談藝術，談創作，回顧周圍看向前望。Art reviews and art criticism. Review on reviews. Critique on the practice of criticism. Back story to a performance. Free associations with a novel. Observations on the current milieu of art and social life. …
Evelyn Char explores South Korea’s biggest state-own Asia Culture Center, which archives art historical documents from various countries in Asia. She discovers that this new national monumental sits right on the former site of the 10-day long Gwuangju (Kwangju) Uprising in 1980 (aka May 18 Democratic Uprising, UNESCO), or Gwangju Democratization Movement.
Photographer Vicky Do reviews “What Do You Want For Tomorrow” (2016.08.10-2016.09.26, HK Heritage Museum) curated by Wong Wo-bik and Stella Tang. She finds this 12-woman art event more than a photography show or one that tokenizes women.
Critique, review, critique, self-discovery, artistic experimentation, critique, articulation, self-discovery… Wong Fuk-kuen finds himself in this recurrent routine Floating Projects highly values. Extreme modes of artistic exploration of things in our physical world often push us (him) in the direction of science… Danger, Wong finds, is the unique interface he generates in his exploration.
A deliberate dual emphasis on domestic artists and international stars, the care for documentation and criticism as regular agenda items, and growing experiments on alternative independent art-space models from within the art community… Evelyn Char notes her observation in a recent art tour to Gwangju and Seoul.
Hugo Yeung accounts for what his first solo show, What Death Tells Me, tells him about cinema. Shuttling between sound, image and story, the drifting open-ended journey amounts to a narrative mode and experience afforded only by digital data and computational cinema.
Some works are to be sensed rather than comprehended… Winnie Yan finds a natural connection with Jess Lau and Kin-choi Lam’s duet — with their art pieces as much as the two individuals. …能找到兩位同伴會默默地感受一場雨…絕不容易。
Wing Cheuk looks back on her first solo exhibition, “No Sense of Touch” (18 June to 6 July 2016), at the Floating Projects…
[FP EXHIBITION REVIEW] Yeung Yang identifies three sets of dilemma – techno-culture, dumb objects, and the challenge of a solo show – and ponders on the place of affect in Wong Chun-hoi’s “Hardworking Burning Electricity.”
To make a monument that does not monumentalize… Linda Lai explains her conception of “Mnemonic Archiving” in which 19 new objects embody her videography to date at Pearl Lam Galleries-Singapore, 7 May – 3 July 2016.
[FP EXHIBITION REVIEW) Josef Bares discusses Lee Kai-chung’s strategy of rendering public records to “becoming private,” “expressing some things and feelings too nuanced to be expressed in words.”