Thursday - Sunday: 2PM-8 PM Unit 153, 1F Koway Court, Tai Man Steet. Chai Wan
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One Body, One's Body. Patricia Aguirre and Sarah Lai October 15 – November 12, 2017
This video is an artwork showing a woman (the artist) placing plastic bags on her head. The artist wishes to represent our overwhelment with consumerism, especially the constant need of housewives shopping for their family. The video does not show any signs of distress, agony nor was the artist harmed while filming. However, if you as a viewer have been feeling vulnerable you can call the Samaritans hotline +852 2896 0000
"When I look up into the sky, I imagine there are thousands of artificial satellites that can’t be observed by our naked eye, orbiting, miles and miles away. Their existence maintains the operation of our daily life. The space is also full of debris from these orbiting machines that have already fell apart. Satellites, debris, and garbage surround our life, significant but invisible. Urban sculptors recreate these invisible objects to remind us that there is a world out there that we fail to pay attention to." South Ho, curator
Sailor Neptune - Part II is the second in a series of exhibitions exploring relations between fantasy and gender. This show features works by Maria Fernanda Cardoso (Australia/Colombia) and Angela Su (Hong Kong,) in which perceptions on sexuality, sex organs and representations of the body are questioned through a symbiosis between humans and nature.
Curated by: Inti Guerrero Assistant curator: Leung Ho Yin
About Sailor Neptune: Several generations across East-Asia and beyond recall Sailor Neptune and her partner Sailor Uranus as the queer characters of the Sailor Moon manga series, often represented being intimate with each other. For many, the two may have been the first lesbian figures encountered in their childhood, both in print and on TV, making Sailor Neptune and Sailor Uranus archetypical lesbian figures throughout many parts of contemporary Asia. Coincidentally or not, “uranian" was a Victorian term for homosexuality (originally used for someone with "a female psyche in a male body”) and adopted by several artists and intellectuals — including Oscar Wilde — as part of their early efforts of emancipating gay identity.
The exhibition series Sailor Neptune is generously supported by the Young Collector Collective's Funding Project, Hong Kong Arts Development Council and Friends of Neptune. For this show we also thank Blindspot and Simon Lee Gallery.
美海王戰士- 第二部曲 2017年3月12 日 － 2017年5月22
「美海王戰士 - 第二部曲」由惑星海王策劃，是一系列探討幻想與性別之間關係的展覽的第二擊。
這次展期由2017年3月至5月。參展藝術家Maria Fernanda Cardoso (澳洲/哥倫比亞) 和 Angela Su (香港) 的作品通過人類與大自然的共生關係，質問大眾對性、性器官和與身體再現的既有概念。
本展覽由 Young Collector Collective資助計劃、香港藝術發展局 及 惑星海王之友 慷慨支持。是次展覽特別鳴謝 刺點畫廊 和 Simon Lee Gallery
Sailor Neptune Part I
Sailor Neptune - Part I was the first in a series of exhibitions exploring relations between fantasy and gender. On view between November 2016 and January 2017, this show featured works by Isabella Ng (HK) and Christian Thompson (AU,) in which gender performativity explores subjects of sovereignty and representations of colonised bodies.
Several generations across East-Asia and beyond recall Sailor Neptune and her partner Sailor Uranus as the queer characters of the Sailor Moon manga series, often represented being intimate with each other. For many, the two may have been the first lesbian figures encountered in their childhood, both in print and on TV, making Sailor Neptune and Sailor Uranus archetypical lesbian figures throughout many parts of contemporary Asia. Coincidentally or not, “uranian" was a Victorian term for homosexuality (originally used for someone with "a female psyche in a male body”) and adopted by several artists and intellectuals — including Oscar Wilde — as part of their early efforts of emancipating gay identity.
The exhibition series Sailor Neptune is generously supported by the Young Collector Collective's Funding Project, Hong Kong Arts Development Council and Friends of Neptune
「美海王戰士 - 第一部曲」由惑星海王策劃，是一系列探討幻想與性別之間關係的展覽的第一擊。這次展期由2016年11月至2017年1月。參展藝術家Isabella Ng 吳國凝(香港) 和 Christian Thompson(澳洲) 的作品通過性別的表現性強調身體主權和被殖民化的身體的再現。 <美少女戰士>裡的王天遙和海王美智留關係親密，很多觀眾已認定二人為熒幕情侶。受東亞文化影響的觀眾們，從小在電視和漫畫裡認識這對密友，對他們來說，這可能是有生以來第一次接觸到同性戀這概念。因此，王天遙和海王美智留又同時成為了亞洲當代文化裡的女同性戀者典範。無獨有偶，在維多利亞時期，「天王星(Uranian)」有同性戀的含意，用作形容女性化的男人。而這詞語亦曾出現在不少早期致力解放同性戀身分的藝術家和知識分子的作品裡，包括王爾徳(Oscar Wilde)。 本展覽由 Young Collector Collective資助計劃、香港藝術發展局 及 惑星海王之友 慷慨支持。
This exhibition gathers metaphorical and poetic works that reveal the relationships between human behaviour and architecture. Au Shek Yan’s video examines the possibilities for intimacy and affect within micro-living spaces in Hong Kong. Vlad Nancǎ’s birdcage sculpture comments on the standardisation of Communist apartment blocks in Romania and its impact on residents, tasked with engineering a new society. And So Wai Lam’s drawings navigate the daily rituals of a fictional esquisofrenic city, portraying inhabitants’ domestic activities, workplace dynamics, social structures, neuroses, and sleeping habits. Her work and the exhibition as a whole address how these common experiences are triggered by an architecture where the body is arrested.
The urban planning of the Chai Wan district of Hong Kong symbolises the 20th century Utopian ideal of modern living and working. It is the site of one of the most extensive housing developments in the city, erected next to one of its largest industrial centres. Both areas border the hospital—an architectural milestone of hygienic modernity—and the cemetery, the place where one’s human activity concludes.
Neptune Terrace is the name of one of these housing estates, built in the late 1970’s on the hills below the Pamela Youde Nethersole hospital in Chai Wan, with an architectural style reminiscent of a Utopian-garden-city. Inside its walls, it is a classic example of Hong Kong’s hyper compartmentalisation, a site where the limitations of both space and privacy produce a “confinement of the self’.
Supported by: Hong Kong Arts Development Council (ADC), Romanian Cultural Institute and Friends of Neptune
Home Sweet Home, 2013
So Wai Lam,
Civilisation and the Ghost in Tubes, 2016
Stars and Monsters
Opening: Saturday 14 May, 3.30 pm Until: Sunday 26 June
Neptune proudly presents 'Stars and Monsters' featuring works by Oscar Yik Long Chan, Yin-Ju Chen and Chulayarnnon Siriphol. The show gathers practices in which representations of the universe, celestial observations and approaches to astrology are implemented to unravel the monstrosity found in human behaviour and social violence in given contexts.
Yin-Ju Chen’s meticulous hand-drawn black and white charts are astrological depictions from her research on the alignment of planets that mark the exact start dates of political genocides and massacres. Her occult reading of the cosmos questions the inevitability of history and its astrological predictions. In the case of Chulayarnnon Siriphol, his film departs from religious iconography of the Tribhumi, the three levels of living statues representing the universe in Theravada Buddhism. The work cleverly exposes how this image, of the earthly and the celestial, mirrors the instrumentalization of myth in Thailand’s current delusional nationalism. On the other hand, instead of addressing a narrative on a given social body, Oscar Yik Long Chan’s ink drawings associates societal monstrosity with the seven chakras, the energy points inside one’s internal cosmology.
Khmer Rouge 1975-1978, from Liquidation Maps, 2014 Charcoal, pencil (one of five)
Myth of Modernity, 2014 Single-channel HD video, 16'
Oscar Chan Yik Long
from Living Hell 現世地獄, 2015-2016 Indian ink and colour pencil on paper
11 March - 30 April, 2016
Opening: Thursday 10 March, 2016, 18.30-20.30
Artists: Heman Chong, Moe Satt, Agnès Varda, and Trevor Yeung.
Daguerreotypes is about different rituals that people have in relation to common objects and places, and is an indirect response to the idiosyncratic singularity of many of the specialised small shops surrounding Neptune. These commercial units, often not more than a shop-window, each have their own politics of display and house diverse services and knowledge. From a Chinese doctor specialised in joint problems to a hardware store, from a domestic helpers agency to a diorama shop, every business is a micro-universe. They also represent a grassroots entrepreneurship that has resisted the wave of more homogeneous corporate shopping architectures.
The exhibition title is borrowed from a 1978 experimental anthropological film by the French feminist filmmaker, artist, and thinker Agnès Varda, who observed the shopkeepers on her street, Daguerre, named after the inventor of the silver print.
Inti Guerrero (Curator) and Lily Kwok (Assistant-Curator)
This exhibition is supported by a Project Grant from the Hong Kong Arts Development Council and Friends of Neptune.