(中文在下方)
Featured artists:
Tracy CHENG (b. 2000, Hong Kong) & Shera CHO (b. 2000, Hong Kong)
Natalie CHU Lok Ting (b. 1999, Hong Kong)
Eunice LAI (b. 1993, Hong Kong)
LIAO Jiaming (b. 1992, Guangdong)
WONG Kwok Ming (b. 1999, Hong Kong)
Opening Reception: 11 November 2022, Friday, 5:30–7:30pm
Performance Programme: 11 November 2022, Friday, 6–7:30pm
The Opening Reception will be accompanied by three individual performances "The Uncanny HAUS" happening from 6 to 7:30pm, featuring Natasha CHEUNG (b. 1998, Sydney), LIAO Jiaming (b. 1992, Guangdong), Anlan HUANG (b. 1996, Guangdong).
Artists will be present.
Showcase Period: 11 November 2022–17 January 2023 (Monday to Saturday), 11am–7pm
Curator Tours (RSVP):
23/11 (Wednesday), 7–8pm (English)
26/11 (Saturday), 3–4pm (Cantonese)
7/12 (Wednesday), 7–8pm (Cantonese)
10/12 (Saturday), 3–4pm (English)
Location: HART Haus, 3/F, Cheung Hing Industrial Building, 12P Smithfield Road, Kennedy Town, Hong Kong
“Six Beginnings: last 2022 HART social studio showcase by 6 artists born after 1990s”
HART is delighted to present “Six Beginnings”, the last group showcase in 2022 featuring works by six artists born in 1990s to 2000s, including new HART social studio artists Eunice Lai, Liao Jiaming, and fresh graduates of BA programme - HART Award recipients Natalie Chu Lok Ting, duo Tracy Cheng & Shera Cho, and Wong Kwok Ming from The Chinese University of Hong Kong and Academy of Visual Arts at Hong Kong Baptist University. The selection of works presents a showcase of multi-disciplinary approaches and in-situ installations, within HART Haus’ arthouse environment to incubate Hong Kong-based artists, and cultivate sustainable creativities, exchanges, and experimentations.
Two new artists-in-residence will showcase works in response to their original purpose of joining HART Haus and the development of their latest artistic practices. Eunice Lai instils her training as a Designer and persistence as a comic artist to become a zine-maker since her exchange in Italy. Comics and zines reflect Lai’s storytelling through a series of frames and her ongoing collection of subtitles, in creating possibilities to build the artist’s imagined utopia. Lai turns towards an exploration of comic art to a canvas surface, driving her deeper search into the portrayed situations as a still moment. Liao Jiaming’s The Intouchable (2021) is an artist-built, site-specific sculpture made of selfie sticks and images of hand gestures collected by the artist from dating apps. Liao twists the sticks into an organic framework that seemingly to be a hybrid, connected network, yet it visually forms a field of isolations.
With the pandemic restrictions in the past few years posing more challenges for BA programme students to attend studio classes, part of them diverted their practices to digital. Artist duo Tracy Cheng and Shera Cho’s B¡n \o-o/ c|e (2022) transformed the graduation work into a site-specific video installation, leading the viewers into their imagined future world. The work invites the viewer to sit on a lifeguard chair, a bird’s eye view of a combination of pop-up dialogues, animated collages of their documentary photographs, and collected imagery. While playing artists’ composed sound track recorded from the city’s white-noises and video games, the work implies a first-person experience as a guard to conceive our contemporary world. Wong Kwok Ming’s Karma (2022) is a set of a comic book and animation. His practice explores the imagination of nature and the relation with human beings and it brings thoughts to the audience with a sense of humour through the storytelling in digital formats such as illustration, comics, animation and graphic design. In contrast, works by Natalie Chu Lok Ting encompass traditional Chinese ink painting, ink rubbing, and sculpture resulting from her research in Chinese poems, humanistic history, commemorations, and monumental idealism. Chu’s recent work Unceasing Night (2022) is a 10-page concertina ink painting with artist’s handmade seals, in reference to a Chinese poem Jian Jia cited from Shi Jing (the Book of Songs). The continuous pages initiate the viewers to read with a cinematic experience, to witness a trace of time and a sense of loss from the changing condition of the common reed as seen in the work.
The Opening Reception will be accompanied by performance programme “The Uncanny HAUS”, presenting three individual performances by HART artists Natasha Cheung and Liao Jiaming, with US and Hong Kong-based artist Anlan Huang. The performances share a similar vein using heterogeneous mediums of performance in conjunction with lens-based media to explore the theory of Uncanny Valley, a model published in 1970 by Masahiro Mori, a Japanese roboticist researching on objects that imperfectly resemble human likeness provoke a sense of unease or uncanniness to the viewer. Through digital and physical augmentation, AI distortion, and humorous personification, the artists invite the audience to consider how our identities are constructed through history, culture and technologies.
參展藝術家：
鄭樂怡 (2000年生於香港) 和 左沁悅 (2000年生於香港)
朱樂庭 (1999年生於香港)
黎曉蓉 (1993年生於香港)
廖家明 (1992年生於廣東)
黃國銘 (1999年生於香港)
開幕酒會：2022年11月11日 (五) 下午5時半至7時半
將於晚上6至7時30分開幕酒會期間舉行三個行為表演，題為「不可思議之HAUS」。表演藝術家包括HART藝術家張穎曦 (1998年生於香港) 和廖家明 (1992年生於廣東) ，以及駐美國及香港藝術家黃安瀾 (1996年生於廣東) 。
藝術家將出席開幕酒會。
匯舍展期：2022年11月11日至2023年1月17日 (一至六) 下午11時至7時
導賞團（報名）：
11月23日 (星期三)，晚上7至8時 (英文)
11月26日 (星期六)，下午3至4時 (廣東話)
12月7日 (星期三)，晚上7至8時 (廣東話)
12月10日 (星期六)，下午3至4時 (英文)
地點：HART Haus，香港堅尼地城士美菲路 12P 祥興工業大廈 3 樓
「六序：新生代的六式藝術實驗展示」
「六序」是HART 2022年最後一次匯舍聯展，展出六位於1990年至2000年出生的HART匯舍駐場藝術家作品包括黎曉蓉和廖家明及應屆藝術系畢業生：分別來自香港中文大學和香港浸會大學的HART大獎得獎者朱樂庭、雙人組合鄭樂怡和左沁悅及黃國銘。是次展示挑選的作品表現了跨媒介和場域特定的方式，貫徹HART Haus作為一個培育香港藝術家可持續創作、交流及充滿實驗性的藝術空間。
兩位新進駐的藝術家作品將表現出其加入HART Haus的初衷，以及他們藝術發展的最新動向。作為設計師的黎曉蓉在意大利交流以後堅持致力當漫畫藝術家，以其漫畫和小誌（Zine）創作反映她的分鏡和對白敍事的手法來建立心目中的烏托邦。黎氏亦將漫畫藝術演繹於畫布上，讓她凝聚刻畫的境遇轉化到進一步探索靜止的瞬間。廖家明的《The Intouchable》（2021）是一個由藝術家建造、場域特定的雕塑，由自拍棍和藝術家從交友平台中擷取的手勢影像組成。廖氏以自拍棍的自然型態為框架，如同一個嵌合而連結的網絡，視覺上卻表現出疏離感。
近年疫情令藝術系學生難以參與實體課堂，故部分同學轉而創作數碼藝術。雙人畢業生組合鄭樂怡和左沁悅創作的《可丟掉麼�遠鏡》（2022）將畢業作品轉為場域特定錄人像裝置，引領觀眾進入她們幻想的未來世界。作品邀請觀眾坐於救生椅上，鳥瞰彈出式對話、她們紀實攝影的拼貼，以及收集的影像。當播放藝術家創作、收錄從城市和遊戲中收集白噪音的音軌時，作品模擬了保安以第一人稱視角體驗我們的當代世界。黃國銘的《Karma》（2022）是一套漫畫書和動畫，透過插圖、漫畫、動畫和平面設計等數碼格式，以灰諧的手法探索對自然的想像力及不同對象的關係。朱樂庭的作品萃取了中國傳統水墨畫、墨拓，以及研究中文詩詞、人文歷史、紀念和不朽的理想主義後創作的雕塑。她的近作《長夜未央》（2022）是一個十頁的冊頁，當中有藝術家的手製印章和與引用自《詩經》的《蒹葭》一詩。畫中透過蘆葦的變化，連綿的畫頁將如戲劇般引領觀眾見證無法回憶或觸及之物的時光軌跡。
開幕酒會期間將呈獻三個表演作品，「不可思議之HAUS」之表演藝術家分別是HART匯舍藝術家張穎曦（1998年生於香港）和廖家明（1992年生於廣東），及駐美國和香港的藝術家黃安瀾（1996年生於廣東）。三位藝術家以類似的媒介表演，加入影像主導的手法來探索1970年由日本機器人學教授森政弘發表的「恐怖谷理論」— 該理論說出倘若物件不能符合人類慣常的想法便不會產生好感。透過利用數碼和身體的附加效果、人工智能帶來失真和灰諧的擬人手法，藝術家邀請我們反思由歷史、文化和科技等影響而建構的身份。