2015

Art Bridge Project, Hotel Stage Hotel 1 Chi Wo Street, Jordan, Kowloon Hong Kong

Artists: Angela Yuen Ka Yee, Kwong Man Chun, Miu Leung, Li Tin Yan, Halley Cheng

Tony Scott was engaged by Hotel Stage, a new and dynamic hotel in Jordan, Kowloon to commission artists to participate in its inaugural Art Bridge program. The project aimed to showcasing work by both leading and emerging art practitioners. Art Stage believes that art and the art community are not only important to contemporary society but are also integral to the success of a modern and dynamic community. Art and community have a direct connection with each other, enriching the world we live in and inform the diversity of the art we encounter. In preparation for the hotels opening and in order to engage with, and be part off, Hong Kong’s dynamic contemporary culture, Art Bridge has invited a diverse community of artists to contribute to its artistic program. Art Bridge aims to tell stories of its community through different art forms, it acts as a catalyst in connecting the rich culture of the city to the hotel guests through exhibition, performance, art installation, workshops, dialogue and more.

Back to the Future, Cat Street Gallery and China Art Project – project space, 2015 – 2016

PHASE I 3rd December, 2015 – 16th January, 2016 / PHASE II 21st January, 2016 – 20th February, 2016

Artists: Sim CHAN 陳閃, Halley CHENG 鄭哈雷, CHIU Yin Man, Dabie 趙燕雯, Homan HO 何文聰, KO Tin Yan, Celia 高天恩,  KWONG Man Chun 鄺萬春, LAW Ka Nam, Bosco 羅家南, LING Pui Sze, CC 凌佩詩, Local Studio HK 本土工作室, LUNG Yuet Ching, Joyce 龍悅程, NG KwunLun, Tony 吳觀麟, Esther POON 潘淑嫻, SIU Kwok Kin, Stanley 蕭國健, Damon TONG 唐偉傑, Cam WONG 黄麗茵, WONG Shun Chi, Vanessa 黃舜之, WONG Yin Kwan, Queenie 黃燕君, YUEN Ka Yee, Angela 阮家儀

The Cat Street Gallery and China Art Projects invited 18 Hong Kong artists to create a unique body of work for the Back to the Future exhibition. The exhibitions showcase the artists vision and inspiration, whether Back to the Future, and their long Chinese heritage or the very much shorter years of colonial history imposed upon Hong Kong society by the British, 1842 to the handover to China in 1997 or Forward to the Future and the new relationship with the Peoples Republic of China.

Tony Scott Hong Kong November 2015

Cultural Anthropology, Hotel Stage, Kowloon, Hong Kong, September – November 2015

Tricia Flanagan is an artist who takes on the role of cultural anthropologist to create an exhibition which investigates the contemporary condition of Hong Kong’s ever diminishing artisans, the stewards of our intangible cultural heritage. In doing so she challenges us to understand their work to help us frame our future. Working closely with the community she has collected stories, images and gestures to reveal the innate way craftsmen connect with their materials, where tools become extensions of their bodies, their products embracing risk more than the certainty which characterizes a digital age. The result is an installation of sculpture, sounds and images. It is about how our relationship with tools is rapidly evolving into processes of certainty rather than risk. In the past a tool’s function could be interpreted visually through its mechanical logic. Today, as computers become the tools of choice, code denotes their endlessly variable functions, the workings of these tools invisible to our senses, untouched by anyone’s senses. Workmanship of risk rather than certainty means that the craftsman’s body is in a dynamic state of flux, correcting, executing, adjusting responding to the material at hand. This reciprocity is not so much a thought process but an embodied knowledge.

Patricia Flanagan Hong Kong

藝術家傅織女以一個”文化人類學家”的角色,創作了一個展覽,去探索現世中香港日漸式微的本土工匠的處境,他們可算是本地無形文化遺產的管家。通過此展覽,傅織女挑戰我們對工匠們工作的理解,以幫助我們窺探未來。 傅織女與社區各界緊密合作,搜集故事,圖像和身段姿勢,展示着工匠們極具天賦地與物料工具混然一體,讓工具成為自己的身體的延伸,他們的產品擁抱風險,和數碼時代只是強調確定性的產品不可同日而喻。 此展覽是個雕塑,聲音和圖像的裝置。它是關於我們與工具的關係,如何正在迅速演變為”確定性”而否决”風險”的過程。從前,一個工具的功能,可以通過視覺觀察來理解它的機械邏輯。現在,隨著電腦成為首選的工具,數碼代表着其無限的功能變化,此種工具不單肉眼看不見,更不經任何人性官感。”做功”乃指當工匠要處理包含風險而非確定性的工作時,其身體不斷地因應手上物料,在不斷變化的動態中進行修正、執行、調整。這種互勳反應並非一種思維過程,倒不如說是一種內在的知識。 是次展覽旨在挑戰社會對”做功”和工藝的思考,如何以新的方式去分享我們共同的非物質文化遺產。它挑戰我們去放棄”手藝乃懷舊”的概念,反之,我們應該去承認手藝作為一個重要的動態思維模式:一種在我們塑造未來時接受風險的新模式。