[OSTRALE Biennale O19]
My work ＜Deep Flight＞（《飛天潛水艇》) will be shown in OSTRALE Biennale O19.
3rd July to 1st September 2019, 12th international exhibition for contemporary art Dresden
03rd July - 01st September 2019
Historic Tabaccofactory f6 at Dresden Striesen, Schandauer Str. 68
The second Biennale and also 12th OSTRALE will be dedicated to the theme "ism" .
As part of the Biennale O19, the decentralized exhibition will take place from 11th June to 8th September 2019 in Dresden institutions such as the Dresden Foreigners' Council e.V., Goethe-Institut Dresden, Memorial Bautzner Straße, Old Firestation Loschwitz | e. Art and Culture Association Dresden and art´SAP.
Isms are mostly used as dogmas, juxtaposition, concept of art and social values. Always produced by man, they are also delimitations to other world views. The subject and the collective perception are inextricably linked in art with the current discourses. Here, too, the new media are increasingly allowing limits to be tested. While digital reality and fiction are increasingly blurring the boundaries between reality and fiction, traditional "isms" are being used again to support, defend and stabilize our values and worldview.
What is art, what can art and, in particular, what is art allowed to do?
Should we reset, reset, re-consider attitudes and attitudes, use ism as a discussion and mindset, direct the expanded concept of art as a universal destiny of human creativity to all areas of the lifeworld reality "ism"?
The artistic Concept was realized by the Curators Syowia Kyambi (Kenia), Teesa Bahana (Uganda), Drorit Gur Arie (Israel), Toni Sant (Malta/England), Yik Chow (Hongkong), Martin Müller and Antka Hofmann (Germany) together with the Artistic Director of the OSTRALE Andrea Hilger (Germany).
[ The D-Tale, Video Art from the Pearl River Delta]
CO-CURATED BY HOU HANRU & XI BEI
1 DECEMBER, 2018 — 13 APRIL, 2019
Video art in the region of the Pearl River Delta (PRD) emerged as early as the mid-1980s. Collectives such as “Videotage" in Hong Kong and “Southern Artists Salon” in Guangzhou were pioneers and galvanizing creative forces in the field. This movement was carried forward, in the 90s, by the rise of certain collectives and individuals, including the “Big Tail Elephants Working Group”, the “Borges Bookstore”, “U-theque”, JIANG Zhi and CAO Fei.
A highly specific part of China with its distinct cultural characteristics and traditions, the PRD has been closely related to international influences and interwoven with popular culture from the beginning. Frequent exchanges between Guangdong, Hong Kong and Macao, the impacts of Hong Kong’s popular culture, film, television and pop music concerning visual culture, coupled with a sensitivity for and references to international new media art, led to rapid experimentation in video art across the entire PRD. The art communities in the region have continuously developed their own aesthetics, merging individual independence, freedom, cultural hybridity, humour and irony with avant-garde experiments in open, diverse, fluid and natural manners.
At the same time, video art of the PRD has also been integrated into the process of high-speed urbanisation. It utilises strategies of witnessing and intervention to open up spaces for criticism and alternatives while paying close attention to the “supra-political”, bottom-up social expressions generated in the realms of everyday life. From the perspective of visual culture, video art of the PRD reflects the culture of this region and individuals’ singular involvements in the globalisation.
By adopting the medium of moving images, artists from the Pearl River Delta are looking for freedom and forms of resistance against dominant ideology and powers, turning ordinary gestures into artistic strategies to construct diverse personal utopias. Their video practices represent the most ground-breaking and powerful visions of experimental art and culture in the PRD. As a result, the PRD has become a creative hub for international exchange and art activities, as well as a deviating model which inspires artists from other regions.
The development of the Guangdong Times Museum was informed by these singular cultural explorations and artistic expressions. As a parallel institution and the first international branch of an Asian art institution, namely, the Guangdong Times Museum, Times Art Center Berlin is pleased to present its inaugural exhibition The D-Tale, Video Art from the Pearl River Delta which introduces the shifting cultural landscape and visions of the region in an era of globalisation. The exhibition is part of the Operation PRD curatorial framework following the exhibition Big Tail Elephants at the Guangdong Times Museum in 2016.
EPISODE III: THE POLITICS OF THE SELF
01.03.2019 - 13.04.2019
ALLORA & CALZADILLA, CAO Fei 曹斐, CHEN Shaoxiong 陈劭雄, CHOI Sai-Ho 蔡世豪, FANG Lu 方璐, May FUNG 冯美华, HO Sin Tung 何倩彤, KWAN Sheung-Chi 关尚智, LI Xiaofei 李消非, Natalie LO Lai Lai 劳丽丽, Anson MAK Hoi Shan 麦海珊, MAP OFFICE 地图署, QIN Jin 秦晋, SHI Qing 石青, Koki TANAKA 田中功起, Jalal TOUFIC & Graziella Rizkallah TOUFIC, WONG Wai Yin 黄慧妍, XU Tan 徐坦, ZHU Jianlin 朱建林
[Solo Exhibition: Lo Lailai Natalie - Down into the Abyss]
Duration: 2018.11.3 - 12.29
Openning: 2018.11.3, 3:30 pm
As a “retired” travel journalist, Lo Lailai Natalie’s current practice is carried out through her “semi-farming semi X” life style. Throughout her research on travel, food and plants, her understanding on the notion of desire gradually elucidates.
“How to address a society in slow decline like a cleaning up a room once you’ve made a mess in it.” The sentimental fluidity in Lo Lailai Natalie’s works comes from her worldviews and thoughts while she works the field everyday. Be it the seemingly appealing dream travel destinations, or ice cream, chocolates and other satiating but unhealthy food, or the desires revealed throughout the growth process of plants, Lo Lailai Natalie’s works depart from social events, processed through personal experience, and returns to moving images and installations. In this process, she seeks out new perspectives and angles in order to rebuild the connections among these relationships. Rather than offering her judgments, Lo Lailai Natalie would rather provide skepticisms, while the role of the artist recedes to the position of the observer.
In the course of “shatter and rebuilding one’s dreams”, icebergs tumble, chocolate emerges, and the motifs of plants climbs up onto the canvas. The four works on view consists of videos and installations, in which the “reticent power” Lo Lailai Natalie has captured is slowly manifested in the “ecosystem of desire”, transgressed by her continuous quest for answers.
Subject: Pulling a grass and strolling through an imaginary city 拔一根菜苗，在幻想的城市漫步
Guest: Leung Ho Yin
Time: 2018.11.3, 4:30 pm
Roger-Pol Droit, the French philosopher, teaches us how to open our senses in our mundane life in his book Pull a hair and stroll through the fantasy forest. Lo Lai Lai’s art, similarly, looks at the city experience in a poetic way. Once a reporter for travel magazine, Lai Lai chooses to live as a “Half-farmer, Half-X”. What is her experience like living In between farmland and skyrocket buildings? What is the chemistry between her pace and the accelerated rhythm of the city? Also, how does her art respond to to the rapid development in the Delta-Pearl area?
Leung Ho Yin
A researcher at Fine Arts Department, The Chinese University of Hong Kong. Selected as one of the Emerging Art Professionals by Parasite (Hong Kong) in 2018. Upcoming publication: The captures and the exhibited: Art In the Camps (1988-1992).
[Joint Exhibition －
Today Could Have Been a Happy Day 今天應該很高興
Taikang Space Beijing 北京泰康空間]
Taikang Space is pleased to present its latest episode of Light Pavilion Project on September 13th - a group exhibition curated by young curator Leo Li Chen 陳立（Leo Li Chen）, Today Could Have Been a Happy Day. This is the first time that Light Pavilion Project opens to non-in-house young curators, presenting their closest observations and most vivid statements towards the current reality.
Today Could Have Been a Happy Day is centered around the notion of “inherent disorder”.Through the creation of four young artists from Hong Kong, the exhibition explores the future of individual artists’ practice in Hong Kong’s unique political context, where discussions surrounding western democracy and modernity are losing their efficacy.
Artists: Kong Chun Hei Kong Chun Hei , Lo Lai Lai Natalie 勞麗麗（Getup Nat） , Eason Tsang Ka Wai Eason Page , Trevor Yeung Trevor Yeung .
10:30 - 17:30 Tuesday to Saturday
2018.09.13 - 10.20
Artistic Director: Tang Xin
Red No.1-B2, Caochangdi, Cuigezhuang,
(五) 22-06-2018 7:30 PM
[Screening] 跟 文李 Wong Yik Fung 及 Kaichung Lee 將會做 Screening, 在 Hong Kong Fringe Club 藝穗會 的 比目魚放映會 A Flatfish Screening – A Wandering Eye, 命名也有點源由，還有應該無咩保留的分享會，請多多支持！click 下方的連結就買到！如需要也可向我留票! 謝謝!
李繼忠, 李敏聰, 勞麗麗, 王億峰 X Fringe Cinema
《論為學 Learn to Unlearn》李敏聰、王億峰
《Can’t Live Without》李繼忠
《飛天潛水艇Deep Flight》 勞麗麗
《焉知之後 Voice from Nowhere》 （暫名）勞麗麗
HKD 60 (正價) HKD 48 (藝穗會會員, 全日制學生)
《論為學 Learn to Unlearn》李敏聰、王億峰
香港｜2016 - 2017｜彩色｜34’52”｜粵語對白，中英文字幕
李敏聰、王億峰隨聰慧的作曲系同學甘聖希走過一年間的創作之路，從旁拍攝受訪者籌備一以西方音樂配以廣東粵語歌劇，與其說反思東方藝術文化，倒不如說鏡頭中的他敲響了導演的內心，反問藝術學習的意義，促成其畢業作品《論為學 Learn to Unlearn》。
《Can’t Live Without》李繼忠
香港, 韓國｜2018｜彩色｜19’ 47”｜韓語對白，中英文字幕
李繼忠的長期研究與藝術創作企劃-- 〈Can’t Live Without〉，源於李氏對韓國和香港的藝術檔案及其社會脈絡的研究。李氏先著手研究聲音在視覺文獻中的呈示，繼而揭示權力結構如何影響檔案實踐和歷史編纂法。相比起國家檔案或歷史檔案，當代藝術檔案的構成、操作系統、收藏方法、管理人員，對像等各範疇都存在極大差異。
李氏的創作企劃〈Can’t Live Without〉， 欲蓋彌彰的聲音成為切入點，當代藝術檔案跟地方歷史、社會交織著，被歸納成五個盤根錯節章回，涵蓋了社會運動、語言、神話、地理和檔案學的系統。不連貫的歷史敘述觸動了哪一個意識？
《飛天潛水艇Deep Flight》 勞麗麗
Work by LO Lai Lai Natalie
《焉知之後 Voice from Nowhere》 （暫名）勞麗麗
繼《焉知 Voice from Elsewhere》（「魚塘源野藝術節」中作品）後的另一新作。藝術家因緣際遇香港養殖魚塘元朗大生圍，反覆重練的的拍攝跟剪接間拋出個人自身經歷，卻跳出了僅止於私密的層面，思考的介入向自身向觀眾帶出提問。生物鏈是一個唇齒相依的欲望關係網，牽引幽祕深谷中游蕩徘徊的個人感知。
李敏聰 Mark Li
王億峰 Wong Yik Fung
在李氏的長期研究項目 “人人檔案”，他跟不同的政府機構展開對話與協商，以探討歷史檔案在社會政治架構上的狀況；他於2016年正式成立獨立團體「人人檔案」(Archive of the People)，把歷史和檔案議題的創作延伸到合作企劃、教育與出版
勞麗麗 Getup Nat
勞麗麗是一位「退役」旅遊記者，畢業於香港中文大學藝術碩士(藝術創作)課程。她專注於與旅遊及大自然生態有關的藝術創作。 麗麗現時在生活館學習務農之餘並探索「半農半X」生活方式，這種生活實踐促使她對另類生活模式、以及作為一位香港人兼藝術創作者的自主性作出提問。近年， 她成立了漫慢電視，亦嘗試以論文式電影創作，主要硏究課題跟食物、農耕、蘊釀、慢駛、監視、冥想相關。
近日她對自然及人類間相互牽引、相互制衡的情緒及欲望甚感興趣，箇中所呈視出來人類與自然的角力與矛盾更引人入勝，延伸出來的感悟、感知是一個深不見底的深潭。 最近參與項目包括「魚塘源野藝術節」(2018)、「廿年回歸前後話 Talkover/Handover 2.0」（2017）、「油街實現即日放送項目：Interlocutor—我與你同在」(2017)、「香港農民曆 HK FARMers’Almanac」(2015)等。
錄像藝術作品 As Distant As the Stars 獲得香港中文大學藝術系鮮人獎。2015年以聲音裝置作品《這裏》參與「怎樣的想 > 象」展覽，於香港動漫基地展出。�
A Flatfish Screening – A Wandering Eye
Show - Screening
LEE Kai Chung, Mark LI, LO Lai Lai Natalie, WONG Yik Fung X Fringe Cinema
Fri 22-06-2018 7:30 PM - 2 h 30 m
HKD 60, HKD 48 (M,S)
*Talks after screening (Cantonese)
Four directors will show up (Mark Li, Lee Kai Chung, Lo Lai Lai Natalie, Wong Yik Fung).
Guest-in-conversation: CHAN Ying Wai
He looked no different than other fish when he first came here, but his eyes were destined to draw close to each other. Looking at the surroundings, he changes his body colors and sometimes disappears in sands. In fact, the filmmakers act like flatfish too, quietly staring at those incomplete views as observers. This time, “A flatfish screening” will bring four short films from different directors and hold a talk after screening with the directors. Everyone is welcome to take a closer look on the focus of four directors, questioning their reasons of recording incomplete presentations. Is it stand for the presence of absence, or limitations of struggles?
《Learn to Unlearn》Mark Li, Wong Yik Fung
Hong Kong | 2016-2017 | Colour | 34’ 52” | Chinese and English subtitle
At the beginning of 2017, a Cantonese opera was performed in the modern theatre of the Hong Kong Academy for Performing Arts in the ordinary way. The creator, KAM Shing Hei, who is an art student majoring in Music composing, used a string quartet, gongs and drums, and Cantonese opera actors as the key elements of his show.
The creative process of the work provokes Kam’s further thoughts on the cultural issues among the art form itself. As being art students and performers, what inspiration can we gain from Kam’s reflection and experience?
《Can’t Live Without》 LEE Kai Chung
Hong Kong, Korea | 2018 | Colour | 19’ 47” | Korean Monologue, Chinese and English subtitle
“I sat in the archive reading room, waiting for the requested documents. The space was filled with a weighted silence, the intensity is more deafening than any sound that I have ever heard. Rather than saying it’s a sense of oppression, it is more of an auditory hallucination whirling in my head […]”
Can’t live Without is an ongoing project that originates from LEE’s research on art archives and their social context in Korea and Hong Kong. The artistic research started with the sonic quality in visual archive, the body of work sheds light on how power structure influences pattern of archival practice and historiography. In comparison with national archives or historical archives, contemporary art archives differ in their constitution, discipline, ways of acquisition, personnel in charge, subjects, etc. Though art archives do not diminish its social context or reduce the discursive space exclusively to a confined realm of art; nevertheless, the oscillating status under artistic and archival context complicates the constitution and representation of art archives. The project is presented in a filmatic sequence of five chapters, which covers a rhizomatic network of social movement, language, mythology, geography and archival discipline. The notion of discontinuity for historic narratives that leads to a greater consciousness of events and individuals.
《 Deep Flight》 Lo Lai Lai Natalie
Hong Kong｜2017｜Colour｜9’40””｜No Dialogue, Chinese and English Subtitles
She became a Deep Flight in the natural environment, never saying no, delivering diverse kinds of matter and happening, including desires. The short appeared to be a nature poem, yet it aroused puzzles and sorrows. The hidden desire became visible and turned into images and text that the artist still could not get over them.
《Voice from Nowhere》(Tentative)
Hong Kong ｜2018｜Colour｜12’40””｜Cantonese, Chinese and English Subtitles
After the work《Voice from Elsewhere》(a moving image work in The Sustainable Festival 2018), the artist has planned to make a new work. She coincidentally visited the fish-farming pond in Tai Sang Wai, Yuen Long, Hong Kong. With a repeated practice on shooting and editing, she also illustrates her personal life experience. Yet, the story was more than an intimate mumbling. The film intended to suggest questions to the director and audience.
The biochain itself was an interdependent network, drawing one’s individual perception deep into the abyss.
Mark LI Mark Li
Mark LI is freshly graduated from the film school. His doubt in the masculinity of the film industry provokes his bewilderment as a documentary filmmaker.
WONG Yik Fung Wong Yik Fung
WONG Yik Fung is freshly graduated from the film school. Through making documentary, he can make his livelihood yet exploring the world.
LEE KAI CHUNG
LEE Kai Chung performs research on historical events, political systems, and ideology. His
work addresses the lack of proper governance over the records and pending legislation for
Archives Law. Through performance, documentation, and installation, Lee considers the
individual gesture as a form of political and artistic transgression, which resonates with
existing narratives of history.
Lee’s ongoing research project Archive of the People addresses the political standing of
documents and archives in the social setting. In 2016, Lee established collective “Archive of
the People”, which serves as an extension of his personal research to collaborative projects,
education and publications.
LO Lai Lai Getup Nat
LO Lai Lai Natalie is a former travel journalist. She is interested in the development of tourism and the construction of nature. She is a learner at the collective organic farm Sangwoodgoon (Hong Kong) where she also explores the lifestyle of ‘Half-Farming, Half-X’ – a practice that seeks alternatives and autonomy as an artist and Hong-Konger. Lai Lai founded the Slow-so TV channel, with a focus on food, farming, fermentation, slow-driving, surveillance, and meditation.
Recently, Lai Lai is especially interested in the mutual control and dependence of the emotion and desire found among human being and the nature. The nature and humanity are inextricably bound up in conflict and power struggle. It certainly offers an absorbing insight into the reflections and perceptions. Lai Lai joined the following projects in recent years: < The Fish Pond Sustainable Art Festival> (2018), (2017), < Oi! :Interlocutor ︱You Are Not Alone>(2017) and < HK FARMers’Almanac>(2015).
Chan Ying Wai
Chan Ying Wai was graduated from the School of Film and Television, The Hong Kong Academy for Performing Arts, major in Directing. He then received his master of arts in fine arts at The Chinese University of Hong Kong.
He now teaches at the School of Film and Television, The Hong Kong Academy for Performing Arts and his teaching area includes Silent Cinema, Video Art, Documentary Production and Graduation Project.
His directorial works include short film SOMEONE’S RUNNING (2008), which has received the Best Film Award (Open Category) and the Big Wave Award in Fresh Wave Short Film Festival, and documentary LANDSCAPE ON THE OTHER SIDE: HONG KONG CINEMATOGRAPHER BILL WONG (2010).
In 2013, his video installation AS DISTANT AS THE STARS received the Cactus Prize in the Master of Arts in Fine Arts Graduation Exhibition. His sound installation HERE was presented in an exhibition, What Unimaginable Forms, at Comix Home Base.
*Language: Chinese & Korean
*Age limit: Nil
*Duration: 2.5 hours, without intermission
*Show type: Film Screening
[SCREENING － DEEP FLIGHT}
My previous work Deep Flight 《飛天潛水艇》2017 will be shown in the coming up screening in Hong Kong!
It was selected as The 23rd ifva Awards – Finalist.
2018年3月10日 (星期六) 下午7時45分 香港藝術中電影院
Finalist Showcase Programme 2: 10/3 (Sat) | 7:45pm | Hong Kong Arts Centre Cinema | Hong Kong | HK$ 65/35* | With after-screening discussion