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 Hong Kong 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 University of Hong Kong, 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). 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Protection and limitation co-exist here within the context 㖈杞㼭涸瑠ꢂ⚥ⴢⴀ刿杞㼭涸瑠ꢂչ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.