Ivy, Ma King Chu Born in 1973, Hong Kong Currently Lives and Works in HK
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Es42009133653-1.Ps, Page 1-108
2009 年第 36 期憲報第 4 號特別副刊 S. S. NO. 4 TO GAZETTE NO. 36/2009 D4149 2009 年 53 號特別公告 書刊註冊條例 ( 第 142 章 ) 2008 年第三季香港印刷書刊目錄 ( 由康樂及文化事務署公共圖書館書刊註冊組編訂 ) 本目錄列出 2008 年第三季根據上述條例而送交書刊註冊組註冊的書刊。其中包括: (1) 本季內在香港印刷、製作或出版的書籍,包括政府物流服務署出版的刊物,但不包括 個別條例草案、條例與規例的文本,以及單張、活頁和海報;及 (2) 本季內首次在本港印刷、製作或出版的期刊。本目錄只會載列有關期刊的創刊號或第 一期的資料。至於期刊的其他期數資料及相關資料,則會刋登於第四季的目錄。( 詳情請見下 列第三段 ) 本目錄內每一書刊右下方括號內的編號,代表年內該書刊送交書刊註冊組註冊的次序;至 於書刊左上方的順序編號,則純粹是排序用途,於第四季列出是年的作者索引,以便從每季目 錄中搜尋所需書刊。 每年第四季目錄除載列該季度送交書刊註冊組註冊的書刊外,還包括下列各部份: (1) 該年度中英文作者索引; (2) 該年度出版社名稱及地址; (3) 該年度印刷商名稱及地址 ; 及 (4) 該年度已登記的中英文期刊名稱、出版次數、價錢及出版者。 本目錄的英文書刊是參考英國出版的《英美編目條例》( 第二版) (Anglo-American Cataloguing Rules, 2nd edition) (AACR2) 編訂;香港特別行政區政府部門出版的刊物則屬例 外。中文書刊則參考劉國鈞的圖書著錄法。 英文書刊使用的簡寫表列如下: c Copyright p. pages cm centimeters pbk. paperback col. colour port. portrait ed. edition, editor sp. spiral et al. and others v volume ill. illustration, illustrated bibl. bibliography 各書刊的貨幣單位表列如下 : $ Hong Kong Dollars JPY Japanese Yuan CNY Chinese Yuan NTD Taiwan Dollars GBP Great Britain Pounds USD US Dollars 如對本目錄有任何查詢,請致電 (852) 2180 9145–6 與書刊註冊組聯絡。如需查閱本目錄 的電子版可瀏覽書刊註冊組的網頁,其網址為 http://www.hkpl.gov.hk/tc_chi/books_reg/books_reg_intro/books_reg_intro.html 2009 年第 36 期憲報第 4 號特別副刊 S. S. NO. 4 TO GAZETTE NO. 36/2009 D4151 ENGLISH BOOKS AND PERIODICALS 6297 A-Z in ophthalmology. Section A, Investigative 6293 ophthalmology, Book 3, Clinical visual electrophysiology / Timothy, Y. Lai, Ranjana 2007 manpower survey report : security Mathur, Lezheung Wu. — Hong Kong : services = 保安服務業二00七年人力調查報告. Bon Vision Limited, 2008. — xii, 146 p. : — Hong Kong : Vocational Training ill. (chiefly col.), charts ; 22 cm. Council. Security Services Training Board, Includes index 2008. — 237 p. : charts ; 30 cm. ISBN 978-988-97985-5-0 (pbk.) : Text in Chinese and English USD30.00 Unpriced (pbk.) (2008-06502) (2008-08828) 6298 6294 A-Z in ophthalmology. -
ART + AUCTION 'Power Issue', December 2015
ART + AUCTION 'Power Issue', December 2015 The bios and essays in Art+Auction’s guide to notable players in the art world will be rolled out on ARTINFO over the course of the next two weeks. Here, we present Part Three. Click here for an introduction to the entire series. Click here for previously published installments. Check back daily for new articles. Magnus Renfrew * Auctioneer In July 2014, Renfrew took the title deputy chairman and director of fine arts in Hong Kong for Bonhams, the house for which he initiated sales of contemporary Chinese art in 2006. In the interim he served as the founding director of the Hong Kong International Art Fair (Art HK) and oversaw its development from 2007 to 2011, when it was acquired by MCH Group, parent company of Art Basel. He then directed the first two editions of Art Basel Hong Kong, in 2013 and 2014. In 2013 Renfrew was named a Young Global Leader by the World Economic Forum, and he has been instrumental in positioning Hong Kong as a center for modern and contemporary art in Asia. At Bonhams, Renfrew now draws on his deep knowledge of the gallery and collector network and the overall Asian market while overseeing regional business strategies as well as the Classical, modern, and contemporary Asian art departments. // AUCTION STRATEGIES M a g n u s R e n f r e w press archive 1 HONG KONG ECONOMIC JOURNAL 'How to trade the new golden age of art', 18 November 2015 The 2008 financial crisis prompted investors to include alternative investment in their portfolio to diversify risk. -
Cantonese and Putonghua in Hong Kong: Trends, Challenges, and Perspectives of Coexistence
CANTONESE AND PUTONGHUA IN HONG KONG: TRENDS, CHALLENGES, AND PERSPECTIVES OF COEXISTENCE Freie wissenschaftliche Arbeit zur Erlangung eines Mastergrades am Fachbereich Geschichts- und Kulturwissenschaften der Freien Universität Berlin im Masterstudiengang Chinastudien eingereicht von: Isabella Valentini Dr. Andreas Guder Univ.-Prof. Dr. Klaus Mühlhahn 0 Contents LIST OF ILLUSTRATIONS AND TABLES ........................................................................ 4 1. INTRODUCTION ......................................................................................................... 5 1.1. TERMINOLOGY ............................................................................................................ 7 2. THE FEATURES OF CANTONESE IN HONG KONG ............................................. AND MAINLAND CHINA ........................................................................................... 9 2.1. A LINGUISTIC AND HISTORICAL OUTLINE OF YUE AND CANTONESE .......................... 10 2.1.1. HISTORICAL BACKGROUND ....................................................................................... 12 2.1.2. YUE AND CANTONESE STUDIES ................................................................................. 14 2.2. CANTONESE AND PUTONGHUA IN GUANGDONG: ........................................................... THE EXPERIENCE IN THE MAINLAND .......................................................................... 18 2.2.1. THE BIRTH OF A UNIFIED CHINESE LANGUAGE .......................................................... -
July/August 2016 Volume 15, Number 4 Inside
J U L Y / A U G U S T 2 0 1 6 VOLUME 15, NUMBER 4 INSIDE Cross-Cultural Encounters in Modernist Calligraphy Hong Kong After the Umbrella Protests New Media Arts from Taiwan Artist Features: susan pui san lok, Wang Bing, Xie Nanxing, Zhang Kechun Buried Alive: Preface US$12.00 NT$350.00 PRINTED IN TAIWAN 6 VOLUME 15, NUMBER 4, JULY/AUGUST 2016 CONTENTS 29 2 Editor’s Note 4 Contributors 6 Lines in Translation: Cross-Cultural Encounters in Modernist Calligraphy, Early 1980s–Early 1990s Shao-Lan Hertel 53 29 Spots, Dust, Renderings, Picabia, Case Notes, Flavour, Light, Sound, and More: Xie Nanxing’s Creations Carol Yinghua Lu 45 Zhang Kechun: Photographing "China’s Sorrow" Adam Monohon 53 Hong Kong After the Umbrella Protests John Batten 65 65 RoCH Redux Alice Ming Wai Jim 71 Wuxia Makes Me Nervous Henry Tsang 76 New and Greater Prospects Beyond the Frame: New Media Arts from Taiwan Claudia Bohn-Spector 81 In and Out of the Dark with Extreme Duration: Documenting China One Person at a Time in 76 the Films of Wang Bing Brian Karl 91 Buried Alive: Preface Lu Huanzhi 111 Chinese Name Index Cover: Zhang Kechun, Buddha in a Coal Yard, Ningxia (detail), 81 from the series The Yellow River, 2011, archival pigment print, 107.95 x 132 cm. © Zhang Kechun. Courtesy of the artist. We thank JNBY Art Projects, D3E Art Limited, Chen Ping, and Stephanie Holmquist and Mark Allison for their generous contribution to the publication and distribution of Yishu. Vol. 15 No. -
This Article Is Written As Part of the New Hall Art Collection Asia
Eliza Gluckman and Phoebe Wong The Parallax of Generations and Genders: Women in Art, the Hong Kong Case his article is written as part of the New Hall Art Collection Asia Art Initiative, “Women in Art: Hong Kong,” a research project Tcommissioned in collaboration with the Asia Art Archive, Hong Kong, in 2017. The New Hall Art Collection currently boasts over five hundred works, housed at Murray Edwards College of the University of Cambridge, England, and is the largest collection of artworks by women in Europe. Founded in 1954 as New Hall, Murray Edwards College was created to increase educational opportunities for women, and it continues to advocate for equality. Murray Edwards College and the University have a long established relationship with Hong Kong and the development of this project went hand in hand with relationships old and new, leading to the addition of new works in the collection by artists from Hong Kong. In 1992, commentators who were invited to the launch of the New Hall Art Collection wrestled with the deceptively simple but contested term “women artists.” Feminist art historian Griselda Pollock suggested in her published address, “We can read the works for clues about the full complexity and possibility of what it might mean to live ‘as women’ under the sign ‘woman,’ ‘black woman,’ ‘lesbian,’ ‘mother,’ ‘artist,’ ‘citizen,’ and so forth. Therein in this collection we will find no consistency, no generality, no common thread.”1 And yet commonalities are discussedboth clichés and factsevery time a platform is opened to talk about "women artists," with recurring questions about women’s representation and visibility in art history, public institutions, and the market. -
“Design District Hong Kong” (#Ddhk)
Press Release [21 November 2018] Hong Kong Creative Tourism Project “Design District Hong Kong” (#ddHK) Three Key Highlights: Telling Authentic Hong Kong Stories by Design “#ddCommissionedWork” 3D AR Digital Design Project “BeHere” Recreating Old Times of Hong Kong Memories during the 1940s-70s “#ddCreativePlacemaking” and “#dd24” Revitalising Public Spaces in Wan Chai by Local Creative Designs and 24-Hour Non-stop Creative Activities “#ddInMotions: FASCINATION STREET Fashion Parade” Transforming Mundane Street of Sham Shui Po into a Surreal Fashion Runway (21st November, 2018, Hong Kong) Presented by the Tourism Commission and organised by the Hong Kong Design Centre and having the Hong Kong Animation & Comic Federation as a strategic partner (for programme or work related to local comic only), “Design District Hong Kong” (going by the trending moniker #ddHK/ 設計#香港地 in Chinese) is a 3-year Creative Tourism Project aiming at establishing Wan Chai and Sham Shui Po as Design Districts of Hong Kong. In co-creation with local creative forces and community groups, #ddHK will bring to tourists and locals a unique experience to appreciate Hong Kong’s creativity and the area. “Design District Hong Kong” aims to present the collective culture of Hong Kong people, their recognition and love for this place. It includes the sweat and hard work of every Hong Kong citizen in the past, and the common growth of the community. The hard work of all walks of life, and even the prosperity of the city, is the common language of the three generations of the old, middle-aged and young people. #ddHK is not only an event, but also a combination of Hong Kong culture and creative spirit. -
Red-White-Blue and Hong Kong Installation Art
Lingnan University Digital Commons @ Lingnan University Theses & Dissertations Department of Visual Studies 9-28-2011 Red-white-blue and Hong Kong Installation Art Nga Ying LIU Follow this and additional works at: https://commons.ln.edu.hk/vs_etd Part of the Art and Design Commons, and the Visual Studies Commons Recommended Citation Liu, N. Y. (2011). Red-white-blue and Hong Kong Installation Art (Master's thesis, Lingnan University, Hong Kong). Retrieved from http://dx.doi.org/10.14793/vs_etd.2 This Thesis is brought to you for free and open access by the Department of Visual Studies at Digital Commons @ Lingnan University. It has been accepted for inclusion in Theses & Dissertations by an authorized administrator of Digital Commons @ Lingnan University. Terms of Use The copyright of this thesis is owned by its author. Any reproduction, adaptation, distribution or dissemination of this thesis without express authorization is strictly prohibited. All rights reserved. RED-WHITE-BLUE AND HONG KONG INSTALLATION ART LIU NGA YING MPHIL LINGNAN UNIVERSITY 2011 RED-WHITE-BLUE AND HONG KONG INSTALLATION ART by LIU Nga Ying A thesis submitted in partial fulfillment of the requirements for the Degree of Master of Philosophy in Visual Studies Lingnan University 2011 ABSTRACT Red-white-blue and Hong Kong Installation Art by LIU Nga Ying Master of Philosophy The purpose of this study is to analyse the interaction between art and contested notions of Hong Kong identity by examining recent installations that employ the red, white and blue-striped plastic fabric, locally known in Hong Kong as red-white-blue (紅白藍). -
My Art Guide Hong Kong 2019 Art Basel/ Exhibitions
My Art Guide� Hong Kong 2019 Art Basel/ Exhibitions/ My Art Guide Events/Galleries/ Museums/ � Hong Kong 2019 Openings/ Hotels/ Restaurants/ City Maps WHERE ART IS TRULY ALIVE. Basel is the perfect place to embark on a fascinating > With the free BaselCard you benefi t from journey through the world of art. An exceptional density a 50 % discount on admission to museums of museums, the world’s most important art fair and (incl. special exhibitions) a lively urban art scene make Basel a compact city of culture with an appeal that reaches well beyond Europe. BASEL.COM Dear Art Basel Guests, attachment programmes and Arts Space Scheme, the latter Art Basel Hong Kong is held year providing artists with arts in, year out and I welcome you to studios at reasonable rent. Our this years’ edition of the world “ADC Artspace” open day will FIND class art fair, that provides be held on 29 March at Wong galleries from around the Chuk Hang where you can rub world the chance to showcase shoulders with a variety of adiverse collection of artworks visual and media artists and by established and emerging their artworks. Among them YOUR artists globally alongside their are Mr Magus Yuen, who won curated projects and associated the Director’s Choice prize events. from Hong Kong Human Rights Arts Prize 2017 with his work The seventh edition of Art Basel Closet and Mr Yeung Leung INNER this year features 242 premier Chuen who garnered the Best art galleries from 36 different Director at the 12th Fresh Wave countries with 25 of them based International Short Film Festival in Hong Kong. -
Women in Art, the Hong Kong Case
Eliza Gluckman and Phoebe Wong The Parallax of Generations and Genders: Women in Art, the Hong Kong Case his article is written as part of the New Hall Art Collection Asia Art Initiative, “Women in Art: Hong Kong,” a research project Tcommissioned in collaboration with the Asia Art Archive, Hong Kong, in 2017. The New Hall Art Collection currently boasts over five hundred works, housed at Murray Edwards College of the University of Cambridge, England, and is the largest collection of artworks by women in Europe. Founded in 1954 as New Hall, Murray Edwards College was created to increase educational opportunities for women, and it continues to advocate for equality. Murray Edwards College and the University have a long established relationship with Hong Kong and the development of this project went hand in hand with relationships old and new, leading to the addition of new works in the collection by artists from Hong Kong. In 1992, commentators who were invited to the launch of the New Hall Art Collection wrestled with the deceptively simple but contested term “women artists.” Feminist art historian Griselda Pollock suggested in her published address, “We can read the works for clues about the full complexity and possibility of what it might mean to live ‘as women’ under the sign ‘woman,’ ‘black woman,’ ‘lesbian,’ ‘mother,’ ‘artist,’ ‘citizen,’ and so forth. Therein in this collection we will find no consistency, no generality, no common thread.”1 And yet commonalities are discussedboth clichés and factsevery time a platform is opened to talk about "women artists," with recurring questions about women’s representation and visibility in art history, public institutions, and the market.