Seeing the world is never simply looking at things themselves. It is about penetrating into their relationship with us, as well as having an insight into the denotations and connotations they entail.
In the series of works in performingART, the artists present the ways of seeing and describing the world by unveiling the delicate relationship between the ‘real' and the ‘unreal' in our daily life through artistic practices. The artists use ordinary matters as their creative sources to ponder over the authenticity and performativity of artistic creations. The process enables them to explore the boundaries of the role and discourse of art in the contemporary setting. The artworks unfold the tensions, subversive impacts and overlapping landscapes between the real and the unreal. The artists ultimately seek to contemplate the essence of art and its unrevealed nature.
20.1 – 7.2.2017
‘On Stage' presented the rehearsals of two locally created performances in visual art forms, which questioned the audience's ways of seeing and asked them to focus on the virtual nature of a rehearsal while perceiving the semi-composed music and semi-choreographed movements from the broadest sensory perspective. The audience's responses might have inspired the artists to develop their ideas in a continuing creative process. Participating artists include: Jacqueline Wong , Eric Chan, Chan Wing Yip, Alain Chiu, Chu Pak Hong, Max Lee and Kenny Leung.
Wong Wai Yin : A place never been seen is not a place.
3.3 – 23.4.2017
Wong Wai-yin's installation reproduced the recurring dream-like images and turned them into a real-life setting. Audience could enter the dream-like setting, pick up the phone and listen to a paragraph of text, while looking at the butterflies dancing in the bin… Between reality and imitation was where ambiguous daily objects signify a well of hidden meanings.
Xu Bing : Dragonfly Eyes
6.3 – 4.6.2017
Xu Bing's work is a narrative feature film made up of numerous surveillance video recordings collected by the artist and his creative team. The exhibited trailer invited audience to re-interpret these moving images, challenging conventional understanding of film and reality.
The 28,000-facet compound eyes of a dragonfly signify the omnipresent surveillance camera lens. No actors or videographers are involved in this film, as the characters are played by the different people captured by surveillance cameras. The most objective and realistic images are used to construct fictional characters and the story. Daily life, therefore, becomes a form of performance and part of an artwork.
Annie Wan Lai Kuen : Collecting Moonlight
18.3 – 31.8.2017
Annie Wan Lai-kuen intervened in everyday life by placing art objects into real settings, breaking the conventional ways of display and viewing. She brought art further into living by creating ceramics mounded from found objects and placing them at Oi! as well as mingling them with real products at some neighbouring merchants. Daily objects were justaposed with the moulded ceramics, revealing different levels of reality. It thereby created tensions between recognition and imagination, inviting the audience to reflect on the real-ness and essence of daily experience. A map was provided to encourage audience to search for the artworks in the community.
Special guided tours were also organised to lead visitors in search for the artworks scattered in the community.
Luke Ching : Allegory Practice of Personification
18.3 – 31.8.2017
Luke Ching always interferes with and responds to social issues through art. In this project, his art practice employed personification and community intervention to create allegories. According to writer Italo Calvino, allegories are derived from suppressed feelings. In a society where people are materialised, personification is a means to imagine objects as human and human as human again. Through communicating delicate sentimentality in the form of allegory, the audience was able to broaden their perceptions and imagination, while reflecting on public issues.