HKAC CREATORS FOR TOMORROW - Vroom Vroom
Vroom Vroom encapsulates a driving technique that intricately orchestrates the manipulation of vehicular or mechanical apparatus, deftly navigating the delicate balance between regulated order and spontaneous tumult. In the transitional space of HKAC Diana Cheung Experimental Gallery, Dave Chow revolved around a nuanced interplay of control and chaos as the subject-matter for his first solo exhibition, exploring sculptural language of monumental- sized sculptures made with composite materials, as it pertains to the paradoxical coexistence of speed and power, alongside fragility and peril.
Drawing a parallel to the experience of flying at near-light speeds in the cosmos, as scientists simulate the momentary vistas that swiftly expand and dissolve into an abyss of infinite darkness, the exhibition space, delineated a a dimly lit corridor composed predominantly of rubber materials, sets ablaze by the compelling escape of light from low-intensity reflective surfaces.
Titled Narcosis, the sinuous arc-shaped rubber installation envelops character-defining triangular structure of the Hong Kong Arts Centre designed by the visionary Tao Ho. With its interventionist motive, the rubber wall creates deliberate hysteresis, evoking the weighty allure of the grand theatreer curtain standing antithetical to minimal and neat geometric design vocabularies of the entire architecture.
In "Meditations on First Philosophy" (1641) written by Descartes, he contemplated "mind-body dualism" and likened "brain-damaged madmen" to "glass body". The binary work in two sets, respectively titled Premise and Essence, experiment with the material of glass by encasing the former and stretching the latter, challenging the physical durability of industrial glass, in a metaphorical portrayal of the somewhat manic psychological state of people living under the tableau of our times. It correlates with our states of mind being unfazed, as we, through the media, witnessed different manifestations of violence in the quotidian.
The pioneer of the Futurist movement, Filippo Tommaso Marinetti, further shored up, in his novel “'Mafarka the Futurist”’, the biotechnical grafting of human beings with the untamed wilderness inherent in nature through machinery, enabling the “'nature's fragile vessels”' to be recuperated and capable of soaring in the sky. In today's post-human context, the art of biohacking advocates the embrace of limitations of human:- Rick Owens launched a novel series of “'fracture rehabilitation boots”' in his Spring/Summer 2024 menswear show, while the bionics advancement company Open Bionics promotes the brand in tandem with the IPs of superheroes characters, transforming science fiction fantasia into versatile bionic prosthetics that can be modified with interchangeable components. “'Defects”' becomes, paradoxically, a pathway to becoming superhuman. The work, Clutch, resembles a referential approach to protective measures taken in industrial buildings. To prevent heavy vehicles from damaging a building’s façade, steel nails are directly drilled into the concrete to fixate the anti-collision gel. The aesthetic symbol of Clutch lies in the juxtaposition of cicatrices and tenacities, which touches upon biocultural issues spiralling onwards the morphing of the human body in post-humanism.
The piece, Give Way, fastened with iron straps oft-used in air cargo, wrapped triangular pillars that are placed at the entrance of the exhibition hall to, exactly, and as exactingly, entice interaction with audiences in close proximity. The geometric shape of the pillars originates from the initial project proposal, where the Futurist painter Giacomo Balla intertwined lines to represent the imagery of speeding cars in his paintings. As the exhibition steadily takes shape, rounds of discussions denote an exploration of the integration of exoskeletons in the realm of industrial design, arriving at an imaginary prioritisationprioritization when considering protections for organs.
During the preparation of “Vroom Vroom” exhibition, discussions between artist and curator have revolved around topics related to the exhibition theme, such as what elements to retain and what to give up during creation, the overall direction and focus of conceptualisation, the resolution of disagreements to achieve consensus in their artistic expression. The collaborative nature of their work is evident in the final presentation, showcasing a multifaceted understanding of the artworks and exhibition.
In this sharing, Dr. Vivian Ting, a curator as well as one of the jury members in CREATORS FOR TOMORROW scheme, has been invited to review Dave’s previous works. The sharing talk is to explore the collaborative relationship between curators and artists, and different potential in curatorial statement writing.
Fee: Free admission
How does sculpture represent speed? A century ago, the Italian Futurists expressed the fantasies of speed, dynamism and technology throughout nearly every medium of art.
The artists from the Light and Space movement of the 1960s transcend their impression of light from California landscape and its booming city expansion to a series of creations which were made by the materials emerging from the postwar aerospace industry and its advances, questioning how viewers experience the world and the phenomenal.
We have invited Dr. Ying Zhou, associate professor of HKU Faculty of Architecture, who has been researching art and cultural spaces in East Asia since 2016, focuses on the impact of space on the display of contemporary art, to be in conversation with artist Dave Chow and curator Zoie Yung, and discuss the various issues arising from the creation of Vroom Vroom exhibition in Diana Cheung Experimental Gallery, especially the forms and materiality of the sculpture groups which arises from Hong Kong’s cityscape.
Fee: Free admission
Public Docent Tour
His works display and distill his everyday experience through appropriating, transforming and assembling ready-made objects.
Dave has held his first solo exhibition, “Switch on the Television When the Sun Sets” during the artist in-residency program in Experimental Sound Studio, Chicago. His works were also shown in various exhibitions, including “splendor of the sun” (Galerie du Monde, Hong Kong, 2023), “Proper Weight” (Fo Tan, Hong Kong, 2022), “Hope all is well with you” (1a space, Hong Kong 2021), “soundpocket: 10 YEARS OF ASP” (Fu Lee Loy Shopping Centre, Hong Kong, 2021), “EQUILIBRIUM” (ACO Art Space, Hong Kong, 2018), “Observe / Scrutinise / Perceive” (Gallery Exit, 2018) and “Weight Watcher” (Kunstquartier Bethanien, Berlin, 2018).
Zoie Yung is an independent exhibition and art-marketing consultant, former exhibition manager of chi K11 art museum, Shanghai. She is one of the awardee of The HKADC Arts Administration Scholarships 2022 and studied for MA Museum Studies at University of Leicester. She provides a unique approach to exhibition production by combining practice in exhibition spatial arrangement and her knowledge in Chinese astrology. Apart from exhibition production, she also hosts public engagement programs and contributes art articles to magazines. Recent exhibitions include Splendour of the Sun, Galerie du Monde (2023), Wonder-verse (2022), chi K11 art space Hong Kong and Curve of Buoyancy (2021), Duddell’s, Hong Kong. Recently hosted talks with JC Contemporary, Para/Site Art Space, 1a Space and Hong Kong Visual Arts Centre. Recently published articles can be found in Numéro art China.
The 'HKAC CREATORS FOR TOMORROW 2023 Open Call' is launched by Hong Kong Arts Centre (‘the HKAC’) with an aim to encourage and support Hong Kong emerging artists, curators, researchers, and creators.
To nurture local up-and-coming talents, HKAC is now accepting proposals for ‘Exhibitions’ and ‘Research Projects’. The selected Exhibitions will be held at the HKAC Diana Cheung Experimental Gallery, while the Research Projects will be carried out according to the schedule and details agreed upon by HKAC and the successful applicants.
About Hong Kong Arts Centre
Art for Passion, Art for Life, Art for All
Since 1977, the Hong Kong Arts Centre (HKAC) has been a platform for nurturing and supporting artists, and infusing art into everyday life. Its unique arts and educational programmes aim to make the arts accessible for all. The HKAC believes in the transformational power of art for people from all walks of life. Established more than four decades ago, the HKAC bring art to the people of Hong Kong – by presenting programmes for visual arts, performing arts, moving images and media arts, comics and animation. Other areas also cover arts education, conferences, festivals, public art and community projects, all done with the vision and mission of engaging and inspiring creativity in the Hong Kong community.
In 2000, HKAC founded its educational arm, Hong Kong Art School (HKAS). The HKAS provides award-bearing programmes to nurture artists and art practitioners, as well as short enrichment courses for the general public. The HKAC aspires to engage everyone in the community to become an active participant in the arts – as an enthusiast, an artist or a patron.
Let’s continue to embrace ‘Art for Passion, Art for Life, Art for All’, and share the inspiration.
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Hong Kong Arts Centre is financially supported by the Art Development Matching Grants Scheme of the Government of the Hong Kong Special Administrative Region.
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