Our City. Our Vision| Joint Exhibition of Wong Hau Kwei and Fok Wai Chung

Curated by Eliza Lai Mei Lin

3 January 2019 – 19 JANUARY 2019

a.m.space Hong Kong is proud to present Our City. Our Vision,  exhibition of Wong Hau Kwei, Fok Wai Chung The exhibition is the second part of the “Ink Long March Project 2018-2019”.  The two artists will rediscover issues in our city through their artworks.

Wong Hau Kwei (b.1946, Chongqing) graduated from the China Textile University in Shanghai in 1969. He studied painting under the renowned painter Huang Zhou and was deeply influenced by him. Wong moved to Hong Kong in 1978, returning to China briefly as a visiting artist of the Shenzhen Fine Art Institute. He is a board member of the Chinese Painting Institute, Hong Kong.
Wong has received numerous awards for his artistic achievements, including the National Exhibition of Arts in China Award (1999 and 2000), the Secretary for Home Affairs’ Commendations, Hong Kong Contemporary Art Award (2001 and 2009) and the Hong Kong Achievement Award in Contemporary Art (2012).
 His works have been collected by the China National Museum of Fine Arts, Hong Kong Museum of Art, Shenzhen Art Institute, Guan Shanyue Art Museum, Chinese Painting Institute, and others.

Fok Wai Chung, Chantal was born in Hong Kong in 1989. Fok is a fine Arts graduate in The Chinese University of Hong Kong with First-Class Honours Degree in 2014. In obsessed with Tibetan Buddhism history and art, Fok went to study Thangka painting in Shangri-La and Nepal after graduated. In years of studying Chinese fine line painting and learning traditional Thangka skill, her works are the combination of the colour adoption, structure and conception with her studies, and create a new point of view to reflect the contemporary social issues.

Ink Asia 2018

That’s it《沒有意義》

TAO Hoi Chuen

28 September 2018 – 2 October 2018 

Hong Kong Convention and Exhibition Centre

a.m. space is proud to present TAO Hoi Chuen’s solo exhibition, That’s it, at Ink Asia 2018.

Tao Hoi Chuen practices contemporary Chinese Ink painting. Using Chinese Ink as a means to discuss the existential significance, functionality of painting and the essence of art. We will present his latest Chinese fine-lined figurative paintings and his award-winning ink installation, Being as it is (2018), a set of 7 paintings depicting various unconscious figures.The painter approaches the essence of existence by revolting against the idea of meaningfulness. Eradicating the traditional approach of semiotics, the painter emphasises on intuition and the presence the object.

a.m. space 在「水墨藝博 2018」呈現杜海銓個展《沒有意義》。
杜海銓探討作品的存在意義,思考關於繪畫功能,藝術本質等問題。本展覽將展示畫家得獎作品,一組七件水墨裝置《如是存在》,以及最新的人物工筆畫。畫家描繪人物睡眠的姿態,透過觀察人的無意識狀態,反抗流於表面的「意義」,單純地呈現並探尋存在的本質。

杜海銓 TAO Hoi Chuen, Jacky
只為綻放而綻放 White Camellia
水墨設色紙本 Chinese Ink and Colour on paper
33 x 50 cm
2018

To continue questioning about the meaning of creation, is to question about the function of paints, the nature of art. By time goes I gradually realised that, most meanings are endowed by people; for example, we believe that art will change the world, because we need art continue generating for certain reason, we want to look for the ultimate essence of art, to provide motivation for working on art But art can be meaningless, thus meaningless can also be meaning of art.
Therefore, the main axis of Tao’s works is to delete the meaning. For example, the sleep, which is the most static state of human being except for the death, is presenting human being as it is; the painted texture of paper on paper is returning to the material nature of paper. During the long process of painting, this Sisyphus-way is constantly questioning the meaning of the existence of art work.
Perhaps , the only meaning painting needs is meaningless.

Artist statement for the exhibition That’s it , Tao Hoi Chuen, 2018
杜海銓 TAO Hoi Chuen, Jacky
理性的鄉愁 The Nostalgia of rationality
水墨設色紙本 Chinese Ink and Colour on paper
93 x 104 cm
2018

對創作的意義繼續追問下去,是關於繪畫功能,藝術本質等問題。後來我慢慢發現大部分意義都是人為賦予的,例如深信藝術可以改變世界是因為我們需要讓藝術繼續合理地發生,我們要通過尋找藝術的終極本質來充實繼續做作品的原因。創作本身可以是沒有意義的,那麼沒有意義也可以成為作品存在的唯一意義。
因此,對意義的刪減成為杜氏創作的主軸。例如睡覺行為是死亡以外,人最靜止的狀態,就是要把人存在的事實如其所是的單純呈現;在宣紙上畫出紙的紋理是為了回到紙為物本身。在緩慢的繪畫過程中,這是一個「薛西弗斯式」的方法,不斷詢問作品的存在意義。在畫紙上畫多少條相同的線都會有畫完一整幅畫的時候,但真正重覆而沒有意義的,可能是不斷創作的行為本身。
繪畫或許只需要一種意義,就是沒有意義。

杜海銓個展《沒有意義》藝術家自白, 2018
杜海銓 TAO Hoi Chuen, Jacky
Jones and Smith
水墨設色紙本 Chinese Ink and Colour on paper40 x 47 cm
2018


About the artist
Tao Hoi Chuen, Jacky was born in Hong Kong in 1996. He graduated from the Fine Arts department of The Chinese University of Hong Kong in 2018. He has spent his life in Beijing, Taiwan. His artworks are exhibited in Hong Kong and Taiwan, including Ink Asia 2017, Art Formosa 2018, and Ink as an Exercise in Contemporary Art II (a.m. space, 2018). Tao expresses himself through drawing, calligraphy, photography and installation. He is most skilled at traditional Chinese fine-lined painting. His works reflect his contemplation on existentialism and phenomenology. He thinks the structural line and chiaroscuro presented in Chinese fine-lined paintings help to present the essence of objects. He is awarded Y.S. Hui Fine Arts Award, Chinese Painting and Calligraphy Creative Award and Wucius Wong New Ink Art Award (2017,2018).

關於杜海銓
杜海銓,1996年生於香港,2018年畢業於香港中文大學藝術系。曾居北京、台灣,並於香港與台灣參與展出,包括「水墨藝博2017」﹑「福爾摩沙國際藝術博覽會2018」,以及2018年於a.m. space《墨色作為一種當代藝術的練習II》曾翠薇、杜海銓雙個展。杜氏創作涉獵繪畫、書法、攝影、錄像和裝置等媒介,尤以工筆畫為主,近年作品內容與存在主義和現象學有關,認為工筆畫結構性的造型線條和明暗筆觸等視覺效果的省略有助於呈現事物自身,曾獲獎項包括「許讓成藝術獎」、「中國書畫創作獎」、「王無邪新水墨創作獎」等。

高雄藝術博覽會 2018

English Version

鄭虹
鄭燕垠

2018年11月30日至12月2日
駁二藝術特區P3-06
台灣高雄市鹽埕區大勇路1號

鄭虹走進霧裏去炭枝﹑鉛筆布本, 18 x 18 cm2018

a.m. space將會在2017高雄藝術博覽會展出鄭虹鄭燕垠的作品 。

生活的一半時間在虛幻中,遇上空氣回到清澈時,
我追逐一些儲存時間的想法,
那時候的光線,着眼的某個景物,
讓一切靜止,成為永恆的地方,
凍結著所有時刻,讓空間在時間的停頓中不斷伸延,
凝望的時間變成可被延伸的寂靜。

鄭虹藝術家自白

鄭虹是個都市的漫遊者。她熟習城市的角落尋覓自己呼吸的空間。以極簡的構圖,將都市風景記錄下來。她的作品聚焦在充滿個人情感的地點,透過減去法發掘出城市在黑夜中的美感。在作品中,光和影在建築物上的交錯成為了主角。
探討文字和圖像在符號化過程中的斷裂。運用不同「符號」引發游離感,在最熟悉的事物中揭露不熟悉:光線的投放折射,城市的景像解體,日常生活的寧靜節奏 。她以這些符號指向逃離城市的捷徑。鄭虹構想的土地,多半是她熟悉的地方。刻意地把畫面的細節除去,重新發現熟悉中的陌生感,幻想空間中有一對對逃生門。這些幻想對能帶她離開現實無能為力的時刻。走入混沌迷糊 。對鄭虹來說,這些空間蘊涵杳無人煙﹑時間停頓的荒謬性,她卻堅信這地方存在的可能性。

鄭燕垠腳毛山油彩布本, 70.5 x 60.5 cm2018

鄭燕垠則以繪畫作為思考與觀看的方式。鄭氏用色大膽,流動多變地營造畫面,不同筆觸粗細、拼貼、層次幾乎能在作品中找到,情感顯露於畫面之中。對於藝術家而言,畫家主宰畫面,在營造畫面的過程中實際上是製造一個場境與世界,將不同的元素細緻考慮與安排,才能製造出藝術家心目中的「大千世界」。藝術家希望觀眾能進入這些場境與作品,從這些場境與世界中游盪並詮釋,在作品間找到彼此的聯繫。

「凡事都有邊界,只在乎什麼形式表達。[…] 對我而言,這是改變觀看的方法,也是將現實物件連繫到我的畫作中,繪畫者作為一個中介人,則嘗試將現實與虛構的聯想連接過來。而這次,則購買了一堆恐龍玩具,令繪畫的過程更生趣。」

鄭燕垠藝術家自白

藝術家視繪畫為其中一個表達方式,其心態是流動的,亦不會堅執於繪畫的世界中。鄭燕垠利用繪畫來觀察世界,能讓她接觸不同的事物,例如繪畫期間會收集不同的模型與玩具,研究與觀察當中的結構與用色,然後套用到繪畫之中。依循這種思路,藝術家將繪畫視為一種圖像再現時,聯繫到影像的思考與分析中。

About the artists

鄭虹鄭燕垠
生於1993年,畢業於香港中文大學(文學士),主修藝術。作品於高雄藝博2017展出。2017年獲得出爐藝術新秀獎和嘉圖創作獎。2018年參與寶藏巖國際藝術村駐留計劃。鄭虹希望在城市中找到可以逃離的捷徑。她相信沒有親眼所見的事,就算聽起來很荒謬,也願意去相信飄渺的可能性。

更多藝術家資訊

於2017年畢業於香港浸會大學視覺藝術系,並於畢業展獲得特別提名獎。她透過繪畫、油畫及實驗攝影等作品展示出她對日常生活及大自然的觀察。鄭熱愛以各種生活體驗為題,從她的作品中可窺探出一種藝術家對新事物持有的開放態度。

更多藝術家資訊

傳媒聯絡
王俊昇
✉  amspace@artmap.com.hk
✆  +852 56254709
☏ +852 25479898

作品

鄭燕垠左右左左右油彩布本, 15.5  x 15.5 cm 一組四件2018


Art Kaohsiung 2018

Chinese Version 中文

CHENG Hung 鄭虹
CHENG Yin Ngan  鄭燕垠

30 November – 2 December, 2018

Booth P3-06
The Pier-2 Art Center, Yancheng District, Kaohsiung, Taiwan

CHENG Hung, In to the mist (cover), Charcoal, pencil on canvas, 18 x 18 cm, 2018

a.m. space proudly presents the works of CHENG Hung, CHENG Yin Ngan in Art Kaohsiung 2018.

CHENG Hung is proficient in exploring every corner in the urban city for locations for gasping for breath.  She captures the cityscape with minimal compositions.  Her works focus on the intermediate between empty spaces and personal places.  With the technique of subtraction, Cheng develops aesthetics of the nocturnal city.  The lights and shadows become the protagonists of the story in her charcoal installations.  She explores the disintegration between text and images in the process of symbolization.  She uses images as symbols to incur the sense of alienation, to expose the unfamiliarity in the scenery she deems the most familiar with.  Through symbolism, She hopes to find a shortcut to escape from the city.
The constructed lands in Cheng’s works are mostly the places she is familiar with.  She deliberately removes the details in images, and further rediscovers the foreignness in familiar places.   In her fantasy, she can escape the impotent moments in reality and walk into a chaotic confusion, which is far away from reality.  Despite the absurdity of being God-forsaken and timeless, Cheng has infinite faith in the possibility of such spaces.

CHENG Yin Ngan, Haha mountain, Oil on canvas, 70.5 x 60.5 cm, 2018

CHENG Yin Ngan suggests, ‘there are borders in all matters. It only depends on how the borders are presented.’ Thus, the artist treats painting as a way of expression. Her state of mind is fluid and not limited to the world of paintings. Her state of mind is fluid and not limited to the world of paintings. She observes the world through painting, which allows her to make contact with different matters. For example, she collects different models and toys for her paintings. She studies the structures and colors of them and applies to the painting. We can say that the artist uses paintings as a reincarnation of images.media contact:

Press Relations
Wong Chun Sing
✉  amspace@artmap.com.hk
✆  +852 56254709
☏ +852 25479898

About the artists

CHENG HungCHENG Yin Ngan
(b.1993.HK) graduated with the Degree of Bachelor of Arts from the Chinese University of Hong Kong (Major in Fine Arts). Her works were exhibited in Art Kaohsiung 2017. She was awarded Fresh Trend Art Award and Grotto Fine Art’s Creative Award in 2017. She completed the artist residency program in Treasure Hill Artist Village in 2018.

More artist information

(b.1995.HK) graduated from the Academy of Visual Arts,Hong Kong Baptist University in 2017, and was awarded special mention prize at the AVA BA Graduation Exhibition. She visualizes her observations in daily life and nature with oil painting, drawing and experimental photography. She is now open to new experiences and seeks chances to travel, varying the experiences and environments that are reflected in her work.

More artist information

Artwork

CHENG Hung, In the old studio in Kwai Chung, Charcoal on canvas, 91 x 91 cm, 2018
CHENG Hung, At some of the nights (cover), Charcoal, pencil, typewriter on notebook, 18 x 23 cm, 2018
CHENG Hung, In the tunnel of last year, Charcoal on canvas, 62 x 82 cm, 2017
CHENG Hung, The Darkness around the corner, Charcoal on canvas, 145 x 110 cm, 2018
CHENG Hung, Light , Charcoal on canvas, 27 x 35 cm, 2018
CHENG Hung, In to the mist (page 16, 17), Charcoal, pencil on canvas, 18 x 18 cm, 2018
CHENG Hung, Inside, outside, Charcoal, pencil on canvas, 61 x 81 cm, 2018
CHENG Hung, Automatic sensor light at the staircase, Charcoal, pencil on canvas, 146 x 110 cm, 2018
CHENG Hung, In the middle, Charcoal, pencil on canvas, 110 x 72 cm, 2018
CHENG Hung, Sitting on the ground seeing the stone above me, Charcoal, pencil on canvas, 105 x 120 cm, 2018
CHENG Yin Ngan, Happy tree friend I, Oil on canvas, 100 x 100 cm, 2018
CHENG Yin Ngan, Happy tree friend II, Oil on canvas, 130 x 130 cm, 2018

CHENG Yin Ngan, Left, right, left, left, right, Oil on canvas, 15.5 x 15.5 cm x 4, 2018


Art021 Shanghai 2018

Duo exhibition
CHANG Huei-Ming 張暉明
LIAO Chi-Yu 廖祈羽

8 – 11 November, 2018
P06, Shanghai Exhibition Centre
Art021 Shanghai Contemporary Art Fair 2018

a.m. space proudly presents Loveseat, Garden Restaurant—Duo exhibition by CHANG Huei-Ming & LIAO Chi-Yu in Art021 Shanghai Contemporary Art Fair 2018.

Upon entering the house, concrete Roman columns, embossed trim and jacquard lampshade are seen. If fortunate enough, there will also be mural imitation of the Versailles and shimmering chandeliers. Food is of course Western. Its texture and appearance are quite strange. This is a dining experience of a foreign country. However… why is there no garden in this ‘Garden Restaurant’ in the city?

CHANG Huei-Ming and LIAO Chi-Yu are a couple in life and partners at work. They have overlapped daily life and work environments, and they support each other. But they have their own subject matters in work and contrasting characters. Hardly do they exhibit together. In this modest duo exhibition, a complete viewing experience that shows the two artists’ independence is created. It becomes an interesting part of the exhibition model and discussion process.

‘Garden Restaurant’ was very popular in Taiwan back in the 80s. It reflected an unfamiliar and distant ideal imagination of people. For CHANG and LIAO, this shared memory and experience is perhaps an appropriation of image. It shall be elaborated for the rough but stimulating paradigm of imaginative space of a foreign place for the public. In this exhibition, CHANG will show a series of object imitations made with 3D technology. They transform between materials and forms in an infinite loop in their respective videos. Due to a space independent of reality, projection of people’s desires are made stereoscopic further. LIAO, on the other hand, uses preparation materials of past video works, namely storyboards, as the blueprint of a series of paintings. Desire and accident exist within her work. The scenes in the paintings also show the nervousness and absurdity of life between virtual and real.

About the artists

CHANG Huei-Ming mainly created kinetic installation in the past. Recently, he extends his practice to creating many video works. Through a clean and cold style of image narration, the confusing feeling of the limits and inter-comparisons of time and life are described. He was invited recently to participate in large-scale international exhibitions such as Asia Triennial Manchester. As a recipient of the Taipei Arts Award, his works are much followed. At the same time of the solo exhibition (22-26 March) by invitation of a.m. space, he will show many brand new video and installation works at booth 1C49 in Art Basel Hong Kong 2016.

LIAO Chi-Yu mainly dressed up in costumes and created videos in her early works. Through thorough external and self- observation, the conflict between goodness of life and violence everywhere is delicately described. Memory is where imagination and creation reside. Her works are widely exhibited locally and aboard. ‘Sanssouci Park’ (a.m. space, 2015) is a recent highlight solo exhibition.

情人雅座 花園餐廳

張暉明 廖祈羽雙人展

我們很高興宣佈a.m. space將會在2018 ART021 上海藝術博覽會展出情人雅座 花園餐廳— 張暉明 廖祈羽雙人展。

一進門映入眼簾是水泥砌成的羅馬柱、浮雕飾條、緹花燈罩,幸運的話,還有仿凡爾賽宮壁畫,以及熠熠生輝的水晶燈,餐點當然該是洋食,口感外觀有幾分陌生遙遠,這是充滿異國雅興的用餐經驗,不過…這座落市區的「花園餐廳」,怎麼沒有花園?

張暉明、廖祈羽兩位創作者既是生活伴侶亦為工作夥伴,於日常和工作環境多有重疊之處,相互支援,但各自作品主題、調性迥異,極少受邀參與同一展覽,於是如何在這一小型雙個展中,創造具備完整性的觀看經驗,同時呈現兩人獨立特性,成為展覽型塑/討論過程中有趣的部分。

「花園餐廳」在八零年代的台灣曾蔚為流行,反映人們嚮往一種不真正熟悉且遠方的美好想像,這個共同記憶和經驗對張暉明、廖祈羽而言,也許是形象挪用、雖略顯粗糙卻容易激起大眾置身異地的想像時空典範,正可借題發揮。於是次展覽,張暉明將展出一系列以3D製作的仿真物件,它們在各自的錄像裡面以無限循環的方式轉換材質與形象,因獨立於現實之外的時空,更進一步將人們欲望的投射立體化;廖祈羽則以過去創作錄像的重要前置作業﹣分鏡表,作為一系列繪畫的基礎藍圖,欲望與意外總存在於她的作品之中,繪畫情境也亦虛亦實呈現了生活的緊張荒謬。

關於藝術家

張暉明過去作品則以動力裝置為主,近期從裝置延伸製作大量錄像作品,透過簡潔、冷冽的影像敘事風格,描述時間與生命有限兩相對照的困頓之感。近期受邀曼徹斯特亞洲三年展等大型國際展覽,早期獲台北美術獎等多項肯定後,作品備受關注。個展同期間(3月22日-26日)受 a.m. space 空間之邀,於 Art Basel Hong Kong 2016 展位1C49展出多件全新錄像與裝置作品。

早期創作以本人扮裝、錄像為主的廖祈羽,透過對外在及自我的深刻觀察,細膩描述生命中美好與暴力無所不在的衝突,而記憶是想像與創造的棲所。其作品廣泛受邀國內外展覽,近期以「忘憂公園」(a.m. space, 2015)為個展代表作。


Invincible Fire and Wind Wheel- Emerging Sextet Exhibition

INVINCIBLE FIRE AND WIND WHEEL
Emerging Contemporary Artists Sextet Exhibition

a.m. space
11 September – 20 October 2018
1C, Kingearn Building, 24-26 Aberdeen Street, Central, Hong Kong Central District, Hong Kong

Meet the Artists
Friday 14 September | 7-8 pm
Friday 28 September | 7-8 pm
Wednesday 10 October | 7-8 pm

Closing Artist Talk
Wednesday 10 October | 6-7pm

a.m. space presents Invincible Wind and Fire Wheel – Emerging Artists Sextet Exhibition. There will be three duo solo gallery exhibitions consecutively from September 11 to October 20.

Artists will experiment freely, demonstrating youth and energy. We handpicked six fresh grad artists who performed excellently in their graduation exhibition. They are Nicole McCorkell, Livy LEUNG Hoi Nga, Glo CHAN Cheuk Yan, Ho Mei Mei from the Hong Kong Baptist University, also Jessie TAM Cheuk Lam and Jacky CHEUNG Tsz Ki from the Chinese University of Hong Kong. Each of them dedicate to create a single set of work, developed on top of their graduation projects, in order to give a comprehensive impression and introducing themselves to the audience.

In the first round, from September 11 to 22, you will see the expressive oil paintings by Nicole McCorkell and Livy LEUNG Hoi Nga. McCorkell was awarded The Academy of Visual Art (AVA) Award. Her paintings unleash loads of emotions. She makes use of a second person point of view and mixed media to convey a sense of intimacy. Livy Leung won the Contemporary of Angela Li Art Award as well as the Winsor & Newton Award in 2018. Her work are also deeply emotional. She express sympathy to abstract events. In this exhibition, she establishes monuments for the lost objects in her paintings.

The second round, from September 26 to October 6, features the narrative installations about personal stories by Jessie TAM Cheuk Lam and Glo Chan Cheuk Yan. Tam records her dream sequences and materializes in various forms of installations. Her works are often temporal and crude, yet remain truthful to the unconscious emotion of the artist. In contrast, Chan is more conscious about her living situation. Inspired by the absurdity of life, Chan reflects upon her family hierarchy of power. Exceling in lens based media and printmaking, she records and intervenes in real life through site-specific practices. Round two of the Invincible Wind and Fire Wheel will present the audience with a new spatial impression.

In last round, October 9 to 20, we display the delicate control over image making in the drawing installations by Jacky CHEUNG Tsz Ki and HO Mei Mei. Cheung is highly skilled in different form of printmaking technique. He minimizes the motifs in the images, restraining emotions and emphasizing the existence of the objects. Ho further utilizes the abstract geometric forms to appreciate the beauty of curves. Her obsession of lines enable her to render unique compositions in her paintings and installations. Her compositions of the lines are pure visual experience that transcends words. Cheung and Ho will demonstrate their art practice of emotional repression.

無敵風火輪
新晉藝術家六重奏展覽

a.m. space
11.9-20.10.2018
中環鴨巴甸街24-26號興揚大廈1C室
遇見藝術家
星期五 九月十四日 | 下午七時至八時
星期五 九月廿八日 | 下午七時至八時
星期三 十月十日 | 下午七時至八時

閉幕講座
星期三 十月十日 | 下午六時至七時

a.m. space舉行《無敵風火輪》-新晉藝術家六重奏,馬拉松式連續舉行三個雙個展。展期為九月十一日至十月二十日。

年輕藝術家自由實驗,展現青春和活力。我們從2018年各大畢業展中挑選了六位表現傑出的新晉藝術畢業生。包括來自香港中文大學的譚綽琳和張梓祈,來自香港浸會大學的何美薇﹑陳卓甄﹑麥莉琪和梁凱雅。他們以畢業創作為本,發展出新一套作品,並在是次展覽中公諸於世。以藝術家的身分和完整呈現的作品面貌隆重登場。

Nicole McCorkell
You owe me a balloon
還欠我一顆氣球
oil and image transfer on canvas
油彩和照片移印
20cm x 20cm
2018
LEUNG Hoi Nga Livy
The final destination of the thing lost
失物的終點站
Oil on canvas
油彩布本
80cm x 100cm
2018

第一輪由九月十一日展出至廿二日,我們將展出麥莉琪和梁凱雅情感豐富的油畫。麥莉琪是視覺藝術學院獎得主。她澎湃的感情在畫面上洶湧而出。她用第二人稱的創作,好像在直接和觀眾對話,將最私密的內心戲和觀眾分享。發洩式的油彩筆觸下原來暗藏細緻而脆弱的圖像移印,在引領觀眾走入去她的內心窺探心事。梁凱雅是「李安姿當代空間藝術獎」及「溫莎牛頓藝術獎」得主,她認為:「現實太多事情發生,一切需要清清楚楚,使人應接不暇。」今次的作品將情感花在鎖碎事情上,為了丟失的物件立紀念碑。她創造寧靜的空間,即使是墓地,也可以讓人舒服地休息。

Chan Cheuk Yan Glo
Dear Baba
爸爸親啟 
Letter engraved on woodboard, video without sound 
木刻信件, 無聲影片 
Size variable, 10″17″ 2018

Tam Cheuk Lam
Have a sun bath, the sky about to rain
曬一曬那一片想要下雨的天空
Ink, pencil, charcoal, color pencil on cloth 墨,鉛筆, 炭條, 木顏色布本
180 x 221 cm 2018

第二輪由九月廿六日展出至十月六日,將由譚綽琳和陳卓甄以裝置藝術敍述自身故事。譚綽琳習慣記錄每晚的夢境,轉化為自己的裝置創作。她的作品有脆弱和不修邊幅的特質,然而卻更翊翊如生地實體化了潛藏的意識。相比之下,陳卓甄顯得更自覺地反思當代生活的處境。作品提取自生活中的荒謬性,陳卓甄記錄家庭權力關係,用表演和場地指定的藝術手法去主動介入生活。我們拭目以待兩位擅於空間掌控的藝術家如何利用畫廊的空間變化出自己的作品。

CHEUNG Tsz Ki
yet to be
/
Mezzotint and aquatint on paper 美柔汀、飛塵,紙本
image 15 x 24 cm frame 31.5 x 41.5 cm
2018
HO Mei Mei
12:00a.m.
十二時
Ink on paper 墨紙本
38cm x 38cm
2018

第三輪由十月九日展出至十月二十日,張梓祈和何美薇將會展現極緻控制下繪畫和空間的對話。張梓祈交替運用各種銅版的製版技術,最少化畫面上符號的數量:鞋﹑彈珠、燈、暗光……「我在追求一種沒有能指和所指的畫面。」限制的符號抑壓住畫面會引發的情感反應,令人不得不直觀地面對客體的「存在」。何美薇進一步運用純抽象的線條,以形狀的美感達至曲線美。她執著地繪畫線條令她發掘到很多構圖上的可能性。這些獨特的畫面作為純視覺經驗比起多元素的作品更豐富。兩位藝術家會展現他們獨特的抑壓情感的藝術手法。


maybe someday it will be true| CHENG Hung solo exhibition

17 August – 9 September 2018

a.m. space is proud to present the debut solo exhibition of CHENG Hung in Hong Kong.  In the previous year, she exhibited in Kaohsiung and partook in the artist residency in Treasure Hill Artist Village in Taipei.  Hong Kong audiences finally have a chance to know Cheng’s artworks now.  In this exhibition, we can appreciate her manipulations of space, charcoal, canvas and light.  We will be immersed in the poetics of space in CHENG Hung’s artworks.

The exhibition will be from 17 August to 9 September.  There will be an artist talk at 6pm on 17 Aug (Friday).  We have invited Prof. Tam Wai Ping, Lukas, to be our guest speaker.  The Opening reception will be held at 7pm.

 

Being an flâneur, Cheng Hung is proficient in exploring every corner in the urban city for locations for gasping for breath.  She captures the cityscape with minimal compositions.  Her works focus on the intermediate between empty spaces and personal places.  With the technique of subtraction, Cheng develops aesthetics of the nocturnal city.  The lights and shadows become the protagonists of the story in her charcoal installations.  In the old studio in Kwai Chung and At the bus stop of going back depict the personal impression of Hong Kong of the artist.  The monochromatic and geometric cityscapes express the solitude and alienation of the corner of the city.

 

At the floor right before rooftop and At the building outside of the window further minimises the cityscape to abstract geometric shapes.  The hidden scenes imply a mysticism that cohere with the artist statement of Cheng Hung,’ I wish to find the escape of the urban life, however slight the chance of success will be.’

 

We will also show the installation works of Cheng Hung.  Three of them represent the past, the present and the future of her methodology.  She projects found old films onto her artists book in In the film under my bed, transforming the old image into her own works of art.  She is not afraid to expose her inspirations and stream of thought to the public.  In the box is an artificial space resembling her charcoal works on canvas.  The temporal interaction between the light and the audience demands the instant reaction and the present of the audience.  Finally, Quiet hollow is a combination of a charcoal drawing and found object, creating a spatial metaphor and indicating an entrance to the utopia.

 

About the Artist 
CHENG Hung was born in Hong Kong in 1993. She graduated with the Degree of Bachelor of Arts from the Chinese University of Hong Kong (Major in Fine Arts). Her works were exhibited in Art Kaohsiung 2017. She was awarded Fresh Trend Art Award and Grotto Fine Art’s Creative Award in 2017. She completed the artist residency program in Treasure Hill Artist Village in 2018.
Cheng Hung hopes to find a shortcut to escape the city. She believes in things even if she had never seen before. No matter how ridiculous it sounds, she is willing to believe in the tiniest possibility. She always makes things up. For example: she once said she will disappear from this place after she pass the road sign on her daily route back home someday. After telling her friends several times, she has developed a strong faith in that idea that she will eventually escape from this reality.

讓一切靜止,成為永恆的地方|鄭虹個展

17.8-6.9.2018

a.m. space 呈獻鄭虹首個香港個展 。過去一年鄭虹作品於高雄展出後,隨即駐村台北寶藏巖國際藝術村 。是次展覽將她的作品帶回香港讓大家認識。她掌握空間﹑碳粉﹑畫布﹑光影,讓觀眾直接在作品中感受空間的詩意。

展期自 八月十七日至九月六日,開幕日八月十七日將於六至七時舉行藝術家講座,邀請到譚偉平教授對談,七至八時將會舉行開幕酒會 。

鄭虹是個都市的漫遊者。她熟習城市的角落尋覓自己呼吸的空間。以極簡的構圖,將都市風景記錄下來。她的作品聚焦在充滿個人情感的地點,透過減去法發掘出城市在黑夜中的美感。在作品中,光和影在建築物上的交錯成為了主角。《在葵涌的舊工作室》和《在回去的巴士站旁》描繪了藝術家眼中的香港印象 ,黑白和幾何的構圖顯示出這個城市的幽靜和陌生感。

《在到天台前的頂樓》和 《在車窗外的大樓》將風景進一步簡化成為幾乎純粹的抽象幾何圖形。隱約的風景隱含了神秘性,一如她的藝術家自白中宣言「希望在都市中尋找出口,即使機會多麼渺茫。」

今次將會展出鄭虹的裝置作品,三件作品代表了藝術家對過去﹑現在和未來的想法。《在床底的舊膠卷裹》將舊膠卷投影在故事書上,赤裸地呈現創作的靈感來源和轉化。《在盒子裹》呈現一個瞬間的光影變化,要求觀眾在當下對氛圍作出反應。《凹洞似的安靜地方》是碳筆畫和空間的組合裝置,在折射的效果下,產生出空間的隱喻,描述烏托邦的入口。

關於鄭虹
鄭虹生於1993年,畢業於香港中文大學(文學士),主修藝術。作品於高雄藝博2017展出。2017年獲得出爐藝術新秀獎和嘉圖創作獎。2018年參與寶藏巖國際藝術村駐留計劃。鄭虹希望在城市中找到可以逃離的捷徑。她相信沒有親眼所見的事,就算聽起來很荒謬,也願意去相信飄渺的可能性。她常常捏造一些奇怪的事情,例如 :有一天穿過回家路上的路牌後,她就會消失去了別的地方,反覆跟朋友說了幾遍後,連自己都相信了。

Artist Talk 藝術家座談

Artist Talk (Guest Speaker: Prof. Tam Wai Ping, Lukas):藝術家座談( 與談嘉賓:譚偉平教授)
Friday 17 August | 6-7pm星期五 八月十七日 | 下午六時至七時
Opening Reception:開幕酒會
Friday 17 August | 7-8 pm星期五 八月十七日 | 下午七時至八時
1C, Kingearn Building, 24-26 Aberdeen Street, Central, Hong Kong Central District, Hong Kong中環鴨巴甸街24-26號興揚大廈1C室

INK as an Exercise in Contemporary Art II | TSANG Chui Mei, TAO Hoi Chuen Dual Solo exhibition

A.M. SPACE PRESENTS

2018 – 2019 Ink Long March Project

INK as an Exercise in Contemporary Art II

a.m. space  |  1﹣24 March  |  Duo solo exhibition of TSANG Chui Mei and TAO Hoi Chuen

1 March | Artist Talk 6-7pm | Opening Reception 7-8pm

26 March | Art Basel Special Talk 6-7pm |

 

 

Ink Long March Project is a continuation of the exhibition held in 2015. a.m. space will be re-examining “ink” in the contemporary context, through conducting a series of exhibitions. In a linear aspect, we will be reviewing the history of ink art development. By conducting open dialogue between artists born in 1970s to 1990s, the project proactively seeks to identify the evolutionary trend in ink. In exploring the horizon of the definition of, and the possibility in ink art, a.m.space selects artworks possess distinct ink features over time, addressing on the breakthrough in traditional boundaries, revealing the essence and spirits of Chinese Painting.

 

As the first exhibition in the project, a.m. space invited artists TSANG Chui Mei and TAO Hoi Chuen to discuss the infusion of Chinese and Western Aesthetics.  TSANG and TAO make use of acrylic paint and Chinese ink to discuss the sense of contemporary in traditional Ink respectively.  TSANG Chui Mei combines Chinese and Western elements to portrait form and sensitivity.  Despite the lack of Chinese ink in the artworks, she is able to manipulate motifs in Chinese paintings in response to the abstraction in Chinese paintings.  TAO Hoi Chuen carries out his existential explorations with Traditional Gongbi techniques.  He inscribes his paintings with philosophical text, creating enchanting intertextuality in a traditional format.  The two artists merge Chinese and Western Aesthetics in distinct manners and form discursive comparisons.

 

Artist Talk

1 March  |  6:00-7:00pm  | a.m.space

 

Opening Reception

1 March  |  7:00-8:00pm  | a.m.space

RSVP: amspace@artmap.com.hk

 

TSANG Chui Mei

Born in 1972, Tsang Chui-mei lives and works in Hong Kong. She obtained her Bachelor and Master degree in Fine Arts from the Department of Fine Arts at the Chinese University of Hong Kong in 1996 and 2004 respectively.  She was the winner of the Philippe Charriol Foundation 20th Anniversary Competition in 2005 and has had numerous exhibitions in Europe and Asia. Her work is collected by the Hong Kong Museum of Art, and it is in private collections in various parts of the world. Tsang Chui-mei has been selected to participate in the artist-in-residence programme of Cité Internationale des Arts in Paris, France in 2015. Tsang Chui-mei’s work is a space for the mind more than a physical place for holding any real object. It is in a shifting state imbued with the unknown or perhaps merely the nothingness devoid of all things. She prefers lyrical themes. Images are systematized and generalized by observation and transformed in the use of visual elements. From the obvious to the metaphor, some sorts of subjective, inexpressible emotions are inspired. Artworks are being collected by the Hong Kong Museum of Art, Fringe Club, Philippe Charriol Foundation, Hotel ICON, Hotel Stage, Grotto Fine Art Ltd and private collectors.

 

TAO Hoi Chuen

Tao Hoi Chuen, Jacky was born in Hong Kong in 1996. He is currently an Fine Arts undergraduate in The Chinese University of Hong Kong.  He has spent his life in Beijing, Taiwan.  His artworks are exhibited in Hong Kong and Taiwan.  Tao expresses himself through drawing, calligraphy, photography and installation.  He is most skilled at traditional Chinese fine-lined painting.  His works reflect his contemplation on existentialism and phenomenology.  He thinks the structural line and chiaroscuro presented in Chinese fine-lined paintings help to present the essence of objects.  He is awarded Wucius Wong New Ink Art Award, Madam Jan Yun-bor Memorial Award for Chinese Painting and Calligraphy and Taiwan Joint Exhibition Excellent Awards.

 

 

 

A.M.SPACE  呈獻

2018 – 2019「水墨長征計劃」

墨色作為一種當代藝術的練習II

a.m. space  |  3月1日﹣24日  |  曾翠薇﹑杜海銓雙個展

3月1日 | 藝術家講座6-7pm | 開幕酒會 7-8pm

3月26日 | 巴塞爾藝術展特別講座6-7pm

 

a.m.space將於3月1日至3月24日呈獻《墨色作為一種當代藝術的練習II – 曾翠薇﹑杜海銓雙個

 

繼2015年a.m. space再度以當代水墨作為方向, 策劃一系列展覽,名為「水墨長征計劃」。縱觀水墨藝術發展脈絡, a.m.space將聚焦於七十至九十年代出生的藝術家,對照新舊藝術家之異同, 以展覽形式展開跨年代的對話,梳理出當代水墨之道。「水墨長征計劃」以水墨作為傳統媒介為始, 探討水墨橫跨不同藝術呈現手法的發展。水墨畫自傳統中不斷演變­,a.m.space着意自當代藝術世界中,選取具備時代特性的作品,藉此道出當代藝術家逐漸打破水墨作為創作媒介的唯一定義,延伸出水墨發展的種種可能。「水墨長征計劃」除了呈現當代水墨的獨特面貌,更為提煉出更多富有水墨精神面貌的藝術作品。

 

是次展覽作為「水墨長征計劃」於2018年首個展覽,a.m. space 分別邀請曾翠薇及杜海銓兩位藝術家,以作品探討中西美學的交融。兩位藝術家分別採用水墨和塑膠彩以作討論傳統水墨的當代性。曾翠薇的創作融匯中西方藝術元素, 作品着重形態的表現,並呈現出藝術家細緻情感。曾於創作中未有運用中國媒材,卻以中國畫中出現的母題回應傳統脈絡中之抽象性。杜海銓作品內容着意表達存在主義與現象學,以工筆畫結構性和明暗筆觸呈現事物自身。杜以傳統工筆畫結構結合哲學性的題款,於產生互文作用中增強畫面的表現力。兩人在主題和手法上分別錯開中西美學,開啟跨年代對話。

 

藝術家講座

31日  |  6:00-7:00pm  | a.m.space

 

開幕酒會

31日  |  7:00-8:00pm  | a.m.space

RSVP: amspace@artmap.com.hk

 

【曾翠薇】

曾翠薇1972年出生,現於香港生活和工作,分別於1996年與2004年在香港中文大學藝術系獲取學士及碩士學位。她是2005年「夏利豪基金會二十週年藝術比賽」冠軍得主,曾於歐洲及亞洲舉辦眾多展覽。部分作品亦被香港藝術館及世界各地的私藏家所收藏。2015年,曾翠薇更被西帖國際藝術中心獲選參加藝術家進駐巴黎計劃。曾翠薇的創作融匯中西方藝術。其作品著重形態和情感多於具體的空間,善於運用色彩、線條、視角和構圖所賦予的力量,表達出畫家感性的一面。她偏好抒情的主題,構圖多轉化自觀察及視覺元素。繪畫作品中從表達著明顯的主題、隱喻的、主觀的,到難以啟齒的情感。那漂浮的未知狀態,或許指涉著一個無物之地。曾翠薇作品為香港藝術館、藝穗會、夏利豪基金會、唯港薈酒店、登臺酒店、嘉圖畫廊有限公司及私人收藏。

 

【杜海銓】
杜海銓,1996年生於香港。現為香港中文大學藝術系本科生,曾居北京、台灣,並於香港與台灣參與展出。杜氏創作涉獵繪畫、書法、攝影、錄像和裝置等媒介,尤以工筆畫為主,近年作品內容與存在主義和現象學有關,認為工筆畫結構性的造型線條和明暗筆觸等視覺效果的省略有助於呈現事物自身,曾獲獎項包括「王無邪新水墨創作獎」,「詹雲白夫人紀念中國書畫獎」、「桃竹苗十三校聯展優等獎」等。

 

曾翠薇, 閒暇(二), 塑膠彩布本, 122 x 122公分, 2006
曾翠薇, 風, 塑膠彩布本, 107 x 75公分, 2005
杜海銓, 貪慾水墨設色紙本, 73 x 69公分, 2016
杜海銓, 貪執, 水墨設色紙本, 73 x 69公分, 2016

Wall/ Just Play the Game | LIO Sze Mei, Poon Mei Yee Dual Solo exhibition

LIO Sze Mei, POON Mei Yee duo solo exhibition

 27 July – 10 August 2018

Opening Reception

Friday 27 July | 6-8 pm

 

1C, Kingearn Building, 24-26 Aberdeen Street, Central, Hong Kong Central District, Hong Kong

The two artists develop their crafts on mixed media after graduating from Hong Kong Baptist University.  Wall/ Just Play the Game features monochromatic scenery and figure drawings by Lio Sze Mei and abstract collage from Poon Mei Yee.  They explore on different levels of abstraction.  The exhibition will be from 27 July to 10 August

LIO Sze Mei has latently worked for three years, experimenting with ink, charcoal and pastel to create story and a secrete landscape.  Her major motifs of works are disappearance and oblivion. This is the first time she collaborate with a.m. space to exhibit drawings inspired by the story of Peter Pan.  In Peter Pan: The Boy Who Wouldn’t Grow Up, written by James Matthew Barrie,  Peter Pan is a child who never grows up.  He brings other children that are reluctant to grow to Neverland to be his friends.  The children stop growing up in Neverland and stays with Peter Pan forever.  Once the children want to grow up, Peter Pan will kill them off.  Those children will wake up from their dream, and further losing their ability to dream again and imagine.  Finally, they will become an uninteresting grown-ups.  The drawings of Lio depict a monochromatic version of Neverland where the characters on the island is on the verge of disappearance.  Lio treats the story of Peter Pan as an interpretation of dreams and feels connected to the melancholy of adolescence.  The distinctive black and white treatments make papers and canvases of her works look like documentational photos of a dystopia.  The mono color tone fills the canvas with a sense of calmness, tranquility and timelessness.

It is the second time that POON Mei Yee collaborates with a.m. space since Wandering in 2016.  Poon Mei Yee is interested in collecting daily objects with the imprint of time. She incorporates the technique of drawing and collage to explore the relationship between painting and found-object. The objective elements are replaced with the deconstruction of images.  Her instinctive approach effects on the composition unexpectedly.  In her work Through the Other Sides, not only is the colors of the composition sharp and eye-catching, but the physicality of the found-material is glorified.  Her collages have a strong sense of presence.

Lio Sze Mei, May (born 1994) graduated from the Academy of Visual Arts, Hong Kong Baptist University in 2016. She works mainly with drawing and painting, and predominantly uses ink, charcoal and pastel to illustrate her landscapes and narrative. She repeatedly applies layers of ink and charcoal on the canvas, each at the same time destroys the old layers and creates a new layer. The blurry results and the mono color tone fill the canvas with a sense of calmness, tranquility and timelessness.

Poon Mei Yee (born 1994) lives and works in Hong Kong. She graduated with a Bachelor of Arts (Hon) in Visual Arts degree from the Academy of Visual Arts, Hong Kong Baptist University in 2016. She works in a variety of media, including drawing, painting, collage and photography. She is especially interested in collecting different kinds of daily objects with unique marks after the passage of time. She currently tends to delve into the relationship between ready-made objects and painting in different ways. Her works were exhibited in Hong Kong, Germany, Thailand and India, including local art fair and gallery.

 

 

 

/只是遊戲|廖詩薇﹑潘美義雙個展

27.7-10.8.2018

開幕酒會

星期五 七月廿八日 | 下午六時至八時

中環鴨巴甸街24-26號興揚大廈1C室

兩位藝術家都畢業於香港浸會大學,各自致力於平面混合媒介。 是次展覽展出潘美義的抽象拼貼畫和廖詩薇的黑白風景人物畫。碰撞出抽象/半抽象的可能性。展期自七月廿七日至八月十日,開幕酒會將於七月廿七日晚上6-8時舉行。

這次是廖詩薇和a.m. space 的首次合作。蘊釀三年,廖詩薇堅持以墨水,木炭和粉彩作為主要媒介。靈感來自小飛俠彼得潘的故事,創作出富有神秘色彩的想像世界。創作意念來自初版《彼得潘:不會長大的男孩》(Peter Pan: The Boy Who Wouldn’t Grow Up),James Matthew Barrie 著。 故事中的彼得潘是個不會長大的孩子,他把不想長大的孩子帶到夢幻島去,作為朋友,從此永遠不會長大,永遠陪伴他。彼得潘會殺掉在島上想長大的孩子,孩子會從長夢中醒來,再也不會作夢,失去夢和想像力,成為沒趣的大人。她的作品圍繞消失和遺忘,人物在朦朧中反覆出現和消逝,讓人感到淡淡的鄉愁。黑白的構圖像來自異質空間的照片,窺探這個外人不得擅進的空間。藝術家控製混合媒材層層堆疊起相片般的粒感。

潘美義自2016年《Wandering》 再一次和a.m. space 合作。今次她完全放棄具像元素,以舊物作直觀的拼貼。再自拼貼的圖像刺激而改變構圖。拼貼的材料有汽水蓋﹑紙皮和舊書。在作品Through the Other Sides中,紅色的版塊幾呈現了奪目的焦點,亦強調物料自身無法複製的物理性。她借用不同物料,重奪平面作品的現場感和話語權。

廖詩薇 (b.1994) 於2016年畢業於香港浸會大學視覺藝術院。現時主要以繪畫創作為主。 藝術家主要使用墨水,炭條和乾粉彩繪畫故事和風景,用墨水和炭條實驗在畫布上,作品上模糊的效果和單色調為作品帶來平靜,寧靜和永恆的感覺。

潘美義(b.1994)於香港生活和工作,在2016年取得香港浸會大學視覺藝術文學士。其創作媒介不限,當中包括素描、繪畫、拼貼和攝影等。她喜歡蒐集被時間磨蝕過以後遺留下獨特印痕的日常物件,近來嘗試以多種面向和手法去探討現成物和繪畫的關係。作品曾於香港、德 國、泰國和印度參展,當中包拾本地藝術博覽及私人畫廊。

Dusty Stage Rhapsody | LEUNG Wing Hong solo exhibition

A.M. SPACE PRESENTS

Dusty Stage Rhapsody

a.m. space |  10 May ﹣16 June  | solo exhibition of LEUNG Wing Hong

10 May | Artist Talk 6-7pm | Opening Reception 7-8pm

Suits, hill landscape, window, obscurity and order have always been the motifs of LEUNG Wing Hong’s painting.  In the exhibition, Leung creates mise-en-scène to bring us into the realm of the night.  Every painting non-verbally tells us an uncanny story after dark.  The artist revisits his constellation of symbolism and reinvent them to create new narratives.  The series of works have a layer of dramatic playfulness on top of the upsetting and lonesome compositions.

“Dust Stage Rhapsody” is the third solo exhibition of LEUNG Wing Hong after “Permutation” and “Coordinate Mapping”.  The previous exhibition reaffirm the role of storyteller for LEUNG.   He dedicates this body of works to turn the canvas into a stage.  Characters is still the center of his creativity.  He creates characters for a “story”.  The characters are thrown into the stage of the painting. Thus plots can start at this point.

This series of work explore the autonomy of human being.  In Ancient Chinese mythology, human race was made with yellow earth.   At the moment of birth, we are thrown into different stages.  After that, we encounter the randomness of the universe without a clue of the essence of the world.  The development of the plot cannot be interrupted by the characters.  Nobody can unveil the meaning of the existence of them.  There is only emptiness awaits them.  The absence of the meaning exasperates us.  The only way to levitate us is to alienate from our own situation and explore the stories of others, in hope of having a glimpse of a flash of aura.

Artist Talk

10 May |  6:00-7:00pm  | a.m.space

Guest Speaker: Wong Chun Hei

Opening Reception

10 May |  7:00-8:00pm  | a.m.space

RSVP: amspace@artmap.com.hk

LEUNG Wing Hong

Leung Wing Hong was born in Guangdong, China in 1991. He moved to Hong Kong in the next year. After graduated from Department of Fine Arts, The Chinese University of Hong Kong in 2014, he continues to paint in his studio in Kwai Chung.

He focuses on painting with a desire to express the discoveries from his daily observation on urban life. Being curious about the world surrounding him, he has always kept on looking and contemplating at the matters appearing around himself as if everything appears for some reasons and he is looking for the hints derived from them.

About a.m. space

While Art reflects the dynamics of different eras, humanity and aesthetics, artists are born with the gift to substantiate creative ideas. Established in January 2013, a.m. space explores contemporary issues by gathering like-minded seekers, serves as a physical platform to present and execute various cultural projects.

a.m. space has participated various international art fairs such as Art Taipei in 2013 and 2015, London START Art Fair (Saatchi Gallery) in 2016, and Art Basel Hong Kong consecutively in 2015, 2016, 2017 and 2018, and Art021 Shanghai Contemporary Art Fair in 2017.

1C Kingearn Building, 24-26 Aberdeen Street, Central, Hong Kong
TUE – SAT 10am-7pm  |  (852) 2547 9898
amspace@artmap.com.hk  |  facebook: amspacehk

 

A.M.SPACE  呈獻

《塵土劇場》

a.m. space  |  5月10日﹣6月16日  |  梁詠康個展

5月10日 | 藝術家講座6-7pm | 開幕酒會 7-8pm

a.m.space將於3月1日至3月24日呈獻梁詠康油畫個展《塵土劇場》

西裝、山景、窗、晦暗和秩序一向是梁詠康的母題。今次再用精心安排的場景,帶我們進入黑夜的領域。每一幅畫都像在訴說一個夜幕降臨後的離奇故事。藝術家為自己慣用的符號賦予新意義,令失落、孤獨的意象添上了演戲般的玩味。

《塵土劇場》是梁詠康繼《唯序》和《飄流標記》後第三個個人展覽。自上一次展覽,梁氏更確定自己敍事者的角色,要把畫布變成舞台。今次,人物依然是梁創作的重心。他為故事創造人物,又拋擲到畫中舞台,展開不同的情節。

梁一系列的近作在探討人的自主。據說人是泥土所造,在誕生同時,卻又隨即被拋往不同舞台,繼而不知所以然地遭遇無常。故事發展非角色能左右,又沒有人可以為他們解答存在的意義,只得留一大白。意義的空白使人愴惶,唯有偶然抽離自我的境況,遊歷他人的故事,寄望瞥見一閃靈光。

藝術家講座

5月10日  |  6:00-7:00pm  | a.m.space

與談嘉賓: 黃進曦

開幕酒會

510日  |  7:00-8:00pm  | a.m.space

RSVP: amspace@artmap.com.hk

梁詠康

1991年生於中國廣東,次年移居香港。自2014年從香港中文大學藝術系畢業後,他在葵涌工作室繼續繪畫。他專注於繪畫創作,並渴望表達從日常觀察所得。他對他周圍的世界非常好奇,所以不停觀看和思考出現在他身邊的事物,彷彿所有東西的出現都有著一些因由而他則要從中尋求提示似的。

【關於 a.m. space】

「實踐創意是藝術家的天賦,藝術則反映著時代、人和美學的精神面貌。藝術地圖為此宗旨努力發掘當代議題,匯聚時代的探索者。」a.m. space 為此誕生。由 2013 年開始,透由策展計劃與藝術推廣,期許將不同文化計劃融會其中。

a.m. space至今參與過2013 年及2015 年台北藝術博覽會、2016年 英國倫敦START (Saatchi Gallery) 以及連續四年於2015 年、2016 年、2017年及2018年參與香港巴塞爾藝術展及2017年上海廿一當代藝術博覽會等重要國際藝術展會。

週二至週六 10am-7pm (公眾假日休息)  | 香港中環鴨巴甸街24-26號興揚大廈1樓C室

傳媒查詢

a.m.space, 黃婷筠(Tracy)  ∣ amspace@artmap.com.hk ∣ (852) 2547 9898 ∣ Facebook: amspacehk