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Gallery Exit – Cam WONG’s and Frank TANG’s solo exhibitions

November 18, 2017 @ 4:00 pmDecember 23, 2017 @ 6:00 pm UTC+8

Gallery Exit - Cam WONG's and Frank TANG's solo exhibitions

(Please scroll down for the Chinese version)

Cam WONG
Risseldy, rosseldy, mow, mow, mow # 3

18 November – 23 December 2017
Opening: Saturday, 18 November 2017, 4 – 7 pm
Gallery EXIT, 3/F, 25 Hing Wo Street, Tin Wan, Aberdeen, Hong Kong
Hours: Tue – Sat, 11 am – 6 pm

EXIT is pleased to announce “Risseldy, rosseldy, mow, mow, mow # 3”, a solo exhibition of new works by Cam WONG. The exhibition will open on 18 November 2017 and remain on view through 23 December 2017. An opening reception will be held on Saturday, 18 November from 4pm to 7pm.

WONG’s work is concerned with time and how it affects things, with repetition and absence. She approaches these themes using techniques ranging from drawing to video art but keeps returning to a process that seems particularly well-suited for the purpose: copper plate etching.

The works presented in the exhibition are part of a project inspired by Alfred Hitchcock’s “The Birds”, a film famous for using birds to evoke fear. WONG is interested in our emotional response to scenes in which the birds and their victims are missing – for some of her previous work, she digitally removed both animals and people from the images.

For this part of the project, she has taken scenes from the movie as a starting point for copper plate etchings. Together with the images, she transferred a quote onto the metal: “Risseldy, rosseldy, mow, mow, mow”, a line sung by children in the movie. WONG then treated the plates with etching ink and various chemicals that have left the surfaces heavily corroded.

Instead of making paper prints, the artist has turned the copper plates themselves into works of art, applying acid to the metal like paint to a canvas. Over time, the evacuated playground from the film have become ghostly silhouettes. What was once associated with fear now forms the deepest among several layers of corrosion – like a fading sentiment, gradually replaced with other memories until it is finally forgotten.

Frank TANG
While I was away

18 November – 23 December 2017
Opening: Saturday, 18 November 2017, 4 – 7 pm
Gallery EXIT, 3/F, 25 Hing Wo Street, Tin Wan, Aberdeen, Hong Kong
Hours: Tue – Sat, 11 am – 6 pm

EXIT is pleased to announce “While I was away”, a solo exhibition of new works by Frank TANG. The exhibition will open on 18 November 2017 and remain on view through 23 December 2017. An opening reception will be held on Saturday, 18 November, from 4pm to 7pm.

The current exhibition is a continuation of Tang’s 2015 solo show “I was away for a while”. The artist revisits the theme of “being away” with a new series of works based on his experience in Kyotango, Japan, a city he visited this September during an artist residency programme.

Tang reconstructs his impressions of Kyotango, a seaside town facing the Sea of Japan, through ink painting. His works show the scenery and landscape from different perspectives. In order to recreate the tone of the sky over Kyotango, he projects light of a similar tone onto the works. With the series, he hopes to evoke the feeling of getting away from city life.

The artist is well aware of the contrast between traditional ink painting techniques and current exhibition practice. This is apparent not only in the incorporation of light into his works but also in his use of window blinds and screens as hanging scrolls. A traditional form of presentation that goes back hundreds of years, scroll paintings usually hang suspended from a wooden rod. Tang, however, uses coloured fluorescent tubes instead – a choice that literally casts new light on an ancient practice.

黃麗茵
《Risseldy, rosseldy, mow, mow, mow # 3》

2017年11月18日至12月23日
開幕:11月18日(星期六)下午4時至7時
地點:安全口畫廊 香港香港仔田灣興和街25號大生工業大廈3樓
辦公時間:星期二至六 上午11時至下午6時

安全口呈獻黃麗茵最新個展《Risseldy, rosseldy, mow, mow, mow # 3》,展覽於2017年11月18日至12月23日開放,開幕酒會在11月18日(星期六)下午4時至7時舉行。

黃氏的作品透過重複與缺失的狀態,體現時間對事物的影響。除了繪畫以至錄像外,她經常採用銅板蝕刻進行創作,其隨時間轉化的特質非常切合主題。

今次展覽是一個持續進行的項目之其中一部份,靈感來自希治閣電影《鳥》。電影裡的飛鳥激發人的恐懼,而在此系列中,場景刻意省去鳥隻和受害者。藉此探索觀眾期待空場中將發生事情的情緒反應–在較早前的作品中,她以數碼方式移除了電影截圖裡的人和鳥。

她以該些場景為起點,創作出一系列銅板蝕刻,並將電影中小孩重複詠唱的民謠「Risseldy, rosseldy, mow, mow, mow」融入作品。她以蝕刻油墨和化學物料處理銅板,營造損耗侵蝕的表面效果。

黃氏今次摒棄紙本印刷,將銅板化為作品本身。酸性物質在金屬上進行化學作用,就如畫布上的各色顏料。隨著時間流逝,被清空的遊樂場場景在銅板上逐步演變成鬼魅般的輪廓。曾經的恐怖景象,現在成為了一層又一層的深刻腐蝕狀態–褪色的情感逐漸被其他記憶取代,直至消失殆盡為止。

鄧啟耀
《我回來了》

2017年11月18日至12月23日
開幕:11月18日(星期六)下午4時至7時
地點:安全口畫廊 香港香港仔田灣興和街25號大生工業大廈3樓
辦公時間:星期二至六 上午11時至下午6時

安全口呈獻鄧啟耀最新個展《我回來了》,展覽於2017年11月18日至12月23日開放,開幕酒會在11月18日(星期六)下午4時至7時舉行。

鄧氏繼2015年個展《外出一會》後再次以「離開」為題,一系列作品靈感來自他於今年九月在日本京丹後的藝術駐留經驗。

他透過水墨畫重塑在日本交流時所到之地的風景印象;大小型的作品以不同視點展現了京丹後–這個面向日本海的小鎮的風貌;投影在作品和畫廊牆上是當地天空的顏色。藝術家希望觀眾透過此系列作品,感受他經常以「離開」作為走近大自然的心情與感興。

鄧氏的水墨作品平衡了傳統技巧與當代藝術的呈現形式,這種富個人特色的創作手法尤見於其窗簾及垂簾系列作品。自古以來,水墨作品都常被懸掛在木軸頭上展示,然而,鄧氏卻採用顏色燈管等物料,吊詭地以不同方式將「光」採納於作品之中,名副其實地為古老的藝術實踐投上嶄新光芒。

Details

Start:
November 18, 2017 @ 4:00 pm
End:
December 23, 2017 @ 6:00 pm
Event Category:

Venue

Gallery EXIT
Blue Box Factory Building, 3/F, 25 Hing Wo Street, Tin Wan, Aberdeen
Hong Kong, Hong Kong Hong Kong
Phone:
+852 2541 1299
Website:
http://www.galleryexit.com
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