Ko Sin Tung 넞⧉䕒 INTRODUCTION

Coloured-in wallpaper, patched walls, blurred images of domestic paraphernalia – these are but Highlighting each constellation in a luminescent yellow colour, Ko Sin Tung intervenes with the some of Ko Sin Tung’s visual dialogues with the intimate yet urban environments that persons material-turned-object, effectively highlighting those individual elements that were explicitly individually create. Concerned with the impact of ‘things’, Ko Sin Tung investigates, through brought into the interior realm so as to add a hint of the outside’s starry luminescence, something a myriad of mediums and materials, the psychological influences private objects project and that in a congested city like can ofen be clouded by its surrounding manmade the idiosyncratic functions they’ve been personally channeled to fulfill. A graduate from the fluorescence. Department of Fine Arts at The Chinese , Ko Sin Tung observes the city’s inhabitants, their close-quarters, and identifies with curiosity their values as dictated The impact of condition is furthermore at the heart of Ko Sin Tung’s artistic inquiry. In her work through the items they treasure and keep, slowly observing how these objects mirror ways of ‘As white as you can 1’ (2013), for example, she carefully paints over the railings captured on life, or in the very least, illustrate what is expected for living. a photograph taken of an outside view from an interior domestic milieu. These unassuming sights are reconfigured as liberated, barred of visual intervention. Yet, by this mere painterly act The series ‘Modern Home Collection’ (2013), for example, presents an array of framed archival of erasure, Ko Sin Tung has indeed highlighted the exact protected condition in which we live; inkjet prints of photographed domestic objects, collected from various ad hoc searches on the a circumstance that affects our livelihood, which prevents our ingestion of light, and ultimately Internet. Pixelated and aggrandised, familiar items vary from a glass vase to an ornate mug. conflicts with our persistent appropriation of material objects that one as owner considers Despite their disparate aesthetics, what permeates throughout the ‘collection’ is that each beautiful, sentimental or even status-lifing. Indeed this work touches upon the permeating element is lived with, that each photograph is not in focus. psychology of her work and how it titillates between liberation and effectively pointing to our own tautology. Ko Sin Tung’s relationship with the domestic, however, has an additional focus: that on light. Considering its literal impact on domestic space, as well as its various material and metaphorical Ko Sin Tung (b.1987) is a highly promising, emerging Hong Kong artist, graduated from the manifestations, Ko Sin Tung sets through her works to collect, identify and present it. In her Department of Fine Arts at The Chinese University of Hong Kong. In 2012 she completed a work ‘Sleep Tight’ (2014), for example, she presents a piece of starlit wallpaper, which stretched residency at the Kunstnarhuset Messen, Ålvik, Norway. She has previously been exhibited at the across a wooden frame, has been displaced from its usual wall-mounted abode. 8th Vladivostok Biennale of Visual Arts, Vladivostok, Asia Society Hong Kong Center and Para Site, Hong Kong, amongst other locations. Ko Sin Tung also has been awarded multiple awards: Project Grant (Emerging Artists Scheme) from the Hong Kong Arts Development Council (2014), the Pure Art Foundation Grant 2013-2014 and Jury’s Special Prize of Huayu Youth Award (2016). Ko lives and works in Hong Kong. ➝稲

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㞔㙪莅榹✲ Solo Exhibition

⦐➃㾝錓 The Bunker, , China

⚥㕜⻌❩䲁넒瑟꟦ 26.01.19 - 29.03.19 Carving a narrow space into an even smaller section, a sense of cleanness pervades, attuned to the definition of its own periphery. Protection and limitation co-exist here within the context 㖈杞㼭涸瑠ꢂ⚥ⴢⴀ刿杞㼭涸瑠ꢂչ峇帩պ涸歲絁㔔罜䖤ⵌ烀用㖈帩⻋涸勴⟝♴⥃䫢♸ꣳ of purification. ⵖⰟず㶸㖈

This is a workshop, an operating room, a production line. The gleam of metal signals to the process 鵯僽䊨㖞䩛助㹔欰❡絁ꆄ㾪㾝梡ⰦꝘⵄ涸⯕蒺䲿爚衽齡❉䎂ⳝ⛓暟䨾偽岁鷗猍涸꧌⡤ of mass transformation beyond the ordinary objects; their dissected vestige reconfigured and 佖鸤㸐⟌鄄ⴕ⶷䒓勻⠶ꥦ涸䨾剤ꨫ侕♸幋✉鿪忕殆⾲㖒✮⟃㼓ꝉ⿻⹉䔂㖒㸞佞㖈姽չ侮 sealed in its own place. Here, the word “organize” connotes a sinister intention, justified by the 椚պ」䧭✫齭䜌涸㶶滚չ峇帩պ㽠僽ꦼ⟃끰倊涸遤⸓椚䰘⠍➃㖈ꥬ猍涸䩛媯♴〫腋䧭⚹倾錜 act of “cleaning”. Face to face with viewers as witnesses, at the end of the path, is a reminder 罏剓絊꬗㼆涸僽齡⣜傊偽駈鲽ꅾ涸䜡搭䫔鵦 of our returns to things appearing other than as we know them, nevertheless, they remain inconsequential. Installation View

㾝錒植㜥 Image courtesy of the artist

㕭晙歋谀遮㹻䲿⣘

Harbour Arts Sculpture Park Harbour Arts Sculpture Park 谁麉笞度 Hong Kong

껺度 26 - 31.03.2018 Harbour Arts Sculpture Park lights up with new addition artwork ‘Serene Green ’ (2018) by exhibiting artist Ko Sin Tung. The neon green installation in Western Garden幡䎕绻笂 projects the four Chinese characters ‘Serene Green’ that translates to an environment surrounded by greenery, serenity, natures overwhelming charm, and its indisputable beauty. Ko presents a play on the conception and the irony embedded in the four words that customarily accompany the advertisements for luxury real-estate, and in this case a particular online advertisement of a flat located in Mid-levels West, Hong Kong. Delving into Serene Green, Ko measures the power of the words that play a role of a crucial element in determining the action of acquiring real estate in the present-day.

Harbour Arts Sculpture Park չ谁麉笞度(2018) պ涸倞㟞⡲ㅷ僽歋껻度谁遯㹻넞⧉䕒ⶾ⡲涸շ幢䎖综 笃ո 笃蒀涸ꩪ赙敚⡲ㅷ럊❮銯㕨 莅ヰ鼹虋加襟综涸橇㞯輑昸♧넓 瑳곏㣐荈搭涸ꃰ➃ 눃⸂ㄤ搂䐄縨毠涸繡䢀 ✮➃䛽ꬆ㸞㻞涸䠮錏չ幢䎖综笃պ㔋㶶竤䌢ⴀ植㖈垜湏䑞デ⚥ 㣐苠 僈❮涸俒㶶胝䖕ꦡ询衽镾ⵞ䠑㄂ 罜鸏妄㽍Ⱖ䭸ぢ♧⦐⡙倴껻度銯⼱㿋涸笪♳垜湏䑞デ谁遯 㹻鷴麕շ幢䎖综笃ո♧⡲幀Ⰵ䱳鎣俒㶶⸂ꆀ倴植➛㖒欴ꌼ㈒䨾䪐怵涸ꡠ꒳錬蒀 Harbour Arts Sculpture Park 2018 – Serene Green (2018), Ko Sin Tung Photography幡䎕绻笂 by Caster Cheung

Harbour Arts Sculpture Park 2018 (2018), ˊ幢䎖综笃Caster Cheung넞⧈䕒 撑晚歋 䲿⣘ Harbour Arts Sculpture Park 2018 – Serene Green (2018), Ko Sin Tung Photography幡䎕绻笂 by Caster Cheung

Harbour Arts Sculpture Park 2018 (2018), ˊ幢䎖综笃Caster Cheung넞⧈䕒 撑晚歋 䲿⣘ Harbour Arts Sculpture Park 2018 – Serene Green (2018), Ko Sin Tung Photography幡䎕绻笂 by Caster Cheung

Harbour Arts Sculpture Park 2018 (2018), ˊ幢䎖综笃Caster Cheung넞⧈䕒 撑晚歋 䲿⣘ Harbour Arts Sculpture Park 2018 – Serene Green (2018), Ko Sin Tung Photography幡䎕绻笂 by Caster Cheung

Harbour Arts Sculpture Park 2018 (2018), ˊ幢䎖综笃Caster Cheung넞⧈䕒 撑晚歋 䲿⣘ Rehearsal

䕙䱖 Group Exhibition

纈㾝 Tai Kwun Contemporary, Hong Kong

㣐긬殹➿繠遮긬 껺度 25.03.2018 - 15.04.2018 Installation View

㾝錒植㜥 Sunflower and safety helmet

㣖ꤿ蔅莅㸞䌨2017

Digital print

138.5 x 侸焺䩧⽫176.5 cm

Image courtesy of the artist

㕭晙歋谀遮㹻䲿⣘ Installation View

㾝錒植㜥 Sunflower and safety helmet

2017㣖ꤿ蔅莅㸞䌨

Digital print

138.5侸焺䩧⽫ x 176.5 cm

Image courtesy of the artist

㕭晙歋谀遮㹻䲿⣘ Muse for a Mimeticist - Wang Wei and Ko Sin Tung

鹧溫⚺纏罏涸꫙䠮桬遺莅넞⧉䕒 Edouard Malingue Gallery, Shanghai

꼛ⲳ殥䐤 ♳嵳 24.06.2017 - 20.08.2017 As a conceptual tool devised for this exhibition, “Mimeticism” differs from Realism in that, For Wang Wei and his generation of Chinese artists, Realism is certainly not unfamiliar. Wang while the latter embraces countless possible definitions and means of realisation, the former Wei graduated from the Central Academy of Fine Arts in Beijing, the base of Realist pedagogy advances only along a narrow path. Mimeticism adheres to only one technical standard: an in the New China, long dominated by Soviet-inspired Academic Realism. The generation of enchanting realm of perfection towards which one approaches ever closer. artists prior to Wang Wei — the Chinese artists who rose to prominence in the 1980s — had long parted ways with “Realism” (which to a great degree was a version of Mimeticism) in order to A well-known tale from antiquity recounts how Zeuxis and Parrhasius, two outstanding Greek free up the methodology in their art and in their thinking. They engaged with new artistic forms artists, decided one day to stage a contest to determine who was the greater artist. Zeuxis such as abstract art, installation, performance art, videos, texts, among others. In contrast, Wang first unveiled his painting of grapes, the exquisite likeness of which actually fooled the birds. Wei along with his generation more consciously realise that while it was necessary to veer away Thinking the grapes were real, they one by one swooped down to peck at the painting. Zeuxis from Mimeticism, something else is now needed. Realist art pedagogy in China merely stays at beamed triumphantly. Next came Parrhasius, who invited everyone into his room where he had the level of technical training, without delving further into reality; meanwhile, the intoxicating painted a large curtain on the wall. Caught unawares, Zeuxis went in and asked, “Well, then, powers of Formalism (however contemporary it may be) are certainly no less than those of show me what you drew underneath?” As Zeuxis uttered these words, the greater artist was Mimeticism. For Wang Wei, the most pressing task of art is to return to Reality, but he is in no determined. Zeuxis’ painting merely fooled the birds whereas Parrhasius managed to deceive rush to discover new artistic forms. Instead, he seeks to intervene into new social realities with Zeuxis. This story informs us how the technical criterion of “mimesis” is purely biological and the various languages of contemporary art. not preoccupied with conceptual thought. Thus Wang Wei devotes himself to the observation of reality, continually probing the cracks and The exhibition proposes the following notion – that inspiration virtually always emerges on the edges of a commonsensical reality. He observes what is most ignored in the landscape of the path towards Mimeticism and that one is fortunately allowed to stray from this path. With this everyday and takes up the critical judgement of ordinary people — a judgement derived from as the point of departure, Wang Wei and Ko Sin Tung’s oeuvres continually demonstrate how people’s most unadorned intuition in order to gradually construct the countenance of a vast and inspiration is sparked by such deviations from Mimeticism. Naturally, their work also frequently complex world without any “centrisms” — a world which we inhabit. Such is Wang Wei’s core reveals all that is lovely and good-natured with Mimeticism. subject — which incidentally is also the particular characteristic of our age.

For this exhibition, Wang Wei takes on two particular forms of imagery: mirror images and In this exhibition, Ko Sin Tung will produce a series of related works: she will paint on the mosaics. The mirror image is, in fact, the ideal sought by Mimeticists, and additionally is a warning lights that ordinarily remind us to be aware of road safety the same “protective colour” common method in Realist art (one can observe how Realist masters from the Central Academy as on the walls, thus conferring to them an entirely opposite role. She will also present a ready- of Fine Arts would paint a Realist oil painting full of complex mirror images, just in order to vaunt made advertisement promoting work safety with superimposed images of safety helmets and their superior mastery of technique). Yet, Wang Wei’s mirror images have at least two distinctive sunflowers, while the only thing connecting the two might be the virtually identical yellow; the aspects. First, he chooses not to reflect any “interesting” scenes; instead, he ofen picks up on colour imparts the painting with an eerie harmony. Additionally, she documents how traditional only one aspect from what the exhibition venue looks like. Second, his mirror images are not road lighting has switched to LED lighting. In theory, with this half-sorrowful elimination of mimetic; he merely produces a derivative copy of a “real image” with cheap mosaics. His aim incandescent lighting, the new lights will illuminate the streets all the more clearly — and is to have people finally discover that what the work reflects is the very space they are in, and hence more “mimetic”. Finally, on two high-definition TV (HDTV) screens, which are utterly thereby get them to pay attention to and reflect on the space anew. commonplace today, she plays two videos about standard definition. This gesture, imbued with a sense of evolution, very directly spells out the simple and satisfying strides onwards along the In contrast to Wang Wei, Ko Sin Tung did not receive a Realist art education. Yet Ko Sin Tung, born path of Mimeticism. and raised in Hong Kong, is equally concerned with how art deals with reality, much like artists from her own generation and before. Such concerns — in an environment like Hong Kong where Edouard Malingue Gallery (Shanghai) will open the dual exhibition “Muse for a Mimeticist — art is continually hemmed in by commerce and utilitarianism, and where social conditions have Wang Wei and Ko Sin Tung”, providing the rare chance to connect two artists with relatively fluctuated over the long term — most naturally appear especially pressing. Much like Wang Wei, different backgrounds: while both carry along and extend their creative threads, they equally Ko Sin Tung’s point of departure is to observe the world around her. The imagery she employs comment on and further each other’s practices. comes for the most part from everyday life, while the focal point she recounts happens to be the inspirational revelation uncovered in a wide array of everyday appearances.

Mimeticism 鹧溫⚺纏 僽♧⦐捀鸏⦐㾝錒罜涮僈涸䙼䟝䊨Ⱘ鹧溫⚺纏莅植㻜⚺纏涸⼦ⴽ㖈 ꖏ⫹Ⱖ㻜㽠僽鹧溫⚺纏罏䨾鷆宠涸㞯歲⛳僽植㻜⚺纏谁遯涸䌢欽倰岁溏⚥㣜繡遯㷸ꤎ殗 倴䖕罏剤搂瓛搂湈涸〳腋㹁纏⿻㻜驏倰岁罜⵹罏⵱〫屡衽♧哭杮瑻涸麥騟♧䖃搂⵹Ղ鹧 噠涸植㻜⚺纏㣐䌌剚⟃殥♧䌴⯏怏醳꧹ꖏ⫹涸植㻜⚺纏屘殥⢵䕥곏➮⦛넞馄涸䪮谁⡎ 溫〫剤♧珏䪮遯䚍垦彋♧珏鶵➃涸雊➃♶倬䖃⛓ꬒ鵜涸㸤繡㞯歲剤♧⦐䑞岌崩⫄涸佦✲Zeuxis Parrhasios 僽桬遺涸ꖏ⫹剤荛㼱Ⰽ⦐暶럊Ⱖ♧➮䨾鼇乵⿾僦涸♶僽⟤⡦剤馱涸兞韍罜䖃䖃〫僽㾝 㸿⯘銯倛 ㄤ䋪䬘銯㤹倛 僽Ⰽ⡙✫♶饱涸䋞茣殥㹻厥㣔Ⰽ➃䟝♧鯱넞 錒植㜥劥⢵垺頗涸Ⱖ⚥♧㝆Ⱖ妄➮涸ꖏ⫹⚛♶鹧溫〫僽欽䐢⭆涸꼛飓⯘瀵䧭涸溫⫹涸♧ ♴㸿 ⯘ 銯 倛 ⯓ 㾝 爚 ➮ 䨾 殥 涸 ♧ 䌴 袖 蟏 谑 埠Ⱖ 礶 篊 鹧 溫 涸 玑 䏞 界 搭  䒸 ✫ 㼭 둷㼭 둷 铐 ⟃ 捀 ⦐妄瘞䭡頺➮涸湡涸僽雊➃⦛㖈穅倴涮植⡲ㅷ⿾僦涸僽➮⦛䨾贖涸瑠꟦⛓䖕䖤⟃ꅾ倞⿡ 齡僽溫涸袖蟏秼秼굳♴⢵劊ぢ殥꬗㈾굺㸿⯘銯倛峕峕䖤䠑䱺♴⢵鰶ⵌ䋪䬘銯㤹倛➮鼝 ꡠ岤⿻䙼罌鸏⦐瑠꟦劥魨 锞㣐㹻鹎ⵌ䨼꟦酭➮涸⡲ㅷ僽㖈䨼꟦涸晘♳殥✫♧㣐㝆砡䍌罜♶濼䞕涸㸿⯘銯倛鹎Ⰵ䨼 ꟦儘⤑铞齡랃植㖈雊䧮溏溏⡹㖈齡䖕꬗殥✫➊랃殹㸿⯘銯倛姽鑨♧ⴀⰍ➃⛓꟦넞♴ 莅桬遺♶ず넞⧉䕒⚛劢䱺「植㻜⚺纏谁遯來肬⡎㖈껻度䧭Ꟁ涸㥠莅Ⱖず鰳⿻♳♧鰳谁遯 用ⴼ㸿⯘銯倛涸殥〫腋䒸㼭둷妬꿋㼭둷罜䋪䬘銯㤹倛⽿䧭⸆㖒妬꿋✫㸿⯘銯倛鸏⦐ 㹻鿪ず垺ꡠ䗱谁遯㥶⡦贖椚植㻜鸏垺涸ꡠⴗ㖈껻度鸏⦐谁遯♶倬鄄㉂噠⿻⸆ⵄ⚺纏䙼䟝亡 佦✲铞僈鹧溫鸏⦐䪮遯垦彋僽秫欰暟䚍涸⚛♶闍宠䙼䟝Ⰹ㺂 㠺⿻爢剚朜屣Ꟁ劍贖倴隶⹛⛓⚥涸橇㞯酭荈搭罜搭㖒곏䖤暶ⴽ䚊鶗莅桬遺♧垺넞⧉䕒⟃ 錚㻌魨鼹⚆歲⡲捀䊨⡲涸ⴀ涮럊㥠䨾⹛欽涸䠑⫹㣐㢵⢵倴傈䌢欰崞罜㥠闍鶤涸ꅾ럊䜄䜄 鸏⦐㾝錒䲿ⴀ涸圓䟝僽㖈鸒䖃鹧溫⚺纏涸麥騟♳䎙⛖籏僽剚ⴀ植♧❉꫙䠮雊䧮⦛剤䎋㖒 僽㖈珏珏傈䌢꬗頗⚥涮植涸㉬爚㖈鸏妄㾝錒⚥㥠㼟醢⡲♧禺⴪剤鸮顐䚍涸⡲ㅷ㥠㼟䎂 饥♳娂鸁䖰鸏⦐圓䟝ⴀ涮桬遺ㄤ넞⧉䕒涸䊨⡲姻僽㖈♶倬窍䧮⦛爚眕胝ꨆ鹧溫⚺纏涸꫙ 儘䲿ꄁ➃⦛岤䠑騟꬗㸞涸陪爚敚㝤♳晘꬗♧垺涸⥃隌蒀雊㸐⦛䪐怵♧妄㸤湱⿾涸錬 䠮殹搭⛳竤䌢鷴ꪫⴀ鹧溫⚺纏劥魨涸〳鋷〳䠦⛓贖 蒀㥠 ⿶ 䌟 ⢵ ✫ ♧ 䓹 植 䧭 涸 䑞 デ鸏 䓹 䑞 デ 駈 ⟃ ⟂ ⟤ ⡦ 「 ⵌ 繡 遯 來 肬 涸 ➃ 姹 坿鸏 䓹 㹒 ⫄ 䊨 㖒 㸞涸䑞デ㼟䊨㖒㸞䌨ㄤ㣖ꤿ蔅ꅾ毕佞㖈殥꬗⛓♳Ⰽ罏㈔♧〳腋涸鋷㿂ꡠ⤚〫僽㸐⦛ 植㻜⚺纏㼩倴桬遺⿻Ⱖず鰳⚥㕜谁遯㹻穪♶꣫欰➮殗噠倴⚥㣜繡遯㷸ꤎ倞⚥㕜植㻜⚺纏 LED䎙⛖♧垺涸랔蒀殥꬗㔔姽麨荞✫♧珏㣼殯涸ㄤ镜ⱄ⛓䖕㥠私ꏗ✫⫄窡騟敚鄄刿䳖䧭倞䒭 來㷸涸籏鿈桬遺涸⵹鰳齡❉Ⱄ⼧䎃➿䱡饱涸⚥㕜谁遯㹻傍䊺⟃胝ꨆ植㻜⚺纏Ⱖ㻜䖎 敚涸麕玑椚锸♳㖈鸏㜥⼱䌟䠮⫊涸希寧⚥倞䒭騟敚㼟剚㼟遳麥撑䖤刿捀幢嘽刿捀 㣐玑䏞僽♧珏鹧溫⚺纏捀鍑佞谁遯ㄤ䙼䟝涸倰岁➮⦛涮㾝ⴀ倞涸谁遯䕎䒭䬄韍谁遯酤 鹧溫✫剓䖕㥠⟃Ⰽ〵㖈➛㣔䊺僽穪㼩兜麒涸넞幢ꨶ鋕久佞Ⰽ媯ꡠ倴垦幢涸䕧晚鸏⦐䌟 縨遤 捀 谁 遯ꏗ ⫹俒 劥 瘞罜 桬 遺 ♧ ➿ 騈 ➮ ⦛ ⵹ 鰳 涸 ⼦ ⴽ 㖈 倴➮ ⦛ 刿 捀 幢 ꄁ 㖒 䠑 陏 ⵌ꨾ 鹎⻋锸䠑㄂涸⹛⡲ꬌ䌢湬䱺㖒铞僈✫鹧溫⚺纏麥騟♳涸矦㋲涸雊➃怏䠑涸Ꟁ駈鹎姿 銴胝ꨆ涸僽鹧溫⚺纏㔔捀⚥㕜涸植㻜⚺纏谁遯來肬〫⨢殆㖈䪮遯鎯箻罜⚛尝剤㼩植㻜鹎 6 24 遤刿幀Ⰵ涸灇瑖鸏珏䕎䒭⚺纏搂锸⡦Ⱖ殹➿涸란ꃰ⸂♶嫲鹧溫⚺纏㼱㼩桬遺⢵铞㔐ⵌ 꼛Ⲵ殥䐤♳嵳㼟倴 剢 傈莊鳵鹧溫⚺纏罏涸꫙䠮劥妄㾝錒ꨈ䖤㖒穡ざ✫Ⰽ⡙欰崞胝兞 植㻜僽谁遯涸殹⹡⛓䚊⡎➮⚛♶䚊倴涮植倞涸谁遯䕎䒭罜僽㥶⡦⢪欽♶ず涸殹➿谁遯铃 湱殹♶ず涸谁遯㹻➮⦛㖈䒂糵荈䊹䊨⡲涸腠窄涸ず儘⿶䧭捀㼩倰䊨⡲涸鏽艁⿻䒂⠽ 鎊⿡➝Ⰵ倞涸爢剚植㻜

倴僽桬遺荞⸂倴錚㻌植㻜⚛㖈Ⱖ⚥♶倬涮植♧珏䌢陏⛓⚥涸溫㻜涸㣰簧ㄤ鼹箔➮錚㻌傈 䌢兞錚⚥剓♶鄄岤䠑涸鿈ⴕ⫹⦐兜鸒➃⟃➮⦛剓矦域湬錚涸ⴼ倬鷷恸圓䧭✫䧮⦛魨贖Ⱖ ⚥涸⚆歲涸륔꧹涸嬗搂⚥䗱䙼䟝涸垺㶩鸏僽桬遺ꡠ䗱涸呍䗱陾겗⛳僽䧮⦛䨾贖儘➿涸 暶럊捀✫鸏妄㾝錒桬遺⹛欽✫➮䢫欽涸Ⰽ⦐䠑韍ꖏ⫹ㄤ꼛飓⯘ Installation View

㾝錒植㜥 Installation View

㾝錒植㜥 One day, workers replaced the traditional high pressure sodium street lights with the new LED ones LED 2017厥㣔䊨➃䪾莍涸넞㠺ꇬ騟敚刿䳖捀倞涸 騟敚

Enamel paint, acrylic, digital print on aluminium plates

88煂怚㝖芣䕙侸焺䩧⽫倴ꍑ匢 cm x 99 cm, 127.5 cm x 119.5 cm 110 cm x 105 cm, 103 cm x 71.5 cm Sunflower and safety helmet

㣖ꤿ蔅莅㸞䌨2017

Digital print

138.5 x 侸焺䩧⽫176.5 cm The World of Yesterday

2017僴傈涸⚆歲

Double-channel video

7꧱걽麥ꏗ⫹ min 50 sec, HD, colour, no sound 7 50 ⴕ 猲 넞幢 䕙蒀 For a wider view

捀✫刿䑞ꡀ涸鋕ꅿ2017

Convex mirror, stainless steel structure

Dimensions䑞錬ꖏ♶ꍁꏈ佅卺 variable

㽯㼄♶㹁 Crypsis

⥃隌蒀2017

Warning light, nitrocellulose lacquer

15.5 cm x 8 cm x 8陪爚敚炧㛇怚 cm each 嫦⦐ Breathing Space: Contemporary Art From Hong Kong

㋉䜂瑠꟦껻度殹➿谁遯㾝

Asia Society Hong Kong Center, Hong Kong

❏崍⼿剚껺度⚥䗱껺度 12.03.2017 - 09.07.2017 ‘Breathing Space: Contemporary Art from Hong Kong’, a group exhibition of eleven Hong Kong artists working across a range of mediums, split into two sections. The work took place both 넞⧉䕒栽鼇⿮莅耢㾝շ㋉䜂瑠꟦껻度殹➿谁遯㾝ո㾝錒ⴕ捀Ⰽ鿈ⴕ鼝锞⼧♧⡙껻度谁遯 inside and outside of the gallery building with the interior pieces aiming to challenge aspects 㹻긅 ♶ ず 㯯 ➝ ⶾ ⡲㾝 ⴀ ⡲ ㅷ 穡 ざ 䒊 眡 暟 涸 Ⰹ 㢫 瑠 ꟦䮋 䨞 籗 䘑 鿪 䋑 涸 㔿 剤 欰 崞 垸 䒭䨩 㢫 of urban living in the city and the outdoor area consisting of new commissions that strive to 瑠꟦㨽秉倞⡲⢵㔐䥰ㄤ⯘剪㙹䋑欰崞䨾䌟⢵涸珏珏歲ꣳ overcome these boundaries and responding to potential solutions. Installation View

㾝錒植㜥 Every Unit

嫦♧⦐㋲⡙2017

LED monitor, HD Video, iron holder, headphone, marble LED 곏爙㾓넞幡鋕걽꘭卹羭堤㣐椚瀖Dimensions variable

㽯㼄♶㹁 Every Unit

嫦♧⦐㋲⡙2017

LED monitor, HD Video, iron holder, headphone, marble LED 곏爙㾓넞幡鋕걽꘭卹羭堤㣐椚瀖7 min 18 sec Every Unit

嫦♧⦐㋲⡙2017

LED monitor, HD Video, iron holder, headphone, marble LED 곏爙㾓넞幡鋕걽꘭卹羭堤㣐椚瀖7 min 18 sec Standing (in the old ways)

⟃莍倰䒭畀用

100 f Park, Hong Kong

涰ヌⰖ㕧껺度 29.09.2016 - 30.10.2016 Installation View

㾝錓植㜥 Installation View

㾝錓植㜥 Standing (in the old ways)

⟄莌倰䒭畀用2016

Oil on offset prints, offset prints, tarpaulin, fabric adhesive tape

屘䕙ծ叕䒭⽪ⵘ㋲䓹ծ꣈宐䋕䋒ծ䋒芢䌞Dimensions variable

㽯㼄♶㹁 Details

稣眎 Absent store

緄䌏涸䏅

Holy Motors, Hong Kong Holy Motors 껺度 10.06.2016 - 30.06.2016 Not really closed, yet not open. A paradoxical situation captures the overbearing attitude of spectacle. This is a space with an imposing existence: while other shops are closed, it continues ♶㸤ꡠꟗ⡎⛳⚛♶Ꟛ佞荈湱濨湽涸贖㞯鷴ꪫ衽鸏♧㜥兞涸⫃䢩䢀䏞鸏僽⦐頗⡂㡭錚涸 through the night. Questioning value with nothing to sell. Out of this void, we persist. 瑠꟦殹ヰ黩㉂䏅鿪ꡠ♳㸐➠㖈㢹酆糒糵麌⡲尝剤匌銯〳⟃顋颪⛓ꥹ冝爚㼩⭆⧩涸颶毠 㖈♧晚贡瑠涸橇㞯♴䧮⦛䭰糵㶸㖈衽 Installation View

㾝錓植㜥 Installation View

㾝錓植㜥 Details

稣眎 Installation View

㾝錓植㜥 Details

稣眎 underground construction: failed

㖒䏁䊨玑♶ざ呔

Edouard Malingue Gallery, Hong Kong

꼛ⲳ殥䐤 껺度 09.10.2015 - 05.12.2015 Beams of artificial fluorescent light, pixelated images of gray-scale sunrises, assembled screens Atypically stripped of colour, each anomalous sunrise is lit by various artificial fl uorescent of ad hoc roadside footage – these are but some of the elements in Ko Sin Tung’s visual dialogue beams, the lighting of the underground coming into conflict with the specifically over-ground with underground zones of construction; those hidden major developments that are hinted and supposedly dreamy settings. Passed this panoramic display, the visitor is faced with a film at above earth yet not revealed till upon completion. Edouard Malingue Gallery is pleased to and setting that ties the lighting and context together. Projected onto the lefmost wall, two present the first major solo exhibition of Ko Sin Tung (b. 1987), an emerging Hong Kong artist hands are shown holding a fluorescent beam – identical to the ones lighting the exhibition and graduate from the Department of Fine Arts at The Chinese University of Hong Kong, who space - then letting them go, the immediate release solely being captured allowing your mind is concerned with the private states of living and investigates, through a myriad of mediums to compute the imminent fall; those that survived, now lighting the room. and materials, the psychological influences objects as well as environments project, and the idiosyncratic functions they are channeled to fulfill from the domestic to the urban. It is thus revealed that these lights - their properties, continuance and use - are the defining elements of the exhibition and follow from Sin Tung’s previous investigation of light. Here, Sin For ‘underground construction: failed’ Ko Sin Tung develops from her consideration of domestic Tung continues to consider its physical and psychological implications in an industrial setting. spaces to seemingly more public quarters - the future high-speed railway connecting Hong More crucially though, she uses light to build a parallel with the characteristics of construction: Kong to Mainland China near West Kowloon - and investigates, on a personal level, the how a site, non-visible to passersby, provides promises and illusions, whilst at the same time reverberations of this concrete issue, dissecting its consequent yet currently secretive impact being a very fragile concept, one that can shatter when reality becomes clear. This state of on social relations. At the entrance to the gallery the visitor encounters an archway; as if entering friability is echoed throughout the exhibition via Sin Tung’s systematic methods of destruction a domestic lair, the outline of an ordinary plastic carpet lies on the floor in front of the entrance and examination, processes that aim to reveal how vulnerable an image/an object, and so an - the remnant of the semi-circular shape of commonplace doormats. On the side wall hangs individual, is. Senses of personal dissatisfaction and frustration are ultimately echoed by the a small image of the Austin construction zone, covered in undulated shards of blue plastic - term “failed” in the exhibition title, a term that equally refers to the expectations that have failed at once a hint of the exhibition beyond the gateway and a welcome sign, the curved shape to be fulfilled for a better society and living environment. echoing that of a rainbow and alluding to the hopes as well as aspirations of the infrastructural development.

Through the portal, one enters the exhibition space, lit solely by a series of fluorescent beams and the light emanating from a collection of stacked TV screens. As if entering the construction site itself, Ko Sin Tung creates an immersive environment for the examination of the very setting she is herself investigating. The visitor first encounters a sculptural installation displaying moving image sequences; a development on her previous piece ‘Steady ground’ (2014), presenting a set of screens that individually capture roadside footage, shot using an unstable handheld camera. Beyond these, one is lured to a series of gray scale images showing cropped photographs of indistinct sunrises. Aggrandised and pixelated, the counterintuitive scenes appear increasingly blurred upon approach and simulate zones of light at the end of a lengthy tunnel, finely computerised lines emanating from each corner narrowing on the circular spot. 輶⯕敚勲竤⫹稇⻋涸披ꥣ傈ⴀ殥꬗ㄤ⩑麂涸騟鼹䞕㞯ЭЭ鸏❉鿪僽넞⧉䕒涸ⶾ⡲⯋稇圓 ➃鸣輵⯕教撑❭嫦♧⦐⯎怐麫ㄤ䠭涸釾蒀傈ⴀ㖑䏀涸⯕箁⤑㥵姼遼乹衼㖑꬗㣅♧菚涸兞 䧭㥠⟃㖒䏁䊨玑捀铭겗涸♧㜥鋕錏㼩鑨㙹䋑鋊ⷔ邍꬗涸ⱺ㿋♧錬悴询珏珏劢濼涸涮㾝鮨2015 10 8 11 26 1987 韌կ竤麔鸎穉Ⰼ兞䒭㾝爙涸⡲ㅷ錙罏〳溏ⵌ瑟꟦涸〥♧畮姻㖈乄佞♧媯鸭穡㜥Ⰺ⯕箁ㄤ铃 騋꼛 Ⲵ 殥 䐤 㼟 倴 䎃 剢 傈荛 剢 傈ツ桐넞⧉䕒欰倴 䎃涸껷妄⦐㾝鸏⡙殗噠 㞯涸䕧晙կ䫏僥㖈䊩㠗♳涸ꏖ⫸ッ植✫♧꧱䩛䰌衼莄㾝錓教⯕⢵彂湱ず涸⯕盗կ䩛瑲搬녻 倴껻度⚥俒㣐㷸谁遯禺涸倞儢劥㖒谁遯㹻㽍Ⱖꡠ岤⦐➃欰崞朜䢀㥠鷴麕ぐ䒭㯯勞䱳瑖暟⟝ Ꟛ⟣錙罏荈遤䟝⫸輵⯕教⯕盗用⽰涸♴㟛կ㶸殆♴⢵涸教勲⤑䧭✫撑僈鸎♧瑟꟦涸䊨Ⱘկ ㄤ橇㞯㼩➃䨾䌟⢵涸䗱椚䕧갠⟃⿻㸐⦛㖈㾀㹻ㄤ㙹䋑㾵꬗♳䨾㻜植涸暶婌⸆腋 㥵姼♧⢵鸎❈教⯕涸暵颶ծ鸭顐䚍ㄤ麋欽♶⫦顐ⴗ넞⧈䕒⟄䖃㼩⯕涸⹟㻋❠䧭✫僽妃㾝錓 넞⧉䕒㼟搋럊䖰㾀㹻橇㞯獵荛ⰗⰟ瑠꟦⟃鸮䱺껻度莅ⰻ㖒涸銯⛰륌넞꘮갪湡捀⚥䗱诔僽 涸럊漋⛓贕կ㖈姼㥟♧㥵嚋䖃衼滚倴⯕㖈䊨噟橇㞯酭涸㻜ꥸ⿺䗱椚䠑豩կ刿ꅾ銳涸僽⯕莄䊨 妄㾝錒㼩Ⱖ鶬갠⡲䱳瑖⚛䖰⦐➃㾵꬗鍑圓皙⚥㼩爢剚ꡠ⤚涸悴㖈䕧갠驎鹎殥䐤Ⰵ〡涸䭔 玐涸暵䗛㖈谀遮㹻㸝䱗♴⡲ⴀ嫱㼩騟➃罜鎊♶〳鋅涸䊨玐⼥豩ꅥ衼搁ꣳ䪬閊⟄⿺䎑䟝 Ꟍ儘柔㥶姿鹎♧⦐軪㾀♧㝆兜鸒芣㞽䎂鮅㖈㖒♳䕎⡂぀瑠鋅䢫涸⼱㕩Ꟍ㞽涸婫긅湱ꁈ ず儗❠➿邍✫♧⦐噱捀腚䓳涸嚋䙁 殹植㻜幡兠饰⢵♧ⴗ䟝⫸鿪剚鰋僒檲鍒կ鸎珏腚䓳涸朜䡿 涸晘㠗䧆䱦衽叕㡦歒䊨玑⼦涸湱晚ꎦ♳话蒀涸䓞䕎芣哭ЭЭ䕙赙⡂涸㕬呪傂僽韍䗚䒭涸姹 鷳麔谀遮㹻剣禹窠涸灶㡏ㄤ㻜뀿㖈㾝錓⚥鶫갠䳶爙歋暵㹁㕭⫸䧴暟⟝䒁⠽荛⦐넒涸謭䓳կ 鵔Ꟍ晦❠ず儘䕧㼙鸏갪䒊鏤胝䖕涸劍劆ㄤ격兞 㾝錓垥겗⚥涸♶ざ呔姻姻ㄎ䥰✫⦐➃涸♶怐ㄤ䮲侁䠭⚛冝䭷珏珏剣頾㣐滞㼩䒊圓刿㥩涸 爢剚橇㞯涸ⰵ劅կ 錚罏瑭馊姻Ꟍ縨魨倴⫦歋輶⯕敚勲⟃⿻♧穉ꨶ鋕堥㾓䍌撑❮涸㾝錒瑠꟦넞⧉䕒㖈䱳鎣♧(2014) ⦐暶㹁橇㞯涸ず儘❠雊錚罏魨荆Ⱖ㞯껷⯓ツ植倴滚⵹涸僽♧⦐歋莍⡲琽㹁涸㖒꬗ 怵⻋罜䧭涸酤縨⡲ㅷ㾝ⴀ⟃♶琽㹁涸䩛䲿ꖏ걧䨾䯲䯝涸遳걧䕧⫹錚罏糒罜捀♧禺⴪竤鄪 ⶩㄤ佞㣐涸披ꥣ㕬⫹衽鶵谁遯㹻鷴麕ꨶ舡徿롗㖈㕬⫹♳⟃㣖ꤿ捀鯥䗱粭殥ⴀ䎓稣箁哭罜 䧭涸❜⿸➫稣錚㻌⛓♴鄄ⵠ䠑⫹稇⻋涸㣖ꤿ刿곏垸祎㥶㖈垸亼衽ꦎ麥湈걧涸⯕蒺 Installation View

㾝錓植㜥 Installation View

㾝錓植㜥 Installation View

㾝錓植㜥 Installation View

㾝錓植㜥 Installation View

㾝錓植㜥 Installation View

㾝錓植㜥 Installation View

㾝錓植㜥 Installation View

㾝錓植㜥 Plate Displacement

匣㝅獴⡙2015

Wood, floor panels

50 x 60 x 180加㖑匣 cm Installation View

㾝錓植㜥 Welcoming curves

姸鵓涸䓝䏞2015

Electrical tape, archival inkjet print, plastic carpet

ꨵ箁芢䋒ծ佐诡秸㑑㟯䩧⽪ծ芢㖑㞽13 x 23 cm, 58 x 86 cm EXPRESS

2015䘯鮦

Acrylic, washi tape on archival inkjet print

㝕芢䕙ծㄤ秶芢䌞ծ佐诡秸㑑㟯䩧⽪79 x 93 cm EXPRESS

2015䘯鮦

Acrylic, washi tape on archival inkjet print

㝕芢䕙ծㄤ秶芢䌞ծ佐诡秸㑑㟯䩧⽪79 x 84 cm EXPRESS

2015䘯鮦

Washi tape on archival inkjet print

ㄤ秶芢䌞ծ佐诡秸㑑㟯䩧⽪45.7 x 45.7 cm Steady Ground

琑㹁涸㖑꬗2015

HD videos, CRT monitors CRT 넞幡ꏖ⫸ծDimensions variable곏爙㐼

㽯㼄♶㹁 Steady Ground

琑㹁涸㖑꬗2015

HD videos, CRT monitors CRT 넞幡ꏖ⫸ծDimensions variable곏爙㐼

㽯㼄♶㹁 The sun is not here (1) 1 㣖ꤿ♶㖈鸎酆 2015

Archival inkjet print

佐诡秸㑑㟯䩧⽪114 x 160 cm Details

稣眎 The sun is not here (2) 2 㣖ꤿ♶㖈鸎酆 2015

Archival inkjet print

佐诡秸㑑㟯䩧⽪108 x 141 cm The sun is not here (3) 3 㣖ꤿ♶㖈鸎酆 2015

Archival inkjet print

佐诡秸㑑㟯䩧⽪88 x 114 cm The sun is not here (4) 4 㣖ꤿ♶㖈鸎酆 2015

Archival inkjet print

佐诡秸㑑㟯䩧⽪128 x 184 cm The sun is not here (5) 5 㣖ꤿ♶㖈鸎酆 2015

Archival inkjet print

佐诡秸㑑㟯䩧⽪119 x 161 cm Details

稣眎 The sun is not here (6) 6 㣖ꤿ♶㖈鸎酆 2015

Archival inkjet print

佐诡秸㑑㟯䩧⽪95 x 128 cm The sun is not here (8) 8 㣖ꤿ♶㖈鸎酆 2015

Archival inkjet print

佐诡秸㑑㟯䩧⽪82 x 116 cm 24 tubes 24 单盗㶩2015

HD video(11min 12sec, colour, mute), fluorescent lamps with waterproof cases, fluorescent tubes’ paper sleeves, stainless steel bin 11 12 넞幡ꏖ⫸ ⴔ 猲䕙蒀搁耪 ծ輵⯕教ծ꣈宐教縟ծ⯕盗秶㤛ծ♶ꍀꏈ咱Dimensions variable

㽯㼄♶㹁Link 24 tubes 24 2015单盗㶩

HD video(11min 12sec, colour, mute), fluorescent lamps with waterproof cases, fluorescent tubes’ paper sleeves, stainless steel bin 11 12 Dimensions넞幡ꏖ⫸ ⴔvariable猲䕙蒀搁耪 ծ輵⯕教ծ꣈宐教縟ծ⯕盗秶㤛ծ♶ꍀꏈ咱

Link㽯㼄♶㹁 Ko Sin Tung: A light in the void text by Ying Tan, October 2015

The relationship between vision and experience has a longstanding history; not just in realms of visual art but in music, philosophy, neuroscience, literature, and beyond. Albert Camus touches on this in The Myth of Sisyphus (1942) as he talks about the notion of ‘colouring the void’. Also in Wassily Kandinsky’s Der Gelbe Klang (The Yellow Sound, 1912), a one act stage composition where he constructs harmony in a kinetic performance consisting of six ‘pictures’ using colour notations for stage direction.

In Ikon of Light, written in 1983, contemporary British composer Sir John Tavener articulated the duality of absence and fullness of light in music; the composition itself was inspired by Saint Simeon, a Byzantine monk who wrote a well-known hymn describing his visions of divine light in the early 11th century.

A deeply moving piece of music, Tavener’s work is an expression of light in sound: light as both a physical illumination and a spiritual shining forth. This dichotomy is made clear as the music is composed in seven corresponding sections, sung in Greek, the first entitled Phos (light) and last Epiphania (epiphany, an insight shining forth). Through the use of techniques in layering repetition and counterpoint, Tavener is able to accentuate the effect of light building in intensity. At the centre of the work, the overall composition heightens and the music materialises and almost shimmers through the ear. As the string instruments and choir augment the layers of light, purposeful elements of silence composed between the verses becomes increasingly significant. Within these moments of greatest intensity he juxtaposes precisely indicated silences in the music. The moments devoid of sound become as important as the composition itself. The complexity in achieving such simplistic couplings of harmony and silence to describe light is astonishing. In the late composer’s own words: “Once the music leaves my study, the best that I can hope for is that it communicates at a deeper level than just ‘like’ or ‘dislike’— not through any gif of my own but because I have used symbols and, if they have been used correctly, then they should transmit a knowledge of cosmic analogies.” [1]

[1] Tavener, John, Mother Thekla, and Ivan Moody. 1994. Ikons: Meditations in Words and Music. London: Harper Collins. The analogy Tavener attempts to impart is an interpretation of Saint Simeon’s writing, More recently, her first solo exhibition at Edouard Malingue Gallery entitled which speaks of the concept of ‘uncreated light’, a term that refers to the uncreated “underground construction: failed” also deals with urban development and public energies of God, and which is neither a physical light nor a purely metaphorical light. space. The title of the exhibition itself refers to the Hong Kong to Guangzhou express Tavener tries to sonically retell this complex and paradoxical ethereality of light within rail link (XRL). A high-speed railway line, which was due to be inaugurated in phases the multiple layers of the composition - a light that is, in reality, inexpressible. between 2011 and 2017 (now delayed until late 2018). When realised, this link will connect Bei-jing with Hong Kong (Kowloon) via Guangzhou and Shenzhen. The first Almost 30 years later, in 2014, Ko Sin Tung produces “Collecting Light”, a series of phase, Shenzhen to Guangzhou, commenced operation in December 2011. The final painted, archival inkjet prints depicting tightly cropped images of windows found phase, which connects Shenzhen to Hong Kong (Kowloon), is the subject of the works online, enlarged to the point of pixilation. In an interview describing her work, Ko in this show. says this series was a direct response to the house rental advertisement term tsai guang (translated literally as ‘pick light’), a very common term in Taiwan to describe At the entrance to the gallery the visitor comes across an archway, as if to signal that the conditions of how natural light would fill an interior space. She went on further we are entering into a domestic space. Upon the threshold there is the outline of an to elaborate: “If the role of a window is to bring light into a space, then I wish to take ordinary plastic blue doormat, which lies on the floor in front of the entrance. What on the role of the window, collecting light through my actions. These lights coming is lef lying before us is a mat with a semi-circular shape cut out of an otherwise through the windows do not appear real in any of the specific images I’ve chosen and commonly found hallway carpet. The first omen of what lies ahead. even look a bit surreal, visually.”[2] Upon stepping inside, we find panels that show what the Hong Kong to Guangzhou She accomplishes this by applying white paint on the prints and manipulating the express rail link has promised – computer-generated, idealised scenes of the completed images of pixelated light, accentuating the luminescence that was subdued by the West Kowloon terminal that Ko photographed outside one of the construction sites. printing process. The resulting effect, a beaming, illuminated white-ness, seems to match our existing preconceptions of what the colour of light would look like. In reality, A bit further into the tunnel-like space there is a group of box TV monitors that sit on science tells us that light actually exists completely independently of this. top of each other. They are showing a reworking of her 2014 video Steady Ground. The camera captures random objects sitting at an angle on the street, and then the screen Whether in experimental theatre, classical choral composition or contemporary Hong rotates, making the objects themselves upright but everything else unsteady: another Kong, a desire to express the indescribable is attempted decades apart through indication that a sense of disorientation is to ensue. mediums that on the surface could not be more different: the use of a string orchestra with accompanying choir and acrylic, archival inkjet print on canvas. A need to capture Opposite the cluster of TVs there is a row of large, black-and-white reproductions the ephemerality nature of light undoubtedly surpasses the passage of time. of Internet photos capturing the sun rising above a sea. Entitled The Sun is Not Here, these are electronically doctored images – Ko has removed the original colours In a group exhibition called ‘Invisible Light’ in 2015 at Edouard Malingue Gallery in and drawn a long, thin “X” over each of them. From afar they almost look peaceful, Hong Kong, the first wall that you encountered upon stepping into the gallery is where idealistic, a sunset that one imagines would await us throughout a relaxing holiday I found Ko’s “Collecting Light” series. Hung in a deliberate, haphazard formation, the abroad, perhaps. Instead of the kaleidoscopic colours ofen found with such a vista, prints evoke the familiar facade of Hong Kong’s urban, dense residential buildings, these images are in gray scale and are set against a darkened seascape. A gloomy highlighting the sense of alienation that ofen pervades inhabitants of such dwellings light at the end of the tunnel? In any case, Ko’s digital manipulations invalidates any - an issue that is in no way specific to only Hong Kong. Estate agents and city councils sense of the hope and anticipation that a new sunrise would normally bring. A darker in the UK take all kinds of liberties, too. It leads us to question whether our right to light note unfolds. is, or should be intrinsic and inalienable? Or can it be given a value to exchange to the highest bidder? It is within these white visions where we project the hopes for our We then finally come to a large projection screen which shows an 11-minute video new future homes – these windows of light literally ‘house’ our desires and aspirations of a pair of hands cladded in work gloves casually dropping a total of 24 fluorescent for a better quality of life. Ko deliberately chose images of local houses from rental lights, one by one, onto the gallery floor. In the end, 10 of them broke, and these were websites, particularly the places that she couldn’t visit in person, thus enhancing the installed together with the surviving ones around the room, giving fragile illumination unreachable and unattainable nature of our possible utopias. to the exhibition.

[2] Collector of Light, interview with Esther Lu, 2014 This composition ends with a permeating sense of pessimism. One is reminded at considering the current subject matter. And the same probably could be said of each juncture that the $85 billion Hong Kong Dollar undertaking of the high-speed Tavener - where does the religious element end and where does the abstract concept express line is a complete and utter failure. Each of these works, like movements in of transforming light into sound begin? Tavener’s composition, does not candidly hammer this idea home. Instead, Ko focuses on the subtle, nuanced emotional impact on the issues of this public project. The As I think about these questions I find myself inadvertently staring out of a window. audience is reminded of the emptiness that we first encounter when we decided to An action that has come full circle it seems when considering Ko’s earlier works. What step across the threshold in the beginning of this exhibition. A metaphorical emptiness I value the most is that her works have given me an imperative for space in which of a promise at the end of the tunnel is echoed by the very action of what brought us empathy can exist. A space that is neither metaphorical nor physical, but just simply, inside. ‘there’. A call to the human condition perhaps, something that possibly we all long for; even at the present moment, surely our thirst for such an indescribable space has not Empty promises and window dressing; an abuse of our hopes for a brighter future – waned. like the ones which are encased in the white windows of Ko’s past work Collecting Light. In this case, a railway, which is great on the surface but in actuality is destroying a whole society’s capacity to hope.

In a recent interview with the , Ko elaborates: “I travel by bus from my studio in to Jordan regularly and the route takes me right past the construction site near Austin Station. It is immense, but the progress is very slow. Like everyone else in Hong Kong, I am aware of the news flow regarding the delays, but the driving force behind this exhibition is how changes in the city affect the personal. What I see from the bus puts pressure on me and affects my view of Hong Kong’s future,” she says.

When asked if she considers herself a ‘political artist’, she replies: “The inspiration for my work, or I would say, the things that influenced me the most, are always from the city and through the ways in which we live in this environment. No doubt when we talk about development and the use of land it must be related to certain political decisions. But then, it’s not difficult to find that most of the works have their political linkages, especially when they are produced under Hong Kong’s current social and political background. So I think this kind of label is slightly impractical, and may somehow even have negative effects for an artist. It is all too easy to overestimate the real effectiveness of a particular work as a tangible form of resistance.”

Ofen reflected in the public media as well, there is a default urge to compartmentalise works as ‘political’ in order to use it for their own ends. As curators, we too love to codify things with a label, most of the time to help us give context to something or to frame it within a specific set of ideas. What Tavener’s composition and Ko’s exhibition both point out though is to look at the work as a whole - does it then say something greater than the sum of its parts? If so, the use of us attributing specific terms such as ‘religious music’ or ‘political artist’ becomes defunct and in certain ways is slightly unhelpful. But Ko admits it is impossible to draw a clear line sometimes, especially

Tavener, John, Mother Thekla, and Ivan Moody. 1994. Ikons: Meditations in Words and Music. London: Harper Collins. 넞⧈䕒贠瑟⚥涸⯕2015 10 俒㶶陓琏 䎃 剢

鋕ꅿㄤ竤뀿⛓꟦涸ꡠ⤙♶⫦㖈鋕錏谀遮㾵꬗♳剣衼䝐⛉涸娛〷❠㖈갉坾ծㆹ㷸ծ牟(1942) “ 竤猰㷸ծ俒㷸⿺⟄㢪䖤ⵌ鑢ꅻկ꣚晋頺٥⸈籡涸瀊俒շ譨銯倛牟鑨ո” 䨾锸⿺涸 捀 “ ,(贠瑟㝣♳겝蒀Der Gelbe♧嚋䙁姻姻鍹⿺✫鸎垺涸耡粯կ⡃涸怵陼鼨剣檲倛椚٥䐀㹁倛㛇涸 Klang (The Yellow Sound, 1912 莺〵刼⡲շ“ ո ⟄겝蒀捀莺〵䭷㼫穉䧭Ⱉ䌴 殥 ⡲ 㖈⹛䡿邍怵⛓⚥䕎䧭♧珏ㄤ镛կ Ikon of Light (1983) ⤁鼨剣薉㕜⡲刼㹻秉缦٥㝜俒秜涸շ11 ո կ⡲ㅷ》꫘䠭荈䬺⽑䏭⬥ 翰銯褐倴 ⚆私ⴲ「翰꫘㉫褐㻨♴涸鑗姐ꡪ僈⯕㖈갉坾酭蕯ꦠ蕯植涸✳⯋䚍կ 

㝜俒秜涸⡲ㅷ僽⯕倴耪⛓⚥噱⹛䞔涸邍麧կ⟄䋞茢俒갲㈖涸刼⡲ⴔ♫鿈ⴔ》(Phos) (Epiphania) ⯕ ㄤ갾䝎 捀껷㽵涸垥겗ちꪪ⯕䨾Ⱟ⪓涸暟颶莄礵牟㉫鶓䠑 纏կ㝜俒秜鷳麔㾵妃䒭涸ꅾ銻ㄤ㼩⡙ꅾ럊⺠⹗⯕䠁馸䓽捘涸隶⻊կ侮넒偒䖒㖈 ⡲ㅷ⚥媯麧ⵌ噱荝䕱蕯暟⻊䧭Ꟑ早涸⯕勲ⱄ忶Ⰶ羭瓎կꦐ衼䓛坾ㄤ㈖鑗棴⸈ 䓽⯕涸㾵妃媯莄媯⛓꟦ⵠ䠑涸㺑ꬅ❠刿ⰨⰊ豩կ㝜俒秜㼩撑鸎肅䓹⸂莄礵彋 涸聐ꬅ⢪䖔罏騈偒䖒♧垺ꅾ銳կ诓ㄤ镛莄㺑ꬅ涸㤎ざ⢵䲽鶣⯕殹⚥⺫ゎ✫“ 礵䕙涸醲꧸䚍կ姻㥵⡲刼㹻鸎垺铝麤殹갉坾ꨅꟚ✫䧮涸䊨⡲㹔䧮剒㣐涸父 劅僽㸐腊邍麧嫱秫礨㋐姸䧴♶㋐姸刿帿㾵涸䠑纏կ鸎♶僽铝䧮涸㣔颭剣鸎垺” 涸腊⸂罜僽㔔捀䧮涸韌䗛䩛岁蕯搬䖤㹆椚䥰〳⟄⫄黂♧珏帿罜䑝涸嫱կ[1]

㝜俒秜䟝倶⸈涸嫱僽㼩翰銯褐⡲ㅷ涸♧珏鍒隡ծ⟄荈㶸⯕鸎♧嚋䙁捀⚥䗱涸鎣 锸⽰傁ꬋ㻜㖈❠ꬋ韌䗛䒭涸牟⯕կ㝜俒秜鑑衼㖈偒䖒涸㢴⦐㾵妃⛓⚥⟄耪갉ꅾ 鶣齡♶腊鎊㌇涸⯕⿺Ⱖ醲꧸⚂濨湽涸瑟꫘կ 2014 “ “ ✲ꥬ秉♲⼧䎃넞⧈䕒倴 䎃ⶽ⡲ 䱰꧋⯕箁 ♧禹⴩佐诡秸㑑㟯䩧⽪ծ竤⫸稇⻊ ⿺欽㝕芢䕙⸈⟄㝣蒀涸笩騟㕭⫸կ넞⧈䕒剎㖈♧眎鏞锒⚥䲿ⵌ鸎❈ꡠ倴璬涸㕭⫸“ “ ㉫涮荈㥟㖈〵⻌殆䠑ⵌ涸ⴀ獆デ爙欽鑂 䱰⯕ ⟄䕎㺂⯎形衼荈搬⯕涸㹔Ⰺ瑟꟦կ㥟

[1] 1994 Ikons: Meditations in Words and Music 秉缦٥㝜俒秜ծ⥝㥎䗞⯘䬘ㄤ㙩ⳝ٥琁鶓(2014) շ ո⧍侚ㆁ厣叕卌倛 [2] շ䱰⯕罏넞⧈䕒鏞锒ꏖո 糵鍒ꅻ麤㥵卓璬䨩涸㶸㖈僽捀✫エ秜刿㢴⯕箁鹍Ⰶ㹔Ⰺ齡랅䧮⤑僽➿剏✫璬䨩 刿럨帜涸锄㶩կ 涸錭蒀⣜ꬑ遤捀⢵麧ⵌ佐꧋⯕箁涸湡涸կ㖈鋕錏㾵꬗♳鸎❈鄄䮋鼆ⴀ⢵涸䕧⫸“ [2] 11 ⚥璬䨩酭涸⯕Ⱖ㻜鿪♶溫㻜欨荛剣珏馄植㻜涸䠭錏կ 搬䖔䧮⦛穅倴⢵ⵌ㾝錓涸剒䖔♧⦐⡲ㅷկ䫏僥㖈晘♳ծ晙Ꟁ24 ⴔꗻ涸ꏖ⫸㾝爙♧꧱䨥10 衼⹩䊨䩛㤛涸䩛ꦐ䠑⟣ 佅➃鸣輵⯕教盗♴㟛կ㶸殆♴⢵⾲㥩涸⯕盗莄Ⱖ➭ 佅䴦 넞⧈䕒⟄涯蒀겝俱㖈䩧⽪ⴀ⢵涸⫸稇⻊殥꬗♳⸈䓽涯蒀涸鿈ⴔ⢪Ⱖ贕倴殯䌢⯕❭ 㡏涸⯕盗♧ず酤縨倴㾝錓瑟꟦窍✮僽妃㾝錓謭䓳涸撑僈կ 涸朜䡿կ鸎珏秫礨ծ噱荝涸涯莄䧮⦛䟝⫸⚥⯕涸겝蒀♶閐罜ざկ罜㻜ꥸ♳猰㷸⽿デ 850 鏯䧮⦛⯕涸㶸㖈姻姻僽겝蒀⛓㢪կ 谀遮㹻涸⡑㽷⟄䝱錙⚺纏⡲捀穡铃嫦⦐㤎堤鿪䕱䖁㖈䲿ꄀ錙罏⧩ ⭚度⯋涸넞 ꘭갪湡僽♧⦐䗢䏀涸㣟侁կ姻㥵㝜俒秜涸偒䖒넞⧈䕒涸⡲ㅷ⚛ꬋ䠑㖈湬涯㖑ッ植 搁锸僽㻜뀿䚍颶涸莺〵ծ⫄窠鑗姐棴刼⡲⿶䧴殹➿껺度ⶽ⡲麔玐䭯糵㎱鑑诓ぐ䒭 鸎䠑䙁罜僽衼滚倴鸎갪ⰖⰟ䊨玐涸䗎㦪䞔䠭遼乹կ錙罏姼儗䥊饰ⶍ䩞寸㹁騗麔Ꟍ 溏⡃㣐湱鸃䏭涸㯮➝⿡邍麧♧珏♶腊鎊㌇涸⚺넒կ䖰䓛坾㕰ㄤ鑗姐棴ⵌ㝕芢䕙ㄤ佐 壊齡ⵠ涸瑟贠䠭䒸걅䧮⦛鹍Ⰶ㾝錓瑟꟦涸鸎♧⹛⡲莄ꦍ麤湈걧涸䪬閊韌䗛䒭瑟贠 诡秸㑑㟯䩧⽪㖈䕎䒭胜䖔뀜⢪衼谀遮㹻涸搁♶ⴀ荈䟝䯲䯝瑟꫘涸䚻⛉䣥劅կ 湱ㄎ䥰կ 2015 “ ” “ “ 㖈꼛ⲳ殥䐤涸 䎃耡㾝շꦠ䕎涸⯕ո⚥껷⯓ッ植錙罏滚⵸涸僽晘♳涸 䱰꧋⯕箁 贠搁涸䪬閊ㄤ璬䨩酤귆♧㥵齡❈ꚩ鹍넞⧈䕒莌⡲ 䱰꧋⯕箁 涸繠㥩ⰵ劅ちꪪ♧珏 禹⴩կ✥⚥剣䎸涸ꎦ䱗雊➃耡䟝ⵌ껺度涸넞㺙䏞㙹䋑圓䒊⺠⹗植➿欰崞酭㙹⚥➃ 鄄憬欽涸䤬兞կꆄ桪Ⱖ㢪侁窚Ⱖ⚥涸넞꘭姻姻磋烱✫爢剚㼩父劅涸㺂ꆀկ 涸騄ꨅ䠭կ䱰⯕鸎♧嚋䙁⚛♶㽷ꣳ倴度〵Ⰾ㖑㖈薉㕜㖑欴➿椚ㄤ䋑陾剚❠》Ⱖ捀 “ 垥彋⛓♧կ䧮⦛♶犜毟㉏⯕倴䧮⦛僽♧珏椚䨾殹搬⚂♶〳ⴔⶶ涸㶸㖈䫈䧴⭆넞罏“ ” 넞⧈䕒㖈鵛劍莄⽂螟傍㜡涸鏞锒⚥ꡪꅻ麤䧮竤䌢䖰⡙倴抠挦涸䊨⡲㹔⛧䊼㡦竤 䖤涸䬝ㅷ䧮⦛㖈鸎❈涯蒀涸兞韌⛓⚥䫏㼘㼩劢⢵㹻㕧涸ⰵ劅䱰⯕涸璬䨩 佐秜 ✫ 叕㡦歒䊨玐⼥ⵌ⡠侚կ䊨玐⼥涸鋊垷⼧ⴔ륓㣐⡎鹍㾝⽿ꬋ䌢箣䢨կ騈Ⱖ➭껺度➃♧ 䧮⦛㼩刿繠㥩欰崞涸䤬兞կ넞⧈䕒鼆乵笩騟♳涸ⴀ獆䨻㾋㕭晙㽍Ⱖ僽齡❈㥟劢腊 垺䧮⛲岤䠑ⵌꡠ倴갪湡䒁劍涸嶊䜂կ㾝錓䨾䱲鎣涸僽㙹䋑涮㾝㖈⦐➃㾵꬗圓䧭涸 鋶魧ⵌ鏞涸㖑倰⸈䓽✫䟝⫸⚥麵♶〳⿺涸捦䩯齥կ 悳㖈䕧갠կ䧮⛧䊼㡦儗䨾錙㻋ⵌ涸䕧갠✫䧮㼩껺度劢⢵涸溏岁㔔罜뀜⢪僽妃㾝錓“ 涸嚋䙁կ 㥟剒鵛㖈꼛ⲳ殥䐤莉遤涸껷⦐⦐㾝շ㖑䏀䊨玐♶ざ呔ոず垺ꡠ岤㙹䋑涮㾝⟄⿺ⰖⰟ2011 2017 “ 瑟꟦կ㾝錓垥겗㔐䥰鸭䱹껺度莄Ⰺ㖑涸넞꘭갪湡կ鎙ⷔ倴2018 荛 䎃꟦ⴔꥢ媯鹍遤 殹鄄㉏ⵌ荈䊹僽や♧⡙佟屛谀遮㹻儗넞⧈䕒㔐䥰䧮涸ⶽ⡲꫘䠭⿶䧴罏铝㼩䧮䕧 植䊺䒁荛1 䎃衅䧭䖔㼞竤麔䑝䊜ㄤ帿㖕鸭䱹⻌❩ㄤ껺度⛰륋կ帿㖕ⵌ䑝䊜2011 12 갠剒帿涸✲籎僽㕠粕衼㙹䋑⟄⿺䧮⦛㖈Ⱖ⚥涸欰崞倰䒭կꡠ倴㙹䋑涮㾝ㄤ㕼㖑⢪欽 涸痦 ꥢ媯䊨玐倴 䎃 剢Ꟛ㨤麋⡲ 罜帿㖕ⵌ껺度⛰륋涸剒䖔ꥢ媯䊨玐⵱䧭 涸鎣锸搁毟剚鍹⿺厤❈佟屛寸㹁կず儗殹⡲ㅷ遥欰荈껺度植儗涸爢剚ㄤ佟屛铃㞯 捀僽妃㾝錓涸搋럊կ 錙罏♶ꨈ涮植㸐⦛㣐鿈ⴔ鿪⺫ゎ✫佟屛耡粯կ㔔姼䧮⦐➃钡捀鸎珏垥硸僽玕䗎♶ⴗ 㻜ꥸ涸欨荛〳腊剚捀谀遮㹻䌞⢵頾꬗涸䕧갠կ㻜㖈㣖㺂僒䪾♧⟝⡲ㅷ鋕捀䫒昰涸” 歂驎鹍殥䐤Ⰶ〡贕涸䭔Ꟍ䕱䖁㖈冝爙錙罏姻銳姿Ⰶ♧⦐軫㾀կꟌ壊♳鮆衼♧㝅兜 䕎䒭⚛넞⠮㸐涸溫姻佪⸂✫կ 鸑涸诜蒀芢㞽搬罜䧮⦛䨾滚鋅涸♶僽䎂䌢涸饥䐤㖑嬝罜僽⚥䗱鄄䱒䧭♧⦐⼱㕩 䖔涸婪긄կ鸎僽痦♧麤갸⯐կ 㯮넒㜡㼫❠⿿僥ⴀ鸎珏䪾⡲ㅷⷔⴔ捀佟屛⡲ㅷ诓⟄荈㕩Ⱖ铝涸♧䐕䞔격կ魧捀瘻㾝 ➃䧮⦛❠䢫倴鷳麔垥硸⡲ㅷ圓䒊ⴀ鎣锸涸铃㞯ㄤ⚥䗱䙼䟝կ㝜俒秜涸刼⡲ㄤ넞⧈ 鹍Ⰶ㾝錓瑟꟦僥Ⰶ滚砠涸殥⡲㾝爙넞꘭갪湡涸䪬閊♧禹⴩歋谀遮㹻㖈Ⱖ⚥♧⦐ 䕒涸㾝錓⵱侚⤛䧮⦛䪾⡲ㅷ溏⡲♧⦐侮넒齡랅㸐僽やちꪪ✫♧珏嫱鸎⦐侮넒刿“ ” “ ” 䊨玐⼥㢪䬝伡涸ꨵ舠垷亻㜥兞ッ植椚䟝⚥銯⛰畀衅䧭䖔涸殥꬗կ 㸪㣐涸䠑纏蕯搬㥵姼䧮⦛⸈♳ 㸺侅갉坾 䧴 佟屛谀遮㹻 瘝垥硸♧莉⤑㣟佪欨荛 2014 殜捀搁渤կ♶麔넞⧈䕒❠㗞鎊罌䣁ⵌ⡲ㅷ涸殹⵸⚺겗剣儗⦫銳ⷔ幡歲箁僽♶〳 ꦍ麤菚涸㾝錓瑟꟦⚥㣛佞縨✫♧穉㛜毕饰⢵涸ꨵ鋕㾓䍋佞僥衼넞⧈䕒涸“ “ 䎃ꏖ 腊涸կ㝜俒秜〳腊⛲䠭ず魧「㖈㸺侅⯋稇ㄤ⯕捀耪涸䬄韌䧅䙁⛓꟦䧮⦛鑪㥵⡦ ⫸⡲ㅷ 琼㹁涸㖑꬗ 涸ⱄ晜կ湱堤䯲䯝騟鼸剣錭䏞㖑他佞涸ꦐ䠑暟⟝㾓䍋糒罜偒 鳹僈 鱲⢪暟⟝湬用饰⢵涸ず儗❠⟁ワ鼸橇㞯곏䖤♶琼㹁ⱄ妃갸⯐ꦐ⛓罜⢵涸鶴㣟䠭կ “ 㖈䙼程鸎❈㉏겗儗䧮搁䠑꟦ⳕ劅衼璬㢪կ鸎♧莉ⱄ妃ㄎ䥰✫넞⧈䕒涸莌⡲կ䧮剒棇 ꨵ鋕堤穉涸㼩꬗䧅䱦衼♧⴩㣐㘗랱涯笩騟㕭晙ッ植㖈嵳꬗箣箣⼮饰涸㣖ꤿկぜ捀“ 鋕涸僽㥟涸⡲ㅷ捀ず椚䗱䨾䒊用涸㺂魧⛓䨾ծ♧珏傁ꬋ韌䗛䒭❠ꬋ㻜㖈涸瑟꟦կ㸐 㣖ꤿ♶㖈鸎酭 涸⡲ㅷ僽♧穉竤ꨵ舠⥝佖涸㕭⫸넞⧈䕒⿡䱈✫殥꬗⾲⢵涸겝蒀⚛ 㽠㖈齡酭ㄎ㋍衼䧮⦛䨾庮劅涸➃涸㞯屣կ⽰⤑㖈殹♴䧮⦛㼩鸎♧♶腊鎊㌇涸瑟꟦ 㖈嫦䌴㕭⫸♳粭殥♧⦐⥝Ꟁ涸❜⿸կ䖰黆贕⛕滚溏䛼ꬅ繠㥩涸傈ⴀ姻㥵䟝⫸⚥涸 涸ⴗ劅❠䖰劢邝侁կ 䏞⧺兞蒀կ⡎鸎❈抪ꥢ殥꬗⽿剣麫격兞⚥蠜蔄瘲菚涸蒀䕙կ僽ꦍ麤湈걧ꦠ뇓涸♧럊 ⯕㌨搁锸㥵⡦넞⧈䕒涸侷焺⸈䊨䬨穪♧菚傈ⴀ䨾㺕✮涸䋞劅ㄤ劍湹⿿罜䳶爙✫

1994 Ikons: Meditations in Words and Music 秉缦٥㝜俒秜ծ⥝㥎䗞⯘䬘ㄤ㙩ⳝ٥琁鶓 շ ո⧍侚ㆁ厣叕卌倛 Never Odd or Even

暟ꬌ暟

Taipei Artist Village, Taipei, Taiwan

荩⻌㕜ꥸ谀遮勠 〵⻌ 〵抓 10.10.2014 - 09.11.2014 Edouard Malingue Gallery is pleased to present, ‘Never Odd or Even’, a group exhibition project Never Odd or Even supported by the Ministry of Culture, Taiwan and the Taipei Artist Village, curated by Esther Lu, 꼛ⲳ殥䐤铇䠑ッ桏剒倝耡㾝շ暟ꬋ暟ո 㾝錓鎙ⷔ䖤ⵌ〵抓俒⻊鿈⿺〵⻌ curator of the Taiwanese Pavilion at the 55th Venice Biennale. Featuring work by Benoit Broîsat, 㕜ꥸ谀遮勠佅䭯歋痦㾂㪭㽲倛꧱䎃㾝〵抓긬涸瘻㾝➃ス䁈㥵瘻ⷔկ⿮㾝谀遮㹻⺫䭍⠭閊 Yu-Cheng Chou, Tyler Coburn, Chitti Kasemkitvatana and Ko Sin Tung, the project examines 檲˙䋒峫⟻讌暵 ծワ肫姻ծ岲⹗˙猰⠭䛸⟄⿺넞⧈䕒կ僽妃鎙ⷔ䱲鎣殹➿谀遮㾝錓䕎䒭怵箻 the relational aesthetics between exhibition norms, as well as cultures and artistic practices. 涸繠㷸㉏겗ծ殹⚥㔐䥰涸俒⻊⿺谀遮㹻遤⹛ㄤⶽ⡲涸䩛岁կ鎙ⷔず儗䪾㾝錓⠽䒁荛㻜넒㾝爙Not Today Extending the experience of the exhibition beyond the physical display space, the project will 瑟꟦⟄㢪⻊䧭♶ず涸㾝爙倰䒭⟄䎂꬗㯮넒⡲捀㾝錓㯮➝㖈〵抓谀遮꧸钟paper exhibition 涸⼧剢 manifest itself in multiple forms, including that of printed material as a paper exhibition in the 贪♳莉鳵秶♳㾝錓 կ⚛⚂涮遤♧禹⴩涸谀遮㹻鏞锒ꏖկ Taiwanese art magazine Not Today and a series of published artist interviews. չ㥵⡦䩧Ꟛ鋕ꅿ莄脽䧃⿡翔聂溏♶鋅涸괏兞僽♧珏莄䠭䚍Ⱏ莺涸铭겗鼨僽㣅㞯牟猽涸⚛ “How to unfold our minds and perceptions so that we may hear the landscape that we do not ꬋ暟⟝罜僽谀遮㹻㾝Ꟛ涸遤⹛莄䧮⦛䖰劢⨢姅涸Ⱏ閐կ see is an endeavor and dream that dances with the question of sensibility—mysteries are not in things but rippling from artists’ actions and our ceaseless conspiracy. 㾝錓ꡠ岤谀遮㹻涸遤⹛莄䠭濼⸂㖈㼞谀遮䟝岁莄邍麧錙䙁⻊涸麔玐酭➭⦛㥵⡦䖰䕎䒭铃 鎊㾝Ꟛ㼩倴爢剚ꡠ⤙莄腊⹛䚍涸䲀侫ծ锄叅莄忶Ⰶկ➭⦛涸遤⹛⚛ꬋ鷳麔湬䱹涸ⱄ植ꡠ⤙ッ The exhibition premise departs from artists’ peculiar actions and sensitivities vis a vis 植罜僽诓歋ⶽ鸣➝㯮莄阮亘⢵雊䧮⦛ꅾ倝㾝Ꟛ㖈植㻜欰崞酭涸颶㉏莄遤⹛կ鷳麔鍒隡鸎❈ conceptualizing artistic ideas and expressions with their own formal grammars so as to ➭⦛㖈鸭穡濼陏ծ䕧⫸ծ侃✲⟄䫻䫒堤ⵖ䚍奙⸂ㄤ凐⸂⛓儗䨾䥰麋罜欰涸㼩鑨ծ圓㕭⿺Ⱖ繠 speculate and investigate social relations and agencies. Their actions do not seek representation 㷸铃䕀劥㾝錓䱲鎣㼩倴谀遮㹻遤⹛䕎䒭涸錙溏莄鍒隡䲿ⴀ鋕錏䚍ծ㾝爙䚍⟄㢪涸殹➿谀遮 but rather create agents and sources of evidence that allow us to mobilize ourselves again in 錙溏倰䒭Ղ㖈㢴ꅾ㾵妃莄ぢ䏞꟦⿡椚鍒㻣繠涸♶ず걅㚖⟄⿺Ⱖ㥵⡦鸭糵㖑❜籽㾝Ꟛ倴欰 reality. In order to read aesthetics informed by the seamless conversations and compositions ㄐ䕎䒭꟦կ they initiate, and to connect knowledge, imagery and narration against institutional power and violence, this exhibition proposes to study artists’ action forms and provide ways of seeing 㖈䖔勭韌涸㯮넒爢剚⚥䧮⦛鄄倝涸谀遮⢪ㄐ뀜⹛⿡钡陏莄䮔䱡谀遮暟⟝涸䠑纏ծ㾝爙莄〳 contemporary art beyond visibility and display—that is, in multiple layers and dimensions in 腊䚍♶锸僽やⰨ⪓暟颶䚍殹➿谀遮涸䮋䨞⛓♧⤑僽㥵⡦㖈醲꧸鑠阶涸爢剚聝椚⚥鹍遤馄 order to indicate various realms for aesthetic understanding as well as continuity that take the 馊倝谀遮錙䙁涸鏽ⱁ⹛⡲կ㖈姼腟窄䏀♴㾝錓⡲捀谀遮ッ植涸䕎䒭⛲꬗荆倝涸䮋䨞莄銳宠 form of lives. ⟄㖈♶ず涸禹窠ծ堤ⵖծ䠑陏䕎䡿ㄤ植㻜酭䲿ⴀ⚛欰欴琎噱涸彘鸑庈麤կչ暟ꬋ暟պ⾲捀♧珏 Ꟛ佞䚍ծ冝爙䚍涸腊䭷傁僽莄ワ黨➝颶涸Ⱏ뒊⛲䭷ぢ♧珏ꬋ〳鋅涸倝ꡠ⤙莄瑟꟦涸뀀⹛կNever odd or eveN In our post-Duchamp age of media society, we are driven by new quests to understand and 莄Ⱖ薉俒㾝ぜ 涻ず捀㔐俒㾝Ꟛ♧⦐꧱ぢ䫔鵥涸歃麤㖈鱲䳕䗁鵥꟦䱲㉏嫦 rediscover the meaning, presentation and possibility of the art object—material or not, and ⦐㼭侷럊䖔涸搁湈〳腊կ瘻㾝嚋䙁鷳麔鸎垺涸ㄐ겗倰䒭莄䕎䒭穡圓䱰欽✫醢鸣鋕䊵穡圓涸 functioning in complex social fabrics beyond the act of registering new artistic concepts. ♧珏繠㷸鯺Ⱘ⟄㖈ず♧⦐䎂〵♳䧴铝錙滞䨾寸㹁涸㢴⦐鋕䊵鋕錭涸❜剚贕⿡ッ植谀遮莄 Correspondingly, the exhibition as a form for art presentation faces new challenges and seeks to 欰ㄐ湱麁涸垺䡿㾝ꪪ谀遮㹻㔐䥰谀遮莄欰ㄐ䕎䒭涸䩛岁⛲雊錙罏麋⹛➭⦛㖈㾝錓䕎䒭꟦ access and generate active communication between different systems, institutions, ideologies 䨾〳䱲程涸ぐ珏鋕錭կ㾝錓䳶爙䕎䒭㥵⡦麋⡲䞔䠭罜䧮⦛⿶㥵⡦捀⛓䨾⹛㖑㖈♧珏殹➿涸 and realities. The project title Never odd or eveN points to the spectrum between integers in 儗꟦䠭⛓♴遤⹛莄㤕駵կպ mathematics, or any complete entity in a literal approach, suggesting an unbound space to discover new relations and activations. As a palindrome, it provides a passage for travel and ス䁈㥵 return, while the exhibition itself acts as an aesthetic vehicle for presenting projects in the juxtaposed structure of a parallax, illustrating the rendezvous between art and life on the same platform, or via multiple perspectives, directed by the audience. It is a contemplative medium for meeting more ends or beginnings. It shows how form exercises affection and how we are affected to act and run in a contemporary temporality.”

– Esther Lu Installation View

㾝錓植㜥 Installation View

㾝錓植㜥 Collecting light : No. 180, Sanyuan Street (Room 1) : 180 1 䱰꧋⯕箁 ♲⯋遳 贪䨻꟦2014

Acrylic, archival inkjet print on canvas

㝕芢䕙ծ佐诡秸㑑㟯䩧⽪䋒劥77 x 112 cm Collecting light : Lane 124, Siwei Road (Room 1) 124 1 䱰꧋⯕箁㔋笞騟 䋀䨻꟦2014

Acrylic, archival inkjet print on canvas

㝕芢䕙ծ佐诡秸㑑㟯䩧⽪䋒劥60 x 88 cm Collecting light : Lane 124, Siwei Road (Living room) Collecting light : Sec. 2, Xinhai Road (Living room) 124 2014䱰꧋⯕箁㔋笞騟 䋀㹐䑻 䱰꧋⯕箁鳟❞騟✳媯㹐䑻2014

Acrylic, archival inkjet print on canvas Archival inkjet print on canvas

126㝕芢䕙ծ佐诡秸㑑㟯䩧⽪䋒劥 x 126 cm 㝕芢䕙ծ佐诡秸㑑㟯䩧⽪䋒劥92 x 80 cm Collecting light : Sec. 2, Xinhai Road (Room 1) 1 䱰꧋⯕箁鳟❞騟✳媯䨻꟦2014

Acrylic, archival inkjet print on canvas

㝕芢䕙ծ佐诡秸㑑㟯䩧⽪䋒劥65 x 100 cm Collecting light : Lane 124, Siwei Road (Room 2) 2 䱰꧋⯕箁㔋笞騟䋀䨻꟦2014

Acrylic, archival inkjet print on canvas

㝕芢䕙ծ佐诡秸㑑㟯䩧⽪䋒劥78 x 141 cm Ko No, actually, I wouldn’t say that I am already that comfortable with my practice. Pretty ofen I feel like I’m struggling with uncertainties. I need a certain context and condition to work and I have been looking for balance to keep my practice at a steady pace. I would say my art education began with my time at university. In the first two years I was exploring and trying out different media, subjects The Light Collector: an interview with Ko Sin Tung and disciplines. It was a very open program, and we were allowed to by Esther Lu, October 2014 do whatever we liked. Therefore, I took my time to work out my own direction, and gradually got to discover more about my own interests and direction in the junior year. During this period, I didn’t really know what I was supposed to do, but I got into this habit of staying around in my department. When I try to reflect upon that now, it seems to be an - What is it that makes today’s home so modern and so appealing? important point that how I invested my time actually helped a lot in my artistic development—it became a habit and then an essential part of my everyday life. Maybe that’s why I can still keep doing art. Lu Your work seems to ofen respond to a sense of alienation in modern life and the virtual world of imagery, and therefore traces lots of everyday life Lu What is collecting light for you? What is light to you? experiences and common visual codes. Certainly the mundane is a great part of human existence and reality—I am interested in learning how Ko “Collecting light” is my direct response to the house rental advertisement you usually decide your artistic position of dwelling in your everyday term tsai guang (pick light). It is a very common term in Taiwan but I had life, and how it addresses, for you, the relation between art and life. Do never heard of this term until doing my field research in July. It’s very you feel it is influenced or inspired by the particular living conditions in easy to understand its meaning and it reminds me again of some of the Hong Kong? important things in life. Usually it is applied to describe the conditions of a physically real space to indicate whether there is enough natural light Ko There are many things concerning Hong Kong, in terms of its living filling the interior space. Nevertheless, I wish to transform it into an art environment and condition. Perhaps I should say that it is rather hard action. If the existence of a window is to bring more light into a space, for me to overlook them. In a way, they appear more like sorts of then I wish to take the role of a window, collecting light through my interference, and I am affected passively. They are usually artificial things, actions. On the surface of a printed image, these white shapes indicate and I am interested in what human beings make for themselves. Some a shining status, which could be considered “light” and “non-light” at of my previous projects include noticeable elements of the city, such the same time. Based on our knowledge and experience of light, we as direction signs, floor panels for fixing pedestals, and all these highly recognize these white parts as light. But they do not have any qualities visible components in the public space. But my last exhibition takes a or attributes of light anymore and therefore it is “non-light” at the same more indirect approach of reflecting the outside world and the urban time. landscape through just an individual’s personal life and living condition. Actually, I haven’t really thought if everyday life is the direction of my Lu This is fascinating to think about the concept of “non-light” as you coin artistic development. To me, it is just a very natural reflection, since it here. What does it really mean to you, apart from artificial light? What these things are my concerns, and have impacts on my thoughts. It has about all the other forms of light that have been described in mythology thus become very natural that my projects should reflect them. and fables—or matter that can be perceived other than through our retinas? What kind of metaphor does it stand for to you? Furthermore, Lu I think it says a lot if you start to feel that your artistic practice is very what is the role of collecting light for you in this project, and what actions natural for you in your everyday life. Have you always kept such a relaxed are you undertaking to achieve it? and free attitude in relation to your practice? Can you please tell us a bit about your art education and your related background and experiences? Ko I describe these white, shining parts on the prints as “non-light” to Has there been any critical moment or turning point that has kept you describe those visual qualities that they do not possess in comparison working in art? to light. They are not light since they are stripped and have only an empty body, a sort of surface, and cannot have any sensible attribute of light. It in public space. The consequence has been that individual perception is like the question Joseph Kosuth’s One and Three Chairs also asks. The of owned space has diminished, and everyone can only exercise their artificial light you mention is another integrated definition of my “light” control and power within their own living space. So, my projects do not and “non-light”. only address private living conditions—they also correspond to exterior These lights coming through the windows do not appear real in any of conditions, observations and imaginations. On the surface, it seems as these chosen images and even look a bit surreal, visually. This is because if we find comfort in doing home decoration and making arrangements when the camera captured the light, the contrast between the interior in order to organize our hopes for life. Nevertheless, I am suspicious of space and the outdoor space was too high in its brightness. So it was whether we can really keep a personal space, and am concerned with actually a kind of photographic effect. Such altercation in light is very whether or not we even have the basis for such imagination. But well, interesting to me, and surprisingly, this specific effect seems to match this new project actually focuses more on the local condition I have en- our imagination of light as a pure and ultimate white. In reality, light countered due to the differences of geography. seems to be attached to all kinds of things on the surface and lacks an My intention with the application of internet images or other materials independent status. However, this particular effect seems to detach and is to understand and manifest perspectives of others. I can see other release light from other things, and eventually it has its own individual people’s thoughts and ideas for living on the internet. My intervention expression. also registers my participation and audiences can read me through this. Since light is abstract, it is actually open to endless plastic art possibilities In a way, we can acquire high definition computer images using ad- for fulfilling different imaginations. These white figures on print actually vanced technology, and images are so convincing that people think they provide me with some positive associations with holy light, entrances, can just about to touch reality. With imagery evidence, we establish a hope, etc., and I think they have a very delicate relationship with how rather certain reference system for how reality should look like, but it people project their own expectations for their new homes—and is still different. This experience has had a great impact on me. When windows play a critical role here. Therefore, the whole ’light collecting’ we think that images can reflect reality and one has curiosity to acquire action becomes a necessary pursuit. It is more than a criterion for more knowledge from the images by enlarging them, we do not get interior space; it is also a desire for a quality of life. I choose images from more but actually less. What’s even worse is that the figures are blurred, the local house rental websites, particularly those places I couldn’t have and we can only see pixels with lots of different colors. The foggy ef- visited in person. Maybe this indirect approach with these unreachable fect eventually reminds us of the separation between image and reality. spaces, and the failed visiting experience, also express the distance and The unfulfilled expectation and objective creates a strong sense of loss. reality between Hong Kong and Taiwan. Since the image now becomes a still picture, and everything stays in- side this frame instead of flashing windows on the monitor, the audience Lu You have continued with the theme of living space in quite a few can start to imagine new things from the image and project different projects. Your solo show that took place earlier this year was also emotions. With this pure visual reference, we can approach, recognize developed around this subject. Can you please tell us why you are so and indulge ourselves with our imagination. We can retrace imagery but interested in this particular theme, and what is your concern with it? not reality. Unless we control our desires, our imagination can only go You employ internet-sourced images a lot and print them, making them deeper. your painting foundation. Transferred from the virtual space, all the I am not sure if my interest in these bad images comes from these neg- related attributes such as planes, figure, light, color, texture and so on are ative experiences. It addresses a kind of loss, and I can see the problems flattened and even decreased dramatically in their resolution through within the loss and the difference that separate us from our ideal life. such enlargement. These images lose their representation meanings Apart from that, perhaps I just want to fight against high definition im- and authenticity. How do you reinterpret these images, and why are you agery. In fact, reality manifests itself clearly already. The blurred images so obsessed with internet imagery? Well, let me put it directly, why are perhaps are closer to things like memory and fantasy, which offer more these bad images so appealing to you? What’s the border or difference interesting ideas. between physical reality and virtual space to you? Lu You mentioned earlier that you transform windows’ function of collecting Ko In the beginning, I paid more attention to the issues surrounding public light into an action. I think this action is a piercing force of continuation, space. For example, how urban development and the changes of land- instead of a passive reception of light. It actively connects imagination, use have created such violence so as to destroy our sense of belonging searching, sites of photograph taking, media interface, digital image pr- oduction and traditional painting, etc. If there is a line to depict such light traffic, then this line actually crosses many visual dimensions with multi- ple altering engineering processes to present a new desire. I think these abstract images in your work seem to remind us of the nature of image production, but at the same time it seems to not deal with the subject of image at all. Could you please tell us the meaning of your action through this abstract expression?

Ko The project has developed through a complicated process, but it is ac- tually a simple concept. I would like to emphasize again that my intents are inspired by the abstract existence of white color in an image. They are very appealing to me as the heart of the entire image. I can’t imagine how different these interior spaces would be if light were extracted from these images. More than a visual presence, they step into the realm of my imagination and affection, and call for my response. It is a series of progress.

Lu I was probably just being silly commenting on your approach as a pro- gressive rethinking of Impressionism when I first knew what you wanted to develop in our exhibition. The aim of capturing a transformed reality that is fragmented by the condition of perceived light, or the shining images from the world of the internet reminded me of early modern art history, especially how the concept of light has a new twist here. How did you take my reaction at the time, if I may ask?

Ko I have not thought about this before... but I can see the time lapse. It seems we still keep a passionate pursuit for light, the significance of which cannot be diminished in time with technological developments. My work reveals the framework and difficulty of this pursuit under par- ticular social circumstances. Moreover, Impressionist paintings capture the flickering changes of light. Although the paintings are composed by many small dots, they try to achieve a complete canvas as a result. My work is more like a collage of reality. They are fragmented in the process as well as in their resulting status. 涸绡䢫鸎♧럊䧮植㖈㔐䟝僽걃ꅾ銳涸儗꟦涸䫏岤搁毟僽㟞⸈✫ⶽ⡲ 涸䫏Ⰶ玐䏞罜⚂Ⰾ罏✽湱徱Ꟁ⢪ⶽ⡲㖈䧮涸欰崞酆䕎䧭✫♧珏⟧ ꆀ䩞腊䧭捀♧⟝〳⟄䭯糵涸✲䞔կ

ス 㼩㧧⢵铝➊랂僽䱰꧋⯕箁ャչ⯕պ⿶僽➊랂垺涸嚋䙁

䱰⯕罏넞⧉䕒鏞锓ꏗ2014 10 넞 չ䱰꧋⯕箁պ僽湬䱹㔐䥰չ䱰⯕պ鸎⦐㖈〵抓竤䌢欽ⵌ涸鑂铃涸կ㖈♫剢 俒㶶ど䁈㥵 䎃 剢 ⟧ⵌ鸎鼸⡲顺俱䵂꧋儗䌢溏ⵌ鸎⦐倴䧮罜鎊湱㼩僽꣫欰涸欽鑂䠑䙼 ꧪ僽幏涯⡎⽿䲿ꄀ✫䧮♧❈ꡠ倴欰崞涸ꅾ럊կչ䱰⯕պ♧菚欽倴䕎㺂♧ ⦐溫㻜橇㞯涸朜屣僽铝僈㹔Ⰺ瑟꟦涸⯕箁僽や⯎駈涸䭷垥䧮⽿䋞 劅䪾㸐鱲⻊䧭♧⦐㻜ꥸ遤⹛կ㥵卓璬䨩涸㶸㖈僽捀✫エ秜刿㢴⯕箁鹍 Ⰶ㹔Ⰺ齡랂䧮⤑僽➿剏✫璬䨩涸錭蒀⣜ꬑ遤捀⢵麧ⵌ佐꧋⯕箁涸湡 瑕界➊랂〳雊➚傈㾀㹻㥵姼䷑涬⚛⚂⯎怐눂⸂ 涸կ㖈䩧⽪ⴀ⢵涸殥꬗♳涯蒀涸鿈⟧贕倴殯䌢⯕❭涸朜䡿䧮钡捀㸐 ⦛傁僽չ⯕箁պ⛲僽չꬋ⯕箁պկ㛇倴䧮⦛㼩溫㻜⯕箁涸钡濼ㄤ竤뀿濼麤 齡❈僽〳⟄鄄珖捀⯕箁涸匌銯⡎㔔捀㸐⦛⚛尝剣溫㻜⯕箁涸暵䚍ㄤ ス 㧧涸⡲ㅷ竤䌢㔐䥰植➿欰崞䏀♴⟄⿺笩騟䕧⫸⚆歲酭涸毜ꨅ䠭⛲嶍 ⸆腊㖈鸎⦐㾵꬗♳⤑僽♧珏չ♶僽⯕箁պ涸匌銯✫կ ⿺䧴䮱欽鏪㢴傈䌢欰崞竤뀿⚥䌢鋅涸鋕錏痗贪կ殹搬⚆⤺䎂ⳝ涸垺䡿 劥⢵㽠僽➃㶸㖈莄植㻜涸㣐鿈ⴔ罜䧮䖎㥩㣼䟝銳澗鍒㧧鸑䌢㥵⡦ ス 㧧䲿ⵌչꬋ⯕箁պ鸎⦐錙䙁㻜㖈ꬋ䌢鶴➃罜剣䟝⫸䚍կ⡎僽鸎⦐錙䙁㼩 㖈㧧⦐➃涸欰崞⚥⿡䱲程莄寸㹁㧧涸ⶽ⡲⡙縨罜㼩㧧罜鎊鸎⿶㥵⡦ 㧧⢵铝ꤑ✫僽➃鸣⯕鼨剣➊랂Ⱖ➭涸暵婋䠑纏䧴䭷嶍㌨䨾剣Ⱖ➭ 㔐䥰㧧䨾钡捀涸谀遮莄欰崞涸ꡠ⤙կ㖈껺度涸暵婋欰崞哬⟝僽や㼩㧧 牟鑨ㄤ갸鎊酭꬗䨾䲽鶣涸Ⱖ➭⯕涸䕎䡿䧴僽㖈䧮⦛鋕笩芘〳䱹佐眔 涸ⶽ⡲剣➊랂垺涸䕧갠䧴㉫涮 毑⛓㢪涸暟颶鸎僽♧⦐➊랂垺涸ꦠ㌇欨荛㖈鸎妃涸ⶽ⡲鎙殥酭䱰 ꧋⯕箁涸鸎⦐錭蒀剣⡦暵婋䠑巑㧧⿶鷳麔➊랂垺涸遤⹛⢵麧䧭 넞 ⡞㖈껺度鸎⦐㙹䋑Ⱖ㻜竤䌢鿪剣䖎㢴⟁䧮ꡠ岤涸⯋稇䥰鑪铝鸎❈匌 銯⟁䧮䖎ꨈ♶岤䠑㸐䧮錏䖤荈䊹僽鄄⹛涸厤玐䏞♳㸐皾僽♧珏䎁 넞 䧮⟄չꬋ⯕箁պ䕎㺂䩧⽪ⴀ⢵涸齡❈⯕涸鿈⟧Ⱖ㻜僽㼩䥰衼⯕箁䥰剣 仟կ䧮䨾铝涸鸎❈匌銯鸑䌢鿪僽➃醢鸣ⴀ⢵涸䧮㼩➃醢鸣窍荈䊹涸匌 涸ꬋ鋕錏㾵꬗䧮㼩չ⯕պ涸や㹁⢵荈倴㸐〫ⶥ♴♧珏邍꬗ծ♧⦐鮑媽 銯䠭莇馰㥵䧮⛓⵸涸♧❈⡲ㅷ⚥剣❈곏罜僒鋅涸ㄤ㙹䋑瑟꟦剣ꡠ涸 罜妁緃Ⱖ➭䠭㸽倰꬗涸넒植鸎Ⱖ㻜㽠僽秉榲㣗猰榲倛涸喱㶩䨾暽嶍 ⯋稇⫸䭷爙晥ծ⥝꼛騟涸荆儗䊨㖑瘝僽嫱鯱湬䱹䭷ぢ齡❈溏䖤鋅涸 ⵌ涸㉏겗կ罜䧮䟝⡹铝涸➃鸣⯕僽♧珏侮ざ✫䧮ⶍ䩞䭷涸չ⯕箁պㄤչꬋ 朜屣♳♧妃涸㾝錓⵱嫱鯱꟦䱹㎱鑑⟄♧⦐⦐➃欰崞ㄤ橇㞯⢵⿿僥㢪 ⯕箁պ涸㹁纏կ 鿈涸⚆歲ㄤ♧❈㙹䋑꬗頗կ 㖈鋕錏㾵꬗♳鸎❈鄄䮋鼆ⴀ⢵涸䕧⫸⚥璬䨩酆涸⯕Ⱖ㻜鿪♶溫㻜 Ⱖ㻜䧮鿪尝剣䟝荈䊹涸ⶽ⡲倰ぢ僽や䗳搬僽鸎垺倴䧮⢵铝㸐僽䖎荈 欨荛剣珏馄植㻜涸䠭錏կ齡❈鿈⟧⛓䨾⟄剣鸎垺涸ッ植Ⱖ㻜僽㔔捀植 搬涸㋲㋲㔔捀鸎❈✲䞔雊䧮㖈䠑剣儗⦫䕧갠䧮涸䙼筱䨾⟄䖰⡲ㅷ 㻜Ⰺ㢪涸橇㞯⯕箁衅䊵㣖㣐竤麔湱堤涸锄眎⯕鄄䯲䯝♴⢵䧭✫植 ⿿僥ⴀ⢵♶麔䧮䟝鸎僽䖎㛇劥涸կ 㖈涸垷垺կ鸎珏㼩⯕涸佖鸣倴䧮⢵铝僽剣馰涸ⴀ⢵涸垷垺⦝僽剣럊 痗ざ✫䧮⦛㼩⯕箁涸䟝⫸僽秫礨ծ噱荝涸涯罜鸎㥩⫸〫㶸㖈倴䟝⫸ ス 䧮錏䖤殹ⶽ⡲䧭捀♧⟝欰崞酭荈搬罜搬涸✲䞔儗Ⱖ㻜䊺竤铝僈䖎㢴 涸㾵꬗կ植㻜涸⯕䖃䖃⣜꣡㖈♶ず涸邍꬗㸐妁緃✫♧珏栬用涸㶸㖈 ✫կ㧧♧湬⟄⢵鿪ㄤⶽ⡲⥂䭯衼鸎랂鰋녻荈㖈涸ꡠ⤙㌨〳や䲽鶣♧♴ 植㖈涸䞔屣⵱㥩⫸僽䪾⯕膧ꨅ✫⾲⢵涸暟⟝ꅾ倝䪾⯕ꅻ佞ㄤ邍植ⴀ 㧧荈䊹㷸绡谀遮莄Ꟛ㨤䖰✲ⶽ⡲涸娛玐ャ⚥꟦僽や剣⟣⡦ꡠ꒳䚍涸 ⢵կ ✲⟝䧴僽寸㹁럊雊㧧䭯糵ⶽ⡲ャ 㛇倴㸐涸䬄韌㸐㖈鸣㘗♳涸Ꟛ佞Ⱖ㻜怐駈✫刿㢴涸䟝⫸殥꬗⚥涸 鸎❈㣐꬗琎涸涯蒀㽠雊䧮剣✫⫸չ翰⯕պծչⰆ〡պծչ䋞劅պ鸎❈姻꬗✲暟 넞 ♶僽կⰦ㻜♶齡랂荈㖈䖎㢴儗⦫䖎禾穡㽍Ⱖ僽麁♳♶焷㹁涸䞔屣䧮 涸耡䟝䧮剚钡捀鸎ㄤ♧⦐➃䪾荈䊹涸劍劅䫏佞㖈倝涸㾀䨾倰꬗剣衼 僽꨽銳✲䞔嫱鯱焷㹁䩞腊㣀糒糵♴⿡涸㥩⫸鼨♧湬㖈䪪♧珏锄ㄤ涸 䗎㦪涸ꡠ⤙璬䨩㖈姼㽠䪏怵衼♧⦐ꅾ銳涸錭蒀կ齡랂㼩䧮⢵铝侮⦐ 倰岁雊ⶽ⡲腊㣀⥂䭯♧珏姿⠄կ չ䱰꧋⯕箁պ涸遤捀㽠隶䧭✫♧珏㼩㹔Ⰺ瑟꟦涸♧갪䗳銳⯋稇涸鷅宠 荈䊹溫姻㷸绡谀遮僽㖈㣐㷸㖈剒ⴲ涸Ⰾ䎃䱹鍹♶ず眔毑涸猰湡㥩 ⱄ鹍♧姿僽㼩♧⦐刿㥩涸欰崞颶稇涸庮劅կ䧮䲤鼆ⴀ⢵涸齡❈璬䨩鿪 ⫸鿪〫㖈㎱鑑倝✲暟䧮⦛涸铭玐鿪䖎荈歋⨞欨랂鿪〳䨾⟄僽⣜ꬑ ⢵荈♧❈䧮♶剎ⵌ鏞涸䨻㾋僽䖰笩騟♳獆䨻㶩涸笩갤䪪⢵涸搬䖔㖈 荈䊹⿡䢨䢨㼥䪪倰ぢ涸ⵌ✫♲䎃秸䩞玕捀幡嘽荈䊹涸ⶽ⡲ꅾ럊կ㖈鸎 ꨵ舠Ⰺ⡲✫♧❈ⶨ鄪殹⚥꟦䱹涸倰岁ㄤ騄ꨅ⛲鏪〳⟄邍麧껺度ㄤ〵 媯劍꟦ꧪ搬剣䖎㢴儗䵆♶䥡荈䊹䥰鑪⨞欨랂⡎㽠귡䧭✫㖈侅㹔鸉殆 抓⛓꟦涸䊵騄ゅկ ス 鸎⦐ꌊ糵㼩倴㾀⡞瑟꟦䟝⫸涸⚺겗䊺竤㖈㧧涸⡲ㅷ酭涮㾝㥩䎘⦐禹⴩ 蕯铝剣♧箁哬邍植鸎麤⯕齡㸐瑬馊㢴ꅾ鋕錏걅㚖竤麔㢴麤佖鸣䊨 ✫㧧➚䎃涸⦐㾝⛲橇粕衼鸎⦐겗湡㖈涮㾝〳⟄㢴锒锒㧧㼩鸎⦐⚺겗 玐⟄ッ植♧珏倝涸妝劅կ䧮錏䖤㧧⡲ㅷ⚥鸎❈䬄韌涸殥꬗㥩⫸♧倰꬗ 涸ꡠ岤䧴㥩㣼涸ⴀ涮럊㖈ㆭ酭㌨ 銳䲿爙䕧⫸欰欴鸎⟝✲䞔涸劥颶⡎僽♧倰꬗⿶㥩⫸㸤Ⰼꬋꡠ䕧⫸կ〳 罜ず儗㧧涸ⶽ⡲䖃䖃僽ⵄ欽笩騟䵂㼥ⵌ涸䕧⫸⡲捀♧珏䕧⫸殥꬗㛇 ⟄锝㧧锒锒㧧诓歋䬄韌邍植䕎䒭⫄麧涸遤⹛䠑纏㌨ 䏀䖰♧⦐贠亻瑟꟦酭鄄ⱄ䏞鱲⻊ⴀ⢵涸䎂꬗ծ䕎朜ծ⯕箁ծ겝蒀ծ勞颶 瘝鿪僽㖈♧珏㸤Ⰼ䩀䎂⻊ծ欨荛ꦐ衼ⵠ䠑佞㣐涸㽯䌴罜㣟溫涸鸎❈㣟 넞 ⡲ㅷ涸侮⦐涮㾝麔玐皾僽醲꧸⡎倴䧮罜鎊㸐⿶〫僽㖈㻜遤♧⦐䖎知 ⿡✫⟣⡦ⱄ植䠑纏涸䕧⫸䨾㼩㧧⦐➃㾝植涸䠑纏僽➊랂ャ捀⡦剚Ꟛ ㋲涸嚋䙁կ⡎♶䖤♶䓽锄涸僽䨾剣遤⹛涸ⴀ涮럊鿪僽䕧⫸Ⰺ齡♧晙䬄 㨤㼩倴笩騟㯮넒䕧⫸㥵姼衼鶴♶㥵雊䧮欽♧珏湬涯涸倰䒭铝鸎❈㡏bad images 韌涸涯蒀㸐⾲劥㖈殥꬗⚥⤑䊺僽㺢剣エ䒸⸂涸〳⟄铝㸐Ⱖ㻜僽侮 䕧⫸ 捀⡦㥵姼エ䒸㧧笩騟瑟꟦㼩㧧⢵铝ㄤ植㻜⚆歲⛓ ⦐䕧⫸涸ꅾ䗱䧮搁岁䟝⫸⯕䖰齡⦐㖑倰嶊㣟䖔㹔Ⰺ橇㞯涸孴颶剚隶 ꟦涸歲箁䧴僽䊵殯㖈ㆭ酭 䖤剣㢴㣐玐䏞涸♶ずկ㸐䊺歋鋕錏㾵꬗荈搬㖑鹍㾝ⵌ䟝⫸ծ⦐➃䞔䠭倰 ꬗涸걅㚖❠䒸걅䧮⡲ⴀ♧⦐㔐䥰涸遤捀鸎♧珏怵⻊僽♧♧⚮鸭饰⢵ 넞 Ꟛ㨤涸儗⦫僽嫱鯱ꡠ岤♧❈ⰖⰟ瑟꟦涸㉏겗涸⢾㥵㙹䋑涮㾝ㄤ㕼㖑 涸կ 欽鸀涸隶⻊䨾醢鸣ⴀ⢵涸凐⸂⟁䧮⦛㼩ⰖⰟ瑟꟦涸娞㿂䠭嶊㣟罜鸎 ⛲ず儗耡粯ⵌ⦐➃㼩չ䨾乩剣瑟꟦պ涸䠭「⸂鄄簮ꣳ嫦⦐➃㽠〫ⶥ♴ ス 殹䧮痦♧妃聂ⵌ㧧䟝銳㖈鸎⦐㾝錓酭䨾涮㾝涸ⶽ⡲倰ぢ儗䧮䧴鏪鼨 荈䊹涸㾀⡞瑟꟦䩞〳⟄乩剣䱍䱽奙⸂կ⡲ㅷ䭷嶍涸♶〫僽猙➃㾀䨾罜 湱殹莇㥅♧肅⫒⸺㖑㔐䥰铝䧮钡捀㧧涸ⶽ⡲䩛岁㼩⽪韌崣涸⫄窠剣 僽㼩䥰Ⰺ㢪涸ꡠ⤙罜遥欰涸♧❈錙㻋ㄤ䟝⫸㖈邍꬗♳〳腊僽ꡠ倴䧮 ♧⦐慨鹍涸ⱄ䙼罌Ⱖꡠ耡䚍㖈倴㥵⡦䯲䯝♧珏「ⵌ⯕箁哬⟝䕧갠罜 ⦛诓衼酤귆㹻㾀䖰罜䪪ⵌ⡙縨⿡㸝佞䧮⦛㼩欰崞涸劍湹⡎ず儗䧮㼩 烱鄬涸ծ鄄鱲⻊涸植㻜⟄⿺笩騟♳ꟐꟐ涮⯕涸䕧⫸鎝䜂暵ⴽ僽㧧㼩 倴腊㣀⥂㶸鸎⦐猙➃瑟꟦⛲䫵剣毟䞨䨾⟄㖈䟝⫸胜䖔⛲ꡠ䗱䧮⦛剣 ⯕箁鸎⦐嚋䙁剣✫♧⦐Ⰼ倝涸䲀鹍ㄤ佖隶涸䠑㕭կ鸎❈箁程䲿ꄀ✫䧮 や鸎⦐䟝⫸涸㛇燊կ♶麔鸎妃⡲ㅷ涸㖑㚖胜兞♶湈湱ず》ぢ⛲鯱衼ꅾ 鸎❈傍劍植➿⚺纏粭殥涸涮㾝娛〷կ㧧㼩䧮殹儗涸㣼䟝瑕界剣➊랂䟝 䧮䨾꬗㼩涸㖈㖑哬⟝կ 岁ャ㥵卓㧧錏䖤倰⤑㢴锒♧럊涸鑨 荛倴笩騟䕧⫸涸⢪欽䧴僽㖈笩騟♳》勞饰ⴲ僽䟝銳⿡✫鍒⿺㾝植♧ ⦐➭罏涸錭䏞鷳麔笩騟䧮❠腊溏ⵌⴽ➃㼩倴Ⱖ欰崞涸♧❈䟝岁搬罜 넞 ⛓⵸⦝僽尝剣䟝麔⡎㢴㼱⛲剚溏ⵌ♧럊儗➿䊵ⴽկ㥩⫸竤麔✫涰㢴 竤麔䧮涸➝Ⰶ荈䊹❠㥩⫸䧭捀✫Ⱖ⚥涸♧鿈⟧厤玐䏞♳僽䪾荈䊹涸 䎃䖔䧮⦛㼩⯕涸鷅宠⣜搬荈搬⯕涸ꅾ銳䚍尝剣㔔捀涸儗➿涸♶ずㄤ 䙼䟝鿪佞鹍⿡✫կ 猰䪮涸鹍姿罜幾䓳⡎㖈䧮涸⡲ㅷ⚥僽〳⟄鷳ꪪⴀ♧럊㖈暵㹁爢剚橇 知㋲럊⢵铝歋倴植㖈涸猰䪮⢪䧮⦛腊㣀䖤ⵌ幡兠䏞䖎넞涸ꨵ舠䕧⫸ 㞯♴鸎珏鷅宠涸呥卹ㄤ㔮ꨈկ鼨剣㽠僽⽪韌崣涸粭殥䯲䯝⯕涸隶⻊ 㣖㺂僒⟁➃⟄捀荈䊹腊㣀䱹鍹ⵌ溫㻜կ剣✫䕧⫸涸䤊亘䧮⦛㼩倴植㻜 䲽粭涸植㻜ꧪ僽⟄♶ず涸㼭鿈⟧䨾圓䧭⡎➭⦛䖤ⴀ涸♧⦐穡卓僽㸤 涸垷垺涸焷剣✫♧⦐湱㼩肤㹁涸⿮罌⡎殹⚥䗳搬䌞剣衅䊵կ鸎垺涸竤 侮涸䧮涸⡲ㅷ⵱㖈廔ざ植㻜㸐⦛㖈麔玐⚥僽ꨪ侔涸罜㖈剒穅〳腊 뀿㼩䧮⢵铝剣衼♧珏刿㣐涸遼乹㽠僽殹䧮⦛⟄捀䕧⫸腊㣀⿿僥植㻜 ⛲鼨僽贕倴♧⦐♶㕩怐涸朜䡿կ 㖈䧮⦛佞㣐䕧⫸⟄宠格䖤刿㢴顺鎝儗䧮⦛⚛尝剣䖤ⵌ刿㢴⿿⛓䕧⫸ Ⰺ涸䕎韌馊鋅垷祍刿欨涸僽〫溏ⵌ♶ず겝蒀涸㼭倰呔垷祍涸暵䚍⟁ ➃用⽰䠑陏ⵌ殥꬗ㄤ植㻜涸ⴔꅿⱄ罏湡垥莄劍劅涸♶痗ざ䕎䧭✫䓽 捘涸㣟衅䠭կ䧮钡捀歋倴䕧⫸僽♧⦐ꬅ姺涸殥꬗䨾剣✲暟⨢殆㖈酆 ꬗錙罏剚Ꟛ㨤鷳麔鸎⦐♶隶涸殥꬗䎑䟝ㄤ䫏佞䞔䠭㸐䨾䲿⣘涸箁程 Ⱖ㻜嫱鯱㋲♧⡎㽠刿㺂僒⢪➃肤㹁ㄤ小鶴倴䟝⫸ⴀ⢵涸匌銯罜⚂䕧 ⫸〳⟄♶倬㔐彷⡎植㻜♶〳腊齡랂䟝⫸〫剚♶倬⸈帿ꤑꬋ殹⚥涸 䣥劅幾⽿կ 䧮♶肤㹁荈䊹㼩㡏䕧⫸欴欰莇馰僽や⢵荈鸎❈頾꬗竤뀿㸐⛲鏪鏯铝 衼♧珏緃㣟罜䖰殹⚥涸衅䊵ㄤ緃㣟䧮溏䖤ⵌ㉏겗ⴀ植㖈齡酆⟁䧮 ⦛搁岁麧荛䧮⦛椚䟝⚥涸欰崞կꤑ姼⟄㢪⛲剣♧⦐䟝岁㽠僽䟝銳㼩䫒 ꬋ䌢幡兠涸䕧⫸ゅ植㻜䊺竤ꬋ䌢幡兠垷祍✫涸匌銯⛲鏪嫱鯱䱹鵛鎹 䥊ㄤ䎑䟝涸朜䡿齡酆䩞剣㢴럊剣馰涸匌銯

ス 㧧⵸꬗铝✫㧧䪾璬䨩䱰꧋⯕箁涸⸆腊⡲捀鱲⻊捀㻜ꥸ遤⹛䧮錏䖤鸎 ⦐䱰⯕遤⹛⯎怐♧⦐瑬鷳䚍涸䒁糵♶僽♧⦐鄄⹛䚍涸「⯕㸐⚺⹛耡 粯✫䟝⫸ծ䵂㼥ծ䕧⫸䱰垺⾲㖑ծ㯮넒歲꬗ծ侷⡙莄䩛粭涸殥꬗欰欴瘝 Past Works

麕䖃⡲ㅷ 搁侰嵳兞2015

Neon light

180 xꩩ赙教 80 cm

Words and Videos from a Post-Industrial City, Chai Wan Industrial City Phase I, Hong Kong

䖔䊨噟㙹䋑涸俒㶶莄ꏖ⫸叝抓䊨噟㙹痦♧劍껺度 搁侰嵳兞2015

Neon light

180 xꩩ赙教 80 cm

Words and Videos from a Post-Industrial City, Chai Wan Industrial City Phase I, Hong Kong

䖔䊨噟㙹䋑涸俒㶶莄ꏖ⫸叝抓䊨噟㙹痦♧劍껺度 Modern home collection - 19, 20, 21, 22, 23 (silver series) - 19, 20, 21, 22, 23 ( ) ䷑涬㹻㾀禹⴩ ꋓ禹⴩2015

Archival inkjet prints with aluminium alloy frames, synthetic fiber carpet

佐诡秸㑑㟯䩧⽪ꍐざꆄ呥➃鸣納笞㖑嬝Dimensions variable

㽯㼄♶㹁 Invisible Light, Edouard Malingue Gallery, Hong Kong

ꦠ䕎⛓⯕꼛ⲳ殥䐤껺度 Details

稣眎 Details

稣眎 Gateway to ______

鸑䖃@@@@@@@@2014

Jigsaw puzzle with wooden frame

56.5䭨㕭ծ加呥 x 41.5 cm # 2014

Electrical tape, archival inkjet print on canvas

ꨵ箁芢䋒ծ佐诡秸㑑㟯䩧⽪䋒劥240 x 68 cm Sleep tight

漖⦐㥩錏2014

Marker ink on noctilucent wallpaper

띊⯘瘗㟯宐ծ㢹⯕晘秶76.5 x 76.5 cm White stones

涯蒀瀖걧2014

Brushing lacquer on sandbags

䩛䰾怚ծ尪⺫ 63 x 20 x 7 cm each / ⟝ Stills of P-E-R-M-A-N-E-N-T

宕⛉涸2014

HD Video

34 mins , mute넞幡ꏖ⫸ ⴔꗻ 搁耪 As white as you can 1 1 湈〳腊涸涯2013

Acrylic on archival inkjet prints, plastersխ

㝕芢䕙佐诡秸㑑㟯䩧⽪芢䋒Dimensions variable

㽯㼄♶㹁 Painting On and On 5. Taciturn, HKICC Lee Shau Kee School of Creativity, Hong Kong

粭殥㣐麤⚥❀筼랾剣儗껺度⯐㛇ⶽ䠑剅ꤎ껺度 As white as you can 3 3 湈〳腊涸涯2014

Acrylic on archival inkjet printsխ

㝕芢䕙佐诡秸㑑㟯䩧⽪121 x 75 cm each 嫦⦐ Home improvement

㹻㾀佖㊤2012

Acrylic, primer on tarpaulin, tracing paper

㝕芢䕙䏀怚꣈宐䋒劥暋屘秶110 x 66 cm each / 䓹 Undone, HARDNECK.hk Unsettled

㼿劢琼㹁2012

Emulsion paint, colour pencil on wall

✌芢怚ծ加겝蒀倴晘꬗Dimensions variable

㽯㼄♶㹁 Undone, HARDNECK.hk Wall 1 1 2012晘

Inkjet print

30㑑㟯䩧⽪ x 30 cm

Undone, HARDNECK.hk Wall 2 2 2012晘

Inkjet print

30㑑㟯䩧⽪ x 30 cm

Undone, HARDNECK.hk Planet

2012僤椕

Acrylic on self-adhesive foil, CRT TV, video

㝕芢䕙ծ芢顦ծꨵ鋕堤ծꏖ⫸Dimensions variable

㽯㼄♶㹁 Undone, HARDNECK.hk S 2011

Acrylic on wood

57 x 102㝕芢䕙ծ加 x 23 cm

Writing off the Wall, Wanchai, Hong Kong Writing off the Wall, 抓➫껺度 Stills of Reminder

䕧⫸䶰荈䲿爙2011

Video

(white) PAL, 13:59 min, mute; (black) PAL, 4:51 min, muteꏖ⫸ ( ) PAL, 13 59 , ( ) PAL, 4 51 䊩 ⴔ 猲搁耪խ 〸 ⴔ 猲搁耪 BIOGRAPHY

Ko Sin Tung

Born in Hong Kong in 1987. Lives and works in Hong Kong.

Education

2006-2009 B.A. in Fine Arts, The Chinese University of Hong Kong, Hong Kong

Residencies

2012 Kunstnarhuset Messen, Ålvik, Norway

Grants and Awards

2016 Huayu Youth Award, Jury’s Special Prize, Sanya, China 2014 Pure Art Foundation Grant 2013-2014, Pure Art Foundation, Hong Kong Project Grant (Emerging Artists Scheme), Hong Kong Arts Development Council, Hong Kong 2012 Professor Mayching Kao Fine Arts Fund, The Chinese University of Hong Kong, Hong Kong 2009 Cheung’s Fine Arts Award, The Chinese University of Hong Kong, Hong Kong Chu’s Creative Award, The Chinese University of Hong Kong, Hong Kong

Solo Exhibitions

2019 Dust and trivial matters, The Bunker, Beijing, China 2016 Absent Store, Holy Motors, Hong Kong 2015 underground construction: failed, Edouard Malingue Gallery, Hong Kong 2014 A Closed Room, Gallery EXIT, Hong Kong 2012 Undone, HARDNECK.hk, Hong Kong 2010 Repairing Space, Blue Lotus Gallery, Hong Kong Selected Group Exhibitions 2013 Painting On and On 5, Taciturn, Gallery, HKICC Lee Shau Kee School of Creativity, Hong Kong 2019 The 8th Vladivostok Biennale of Visual Arts, Vladivostok, Russia Women in Art: Hong Kong, New Hall Art, University of Cambridge, UK BOING!, Osage Gallery, Hong Kong Condon London, Kate MacGarry, London, UK 2012 2018 rites, thoughts, notes, sparks, swings, strikes. a Hong Kong spring, Para/Site, Hong Kong Film Screening II, Edouard Malingue Gallery, Hong Kong Fotanian Open Studios 2012, Studio Apartment, Hong Kong Post-Industrial Landscapes 5.0: Urban Scan, Osage Gallery, Hong Kong Circuit, Gallery EXIT, Hong Kong Beckoning the Mutation, Club Pro Los Angeles, Los Angeles, USA Rehearsal, Tai Kwun Contemporary, Hong Kong 2011 Harbour Arts Sculpture Park, Western Garden, Hong Kong Writing off the Wall, Wanchai, Hong Kong Women in Art: Hong Kong, Sotheby’s, Hong Kong Fotanian Open Studios 2011, Studio Apartment, Hong Kong Condo London 2018, mother’s tankstation, London, UK 2010 2017 Lui Chun Kwong. You Are Here, I Am Not. From Ho Siu Kee to Kong Chun Hei, Osage Gallery, Hong Kong Muse for a Mimeticist, Edoaurd Malingue Gallery, Shanghai Fotanian Open Studios 2010, Studio MiSiMiDiYa, Hong Kong Huayu Youth Award Retrospective Unit, Huayu Art Center, Sanya, China Polyrhythmia, The Great Medical Disaster, Manchester, UK 2009 To be an image maker, Jimei x Arles International Photo Festival, Jimei Citizen Square Main Exhibition Hong Kong International Arts and Antiques Fair 2009, Hong Kong Convention and Exhibition Centre, Hall, Xiamen, China Hong Kong From Ocean to Horizon, Centre for Chinese Contemporary Art, Manchester, England New Trend 2009, Artist Commune, Hong Kong Breathing Space: Contemporary Art from Hong Kong, Asia Society Hong Kong Center, Hong Kong Grains of rice (graduation exhibition of undergraduates of Fine Arts), Art Museum, The Chinese University The Genius of the Crowd, Jendela Visual Arts Space, Singapore of Hong Kong, Hong Kong The Art of CUHK 2009, Cheng Ming Building, New Asia College, The Chinese University of Hong Kong, 2016 Hong Kong Huayu Youth Award Shortlisted Artist Group Exhibition, Huayu Resort and Spa Yalong Bay Sanya, Sanya, Wall talks, Former Hollywood Road Police Quarters, Hong Kong China Art Basel Hong Kong, Hong Kong 2008 FORM SIMULTANEITY, 100f.PARK, Hong Kong Homee, Edge Gallery, Hong Kong ART021, Shanghai Exhibition Center, Shanghai, China Super HK Art Team: Hooray, 1a space, Hong Kong I said “Have you had your breakfast?” You said “I’ve cooked you noodles.”, Ch’ien Mu Library, New Asia 2015 College, The Chinese University of Hong Kong, Hong Kong I’ll be your wallpaper, LEAP Pavilion, Asia Now Paris, Paris, France GoldenEyes, AISHONANZUKA, Hong Kong 2nd CAFAM Future Exhibition, K11 Art Mall, Hong Kong Publications afer/image - book launch and exhibition, Studio 54, Pure Art Foundation, Hong Kong Words and Videos from a Post-Industrial City, Chai Wan Industrial City Phase I, Hong Kong 2014 2nd CAFAM Future Exhibition, Central Academy of Fine Arts, Beijing, China Never odd or eveN, Taipei Artist Village, Taiwan; text by Esther Lu, Hong Kong: Edouard Malingue Gallery, Invisible Light, Edouard Malingue Gallery, Hong Kong 2014 Collecting Light, interview with Esther Lu, Hong Kong: Edouard Malingue Gallery, 2014 2014 Art Taipei 2014, Taipei World Trade Center, Taiwan Eros, University Museum and Art Gallery, The University of Hong Kong, Hong Kong Never odd or eveN, Taipei Artist Village, Taiwan Hong Kong Artwalk, Sheung Wan, Hong Kong 知娛

넞⧈䕒

1987 䎃欰倴껺度倴껺度欰崞⿺䊨⡲

㷸娛 2006-2009 껺度⚥俒㣐㷸谀遮禹俒㷸㡦껺度

谀遮㹻꽏殆갪湡 2012 Kunstnarhuset Messen Ålvik  䮱㪭

格栀 2016 2014 Pure螟㸙ꫬ䎃栀鐱㨼剚暵ⴽ栀♲❏⚥㕜 Art Foundation 2013-2014 Pure Art Foundation  顺⸔  껺度 2012 鎙ⷔ顺⸔倝蕐顺⸔鎙ⷔ껺度谀遮涮㾝㽷껺度 2009 넞繠䣓侅䱇谀遮飬⸔㛇ꆄ껺度⚥俒㣐㷸껺度  䓹孒ⶽ⡲栀껺度⚥俒㣐㷸껺度  劫孒ⶽ⡲栀껺度⚥俒㣐㷸껺度 CAFAM ⦐㾝 “痦✳㾂 “ 劢⢵㾝⚥㣛繠遮㷸ꤎ繠遮긬⻌❩⚥㕜 2019 “ ꦠ䕎⛓⯕ 꼛ⲳ殥䐤껺度 2016 “㞓㙩莄榹✲ ⻌❩ ⚥㕜” Holy Motors 2014 2015 “緃䌏涸䏅  ” 껺度 2014 “㖑䏀䊨玐♶ざ呔 꼛ⲳ殥䐤껺度 “Eros“〵⻌㕜ꥸ谀遮⽇錓剚〵⻌⚆歲顬僒⚥䗱〵⻌〵抓 2012 “Undone,ꡠꟗ涸䨻꟦㸝Ⰼ〡殥䐤껺度 HARDNECK.hk”, “ 껺度㣐㷸繠遮⽇暟긬껺度“ 2010 “Repairing Space” 껺度 Hong暟ꬋ暟 Kong〵⻌谀遮勠〵抓 Artwalk 诜觑蔄殥䐤껺度 ♳橇繠鰶遳껺度 2013 “ “ 耡㾝 粭殥㣐麤⚥❀筼랾剣儗 껺度⯐㛇ⶽ䠑剅ꤎ껺度 2019 “BOING!“痦Ⱃ㾂嵳⿮䅇꧱䎃㾝鋕錏谀遮嵳⿮䅇⤜繏倛 “ ” 㤸尪殥䐤껺度 “谀遮⚥涸㥎䚍껺度ondo London” Kate 倝㷸㛔谀遮ⷧ堀㣐㷸薉㕜 MacGarry 2012 $  ⧍侚 薉㕜 “rites, thoughts, notes, sparks, swings, strikes. a hong kong spring” Para/Site 2018 2012  谀遮瑟꟦껺度 II, , “⠑挦谀遮䊨⡲㹔Ꟛ佞鎙ⷔ“ ꨅ䃋䊨⡲㹔껺度 “佞僥 꼛ⲳ殥䐤”, Club Pro껺度 , , 橇遤 㸝Ⰼ〡殥䐤껺度 “〮㋍瑲隶 5.0 峫勒熗”, 峫勒熗 繠㕜, 2011 “䖔䊨噟兞錙”, 㙹䋑䰾䲽, 㤸尪殥䐤 껺度 “Writing off the Wall” “䕙䱗 㣐긬殹➿繠遮긬Harbour Arts Sculpture껺度 Park”, , 抓➫껺度2011  “谀麈笞度 ”, , 銯Ⱆ㕧 껺度 ⠑挦谀遮䊨⡲㹔Ꟛ佞鎙ⷔ ꨅ䃋䊨⡲㹔껺度 “Condo㥎䚍莄谀遮껺度 London”, Mother’s豣㺢嫱 tankstation껺度 , , 2010 殥䐤 ⧍侚 薉㕜 “  ” 2017 ス䮷⯕j剣⡹搁䧮z䖰⡦⯐㛇ⵌꁛꔩ狣 㤸尪殥䐤껺度 “ ”, , ⠑挦谀遮䊨⡲㹔Ꟛ佞鎙ⷔ鋑窣碛㖑❏䊨⡲㹔껺度 “鹦溫⚺纏罏涸꫘䠭”,꼛ⲳ殥䐤 ♳嵳, , 2009 “Polyrhythmia”,螟㸙ꫬ䎃栀㔐곂㾝 The Great螟㸙谀遮⚥䗱 Medical Disaster♲❏ ⚥㕜 , , 2009  “To be an image maker”, 殥䐤 , 削䗢倛暵 薉㕜 , “ 껺度㕜ꥸ〢梖⿺谀遮ㅷ⽇錓剚껺度剚陾㾝錓⚥䗱껺度2009“ “From Ocean to Horizon”,꧋繠꣚晋⹗㕜ꥸ伡䕧㷍 , ꧋繠倝㙹䋑字䑝㜥㾝錓긬, 䐟Ꟍ ⚥㕜 “Grainsⴀ旯 of rice谀遮Ⱆ爢껺度 “ 螟➃殹➿繠遮⚥䗱 削䗢倛暵 薉㕜 “ 2009“谀遮禹劥猰欰殖噟㾝껺度⚥俒㣐㷸俒暟긬껺度 2016 “⚥㣐谀遮“ 껺度⚥俒㣐㷸倝❏剅ꤎ铇僈긬껺度 “ “ 晘鑨瀊铝 ⵸蚚勚崞麤险㻋㺋莓껺度 ART021螟㸙ꫬ䎃栀Ⰶ㕠谀遮㹻纈㾝 ♲❏❏륋抓螟㸙䏞⧺ꂊ䏅♲❏⚥㕜 2008 “ ♳嵳㾝錓⚥䗱♳嵳⚥㕜“ “Homee“ ず䕎殯⡙ 涰ヌⰖ㕧껺度 “ ♶♧谀遮껺度“ 1a 껺度䊼㝱晋谀遮㾝껺度㾝剚껺度 “껺度谀遮⸺假蠜娔 瑟꟦껺度 “ 2015 䧮铝չく✫傍귬尝剣պ⡹铝չ窍⡹撞✫귬跗띲կպ껺度⚥俒㣐㷸倝❏剅ꤎꐏ琁㕭剅긬껺度 “ “ “GoldenEyes“晘秶♧菚顦㖈Ꟍ晘僽䧮AISHONANZUKA-&"11BWJMJPO"TJB/PX1BSJT䊼랫岁㕜 “ CAFAM “ K11 껺度 ⴀ晝 “a痦✳㾂fer/image 劢⢵㾝  谀遮飑暟긬껺度“ Pure Art Foundation 2014 “Never odd or eveN“ “ ˊ剅劥涮⡑剚⿺㾝錓“ 䊨⡲㹔 껺度  “ ス䁈㥵衼꼛ⲳ殥䐤껺度“ 䖔䊨噟㙹䋑涸俒㶶莄ꏖ⫸ 叝抓䊨噟㙹痦♧劍껺度  䱰⯕罏넞⧈䕒鏞锒ꏖ ス䁈㥵䱰鏞꼛ⲳ殥䐤껺度 Edouard Malingue Gallery

꼛Ⲵ殥䐤 Sixth Floor, 33 Des Voeux Road Central, Hong Kong

33 6 껺度⚥橇䗞鰊麤⚥ 贪 垛 2202, 2879 Longteng Avenue Xuhui District, Shanghai 200232

2879♳嵳䋑䖛忌⼥륋꿴㣐麤2202 贪 ㋲⯋ edouardmalingue.com

Ko Sin Tung | 넞⧈䕒

Published by Edouard Malingue Gallery, 2019

© Edouard Malingue Gallery © Ko Sin Tung

All images courtesy of Edouard Malingue Gallery and the artist Edouard Malingue Gallery 꼛Ⲵ殥䐤