions are not complied with, in addition to other remedies available to Para Site by law, including, without limitation, the right to hold the purchaser liable for the bid price, Para Site at its option, may either (a) cancel the sale or (b) resell the property on three days’ notice to the purchaser and for the account and risk of the purchaser, either publicly or privately, and in such event the purchaser shall be liable for payment of any deficiency, all other charges due hereunder and incidental damages.

5 Payment made by a purchaser will be accepted via credit card, PayPal, bank transfer, or cheque. Payment will not be deemed to have been made in full until Para Site has collected good funds, including those charges made by credit card. Any cheques should be made payable to Para Site.

All proceeds from the 2021 Para Site Silver Jubilee Gala Auction will support Para Site programming and initiatives worldwide.

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For any inquiries please contact Jacqueline Leung (jacqueline@para-site.art)

Special conditions as applicable to Lot 15 Firenze Lai

I Sale of the Work must be subject to the conditions as stipulated by Firenze Lai and Vitamin Creative Space (hereinafter ‘the Donor’):

( a ) The buyer of the Work shall agree to ( i ) loan the Work to the Donor upon the Donor’s request from time to time at the cost of the Donor and ( ii ) obtain the Donor’s written consent should the buyer wishes to loan the Work to any party other than the Donor.

( b ) The buyer being obliged to first offer the Work to the Donor should it intend to sell or otherwise dispose of the Work.

II The buyer of the Work shall agree to be bound by the terms of the license of copyright in relation to the Work granted in this agreement.

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ACKNOWLEDGEMENTS Artists

Refik Anadol Uri Aran Julieta Aranda Michael Armitage Xyza Cruz Bacani Beeple Bernd Behr 白伯恩 David Boyce Deborah Brown Cai Guo-Qiang 蔡國強 Candy Bird 糖果鳥 Gordon Cheung 張逸斌 Cheung Tsz Hin 張子軒 Luke Ching 程展緯 Elaine Chiu 趙綺婷 Heman Chong 張奕滿 Revital Cohen & Tuur Van Balen Abraham Cruzvillegas Cian Dayrit Elmgreen & Dragset Frog King 蛙王 Antony Gormley Jake Grewal Ho Sin Tung 何倩彤 Roni Horn Alfredo Jaar Kim Woo Young 金祐暎 Vvzela Kook 曲淵澈 Yayoi Kusama 草間彌生 Firenze Lai 黎清妍 Law Yuk-mui 羅玉梅 Lee Bul 李昢 Lee Kit 李傑 Lee Seung Taek 李升澤 Leung Chi Wo 梁志和

Galleries Shuang Li 李爽 Minouk Lim 林珉旭 William Lim 林偉而 Lin Jingjing 林菁菁 Erbossyn Meldibekov Ciprian Mureșan Paulina Olowska Prabhakar Pandurang Pachpute Jorge Pardo Sunmin Park Dan Perjovschi Clément Rodzielski Torbjørn Røland Ed Ruscha 愛德華 ·魯沙 Matthias Schaller 馬提亞 ·沙勒 Jim Shaw Tsherin Sherpa Homer Shew Wilson Shieh 石家豪 Sin Wai Kin 單慧乾 Daniel Steegmann Mangrané Angela Su 徐世琪 Szeto Keung 司徒強 Stephen Thorpe Charwei Tsai 蔡佳葳 Pae White Wong Chun Hei 黃進曦 Ming Wong 黃漢明 Wu Jiaru 吳佳儒 Wu Shuang 吳霜 Xper.Xr Carrie Yamaoka Samson Young 楊嘉輝 Stella Zhang 張爽 Zheng Bo 鄭波 Zhu Jinshi 朱金石

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Special thanks to

Neto Abreu Claudia Albertini Meene An Zohra Azi Jam Azucar Miguel Badiola Borje Olga Boiocchi Osei Bonsu Mayu Buet Diana Campbell Chan Cheuk Wan Tammy Kurt Chan Nicky Chan Heng Wai Sirius Chan Johnson Chang Jennifer Chiang Chienying Chen Stephen Cheng Riccardo Chesti Ching Ching Cheung Cheung Chi Man Joseph Ivan Cheung Maggie Cheung Natasha Cheung Stephanie Chik Freya Chou Janet Chow Jehan Chu Mimi Chun Young Chung Lisa Dai Pascal de Sarthe Sylvie de Sarthe Katie de Tilly Faina Derman Regina Fiorito Sharon Fung Gallery Exit Gridthiya Gaweewong Oliver Giles Alexie Glass-Kantor Elyse Goldfinch Sadie Granberg Han Chun Yueh Vivian Har Sarah Heller Marc Hesse Ho Yan Ni Amanda Hon

Hans Ulrich Obrist Masahito Ono Adeline Ooi Alice O’Reilly Qu Chang Raimondo Romani Fabio Rossi Max Shackleton Mandy Shek Ashley Shen Masako Shiba Sakura Shimizu Paola Sinisterra Tara Sobti Felix Stollenwerk Inez Suen Niklas Svennung Piotr Święs Katarina Synic Peter Terela Shasha Tittman Lihsin Tsai Ella Tse Tse Ming Sze Macy Odetti Tse Henrietta Tsui Jing Wang Heather Ward Sara Warne Weng Xiaoyu Wong Chun Hei Clara Wong Frances Wu Giarratano Human Wu Shelly Wu Jian Yang Kelvin Yang Penny Yeung Tsz Hang Candice Yiu Yiu Yuen Ting Kitty Kenneth Young Jennifer Yue Nick Yu Lulu Zhang Baixin Zhou Sam

Verônica Hornyansky Cami Hui Hui Yin Tung Miki Bernadette Hung Yi-Boe Huynh Ip Ka Man Rannie Amrita Jhaveri Joe Kennedy Lorraine Kiang Kibum Kim Mi Jeong Kim Soyoung Kim Nick Koenigsknecht Kong Kee Kristy Kong Kong Tsz Ching Zandra Vvzela Kook Anastasia Krizanovska José Kuri Arman Lam Damon Lam Kaman Lam Carmen Lau Megan Leckie Patrick Lee Sabrina Lee Sunghee Lee Helen Leung Jessica Leung Angela Li Anqi Li Li Cheuk Kiu Casper Christina Li Charlotte Lin Hsiu-man Lin Luo Yudan Mihaela Lutea Edouard Malingue Monica Manzutto Mairhead McKinley Audrey Min Monica Mong Max Moore Yas Mostashari Bonaventure Ndikung

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Global Council

Founding Friends

Shane Akeroyd Mimi Brown & Alp Ercil Jehan Chu Samantha & Jamie Goodman Benedicta M Badia Nordenstahl Vanessa Ying Xu Virginia Yee Ethan Yip

AllRightsReserved and DDT Store Burger Collection, Hong Kong Stephen Cheng CMBB Cultural Organization David Zwirner Gallery A. Gaw Mimi & Chris Gradel Inna & Tucker Highfield IEs Collection Alan Lau Wendy Lee James Lie Edouard & Lorraine Malingue Schoeni Projects SUNPRIDE FOUNDATION

Friends

Associates

Nick & Cordula Adamus-Voegtle Christine & James Boyle Rachel Catanach & David Boyce Lawrence Chu Jane DeBevoise Yan Du Jacobo Garcia Gil Kwai Fung Foundation Alan Lo Ingrid Lok & Tim Li Kenneth K Loo Elaine W. Ng Justin Ng Arjuna Rajasingham Stefan Rihs Fabio Rossi Angelle Siyang-Le Bonnie & Darrin Woo Kelly Yip

Erica Bibby Stefano Del Vecchio Kee Foong & Andres Vejarano Jane Lombard Gallery Bernhard & Cordula Kotanko Joyce & Gus Lee Ying Yue Li HG Masters Doreen Merkel & Akshay Bajaj Ocula Silverlens Paola Sinisterra & Ignacio Garcia Wkshps

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Board of Directors

Para Site Team

Advisors

Alan Lau Ka Ming

Cosmin Costinaș

Tobias Berger

Chair

Executive Director/Curator

Mimi Brown

Kelly Ma

Damian Chandler

Deputy Director

Reina Chau

劉家明

Mimi Chun Mei-Lor

康喆明

秦美娜

馬元中

Bonnie Chan Woo Tak Chi

Celia Ho

Vice Chair

胡陳德姿

Treasurer Sara Wong Chi Hang

何思穎

David Clarke

Curator

祈大衛

Cusson Cheng

Deborah Ehrlich

黃志恒

鄭家醇

Nick Adamus

Kobe Ko

Secretary

周譚蕙菁

Project Manager/Assistant Curator

艾心玫

Patrick Foret

Shane Akeroyd

安定山

Kurt Chan Yuk Keung 陳育強

Antony Dapiran 戴安通

高穎琳

Claire Hsu Ellie Tse

徐文玠

Project Manager/Assistant Curator

Hu Fang

謝意

Jason Chen

Young Kar Fai Samson 楊嘉輝

胡昉

陳子岳

Tim Li Man-Wai

Communications Manager

李民偉

Jacqueline Leung

Kai-Yin Lo

Alan Lo 羅揚傑

Anselm Franke

Project Manager/Assistant Curator

梁婉揚

Development Manager

羅啟妍

Jessica Morgan Kelly Tang 鄧曉妍

Magnus Renfrew

Gallery Manager Honus Tandijono Shirley Au

歐尚卿

Gallery Coordinator

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