The Last Supper - Talking About Art in Asia: Recent Episodes
Oscar Venhuis
Hosted by artist & entrepreneur Oscar Venhuis, The Last Supper is a weekly podcast featuring emergent and established artists, curators, collectors and gallerists in Asia.
In this special 100th episode, we sit down with photographer and writer No.223, to explore his unique approach to capturing the essence of modernity and sexuality over the last two decades. From his unconventional process of discovering subjects on social media to his boundary-pushing depictions of nudity, Lin offers a glimpse into the moments that define our contemporary experience.
Lin Zhipeng (aka No.223) Born in Guangdong, China in 1979, Graduated from Guangdong University of Foreign Studies with major of financial English. Lin Zhipeng is a photographer and freelancer writer based in Beijing. Created in 2003, his blog “North Latitude 23” where he published everyday pictures accompanied by short texts received millions views and made him famous among the web community. Presented for years in group exhibitions in China and abroad , Lin’s works have also been the object of several solo shows both nationally and internationally ( Delaware Contemporary Museum ; Walther Collection Ulm ; De Sarthe Gallery Beijing ; Stieglitz19 Gallery Antwerp ; M97 Gallery Shanghai, etc). He has published photography books in China, France, Canada, Japan and Italy.
With Lin Zhipeng, everything is tinged with a resolutely pop seduction. The colour, the shapes, the textures, the framing used are all symptomatic of a visual culture rocked by the flow of images, bodies and symbols that have marked our entry into the second millennium. Far from the traditional and unconstructive criticism of an "overconsumption" or "saturation" of images, those of the artist celebrate the vitality of his generation, starting with the staging of his life and that of his entourage. Mixing love and chaos, fantasy and eroticism, his photographs act as the collective poetic diary of a generation eager to escape social pressures and to aspire to the pleasures of life in a society that is as indifferent as it is rapidly evolving.
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I sat down with Dr. Marty Miller, a Hong Kong based artist and researcher. Our discussion spanned a broad range of topics, starting with an exploration of image ontology. We delved into Dr. Miller's research involving AI models and their ability to detect and reinterpret patterns in Sham Shui Po, a busy residential and shopping district in Hong Kong, and we explored AI hallucinations and human imagination.
Marty Miller (PhD) is a visual culture and technology learning researcher pursuing his PostDoctorate at CityU's School of Creative Media within The Studio for Narrative Spaces. His research notes how image-creation practices adapt to emergent technology and why this influence informs the meanings created. Specifically, found photography and technological literacy designs fuel his scholarly output, funded creative work, and integrated teaching practice.
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The Supper Club event is initiated by Willem Molesworth and Ysabelle Cheung (PHD Group), Alex Chan (THE SHOPHOUSE), and is co-organised with the Fringe Club in Hong Kong, and will be curated by independent curator Anqi Li. The exhibition space will be adapted by BEAU Architects.
Supper Club is open from 25 - 30 March 2024, and will operate late night hours daily from 4pm -1am.
More information on www.supperclubhongkong.com
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Artist Trong Gia Nguyen discussed the role of appropriation in his work and how he dissociates himself from materiality. We also delved into the notion of distributed ownership and possession of art, the intricate relationship between physicality and virtuality and how he sold his work on eBay.
Trong Gia Nguyen is a multi-disciplinary artist currently based in Brussels, Belgium. Having also lived in Vietnam and New York City over the last 20 years, his wide array of works examines structures of power in their myriad forms, scrutinizing the soft foundation upon which contemporary life plays out, often behind the façade of fairness, sincerity, tradition, and civility. Regularly employing humor while at other times engaging sober reflection, Trong's work elevates the condition of doubt as it reveals and disrupts the undercarriage of our most trusted spaces - domestic, cultural, political, and economical. His work includes everything from iPhone applications to installation, film, painting, sculpture, performances, and web-based projects.
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The Supper Club event is initiated by Willem Molesworth and Ysabelle Cheung (PHD Group), Alex Chan (THE SHOPHOUSE), and is co-organised with the Fringe Club in Hong Kong, and will be curated by independent curator Anqi Li. The exhibition space will be adapted by BEAU Architects.
Supper Club is open from 25 - 30 March 2024, and will operate late night hours daily from 4pm -1am.
More information on www.supperclubhongkong.com
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Gallerist and art technology founder Shyevin S'ng discussed her journey of becoming a gallerist in Vietnam, we addressed frequently asked questions from new artists, how to price new art, what good art is, and we talked about the future of art with Cohart which is a new online social marketplace for artists and art collectors that Shyevin co-founded in San Francisco.
As a community and business builder, Shyevin S'ng serves as an art dealer, gallerist, advisor and friend to the art community, where she is able to extend my network far and deep. She has worn multiple hats over the past 15 years and was responsible for guiding and nurturing artists and collectors who believe in her. As a business owner, Shyevin has built a global team with the purpose to extend and expose her brand to all the art community. She has been fortunate to have enjoyed a successful career in art, where now she extended her career to art and tech with Cohart where she serves as co-founder. Shyevin has an extensive background in strategy and business development, fund raising, advising / mentoring and community development.
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The Supper Club event is initiated by Willem Molesworth and Ysabelle Cheung (PHD Group), Alex Chan (THE SHOPHOUSE), and is co-organised with the Fringe Club in Hong Kong, and will be curated by independent curator Anqi Li. The exhibition space will be adapted by BEAU Architects.
Supper Club is open from 25 - 30 March 2024, and will operate late night hours daily from 4pm -1am.
More information on www.supperclubhongkong.com
Christie's Education
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Artist Serene Hui delved into meaning-making, the impossibility of communication in an unknown environment, the origins of scold, gossip and siren, voice modulation or how we understand voices within our body and how this impacts female leaders.
Serene Hui is a Hong Kong-born artist. Her practice is research-focused and multi-faceted, engaging primarily with installation, audio and live works, printmaking and text. Serene's work is involved in a discursive, artistic and political exploration of her own context, using the geographical distance from personal lived experiences to investigate the wider socio-political impact of how meaning is made and who has access to making it. Her practice is currently invested in epistemological colonialism for the ways it affects social structures, languages, psychology and its potential susceptibility for manipulation. In her works she addresses obscurity and nuances by creating an ontological shift of displacement - meaning to transform social conventions, normative ignorance, and language ambiguity into resistance, reflection and criticism of contemporary systems.
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Artist, designer Lin Pei-Ying delved into the fascinating world of viruses and how genomes offers us a look into our past, the origin of why we believe viruses are hostile, how viruses inform her work and how her work addresses the relationship between knitting and genomes, and we talked about how humanity can benefit from the development of AI.
Pei-Ying Lin is an artist/designer from Taiwan and is currently based in Eindhoven, the Netherlands. She is a PhD Candidate in the department of Industrial Engineering and Innovation Science and the Department of Industrial Design at the Eindhoven University of Technology. She also holds a MA in Design Interactions from the Royal College of Art, UK and a BSc in Life Science from National Tsing Hua University, Taiwan. Her main focus is on the combination of science and human society through artistic methods and is particularly interested in building a common discussion ground for different cultural perspectives regarding elements that construct our individual perception of the world. Recently she has been focusing on manipulating the boundary of invisible/visible, living/non-living and finding ways to build tools and methods that facilitate such explorations. She has won the Honorary Mention of STARTS Prize 2020, Honorary Mention in Hybrid Arts Category of Ars Electronica 2015, Professional Runner Up in Speculative Concepts of Core 77 Awards 2015, and BioArt and Design Award 2016. Her project PSX Consultancy is a permanent collection of the Museum of Architecture and Design, Slovenia.
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Su Yu Hsin is an artist originally from Taiwan but now based in Berlin. We delved into her captivating exploration of water, her unique filmmaking techniques to understand intricate ecological relationships, and her fascinating discovery of an underground waterway in Taipei.
Su Yu Hsin(b.1989) is an artist and filmmaker based in Berlin. She approaches ecology from the point of view of its close relationship with technology. Her artistic practice is strongly research-oriented and involves fieldwork where she investigates the political ecologies of water. Her work reflects on technology and the critical infrastructure in which the human and non-human converge. Her analytical and hydropoetic storytelling focuses on map-making, operational photography, and the technical production of geographical knowledge. Her video installations are exhibited worldwide in museums and International Art Biennials: the Centre Pompidou-Metz, the Museum of Contemporary Art Busan, Taipei Biennial 2020 and 2023, ZKM Karlsruhe, UCCA Center for Contemporary Art and Haus der Kulturen der Welt, among others. Her films have been screened at Kurzfilm Festival Hamburg, Experimental Film and Video Festival in Seoul and e-flux.
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Taiwanese-based artist Lo Yi-Chun talked about her captivating projects including "Carbohydrate Fueling Cycle I, II, III", an exploration of the history of economic crops within the global trade context. We also delve into "The Diver," a piece that she created for the Green Island Human Rights Art Festival and capoeira. Lastly, we re-experience Neolithic artefacts in Kaohsiung, delving into the rich historical significance they hold.
Lo Yi-Chun (b. 1985, Taipei) uses natural media such as banana peels, tobacco, and bagasse to create a wide range of objects and spatial installations that reflect on the history of economic crops in the context of global trade. In addition to exploring the relationship between agriculture and politics, her work also addresses the movement of people and commodities in the globalized world.
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In today’s discussion, artist Ting-Ting Cheng delved into the complexities of individualism in the context of post-colonialism. She shared her project that explores the challenges of constructing one's own island, as well as her work centred around inconclusive debates. We also addressed the concept of fluidity in identity and how a seemingly simple interview request for the Steel Art Festival unexpectedly transformed into a new art project.
Ting-Ting Cheng is an artist from Taiwan, graduated from MFA Fine Art at Goldsmiths College, London. She likes to reinterpret archival and found materials to construct narratives in the current context. She had solo exhibitions at Taipei Fine Art Museum and other institutions and galleries in Taiwan, Hong Kong, Japan, Spain, UK and more. She had participated in Tokyo Biennial, Contemporary Art Festival Sesc_Videobrasil (São Paulo), Bi-City Biennale of Urbanism\Architechture (China), and group exhibitions at Jim Thompson Art Center (Bangkok), Daegu Art Factory, Hong-Gah Museum (Taipei), Künstlerhaus (Vienna), ISE Cultural Foundation (New York), National Taiwan Museum of Fine Art, National Art Museum of China...etc. She was the resident artist at Iniva (London), CFCCA (Manchester), Zero Station (HCMC), MMCA (Seoul) and more.
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Vietnamese artist UuDam delved into power dynamics, including his notable project called "Fuck Button." We also explored the theme of pollution in his work titled "Serpents Tail" and delved into the symbolism of countries represented as weapons in his thought-provoking piece called "Weapon Country." At the end we discussed the role of technology and artificial intelligence in the realm of art and society.
The most fascinating artist of Vietnam Contemporary Art, UuDam was born into an artist family in Kontum, central highland of Việt Nam. He attended the University of Fine Arts in Sài Gòn (HCMC) and later got his Bachelor of Arts at UCLA and Master of Fine Arts at School of Visual Arts in NYC. UuDam has a unique and diverse practice ranging from conceptual sculpture, drawings, installation, video to robotics app art & performances realized in many media. Not for the faint hearted, UuDam's art deals with many social issues and power in a global context with a sense of humor. He exhibited widely in many museums and Biennales in Asia, Europe and the US. UuDam is one of the co-founder of the XEM collective. He lives and works in HoChiMinh City, Vietnam.
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In today’s episode with Lo Sheng-Wen we delved into the weirdness of the Netherlands, the implications of the post-human crisis, and how science has become a new religion. We also discussed his work Watch Out, a treasure hunt in Arles in France, and we spoke about society’s challenge of living with discomfort.
Sheng-Wen LO (b. 1987, Taiwan) is currently based in the Netherlands. His works investigate the relationships between non-humans and contemporary society, often taking daily experiences as points of departure. As a maker his practice comprises still/moving images, installations, video games, escape rooms and various media. He received MA in Photography from AKV|St.Joost in the Netherlands, and MSc in Computer Science from the Computer Music Lab at National Taiwan University. Lo is the creative director of Lightbox, a public photo library and a center for contemporary photography at Taipei. During his residency in Europe, he facilitates connections between Taiwanese and the international contemporary photography scene through talks, discussions, writings, and collaborations. Lo is an alumnus artist at the Rijksakademie (2019-2021) in Amsterdam.
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From Yangon in Myanmar, artist Thynn Lei Nwe talked with me about her past and current work, how memories inform art, why she sleeps during the day, the significance and meaning of animals and plants in her work, how Covid motivated her art practice, and the expectations of artists in Myanmar.
Thynn Lei Nwe (b.1991) is based in Yangon and studied Fine Arts, specializing in Painting at Lasalle College of the Arts, Singapore from 2012 to 2014. Nwe's practice explores different mediums of painting and sculpting with the interest in relations between memories, humans and places in a form of surreal works. Since 2008, Nwe has participated in exhibitions in Yangon, Singapore, Malaysia, Indonesia and Hong Kong, and a solo exhibition in 2018 in Yangon. She was the former residence artist at Cemeti Art House, Yogyakarta, Indonesia in 2010 and Rimbun Dahan, Selangor, Malaysia in 2016.
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Cambodian-based artist Khvay Samnang talked about Calling For Rain, a work that consists of a video installation but also multiple sculptures that are inspired by Reamker, the Cambodian version of the poem Ramayana. We talked about ecology and the impact of urban development, the critical role of animals in the Chang community and Stiev Selapak, an art collective committed to reevaluating and preserving Cambodian history as well as exploring the connections in visual practices that were disrupted by the civil war of the Khmer Rouge regime.
Khvay Samnang was born in 1982 in Svay Rieng, Cambodia. He graduated from the Painting Department at the Royal University of Fine Art in Phnom Penh, where he lives and works today. Khvay’s multidisciplinary practice offers new views on historic and current events as well as on traditional cultural rituals using humorous symbolic gestures. In his work, which includes all media, he focuses on the humanitarian and ecological impacts of colonialism and globalization. The development of each body of work is based on thorough research and investigation of local specificities, structures and conditions. Traveling is a crucial tool for his practice. Engaging directly and personally with local communities – within and beyond the cultural scene – is an integral part of his work, which makes it highly relevant, critical and connectable to various contemporary discourses. His work shows a remarkable ability to engage with cultural and geographic contexts as well as with spatial and institutional settings.
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Taiwanese-based artist Chang Wen Hsuan discussed the roles of paper as a social movement and as a tool for activism, the challenge of normalisation, how a new generation appears to have a disembodied experience about current affairs in Taiwan and addressed her work the international suicide award.
The artistic practice of Chang Wen Hsuan questions the narrative structure of institutionalised history with re-readings, re-writing, and suggestions of fictional alternatives in order to expose the power tensions embedded in historical narratives. Through versatile platforms including installations, videos, and lectures, she often navigates skewed documentations and first-person accounts to trigger reflections on how the understanding of history affects the purport of the present and thrust of the future. In 2018, she launched the project Writing FACTory. Prizes and awards include the Taipei Art Awards(2018), Kaohsiung Awards(2015), and Lin Yutang Literary Prize(2012). She has presented projects in Taiwan, China, Korea, USA, Singapore, Germany, Mexico, etc.
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I sat down with Cambodian-based artist Svay Sareth. We began our conversation talking about how the Blue Art Center provides free art education to children to become independent and find their own way, the impact of imagination, Sareth spoke passionately about his mission to preserve Cambodian’s artisanship and history for the next generation, and his performance work eat rubber sandals. We talked about Sareth’s experience of walking for 250 kilometres with a metal ball from Siem Reap to Phnom Penh and the amazing story how this work did not fit in the Singapora Art Museum, an UNESCO protected building.
Svay Sareth’s works in sculpture, installation and durational performance are made using materials and processes intentionally associated with war – metals, uniforms, camouflage and actions requiring great endurance. While his critical and cathartic practice is rooted in an autobiography of war and resistance, he refuses both historical particularity and voyeurism on violence. Rather, his works traverse both present and historical moments, drawing on processes of survival and adventure, and ideas of power and futility. More recently, Svay confronts the idea that “the present is also a dangerous time” through the appropriation and dramatization of public monuments that hint at contentious political histories.
Svay Sareth was born in 1972 in Battambang, Cambodia during a period of political turmoil and violence that would last until he was 18 years old. Svay began making art as a young teenager in the Site 2 refugee camp, near the Thai-Cambodian border. He describes life as a refugee as “a void nationality…a time and place you imagine escaping from.” Drawing and painting became a daily activity for Svay – a process of bearing witness to the psychological and physical violence that was an everyday experience, as well as a way to symbolically escape and dream of change. After the wars ended, 1994 Svay went on to co-found Phare Ponlue Selepak, a non-governmental organization and art school in Battambang that continues to thrive today.In 2002, the artist continued his studies in France, earning the Diplôme National Supérieur d'Études des Arts Plastiques / MFA in 2009, after which he returned to Siem Reap to live and work and 2019 he found Blue Art Center.
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Researcher and curator Michelle Wong talked about her PhD research, discussed her work on Hong Kong artist Ha Bik Chuen, big egos, the weird sculpture in Aberdeen, and she explained her project New Park.
Michelle Wun Ting Wong is a PhD candidate in Art History at the University of Hong Kong, exploring the modernity emerging from Post WWII Hong Kong. Her writing has been published in Ambitious Alignments: New Histories of Southeast Asian Art, 1945–1990 (2018), the journal Southeast of Now (2019) amongst others. From 2012–20 she was a researcher at Asia Art Archive (AAA), focusing on Hong Kong art history and histories of exchange and circulation through exhibitions and periodicals. Curatorial projects include Portals, Stories, and Other Journeys at Tai Kwun Contemporary (2021), Afterglow, Yokohama Triennale 2020, and 11th Edition of Gwangju Biennale (2016). She runs the independent space New Park with artists South Ho Siu Nam and Billy HC Kwok.
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Jolene Mok is an experimental artist. We talked about a range of subjects but started with her experience of not being able to see anything, the mundane or the exciting part of boredom, heuristics, deep ocean exploration in Barbados, and the red forest of “Life Is Elsewhere”
Jolene Mok (b. 1984) was born and raised in Hong Kong. An experimental artist, she takes video art and experimental film as her major creative platforms. Mok earned her M.F.A. in Experimental and Documentary Arts at Duke University in 2013. She has been exposed to an interdisciplinary learning and working environment since her undergraduate education in the School of Creative Media through her major in the Critical Inter-Media Laboratory (2003-2007). Since 2006, Mok’s works have been shown worldwide. From 2011 onwards, she has been on itinerant taking part in artist residency programs, and she has a particular interest in undertaking artist residency programs in relatively remote locations.
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Researcher Shih-Yu Hsu and director, curator Zoe Yeh of the Honggah Museum in Taipei talked about the upcoming Taiwan International Video Art Installation (TIVA) that is opening on the 4th of November, we discussed the multiple narratives of this year’s theme Living Togetherness, and how they make art more inclusive.
Shih-yu Hsu is an independent researcher and writer. She has been a member of the study group lam-nua since 2021. She graduated from Communication Engineering and Visual Art Administration at National Central University in Taiwan and New York University. Her research field includes image, media and new material feminism. She co-founded bi-lingual online media art platform SCREEN in 2015 and was the executive assistant of Taiwan Pavilion in Venice Biennale 2017. She was the curator at Taipei Contemporary Art Center in 2018-2021. Her writing on art has been published on several publications including Artforum.cn, Artist Magazine, Art Investment, Leap, No Man's Land and Yishu. She is going to co-curate the 8th Taiwan International Video Art Exhibition.
Zoe Yeh is the director and curator of the Honggah Museum. She studied Curating and Cultural Production in the Institute of Trans-disciplinary Arts of National Taipei University of the Arts. She also received a BA degree in National Cheng-Chi University Commerce School. Yeh has actively contributed to the arts community as a board member of Polymer Art Studio and has been involved in various projects within artist-run spaces. In addition to her involvement in community projects, Zoe Yeh also spearheads research on Taiwanese video artists and curates annual solo exhibitions for emerging talents.
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Cambodian-based artist Yim Maline talked from her place in Phnom Penh about her dream of becoming an artist, her experience of going to France without a grant and not being able to speak the language, we also delved into how nature informs her work, and we discussed why she began the Blue Art Center initiative.
Yim Maline’s artworks. From her meticulous graphite-on- paper drawings to her bold sculptures, her conceptual foundations have been a processing of memories specific to her childhood growing up amidst civil war in Cambodia, and a means to consider the complex effects of this period on the natural environment and individual and societal structures of today. Yim’s ambitious and skillful use of materials challenges our perception, while an inherent vein of uncertainty and tension challenges our comfort.
Maline was born in 1982 in Battambang, and is a graduate of Phare Ponleu Selpak art school (1995-2003) and received a BFA, Fine Art, École Supérieure des Beaux Arts de Caen la Mer, France (2010). Yim’s solo exhibitions include Having a Hole or empty space inside at SA SA BASSAC (2015), and Silk Threads at Insider Gallery, InterContinental Hotel, Phnom Penh (2012). Her group exhibitions include Futurographies: Cambodia – USA – Paris, New York, Phnom Penh, Paris; And that which was always known, Yavuz Gallery, Singapore (2015), Eight Women, French Institute, Phnom Penh (2011). She was resident at Japen (2017), Jose Arts Lab, Johannesburg, South Africa (2016), at Vermont Studio Center, VT, USA (2015) and at Bose Pacia Transparent Studio, NYC with Season of Cambodia’s IN RESIDENCE program (2013)
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The French Chamber Foundation is pleased to present Make It Bloom, Make It Work HK’s Charity Auction 2023. For the second time, Hong Kong art galleries and artists have come together to help and contribute by donating artworks to be auctioned for this worthy cause.
A preview exhibition of the artworks will be hosted by Christie’s on the 22nd floor of their Alexandra House space in Hong Kong. The exhibition will culminate in a live auction directed by Christie’s auctioneer Georgina Hilton during a cocktail evening on Friday the 3rd of November. More information on www.makeitwork.hk
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In today’s episode I sat down with Jeannie Wong, a print maker based in Hong Kong. We talked about her journey into print making, what inspires and informs her drawings, and she talked about her work she made for Art Basel.
Wong Jeannie Ho Ching was born and raised in Hong Kong, and is currently based in Hong Kong. She graduated from MA Print, Royal College of Art in 2021, Visual Arts Academy, Hong Kong Baptist University in 2017. She has participated in various group shows in Hong Kong, London, Bremen and Japan, and held her first solo show in 2019 in Hong Kong Open Print Shop, and got shortlisted by Awagami mini-print exhibition in the same year. She held her solo show Fragments of time in 2022 at Odd One Out after she return from her study. Her works are collected by public and private collections.
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Architect turned artist Justin Hui sat down with me to talk about his journey into art that started in Africa, how globalisation is shaping cities in Africa and the rest of the world, the impact of colonialism and appropriation, the erosion of Hong Kong’s history, and we discussed the semiosis of imagery.
Justin started making images when he took a one-way flight to Africa back in 2014 to document Chinese infrastructure for a year. Since then, he has drawn on his practice in architecture to explore topics about land development, borders, globalisation, alienation, memory, and oneself. Besides photography, he works with zines, cartography, space, writing, and found material. He published his first photobook, New Territories, with Asia One in 2022. Trained in architecture at Cornell University, he’s a licensed architect who worked at Herzog & de Meuron and Office for Metropolitan Architecture.
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In today’s episode I talk with artist Chi Yu from his studio in Taiwan. Together we delved into several areas such as the ambiguous roles of the Han Chinese as settlers and occupiers in his work called “Settlers and the Unhomely”, we continued our discussion about his project "Atlas of the Closed Worlds", a work that illustrates the global development of the closing of nations, and we looked at society through an alien world.
Wu Chi-Yu is a multimedia artist whose works include photography, film, and video installation. He delves into the lost and unestablished links among species, environment, and the technology that constructs human civilization, exploring the complex historical geography of Asia and the interdependence of various beings through multiple narratives. His works have been exhibited and screened at Times Art Museum, Guangzhou (2021); MoCA, Taipei (2020); 2018 Shanghai Biennale; 2016 Taipei Biennial; Beijing International Short Film Festival (2017) and was a resident artist at Rijksakademie van beeldende kunsten (2014-2015).
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In today’s episode I have the pleasure of talking with Vuth Lyno, a Cambodian-based artist, curator, and educator. From his studio in Phnom Penh, we delved into his work Spirit Houses, spirituality in Cambodia, and his rainbow machine maker. Vuth Lyno also talked about his collective Sa Sa Art Projects and the role of placemaking in his work.
Vuth Lyno is an artist, curator, and educator interested in space, cultural history, and knowledge production. His artworks often engage with micro and overlooked histories, notions of community, place-making, and the production of social relations. He works across various media, including photography, video, sculpture, light, and sound, often constructing spatial and architectural bodies as situations for interaction. He introduces human stories and knowledge within these installations by drawing on a wide range of materials such as original interviews, artifacts, and newly made objects. Lyno is also a member of Stiev Selapak collective which founded and co-runs Sa Sa Art Projects, a long-term initiative committed to the development of contemporary visual arts landscape in Cambodia.
Lyno has presented his artworks in Cambodian and international venues such as the Asia Pacific Triennial of Contemporary Art, Biennale of Sydney, Singapore International Festival of Arts, and Gwangju Biennale. His artworks have appeared at institutions such as the Museum of Contemporary Art Taipei; Gallery of Modern Art, Brisbane; Metropolitan Museum of Manila; the Art Gallery of New South Wales, Sydney; the National Gallery of Indonesia, Jakarta; Centre for Contemporary Art Ujazdowski Castle, Warsaw; Guangdong Times Museum, Guangzhou; Osage Gallery, Hong Kong; and Chiang Mai City Arts & Cultural Centre.
Lyno holds a Master of Art History from the State University of New York, Binghamton, New York, a Fulbright Fellowship (2013-15), and a Master of International Development from RMIT University, Melbourne, supported by the Australian Endeavour Award (2008-2009).
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In today’s episode I had the pleasure of meeting Dr Sonia Wong, a performance artist and poet based in Hong Kong. We began our conversation about her role at the Chinese University of Hong Kong, how her diglossic poetry and writing has informed her body of work, we talked about embodied experiences, and lastly we discussed her latest 3-day performance work One Sheet of Warm Coexistence in which she invited people to share her bed with her.
Sonia Wong is an interdisciplinary artist, writer, and researcher based in Hong Kong. Her work explores sexuality, identity, intimacy, and violence, within the context of Asian histories and colonial legacies. Her recent projects focus on exploring femininity, relationship, connection, desire, vulnerability, intimacy, and trauma, through a combination of performed text, installation, and immersive visuals and ambient soundscapes. She debuted at Tai Kwun with Becoming The Wild Thing (2022) at the opening of Myth Makers—Spectrosynthesis III Exhibition (2022) with collaborator Zoë Marden, with two reruns of the performance in March and April 2023, and a solo performance Delivered Not Read presented by Eaton HK in February 2023.
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Michelle chan is a photographer, artist and in today’s episode we talked about how she shifted her career from computer science to behavioural therapy to art, how she discovered the unexpected passion of her late uncle, and the different reasons why people take Citybusses in Hong Kong.
Michelle Chan Wan Chee is an artist who works primarily in photography. She uses the camera and manipulated images to generate connections and conversations with people, so as to discover, reflect and nurture our impressions of people, places and things. She is interested in systems, human behaviours and habits, the everyday and the notion of home. Her work often explores and reflects on the inherited familial and Chinese beliefs that inform our daily gestures and rituals. Her work has been exhibited in Hong Kong and internationally, including the Angkor Photo Festival 2019, Singapore International Photography Festival 2020 and Objectifs’ Women in Film and Photography 2021 (Singapore) and as part of the Hong Kong International Photo Festival 2022. Alongside her individual artistic practice, she founded Hong Kong Photobook Club (Phoboko), a platform that brings people together through their interest in photobooks and the topics that they foreground. As a community, Phoboko hopes to interrogate photography as a medium, promote the vision of Hong Kong artists and dialogue with other photographers in the Asia-Pacific region.
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Poet and artist Maung Day talked with me from his home in Yangon, Myanmar which is also formerly known as Burma. We began our conversation about what was driving him to draw, the ugly and the beautiful, how he reconstructives narratives through poetry and drawings, and the challenge of translation between languages and domains.
MAUNG DAY is an acclaimed poet and visual artist hailing from Myanmar. He has penned a number of poetry books in Burmese, and some of his English poems have appeared in journals such as Guernica, The Margins, The Awl, Shampoo, Mekong Review, and more. His art practice encompasses drawing, painting, installation, video, and photography. He has shown his artwork in Japan, Hong Kong, Vietnam, Singapore, Thailand, Germany, Australia, and Myanmar. He last showed his artwork at SEA Focus 2023 and ART SG 2023, both held in Singapore. His first full-length collection of poems written in English titled Death in Summer is coming out in September, 2023, from Chin Music Press.
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In today’s episode I met Mindy Lui, a Hong Kong-based artist. From her studio we discussed her work and began our conversation with her airing blanket project, we discussed the background of her tangerine peel work, talked about how she collaborated with Hidden Space team and we delved into how the value of objects change over time.
Mindy LUI (b.1997, Hong Kong) obtained her BA in Fine Arts from the Academy of Visual Arts, Hong Kong Baptist University in 2020. She works primarily with drawing and painting, and increasingly experiments with adjacent video and found objects installation. Focusing on the material cultures of various everyday objects, her practice examines the value ascribed to man made objects and opens up the possibilities of intimacy and the bond between humans and objects.
Website https://www.mindylui.com
Instagram @mindylui714
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I’m back on the ferry to another island in Hong Kong. I travelled to meet artist Yip Kai Chun on Peng Chau where we talked about how he learnt to speak Hakka, the impact of its decline, how a new generation was exposed to Hakka through his community project and the upcoming Inter-Island Art Festival in Hong Kong.
Yip Kai Chun is an artist-curator born and based in Hong Kong. Neglected history, culture and language of the localities are at the core of his research-based creations. Exploring the Hakka root of his own and others in Hong Kong and abroad through the Hakka language has been one of his interests. His art often involves community/audience participation, sound and language (spoken & written), through which new collectivities and action emerge. In recent years, he has initiated and participated in several socially-engaged projects and artist residencies, immersing into disparate milieux and issues. He considers curation as an extension of his artistic creation and a chance to create broader connection and collaboration.
Website www.yipkaichuns.com
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Wing Sze Lam is a Hong Kong-based video artist and she talked about her role at the M+ museum, why she identified herself with a fisherman, the foundation of creativity and we discussed the meaning of art.
Lam Wing Sze is a Hong Kong–based video artist. She received her BA from the Academy of Visual Arts, Hong Kong Baptist University, in 2015. Lam currently works in museum education. Participated exhibitions and projects include “Our Manifestos II: Videography, Documentary Impulses” (Floating Projects, Hong Kong, 2021), “Portals, Stories, and Other Journeys” (Tai Kwun Contemporary, Hong Kong, 2021), “Sightlines” (Hong Kong Art Centre, Hong Kong, 2019 and 41 Ross, San Francisco, 2017 ), “DREAM Video 100” (West Bund Art & Design, Shanghai, 2018), “Wonder Foto Day” (Songshan Cultural and Creative Park, Taipei, 2019), “The Aerial Actor” (Art Omi, New York, 2018), “Observe / Scrutinise / Perceive” (Gallery EXIT, Hong Kong, 2018), “Weighty Light” (Affordable Art Fair, Hong Kong, 2018), “from here to there” (Kunstquartier Bethanien, Berlin, 2016).
Lam’s image narratives are often composed of scenes and situations she encounters by chance, but also those that she both anticipates and manipulates. Her role as an image-maker is to create a situation that gives the audience a viewing experience, opens up a conversation with that which was captured, and generates new meaning. Lam looks at scenery in the city and inverts daily observations into moving images that depict the perception and reflection of seeing.
Website www.lamwingsze.com
Instagram @cameraisasketchbook
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Artist Aktin Drieglo is my next guest on The Last Supper. From his Cheung Chau studio we spoke about the role of alter egos, how they function as a kind of escapism, social-ecological issues, and how his work has evolved from graffiti to paintings.
Olgierd is a professional visual artist, designer and architect. Born in 80s Poland, he practiced arts in Berlin, notably street art. He then moved to Hong Kong fourteen years ago, where he established a studio on Cheung Chau island. In his works, Olgierd explores the boundaries between abstract and figurative painting. He mixes different media, from painting with photography, to collages, stencil and stamping.
His aesthetic method uses line sketching, as well as abstract patterns, drippings and splashes of colour. The art that results from this plurality of techniques is whimsical, unexpected yet infused with art historical references. Olgierd’s work expresses a quest to make sense of the world and the times we live in. He addresses socio-political and ecological questions, such as achieving a more balanced and sustainable lifestyle; to philosophical questions, such as finitude or folly of human endeavours.
@aktin.dreiglo
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Artist and illustrator Pearl Law talked about adapting to European sensibilities, Hong Kong - Japanese dog owner behaviour, the notion of modernology or Kougengaku, and we spoke about her art residence in Japan.
Pearl Law is an illustrator, comic artist, and a zine publisher. She graduated from University of the West of England with a degree in Illustration. Much of her work takes inspiration from humour, literature, history, and behavioural observations. She loves to play around with visual wit and exploring the best narrative possible through problem-solving.
Website: https://pearlperoni.com
Instagram @pearlperoni
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Dr Caroline Ha Thuc is a researcher, curator, writer and lecturer. I met her at Asia Art Archive in Hong Kong and together we talked about her residency programme Walden, her current project about the ecology of cacao in Asia, we delved into the challenges of today’s discourses, and her role as a lecturer.
Dr. Caroline Ha Thuc is a French Hong Kong based independent art writer and curator. She holds a PhD from the School of Creative Media, City University Hong Kong.
Specialised in Asian contemporary art, Ha Thuc contributes regularly to different magazines such as ArtPress in France and Artomity in Hong Kong. Ha Thuc’s field of research focuses on research-based art practices and the emergence of alternative modes of knowledge production in Asia..
She is a lecturer at City University HK, the HK Art School and at Lingnan University where she is teaching curating.
Prior to moving to Hong Kong, Ha Thuc spent two years in Tokyo and published ‘Nouvel Art Contemporain Japonais’ (Nouvelles Editions Scala 2012) about the post-Murakami Japanese art scene. Her book ‘Contemporary Art in Hong Kong’ (Asia One, 2013 & Nouvelles Editions Scala, 2013), provides essential keys to apprehend the city’s vibrant contemporary landscape and exposes the countless links between art, history, culture and identity. She also published a book about Chinese contemporary art analysing the interactions between the art scene and China’s rapidly changing society (‘After 2000: Contemporary Art in China’ published in French and English (2015).
Her book “Research-based art practices in Southeast Asia: the Artist as Producer of Knowledge” has just been published in the UK (Palgrave Macmillan, London 2022).
As a curator, she focuses on promoting dialogue between artists from different cultures, while reflecting on social and political contemporary issues. Her main exhibitions include ’31 WOMEN ARTISTS HONG KONG’ (10 Chancery Lane, Hong Kong 2022), ‘Boundless Sea: the artist becoming researcher’ at the Art Museum of Guangzhou Academy of Fine Arts (Guangzhou, 2021-2022), ‘Constructing Mythologies’ (Edouard Malingue Gallery, Hong Kong 2018), ‘Documenting Myanmar’ (Charbon Art Space, Hong Kong 2018), ‘Carnival’ (Hong Kong, 2017), ‘Human Vibrations’ (5th Large-scale Urban Media Arts Festival, 2016), ‘The Human Body: Measure and Norms’ (Blindspot Gallery, Hong Kong, 2015), ‘Shelters of Resistance’ an in-situ installation by Kacey Wong in the courtyard of the City Hall (YIA Art Fair Paris, 2015), ‘Hong Kong Bestiary’ (Platform China, Hong Kong, 2014), ‘Radiance’ (French May, Hong Kong, 2014).
Ha Thuc has recently founded Walden, an art residency in the South of France, dedicated to artistic exchanges between Asia and France.
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Strange Strangers curated by Cusson Cheng is a duo-artist exhibition at Para Site in Hong Kong. I sat down with both artists, Shuyi Cao who is based in New York and Hong Kong-based Leelee Chan. I began the conversation asking about their working method, their relationship with materiality, their work at the current show at Para Site, and what art is for in relation to climate change.
Leelee Chan (b. 1984, Hong Kong; lives and works in Hong Kong) makes enigmatic sculptures that incorporate urban debris, ancient artefacts, natural materials, and industrial products, generating visual paradoxes in which these objects move seamlessly between past, present, and future. Reflecting the shifting urban fabric in her immediate surroundings in Hong Kong, Chan's sculptures undergo an elaborate transformation through tactile experimentation with materials and processes. The artist pushes the limits of her objects' physicality and expands the possibilities of the language of abstraction. In 2020, Chan was the recipient of the ninth BMW Art Journey. She’s participated in exhibitions including at Tai Kwun Contemporary, Hong Kong (2021, 2018); Para Site, Hong Kong (2021); Skulpturen Park Köln, Cologne (2020); and UCCA Dune, Beidaihe (2019). Chan's work is in the permanent collections of M+, Hong Kong; Skulpturen Park Köln, Cologne; and Kadist Art Foundation, Paris and San Francisco. Chan received her MFA in painting from the Rhode Island School of Design and her BFA from the School of Art Institute of Chicago.
The practice of Shuyi Cao (b. 1990, Guangzhou; lives and works in New York) explores alchemical approaches to object making and knowledge osmosis. Through archeological speculation and ecological fiction, she contemplates the plurality of relations between technoscience, mythology, and cosmology. Her multi-medium installations synthesise various organic and inorganic materials, and natural and artificial processes. Combining hand-crafted and digital artefacts, moving images, and sounds, the assemblages suggest heterogeneous material temporalities. She has exhibited internationally including at NARS Art Foundation, New York (2021); Power Station of Art, Shanghai (2021); and MASS MoCA, North Adams, MA (2018). She is the recipient of the Today Art Museum Wang Shikuo Nomination Award, The New School Tishman Environment and Design Center Research Grant, and MASS MoCA’s Assets for Artists Grant. She is an assistant professor at Pratt Institute and adjunct faculty at Parsons School of Design. She received her MFA from Parsons School of Design, New York, and her MPA and LLB from Fudan University, Shanghai.
Website www.para-site.art
Instagram @parasite.hk
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This episode addresses viewer stones or scholar’s rocks. These are naturally occurring or shaped rocks that are cherished by scholars. Together with curator and writer Olivia Wang we explored the tribulations of writing, what makes a stone a scholar’s rock and we discussed her project Unsung Heroes of Ink that she directed and produced.
Olivia Wang is an independent curator and writer based in Hong Kong. Her writing on contemporary Chinese ink art has appeared in the Wall Street Journal, ArtAsiaPacific, Orientations, Journal of Contemporary Chinese Art, among others. She is the Director and Producer of "Unsung Heroes of Ink" (2020), a short documentary on the role of paper in ink painting.
- Writing
- Unsung Heroes of Ink
- Pop Rock
IG: @unsungheroesofinkfilm
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In this episode I travelled to Kowloon Bay in Hong Kong where I met painter Jeremy Ip in his studio and gallery space. We talked about how emptiness evokes imagination, the challenge of owning a gallery space, why it is important to have different viewpoints, and how Jeremy cultivates different perspectives through the activities at his art gallery.
Jeremy Ip is a painter based in Hong Kong, a busy city shaped with rational rules. Through painting, a temporary suicide, he strives for humility and stillness. Creating an ambiguous purity and immersive flatness using thinly layered oils reflects Japanese notions of Wabi-Sabi. In accepting and appreciating nature, these immersive surfaces are often inhabited by a fluid nucleus, calling attention to the subtle beauty of imperfection as an essence of simply ‘being’ and a possible alternative to our frenetic existence. The intensive labour of flattening and the smoothing colour is somehow meditative with the painter’s personal traces. Repeated slowly and deliberately, it renders the outcome a kind of container for the soul. The release of paint on canvas becomes a metaphor for decay as energy is broken down and quieted, then stored as a latent potential for regeneration. Chance is embraced in marks interwoven by fate rather than conscious decision-making.
The painter becomes a tool and the artwork as a bi-product of inevitability in simply ‘being’, an individual passive existence such as a fruit, a mountain or a landscape. Viewers are invited to enter the absent emptiness as a space of grounding self-awareness. Perhaps associating this sense of calmness and absence with a reduction of the intelligent self to a creature in contemplation. A temporary escape from imposed rationality and order, it may feel like the hollowness or exhaustion that remains after an impactful experience has passed. In fact, the only subject of the painting is balancing the struggles and compromises of being both a culturally ‘civilized’ human and a weak, inadequate animal. In this context, the painting marks a phase of the painter’s life born within the flow of destiny. Both silent and passive, they foreground an attitude of acceptance that evades any specific communication beyond sharing the welcoming of fate.
“Box of LeeLeeLooLoo!“ 《哩哩囉囉的盒子》at WURE AREA. Three Hong Kong artists, Cho Wing Ki, Wong Mei Yin, and Yeung Sin Man, who also habitually collect small items like stickers and pins, present their recent drawings, paintings and printmaking in this exhibition.
Exhibition Period: 30/6/2023 > 23/7/2023
Friday to Tuesday 1PM - 6PM (Close on Wed and Thur)
*Open on 1/7/2023
IG @wurearea
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I sat down with Winsome Wong in Hong Kong. We talked about what she meant by textures and layering in her video work, what she finds so fascinating about imperfections and we delved into her family’s project Lorna’s Party that features her mother and family from the Philippines.
Winsome Wong mainly works on videography and the sculpting of images. Through moving along with her camera, composing and sculpting the texture and rhythm of the images, she believes that art helps guiding her to comprehend and step into daily life. Therefore, most of her works are about her daily life and people around her, leading her works to be created in different cultural contexts along her mobility. She also spent a lot of time thinking about the authority of images and artwork, that there are times she credits that the sources of her works are people around her and that she acts as an “agent” or “co-creator” of the works. She’s a member of Floating Projects Collective.
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In this episode I sat down with artist Reo Ma in his studio in Wong Chuk Hang, Hong Kong. We touched on multiple aspects of his work including how he has learnt to make garments, the value of creation, how he dealt with depression and his latest project Form n Void.
Atelier Reo Ma represents a life philosophy aimed at inspiring people from different background and walks of life. Different mediums are used to present ideologies associated with the philosophy.
Living in a world filled with norms often makes oneself follow a path which is considered “good life”, with the illusion that they have consciously chosen the right path for themselves. We are not discouraging the following of norms, but rather we would want oneself to make decisions in life based on their own inner will rather than external expectations. During the span of a busy urban life, we often lack the space, time and an open-mind to reflect about what we truly want and desire; leading to pursuits of readily-available materialistic satisfaction set out by societal norms and forgetting about the deeper spiritual fulfilment. Atelier Reo Ma aims to provide mediums and platforms to inspire urban souls in reflecting what they truly desire during the span of a limited lifetime.
Web https://www.formnvoid.org/
IG @form_n_void
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In today's episode I sat down with Hong Kong based artist May Yeung. We talked about how she began as a sculptor and how she transitioned to a full-time mixed media artist, her motivation behind her charity Art of MY Family, the impact of cancer on her art practice , and how she engages the general audience through her art workshops.
May Yeung specialises in sculpture-making and public arts. Graduate of the University of Chicago in Visual Arts and Political Science, she was yet the one and only Asian to have had public exhibitions at Chicago Union Station, Rockefeller Memorial Chapel, and Harper Memorial Library, showcasing her public art works - Citation, What If... (2010) and #. (2012). Upon her return to Hong Kong, May was invited to showcase Cocoon at The Residence of the Netherlands Consul General to Hong Kong and Macau. She was selected to be the only local sculptor to exhibit at French May Arts Festival (2017 & 2018). May established Art of MY Family to organize community art events for social impacts (2018) primarily to bring community arts to the public mass and promote cultural exchange. She was the curator and artist for Fill Central with Love Exhibition and Workshops (2021) supported by Urban Renewal Authority at Central Market. Since 2021, Art of MY Family has been partnering up with Hong Kong Cancer Fund in several initiatives, including the advocacy of up- cycling, transforming worn-bamboo steamers into artworks, as well as the promotion of women empowerment and social harmony.
FB: myeungsculpture
WEB: http://www.artslant.com/global/artists/show/195405-may-yeung
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During this episode, I had the pleasure of meeting Jiyoung Park, who serves as the director of Whitestone Gallery in Seoul, Korea. Our conversation covered a range of topics, including political science, the difficulties posed by fake news, the impact of a new generation of art collectors on the art market, the Frieze art fair in Seoul, and the current state of art fairs in Asia.
Jiyoung Park is Director of Whitestone Gallery Seoul. She started working at Whitestone Gallery Tokyo in 2011 and then moved to Whitestone Gallery Hong Kong branch as a gallery manager. Currently, she is based in Korea, where she is preparing a new space for Whitestone Gallery in Seoul, which is scheduled to open this September.
Website whitestone-gallery.com
Instagram@whitestonegallery.official
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On this episode of The Last Supper, I travel to Fanling in Hong Kong to meet with the artist Wong Pak Hang, Samson. During our discussion, we explore three projects: Life Objects, Commuting Talking, and Screen Slavers. In addition, we delve into his intrigue with mortality in the virtual realm, his utilisation of photographic crime scenes, and his musings on boredom during commutes.
Wong Pak Hang, Samson (b. 1995) lives and works in Hong Kong.. He obtains his Bachelor’s degree in Fine Arts at the Chinese University of Hong Kong. Wong expresses himself through digital and 2D mixed media, including photography, video, painting, and installation. The content of works is related to modern life and habitation. He believes art can represent humanistic concerns, pointing outwards toward civilization, and inwards toward fundamental humanity. Recently, he was awarded WMA Sponsorship Recipient - FotoFest, the ‘2046 Fermentation + Fellowships’ by Para Site in 2022 and the 'New Light Exhibition Scheme' by Lumenvisum in 2020 and shortlisted for the 24th ifva Awards (Media Arts category) in 2019.
Website wongpakhang.art
Instagram @studio.lights.on
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In this episode of The Last Supper I had the pleasure of meeting executive director and curator Billy Tang at their new space in Quarry Bay in Hong Kong. After Billy guided me through the current exhibition Signals we began our dialogue with why art is a safe haven, we talked about the relationship between language and identity, how racism has informed his viewpoint on the world, and why he became a curator.
Billy Tang is Executive Director & Curator at Para Site, Hong Kong. He was previously the Senior Curator at Rockbund Art Museum, Shanghai, and Curatorial Director at Magician Space in Beijing. Writing contributions have appeared in ArtAsiaPacific, Leap, Spike Magazine, Terremoto, and Mousse Magazine.
Website www.para-site.art
Instagram @parasite.hk
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In this episode of The Last Supper, I spoke with artist Mizuki Nishiyama. Our wide-ranging conversation delved into social and cultural polarities in Japan, negotiating mixed identities, the impact of language, Shintoism and how art offers sanctuary.
Mizuki Nishiyama is a London based, mixed-Japanese artist; creating raw, vivid and multifaceted artworks that explore the fragile human condition. As a mixed-Japanese artist, Nishiyama draws inspiration from the East and West. Bridging her Hong Kong, Japanese and Italian cultural heritages. Embracing deeply personal experiences to craft each artwork: the artist’s ongoing relationship with anxiety and trauma has greatly influenced her practice, and has fuelled her to confront vulnerability, fragility and the human condition. Creating is a chaotic yet meditative process for Nishiyama that allows her to make sense of the more tempestuous periods in life. Nishiyama holds a Masters of Fine Arts degree from Central Saint Martins, and a Bachelors of Fine Arts degree from Parsons School of Design.
Website www.mizukinishiyama.com
Instagram @miznegi
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In this episode I caught up with artist Bobby Yu who returned from Oslo to Hong Kong. We discussed how her current collaborative project Daddy dinner with two migrated artists Jacky Jana-Yuan Kuo and Jinbin Chen attempts to uncover her family’s history, how art critiquing helped her confidence, and we talked about her role as an artist to address unspoken trauma.
Yu Shuk Pui Bobby is a visual artist who now based in Hong Kong and Oslo. Bobby’s practice is focused on building intimate relationships and collaborations, where physical, tangible and affective phenomena associated with biotechnology and the future are created by the media of video, text, installation, sculpture, and performance. She often use speculative fiction within the themes of human genetic engineering to refigure perceptions towards gender, body and historical discourses of identity.
In recent years, Bobby has started to work on video making with different communities as a means of exploring identity construction in various cultural contexts and collective aspects. Through realizing fictional narratives, she describe real experiences of desire and identification.
Bobby received a BA from Hong Kong Baptist University and MFA at Oslo National Academy of Fine Art. She has exhibited her works at Parasite, 100ft. Gallery, starprojects, 1a Space, Tomorrow Maybe Gallery, EC Gallery (Hong Kong);Kunstnernes Hus, Galleri BOA, Podium, K4 Gallery(Oslo); A Place Gallery & Studios (Florida); Youkobo Art Space Gallery (Tokyo); Swatch Art Peach Hotel (Shanghai); Listhus Gallery (Iceland).
The 17th Fresh Wave International Short Film Festival
Screening date, time and location:
11/6 (Sun) | 17:40 HKT, 2023
17/6 (Sat) | 15:00 HKT, 2023
21/6 (Wed) | 19:40 HKT, 2023
www.freshwave.hk
Websiteyushukpui.com
Instagram @bobbyyushukpui
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In this episode I travelled to the New Territories in Hong Kong where I met artist and art educator Jaffa Lam In her studio in Fo Tan. We spoke about her childhood memories of growing up in China, how a bet in a Chinese restaurant in New York enthused her to make art, grappling with imposter syndrome, determination, and her 500 rocks of the Monkey King.
Jaffa Lam is a Hong Kong-based artist specializing in large-scale, site-specific and mixed-media works, often making use of recycled materials, such as crate wood, old furniture, abandoned metal and umbrella fabric. Since 1999, in her “Micro Economic” and other public/community projects, she has been connecting heritage and current affairs, and representing ordinary people through non-narrative and dialogical installations.
Website www.jaffalam.com
Instagram @jaffalam
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In this episode of The Last Supper I met curator and art historian Laure Raibaut in Cheung Chau, Hong Kong. We sat down and spoke about her upcoming Picasso exhibition of paintings in glass in The Landmark and HKU Museum and Art Gallery, we talked about the state of art in Hong Kong, and the challenges artists and art collectors are facing in Hong Kong.
Laure Raibaut is a curator and art historian with expertise in Asian and European art. Laure founded her own company Nissa Bella Art Management in 2018. She was trained as an archaeologist and an art historian at SOAS (School of Oriental and African Studies) in London, the Sorbonne in Paris and the Central Academy of Fine Arts (CAFA) in Beijing. She started her career in Beijing with Platform China Art Institute and then worked for galleries in New York and Hong Kong, as well as leading sales for the auction houses Bonhams and Christie's. She then worked at the Hong Kong Arts Centre, the longest standing independent art institution in Hong Kong, opened in 1977 and has curated shows there. This led to an expansion in the field of her expertise when she took on the role of Head of Visual Arts for Le French May and Lumieres, the two festivals initiated by the Association Culturelle France - Hong Kong. In that role she initiated, negotiated and produced several major exhibitions, including "L'Ecole de Nice" and "Niki de Saint-Phalle", as well as initiated and negotiated "Mythologies : Surrealism and Beyond, Masterpieces from Centre Pompidou", where she also acted as representative of the MNAM.
While working for L'ECOLE, School of Jewelry Arts, Laure managed and produced the exhibition "The Art of Gold - 3,000 years of Chinese Treasures" in Hong Kong (masterpieces from the Mengdiexuan Collection, now on show at the HKPM). Currently Laure is co-curating the exhibition "Pablo Picasso: Paintings in Glass", with UMAG (HKU Museum and Art Gallery) and in the framework of Le French May. She also teaches at L’ECOLE School of Jewelry Arts and is a lecturer for the Masters program at The Hong Kong Polytechnic University. Laure also participates in many talks and conferences around the world.
Main Projects, besides the above in bold:
- On My Own terms - Self Taught Artists 2022
- Transcending the Gongbi tradition 2022
- Art Macao: Journey from Ukiyo-e to Anime 2019
- Mekong New Mythologies 2017
- Nurturing Creativity 35th anniversary of CUHK art museum 2016
https://www.nissabella.art/
https://www.instagram.com/laureraibaut/
Pablo Picasso: Paintings in Glass
More on https://www.frenchmay.com/en-us/article/223
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In this episode I sat down with senior curator Özge Ersoy of the Asia Art Archive (AAA) in Hong Kong. We discussed the transformation of Asia Art Archive, how they changed their research approach, the research areas that they are looking into, how they think about preservation of art and the relationship between curating and writing.
Özge Ersoy is Senior Curator at Asia Art Archive. She has worked in the curatorial teams of various nonprofit arts organisations in Hong Kong, Istanbul, New York, and Cairo for the past fifteen years, researching artists’ archives, contemporary art collections, and independent art spaces through exhibitions, public programmes, and publications.
Asia Art Archive
Web https://aaa.org.hk/en
IG https://www.instagram.com/asiaartarchive/
Senior Curator Özge Ersoy
https://www.instagram.com/ozgeersoy/
https://m-est.org/
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I went back to De Sarthe gallery in Wong Chuk Hang, Hong Kong and caught up with Beijing-based artist Jiajia. He shared his thoughts on being direct, growing up in an art studio, and his Age/Sex/Location or ASL show in Hong Kong.
Wang Jiajia was born in 1985 in Beijing, China, where he currently lives and works. He attended Central Saint Martins College of Art & Design, graduating with a BA Honours degree in 2008. Born to a generation eclipsed by the popularisation of television, advent of the Internet, and ubiquity of pop culture, motifs extracted from video
games, cartoons, song lyrics, movies, sports, and memes have all been subject to his work. Wang Jiajia’s recent solo exhibitions include, A Tree Cannot Pick Up Its Root, TANK Shanghai, China (2022); The Sun Is in My Eyes, Xiao Museum of Contemporary Art, Rizhao, Shandong, China (2021); Elegant, Circular, Timeless, SPURS Gallery, Beijing, China (2020); FOMO: Fear of missing out, Tao Art Space, Taipei, Taiwan (2020); Pop the Champagne, Boers-Li Gallery, Beijing, China (2018); and Alternate Realities, DE SARTHE, Beijing, China (2016). His recent group exhibitions include, Apostolic Succession, SPURS Gallery, Beijing, China (2021); CLEAN, SPURS Gallery, Beijing, China (2020); and One if by Land, Powerlong Art Center, Xiamen, China (2019).
March 18 - April 29, 2023, A/S/L, Wang Jiajia, Hong Kong
Web http://www.desarthe.com
IG @desarthegallery
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In this episode I travelled to the University of Hong Kong where I had the pleasure of meeting Dr Yeewan Koon, the chair of the department of Art History of the University of Hong Kong. We addressed a broad range of topics that began with the exploration of what a Hong Kong’er and Hong Kong art is, her method behind the publication of Nara Yoshitomo’s work, why not everyone can be an artist, and her thoughts on NFT and Artificial Intelligence.
Yeewan Koon is associate professor and Chair of the Department of Art History at the University of Hong Kong. Her publication includes The Defiant Brush: Su Renshan and the Politics of 19th Century Guangdong Art (2014), Nara Yoshitomo (2020), “Where Are We Now? M+ and the Future of Hong Kong Art” (2021). In 2014, she was guest curator of It Begins with Metamorphosis: Xu Bing at the Asia Society, Hong Kong Centre, and was one of the selected curators for the 12th Gwangju Biennale, 2018. In June 2021, she curated the exhibition So long, thanks again for the fish!, which was part of the Inspired Programme of inaugural Helsinki Biennale in Finland. In 2022, she was awarded the prestigious UGC Teacher Award.
https://arthistory.hku.hk/index.php/people/yeewan-koon/
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In this episode of The Last Supper I sat down with Jacobo Garcia who talked passionately about many areas of art. We began our conversation discussing the relationship between singularity and creativity, how he applies his financial risk modelling to assessing art, what he has learnt from living in Asia, and finally why he does not want to live forever.Jacobo Garcia Gil is an experienced investment banker with over 20 years of expertise in the field. In addition to his professional career, Mr. Garcia has also established a contemporary art collection, Divide By Zero, which features works by established and emerging artists from Asia and Europe. The collection is supported by a network of leading international gallerists, artists, and other art professionals, and its focus is on contemporary paintings that examine the current socio-cultural climate.Mr. Garcia founded Divide By Zero Holdings Limited in Hong Kong in 2014, and currently serves as its director. In addition to his work with the collection, Mr. Garcia is also a docent and founding patron for the M+ Museum in Hong Kong. Through his involvement with Divide by Zero, Mr. Garcia is dedicated to supporting the growth and development of the contemporary art scene in Asia and beyond.IG @dividebyzerocollectionhttps://www.dividebyzero.art-----Join a Christie's Education virtual or in-person art course, lecture, workshop, city or art gallery visit. Use 'LASTSUPPER15' code to claim your 15% discount.-----The Last Supper IG @thelastsupper.asiaWebsite The Last Supper | Email: oscar@oscarvenhuis.com-----The Last Supper is supported by the Hong Kong Art Gallery Association http://www.hk-aga.org--- Send in a voice message: https://podcasters.spotify.com/pod/show/thelastsupper/message
In this episode I travelled back to Fo Tan where I sat down with artist Hou Lam Tsui. We talked about the politics of love, how the media in Hong Kong drives the heteronormative narrative, her passion for Japanese anime, finding love and the role of unloving.
Hou Lam Tsui (b. 1997) lives and works in Hong Kong. Tsui received a BA in Fine Art and History of Art from the University of Leeds in 2018. Her practice centres around personal experience, gender politics, boundaries, and peripheral storytelling. Her recent exhibitions include Blind Curve (RNH Space, 2022), Noble Rot (Para Site, 2021), and Post-Human Narratives—The Co-existing Land (Cattle Depot Artist Village, 2021). She also writes poems.
Website houlamtsui.cargo.site
IG @hltsui.png
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In this 50th episode special 🎉, I had a conversation with OpenAi ChatGPT to address art criticism in Asia. To give ChatGPT a voice, I used a separate text-to-speech software. All answers of ChatGPT are unedited and are a direct reflection of ChatGPT’s response. The purpose for producing this episode was not to find weaknesses or failures in its response, but to demonstrate that we have reached a point that it’s possible to have a basic dialogue with AI. Whether ChatGPT is truthful and accurate, this is something - just like everything else that you read, watch, hear and see - you’ll have to determine for yourself.
After explaining what ChatGPT is, we delve into a series of questions around art critiquing from what the critique is of art criticism to the differences of criticism in the west and Asia, and whether or not artist intent can be determined through critical analysis. We continued with American philosopher Noel Carroll’s art critiquing argument, the role of subjectivity in art criticism and discussed many more questions. Please take a very comfortable seat and hear for yourself what happened..
ChatGPT (Chat Generative Pre-trained Transformer) is a chatbot developed by OpenAI and launched in November 2022. It is built on top of OpenAI's GPT-3 family of large language models and has been fine-tuned (an approach to transfer learning) using both supervised and reinforcement learning techniques.
ChatGPT was launched as a prototype on November 30, 2022, and quickly garnered attention for its detailed responses and articulate answers across many domains of knowledge. Its uneven factual accuracy, however, has been identified as a significant drawback. Following the release of ChatGPT, OpenAI's valuation was estimated at US$29 billion in 2023.
Website https://openai.com
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In this episode I met the cofounder of HKWalls. I have known Jason Dembski for over a decade, however it’s the very first time we sat down and talked about what drove him to host street art festivals, the state of graffiti in Hong Kong and the challenges he faces working with local land owners.
Jason is an American designer, maker and curator based in Hong Kong. Jason is one of the Co-founders of HKwalls, a non-profit arts organisation and annual street art festival in Hong Kong. With a background in architecture and a fascination with street art and graffiti, Jason’s interests revolve around the built environment, and its relationships with those who occupy and modify it.
As one of the founders, Jason is a major driving force behind HKwalls, overseeing all aspects of artistic production, shaping strategy and festival framework, while sharing the curation with partners Stan and Maria.
Website https://hkwalls.org
IG: @hkwalls
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In this episode of The Last Supper I sat down with artist and curator Eunice Tsang in her studio space in Sham Shui Po. We spoke about how she began Current Plans, revenge resting, and using humour to navigate Hong Kong’s ambiguous landscape.
Eunice Tsang (she/her) is a curator and artist based in Hong Kong. She founded and curates Current Plans, an alternative art space in Sham Shui Po that encourages cross-disciplinary dialogues through exhibition-making. Previously, she set up the Asian Artist Book Library in Tai Kwun Contemporary, focussing her research on independent publishing in Asia and modes of creative distribution. Her curatorial interests lie in how artists develop new languages and symbols in times of political change, and how to maneuver the liminal space between legal and illegal, fact and fiction – using magic-realism, sarcasm, humor and myth-making.
Current Plans is an alternative space that supports creative experimentations that cross disciplines, stimulate knowledge exchange and encourage playful connections that push the boundaries of contemporary exhibition-making. As a hybrid space for disseminating a plethora of practices, Current Plans hopes to engage creatives who are open to a co-generative model of working and sharing.
Website current-plans.com
IG @currentplans
Fancy Creatures by Tomihiro Kono & Sayaka Maruyama
The Art of Wig Making. Free entry Thursday to Sunday 1-7pm, until 16 April 2023
Current Plans
2F, Tak On House, 13 Wong Chuk St, Sham Shui Po, Hong Kong
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In this episode, I had a conversation with Shivang from Young Soy based in Hong Kong. Our discussion covered his journey in art, which began during the Covid-19 pandemic, the current state of art critique in Hong Kong, and the unique requirement of performing a stand-up comedy routine to join the Young Soy team.
Shivang Jhunjhnuwala grew up in Hong Kong and worked in video production after completing his university studies. Alongside his job, he dabbled in stand-up comedy before quitting in December 2019 with plans to travel the world on an "eat, pray, love" journey. Unfortunately, due to the Covid-19 pandemic, he was unable to leave Hong Kong and found himself without a job. It was then that he co-founded the Young Soy Gallery with his friend Alexander Glavatsky-Yeadon. Since its inception, Jhunjhnuwala has collaborated with various innovative artists while also providing video production services to select clients. In 2023, he and Glavatsky-Yeadon founded Vain Projects, which focuses on established artists. Outside of work, Jhunjhnuwala enjoys disco dancing and indulging in ice cream.
https://youngsoy.com
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In this episode I travel to Fo Tan in Hong Kong where I met Chankalun in her studio. We began our dialogue with a short quiz in which I attempted to see the difference between neon and LED. We continued the conversation covering a wide range of topics from how she learnt the craft of neon, Chankalun’s upcoming Art Basel work, and the history of the pawn shop neon sign. We also discussed the difference between American and Japanese Neon techniques and Chankalun talked about her project ‘The Neon Girl’.
The only female and experimental neon artist in Hong Kong, TEDxSpeaker, SCMP Women Of Our Time 2022. As a female neon artist within the male-dominant industry in Hong Kong, Chankalun investigates and incorporates new technology in her designs and neon art.
She is also currently learning neon-making skills from 6 different neon light masters and artists around the world through “The Neon Girl” project.
Targeted to increase awareness and enrich female empowerment in the male-dominant neon industry, her neon art explores new media and technology that gives new meanings to neon lights. Her mission is to keep the neon legacy alive and kicking through her experiments.
Website https://theneongirl.com/
IG: @chankalun
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In this episode I visited Aaina, the Arts and Culture Editor of Tatler Asia. We talked about how her studies have informed her current work, her intent when writing, her assessment of private and public art and how Aaina’s writing style has evolved.
Aaina is the Arts and Culture Editor of Tatler Asia. A passion for history and all things visual led her in the pursuit of art history. With extensive experience in the art world working for a range of art institutions, she combined her passion and expertise in the form of art and culture journalism. Prior to Tatler, Aaina worked as a culture reporter for South China Morning Post and editor at the online art platform Cobo Social. Additionally, she has contributed to a variety of prestigious art publications including Art Review, Ocula, Art Agenda, Artsy, Design Anthology, and Artomity.
IG: @aaina_b
A selection of Aaina's work:
- https://www.tatlerasia.com/lifestyle/arts/quick-style-dance-crew
- https://www.tatlerasia.com/lifestyle/arts/yayoi-kusama-at-m-plus-2022
- https://www.tatlerasia.com/lifestyle/arts/witches-magic-and-mysticism-are-making-a-comeback
- https://artreview.com/need-for-speed-drone-races-and-humans-obsession-with-acceleration/
- https://artreview.com/can-hong-kong-newest-museum-live-up-to-the-hype-m-plus/
- https://www.scmp.com/culture/article/3122236/independent-art-finds-room-flourish-hong-kong-young-artists-and-creatives
- https://www.scmp.com/lifestyle/arts-culture/article/3157982/tarot-astrology-feng-shui-why-hong-kongs-art-world-going
- https://www.scmp.com/lifestyle/arts-culture/article/3043039/through-dragon-gate-artist-explores-feng-shui-emblem
- https://artomity.art/2021/11/06/fault-lines-%E6%96%B7%E5%B1%A4%E7%B7%9A/
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In this episode of The Last Supper I sat down with mixed media and performance artist Ice Wong. We began our conversation talking about her experience of studying art in Hong Kong, how she began with performance art, discussed what’s behind her recent work for Post-Human Narratives and the rapport she developed with sunflowers. Ice completed the conversation by explaining why she was jumping off a wooden cabinet and what other work she had planned for this year.
Ice WONG Kei Suet (b.1995) lives and works in Hong Kong. She obtained her Bachelor's degree in Visual Arts from the Academy of Visual Arts, Hong Kong Baptist University, in 2018. By examining her personal experience in time and space, she takes the interconnectedness of nature and man as her point of departure, working mainly with performance, installation, video and drawing. Her recent exhibitions include Post-Human Narratives— In the name of scientific witchery (Para Site, 2022), Noble Rot (Para Site, 2022), Per. Platform #3 (Eaton HK, 2022). In 2021-2022, she was awarded 2046 Fermentation + Fellowships granted by Para Site.
posthumannarratives.comwww.keisuetice.com
IG @ice.keisuet
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In this last episode of 2022 I had the pleasure to talk with Dutch art lawyer Laurens Kasteleijn. Laurens explained the implications of the anti money laundering regulations, the latest developments in crypto and NFT, and we talked about the apparent shift of art centres in London, Paris, Hong Kong and Seoul.
The Last Supper will continue on Saturday 5th February 2023.
Laurens holds a master’s degree in corporate law from the University of Amsterdam in the Netherlands, studied in France and at the Tsinghua University in Beijing, China. Laurens has lectured on ‘Legal Issues in the Art World’ at the Sotheby’s Institute of Art in Hong Kong and in London, and writes frequently on this subject.
He is the co-author of the Dutch chapter of the IBA Art, Cultural Institutions and Heritage Law Committee report. In addition to holding the position of Chair of the Art and Law Association in the Netherlands, he is a member of the Royal Asian Art Society, committee member of the IPBA, member of PAIAM, legal committee member of the Art Identification Standard, and a contributor to the Responsible Art Market initiative in Switzerland. In 2021 he founded a new company ‘Kasteleijn Mediation & Arbitration’ that specialises in solving art disputes for which Laurens is a registered mediator with the Court of Arbitration of Art (CAfA) in The Hague.
www.artlawservices.com | Linkedin: Art Law Services | Instagram: @art.law.services
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In this episode I met with London-based artist Jade who is in Hong Kong for her first show. Our conversation centred around her experience of being back in Hong Kong after 3 years, how her trip to Russia and the Eastern Bloc countries made a lasting impression on her work, we talked about what Jade meant by character proximity and ended our conversation with her current solo show GUSH.
Jade Ching-Yuk Ng obtained her BA at Slade School of Fine Art in 2016 and MA at Royal College of Art in 2018. She is a recipient of Cass Art Painting Prize in 2016 and Travers Smith Art Award in 2018. She was awarded the Abbey Major Painting Scholarship by the British School at Rome in 2018. Her work was commented on and published by art historians Katy Hessel and Kate Mothes respectively.
She worked at Bezalel Academy of Arts and Design in 2014. Her work has exhibited internationally, such as Arusha Gallery (London; Edinburgh, UK), Matt’s Gallery (London, UK), San Mei Gallery (London, UK), Cornucopia Gallery (London, UK), Whitechapel 46 (London, UK), Siegfried Contemporary (London, UK), Assembly Point (London, UK), Horse Hospital (London, UK), CGP Gallery (London, UK), Canal Mills Armley (Leeds, UK), Video Pub (Jerusalem, Israel), Academia di Romania a Roma (Rome, Italy) . Part of her work has been collected by Penguin Random House.
Jade Ching-yuk Ng Solo Exhibition: GUSH
Curator: Fiona Lu
15 December, 2022 - 16 January, 2023
Tang Contemporary Art, Hong Kong
IG @jade.chingyuk.ngwww.ching-yukjadeng.com
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In this episode I sat down with artist and curator Kobe Ko. We spoke about her experience in Taiwan, her perspective on the current state of Hong Kong, The Post Human Narrative project and what Kobe is planning for next year.
Kobe Ko (b. 1992 in Hong Kong) is a curator, artist and also one of the co-founders of nomad nomad. She has curated ‘Post-Human Narratives’ (2020–present), Mitsuru Nishimura’s solo exhibition ‘-Fade away-’ (2018), Mayumi Hosokura’s exhibition ‘Jubilee’ (2017), and ‘CHOW KAI CHIN Community Art Experimental Project’ (2013 & 2014), among others. ‘Before the last breath’ (2021) was selected for the Open Call of ‘Bouncing Art Show’ by 182 art space in Tainan.
Her artworks depart from her intimate relationship and personal sensation and mainly focus on the re-imagination of distance and boundaries. Her recent exhibitions include ‘38.4’ (Wure Area, HK, 2022) ‘Over the ocean, over the sea’ (Current Plans, HK, 2022). She graduated from the Department of Creative Arts and Culture of The Hong Kong University of Education, and received an MA in Gender Studies from Shih Hsin University in Taiwan. She lives and works in Hong Kong and Taiwan.
www.posthumannarratives.comIG @posthumannarratives | @kobekobekobeko
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In this episode I sat down with Charles Fong, the gallery director of Rossi & Rossi in Hong Kong. We began the conversation with his visit to the Art Collaboration Kyoto fair in Japan, we talked about what art is for, discussed what the value of art is, and ended our dialogue talking about the dark side of art.
Charles Fong - Gallery Director, Hong Kong. After graduating with a degree in Microbiology from the University of Hong Kong, Charles took a dive into the art world. While working, he completed his Masters in Sociology, specifically examining the development of Hong Kong’s art gallery ecosystem from the 1980s. Having great interest in understanding the role of art in different cultures, Charles aims to contextualize art through different means of storytelling.
IG @charles.fongSouthside Saturday
Rossi & Rossi gallery
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In this episode I spoke with filmmaker Violet Du Feng. Among the many topics we delved into we talked about the pressures of capitalism, her observations of living both in China and in the U.S., the challenges of today’s ambiguous world and what she hoped to achieve with her recent and multiple award-winning documentary Hidden Letters.
Hidden Letters follows two millennial Chinese women connected by their passion for Nushu, a secret female-only language that for centuries has allowed women to communicate privately without men understanding their correspondence.
While practices like foot-binding are long past, the film shines a light on contemporary millennial women’s ongoing struggle to forge their own paths in the patriarchal climate in China today, and the value of a sisterhood that can support along the way. The timely film has a focus on how female communication networks remain a significant lifeline around the world today.
Violet is a Sundance Creative Producing Fellow and Sundance has named her as one of "7 Directors to Watch." Violet is a compelling and passionate artist who has produced multiple award-winning films such as DEAR MOTHER, I MEANT TO WRITE ABOUT DEATH, SINGING IN THE WILDERNESS, CONFUCIAN DREAM, MAINELAND, and PLEASE REMEMBER ME. Feng started her career as a co-producer on the 2007 award-winning NANKING. She is the consulting programmer of Shanghai International Film Festival. HIDDEN LETTERS is her second feature-length documentary as a director.
Websitewww.hiddenlettersfilm.comInstagram@hiddenlettersfilm
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In this week’s episode of The Last Supper I sat down with artist Siu Ding, founder of the Hong Kong Life Model Club for artists, musicians, painters, writers, photographers, and artmakers. We spoke about her passion to promote body autonomy, gender fluidity, and her recent show ‘Ritsu Aomame’ in Hong Kong.
Born and raised in Hong Kong, Siu Ding is an artist and book designer. Life is art, and the body is a personal temple. Known as the “exhibitionist”, she likes to break taboos and make the world her playground.
Selection of work:
- Founder, Hong Kong Life Model Club (2017)
- Curator, BodyFest 2018 - Everybody is Awesome
- Curator, BodyFest 2020 - Our Models
- Curator, BodyFest 2021 - Body Autonomy: Talks and Workshops
- Curator, Multimedia exhibition - Incarnation (part of Hong Kong International Photo Festival 2021 Satellite Exhibition)
- Photographer and model, Momome (Photobook, 2022)
- Photographer and model, Ritsu Aomame (Photobook, 2022)
Siu Ding IG @siuding_iiHong Kong Life Model Club@hklifemodelclub
Ritsu Aomame IG @ritsu_aomame
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This week I caught up with art critic, writer, and curator Chris Wan. He talked about the role of narrative and anti-narrative in art, the multiplicity of perspectives of how we perceived the world and we also talked about his personal experience of displacement in Hong Kong.
Chris Wan Feng is a writer, critic and curator, currently works and lives in Hong Kong. His writing on contemporary art can be found on various media publications, e.g., Artforum. Chris’s recent research and curation focuses on new developments of local art system and creation of emerging artists in Hong Kong. He is also the founder and editor of independent art review project Daoju
Website www.daoju.art
Instagram @daoju.art
Chris Wan @chriswanfeng
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A 66 million-year-old Tyrannosaurus rex, also nicknamed Shen the T. rex, is the very first T. rex skeleton offered at a public auction in Asia. I sat down with Georgina Hilton and we talked about Christie’s upcoming auction on the 30th November in Hong Kong. We also talked about Paul Allan’s exceptional art collection at the Rockefeller Center galleries in New York.
As Head of Classic Art, Asia, Georgina is responsible for developing collectors in this field in Asia. Classic Art at Christie’s spans from antiquity to the nineteenth century, covering an array of highly collectable categories from European Old Master Paintings and Sculptures, Illuminated Manuscripts, Objects of Scientific Interest, and the Decorative Arts.
The market for Classic Art in Asia has grown significantly over the past decade, with masterpieces being collected for private and public art collections in Greater China, Japan, South Korea, and Southeast Asia.
Working in this area combines Georgina’s passion for paintings and objects as well as working closely with Collectors and Institutions. Prior to this role Georgina lead the Marketing and Events team and was responsible for delivering best in class campaigns and client experiences to help drive auction bidding and buying. Before relocating to Hong Kong in 2019, Georgina spent 5 years at Christie’s in London, latterly in the Old Master Paintings Department.
As a Christie’s Auctioneer, Georgina Hilton is responsible for taking the most prominent sales, including flagship Evening Sales in Hong Kong, New York and London. She holds many world record prices for the most expensive pieces sold at auction and has become known for her theatrical style on the rostrum. In 2017, as the youngest in company and one of only a handful of women in the industry, at the time, she was awarded Novice Auctioneer of the Year by the National Association for Valuers and Auctioneers, and has since been named as “Christie’s Rising Star of the Rostrum” by the Art Newspaper.
Georgina joined Christie’s in 2013 having studied Art History at The University of Manchester.
- Public viewing: Hong Kong Convention and Exhibition Centre: 26 – 30 November
Shen the T. rex Hong KongPaul Allen CollectionDownload Christie's Auction Week Brochure
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In this episode I have the pleasure to meet Yi Gao, the programme lead at Christie’s Education in Hong Kong. Yi explains how she began her career in art, the many roles she fills at Christie’s Education and what makes learning at Christie’s unique and special.
Yi Gao 高伊, Programme Lead, Christie’s Education, Asia Pacific. - As Program Lead of Christie’s Education Asia, Yi is responsible for developing course curricula and programme content, maintaining and expanding a network of lecturers, as well as leading courses and lecturing on topics related to art business, art market and art law. She is also actively involved in marketing, branding and student recruitment. Prior to joining Christie’s, she completed her M.A. in Art, Law and Business, awarded jointly by Christie’s Education London and University of Glasgow College of Arts.
Yi is a qualified attorney licensed to practice in New York and practised corporate and capital markets law at the global law firm of Kirkland & Ellis. She holds a B.A. in Law from Beijing Foreign Studies University and L.L.M. from New York University School of Law. Yi has studied and worked in Beijing, Hong Kong, New York, Washington D.C. and London, and is fluent in English, Mandarin and Cantonese.
Christie’s Education Asia Pacific, headquartered in Hong Kong, is a specialist institution in the study of art business and the art market, art history and art world ecosystems, curating and connoisseurship. We offer courses to art lovers, collectors and industry professionals throughout the year, in person and online, English and Chinese.
Christie’s Education
Website education.christies.com
Instagram @education.christiesFacebook ChristiesEduLDNYouTube ChristiesEducation
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In this podcast episode of The Last Supper I caught up with Charlotte Lin and discussed her experience working with a new generation of artists and collectors in Hong Kong. We also spoke about the background of Charlotte's upcoming group exhibition Glimmer Shrine at the Tang Contemporary art gallery in Central, Hong Kong.
Charlotte was born in Shenzhen, China. She currently lives and works in Hong Kong as the Sales and Marketing manager of Tang Contemporary Art in Hong Kong, serving as the bridge to build both gallery's artist and public relationship globally.
Charlotte graduated from the University of New South Wales in Australia with a bachelor's degree in Fine Art. Since then, she has been heavily involved in the art world. In 2017, she participated in the curation role for the National Palace Museum of Taipei at The Art Gallery of New South Wales (AGNSW), and 2019 – 2020 in White Rabbit Gallery. In recent years, she is responsible for the leading role in planning and implementation of large scale public projects for Tang Contemporary Art.
Glimmer Shrine, Nov 3 – Dec 10, 2022
Artists: Alina Birkner, Gretta Louw, Lorraine Ren (Jialin), Super Future Kid, Yuchu Gao
Curator: Charlotte Lin
Tang Contemporary Art, 10/F, H Queen’s,
80 Queen’s Road Central, Central, Hong Kong
www.tangcontemporary.com
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In this episode I travelled to Kwai Hing in Hong Kong's New Territories and visited artist and researcher Kay Mei Ling Beadman in her studio. Kay shared her experience of being an Eurasian in the U.K. and Hong Kong, why she co-founded artist-run Hidden Space and the role of critiquing in the emergence of art.
Kay Mei Ling Beadman is an artist, researcher and co-founder of Hong Kong artist-run initiative Hidden Space. She uses her Chinese and white English mixed ethnicity to explore aspects of complex dual identity formation, often focusing on embodied aspects of lived experience amid socio-politically and culturally constructed assumptions around race. Her practice is multidisciplinary and includes installation, video, painting and text. She has a BFA from the University of Reading, UK, an MFA from RMIT, Australia and is currently a PhD candidate at the School of Creative Media, City University of Hong Kong. Kay was born in England, zigzagged between HK and UK growing up, but has lived and worked permanently in Hong Kong since 1999. She has exhibited in Australia, China, Hong Kong, Serbia, Singapore, South Korea, Sri Lanka and the UK.
Website www.kaybeadman.comInstagram @kaybeadHidden Space @hiddenspacehk
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Amanda Sun is the founder of the Arts For Good Foundation, a social enterprise that is dedicated to social inclusion for future generations through the soft power of art and culture in Hong Kong. We spoke about a range of subjects including what drove her to begin Arts For Good and we delved into the purpose and impact of the art making programmes.
Amanda grew up in Mainland China with rich experience in social science research, art research and project management with a record of working with education institutions, as well as creating educational art projects for students in Hong Kong.
Being a strong advocate of community inclusion and an avid art lover, she championed art as an important common ground for fostering a diverse and inclusive society for Hong Kong. She deeply believed in the social power of art, and founded Arts for Good Foundation in 2020 to provide high quality and tailor made art viewing, art making and community services experiences for students (aged 9-22) in Hong Kong. Amanda is an upholder of good values and change maker with the goal of driving positive changes in our future society.
The interpretation of diversity and inclusion of Arts for Good Foundation is to foster perspectives, nurture ethical and respectful minds towards cultural differences, and cultivate common cultural identities through educating future generations, and engage children and youths to seek common humanity values and make positive changes together. Prior to Arts for Good Foundation, Amanda worked in the commercial sector in Canada, and was an education researcher with Hong Kong Education University and Hong Kong Academy of Gifted Education. She holds a Master's degree in recreation and tourism policy and planning, and a Bachelor's degree in Marketing.
Website www.artsforgoodfoundation.comInstagram @arts_for_good_foundationFacebookartsforgoodfoundation
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In this episode I sat down with gallerist Rachel Lee, owner of Soluna Fine Art in Hong Kong. Rachel began our conversation by sharing her story where her interest in art came from, her journey of becoming a gallery owner and we ended the conversation exploring the meaning of Jeong Myoung-Jo's first solo exhibition The Paradox of Beauty.
Seoul-born, Hong Kong-based gallery owner, painter and mother of three Rachel Lee, has always been passionate about art. Her formal training in fine arts (MFA) at the Hong Ik University in South Korea opened doors for Rachel to learn from some of Korea’s greatest painters: Park Seo-bo and Choi Myoung. Her training in art combined with her business experience would later lead to founding of her very own contemporary art gallery, Soluna Fine Art.
The Paradox of Beauty, Jeong Myoung-Jo, 16 September - 25 October 2022, www.solunafineart.com
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In this episode I travelled back to Wong Chuk Hang in Hong Kong where I met artist Wai Pongyu in his studio. We talked about his working approach, the stories visitors tell him, revealing emotions through his line work and Pongyu explained why he has confined himself in a gallery for several months.
Wai Pong Yu is known for his complex and meticulous ballpoint-pen-on-paper drawings that stem from the rhythms and movements of lines, whereby each line follows the previous one, always moving forward without retracing itself or breaking. Delicate yet dynamic, precise yet sensuous, his inked lines create abstract images with an otherworldly presence.The present work is from the artist's ongoing series A Moment of Truth (2011–) where elements from nature lie at its core.
Here, Wai has merged disparate segments from plants, rocks and the human body, into a composite work of striking harmony. To him, the image serves as a reminder that "equality lingers in a society predominated by partiality and discrimination."Wai Pong Yu moved to Hong Kong with his family at the age of 2. A graduate of the Fine Arts department of The Chinese University of Hong Kong, his works are in the collections of Asian Art Museum of San Francisco and Oxford University's Ashmolean Museum.POP ROCK in 2021 is Alisan Fine Arts' first time working with the artist.
Website http://waipongyu.comInstagram @pongyuwai
Group exhibition, Brushstrokes and Beyond,
August 20 - October 29, 2022
Axel Vervoordt gallery Hong Kong
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In this episode I sat down and met Joseph Chen at his workplace at Eaton in Hong Kong. We discussed his group exhibition at PHD Group, his collaboration with Cas Wong, his research, and we talked about his personal experience of being queer in Hong Kong.
Joseph Chen King Yuen is an artist and curator based in Hong Kong, currently the Director of Culture at Eaton HK. Joseph is the co-founder of Virtue Village, Aurora Trip Sitter, and the member of Video Cypher. His practice revolves around video art, also involving still images, installation, and performance. His artworks deal with the found materials and the post-internet experience, with an emphasis on the absurdity and ambiguity of myth/religion, pop/subculture, and low/loud aesthetic.
His works have been shown around the world, including Denny Dimin Gallery (New York), HOME (Manchester), PHOTOFAIRS (Shanghai), KLEX (Kuala Lumpur), Tai Kwun (Hong Kong), and ARTnSHELTER (Tokyo). He recently received the Media Arts Emerging Artist Scheme of Project Grant from Hong Kong Arts Development Council for his solo project, Shameplant in Glory Hole, presented by Videotage from 19 Jun 2021 to 17 Jul 2021, and curated the exhibition The Third South Sour Water / Performance and Visual Art Festival: Hong Kong Unit - 爆mon in Waley Art (Taipei). His video Invisible Rock was awarded Special Mention in the Open Category of the 19th ifva Award.
Website www.josephchenart.co
Instagram @chenyuen1314Eaton Hong Kongwww.eatonworkshop.com
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In this episode I met Lorence Johnston, a Hong Kong-based rare book dealer. We spoke about how Lorence began his business, discussed surprising facts of some of his current rare books including the jacket of Brad Bury’s Fahrenheit 451 and the amazing background of The Story of Ferdinand.
Lorence Johnston has been running Lok Man Rare Books in Central for 15 years, working with a dizzying range of valuable books, from the world’s first atlas and 18th century travel to first editions of James Bond and Hemingway. It has been his longest time in one company ever.
Asia credentials - six years in Singapore followed by 25 years in Hong Kong, with a year off in South Africa for good behaviour and an MBA. He cut his teeth as a leather trader in France, Spain, Singapore and Hong Kong, shipping millions of square feet around the world. In between leather and rare books Lorence has been involved in the dotcoms, television start-ups, luxury brands, asset management, brand financing, security systems and numerous other distractions. Lorence has also found time to enjoy two now grown-up children, rowing, sailing a couple of times to the Philippines, outriggers, squash, trail running etc. etc. (well, this is Hong Kong…), his most recent madness being a 250km trail race across the north of Madagascar.
Lorence is a professional member of the Geneva based International League of Antiquarian Booksellers, and the Antiquarian Booksellers Association based in London.
website www.lokmanbooks.com
Instagram @lokmanrarebooksFacebook Lok Man Rare Books
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In this episode I sat down with Ysabelle Cheung and Willem Molesworth, co-founders and co-owners of gallery PDH in Hong Kong. We began the conversation talking about the background of their new gallery, their current exhibition at the Korean Cultural Centre in Hong Kong and they explained why they are committed to this city despite all the transformative changes in Hong Kong.
Property Holdings Development Group (PHD Group) is a contemporary art gallery with a focus on critical engagement, research, and collaborative practice. Founded in 2021 in Hong Kong, the gallery is situated in a 1970s rooftop clubhouse adapted by BEAU Architects, and shows emerging and mid-career artists from the region.
Ysabelle Cheung is a writer and editor based in Hong Kong. Her fiction writing has appeared in or is forthcoming from Granta, Catapult, and the Rumpus. Her short story ‘Please, Get Out and Dance,’ published in The Margins (AAWW), was nominated for the 2022 Pushcart Prize. Her essays and cultural criticism have appeared in the Atlantic, the Los Angeles Review of Books, Artforum, and Lithub, among others. She is co-founder of the contemporary art gallery Property Holdings Development Group. She is represented by Jade Wong-Baxter at Frances Goldin Literary Agency.
Willem Molesworth is a co-founder of Property Holdings Development Group (PHD Group), a private, contemporary art gallery based in Hong Kong that showcases and represents emerging and mid-career artists from across Asia. He was formerly the director of de Sarthe, where he initiated an annual summer residency program for Hong Kong-based artists. He has staged over fifty contemporary art exhibitions in ten years and has worked closely with dozens of contemporary artists as well as the artwork of many established 20th century artists. He was a board member and vice president of the Hong Kong Art Gallery Association from 2018-2021. Additionally, he co-organized the first two editions of UNSCHEDULED, a boutique, alternative art fair platform in Hong Kong created in response to the pandemic. Willem is a public advocate for the arts and has been quoted in publications such as The Art Newspaper, Tatler, ArtAsiaPacific, Hyperallergic, South China Morning Post, and Le Monde.
PHD Groupwww.phdgroup.art | Instagram @phdgroup.art
Flèche at Korean Cultural Center,Hong Kong, Aug 25 - Sep 24
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In this episode with Lo Lai Lai Natalie we spoke about her early life as a travel writer and how this has informed and influenced her current career as a farmer and artist. We discussed Natalie’s interests in Sangwoodgoon, meditation, surveillance, fermentation and lastly how her hyperthyroidism affected her outlook on life and work.
Lo Lai Lai Natalie is based in Hong Kong. She received her Bachelor of Art (Fine Arts) and Master of Fine Arts from The Chinese University of Hong Kong. Lai Lai is a former travel journalist. She is interested in the development and the construction of nature, and as a learner at the collective organic farm Sangwoodgoon (Hong Kong) , where she seeks alternatives and autonomy as an artist and a Hong-Konger. Lai Lai finds her interests in food, farming, fermentation, surveillance, and meditation. She writes, “The ecological system is a chain of desires, tied to the individual’s sensibilities wandering about in the depth of mysterious valleys”
Lai Lai has a farming practice, using photography, video and installation as a means to interact with nature. Her artworks are collected by the Sigg Collection and Asian Art Museum of San Francisco (US).
She received the Award for Young Artist, Visual Arts Category, the 16th Arts Development Awards, Hong Kong in 2022. She was the Gold Award, recipient of Media Arts Category of the 26rd ifva Award, Hong Kong in 2021.
She presented her solo exhibition in PTT Space Taipei (You’s Better Turn Down the Volume,
2021-2022), WMA Space Hong Kong (The Days Before the Silent Spring, 2020-2021), Tomorrow Maybe, Hong Kong (Give no words but mum, 2020), bonacon Gallery in Guangzhou, China (Down into the Abyss, 2018) , Floating Projects in Hong Kong ( Slow-So TV - Ann Eilathan’s Gaze, 2016) and the Observation Society in Guangzhou, China (Souvenir and Gift, 2014) . Lai Lai received the WMA Commission Grant on the theme of Opportunity in Hong Kong and her works were presented in San Francisco (US), Paris (France), Berlin (Germany), Dresden (Germany), Basel (Switzerland) Johannesburg (South Africa), Yogyakarta (Indonesia), Beijing (China) and Shanghai (China) and Taiwan.
Lo Lai Lai Natalie
- Instagram @sqlai
- Website www.lolailai.com
Other references:
- Choi Yuen Tsuen Village
- Human Library
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In this episode I talked with performance artist Florence Lam who returned to Hong Kong two years. We delved into her concepts of magical thinking, anthropomorphism and what she meant by elastifying worldviews.
Florence Lam (b.1992 in Vancouver, Canada) lives and works in Hong Kong. She works with wonder and magical thinking to fuse together current moral issues with child-like world views through performance art, poetry, video, and sound. The aim is to explore the fertility and sterility of the mind manifested through the properties of the biological body, and language as a hint to the evolution of human values and spiritual understanding. She obtained her MFA from Iceland Academy of the Arts in 2017 and her BA Fine Art from Central Saint Martins in 2014.
Website florencelamsoyue.com | Instagram @Per.Platform
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In this episode I sat down with curator Juliana Chan and talked about her current show ‘The World Is your Oyster’, a group exhibition of five Hong Kong artists at Ben Brown Fine Arts gallery in Wong Chuk Hang. We explored the Korean fermentation culture of son-mat, her new live art initiative Per.Platform, what a lecture performance is, and the benefits of journaling.
Juliana Chan is a curator, currently working and living in Hong Kong. She is the co-founder of Per.Platform, a Hong Kong-based not-for-profit art organisation dedicated to raising awareness and fostering development of live art. Chan’s recent research focuses on performance art and the contemporary food system. Chan received her Bachelor’s degree in the History of Art from the University of Florence, Italy, followed by a Master’s degree in Contemporary Art Criticism from the University of Edinburgh, UK.
The World Is Your Oyster, curated by Juliana Chan, 9 Aug - 21 Sep, Ben Brown Fine Arts Hong Kong.
Instagram @Per.Platform| Juliana Chan @miss.juz
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In this episode I had the pleasure to sit down with John Batten, a long-time Hong Kong resident, art critic, and a writer about everything. Among the many topics we delved into, John talked about how his background has informed his talent for writing, how he shifted from being a gallery owner to focusing on urban planning, why he avoids writing about bad exhibitions, and the impact of Hong Kong's security law. John shared his personal perspective on working with institutions on large scale public art projects as well and we talked about his deep admiration for the multiple dimensions of Hong Kong life.
John BattenLong-time Hong Kong resident, John Batten is a well-known curator and art critic who comments, broadcasts, and writes on art, culture, urban planning, heritage and policy issues for Hong Kong newspapers and magazines, these have included the South China Morning Post, Ming Pao Weekly, Perspective, Artomity, Being Hong Kong, Design Anthology etc. Previously he ran his own gallery; and, was the former Organiser of the yearly charity art event, Hong Kong ArtWalk. For many years, he was an Academic Advisor to the Asia Art Archive. As a strong advocate for better urban planning and heritage conservation in Hong Kong, he is currently co-convenor of the Central & Western Concern Group.
Since 2014, he has been involved in the conservation and opening of Tai Kwun as an art and cultural venue, firstly as a member of the planning Arts Advisory Group and currently as a member of the Tai Kwun Programming Committee – positions directly appointed by the Hong Kong Jockey Club. He is an active member of the arts community: including, as an Examiner for the Hong Kong Arts Development Council; Director of the non-profit Rooftop Institute; and, as the current President of the International Association of Art Critics, Hong Kong (AICAHK).
http://www.aicahk.org/eng/author/johnbatten
International Association of Art Critics Hong Kong (AICAHK) www.aicahk.org
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In this episode art collector Yuri van der Leest talked about his group exhibition ‘A collection of two Acts’, an overview show of Yuri’s private art collection of 42 artists from around the world. He explained the exhibition’s concept of critical fabulation, we delved into collectorship, why he started collecting and how his acquisition has evolved over the years.
Group show A collection of Two Acts, curated by Chris Wan, from the collection of Yuri van der Leest. Jul 16 - Sep 16, 2022
www.rossirossi.com/exbhition/a-collection-in-two-acts
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Wong Sze Wai, who is also known as Four, is a Hong Kong artist based in Fo Tan. From her studio she talked about her breakfast, rituals, the ancient Buddhist grotto murals in the Dunhuang caves in China, colour choice and her unique clay mixture in her paintings. She addressed the significance of memorising, forgetting and erasing. We discussed Palimpsest as well and the impact of eastern and western school of thought in her current body of work.
Wong Sze Wai graduated from The Chinese University of Hong Kong with a Master of Fine Arts in 2020, and received her Bachelor of Fine Arts from The Chinese University of Hong Kong in 2013.
Wong Sze Wai’s artworks focus on the relationship between memory and imagination. They highlight the loss of memories and represent the process of recollection in a way of inscription and erasure. As for the subject matter, she is fascinated by ruin for its metaphorical representation of lost and concealed memories. In her recent works, ruin has been regarded as a body of memory and history as traces of human activities and changing times fill such abandoned places. From her experience of visiting ruins, wondering about ruins is much alike recalling memories because people imagine the history of ruins, just like we imagine our own memories.
Participated exhibitions include Duo Exhibition “Invisible Border of Memories”(Art Projects Gallery, Hong Kong, 2021), Group Exhibitions : “ Future of the Past” (Contemporary by Angela Li, Hong Kong, 2021), “Shining Moment” (TANG Art Foundation, Hong Kong, 2021), “HKFOREWORD20” (10 Chancery Lane Gallery,Hong Kong, 2020) , “Make _art Not War [T/F]” Works by MFA Graduates 2020 CUHK (Osage, Hong Kong, 2020)
www.wongszewai.com| Instagram@wong_sze_wai
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In today's episode I had the pleasure to meet and talk with Elaine Choi. We delve straight into her role at UBS, Elaine explains the meaning of managing, developing and displaying art. We also discuss the significance of transcultural context and the depth of research that is required before the UBS team acquires a new work of art.
Elaine Choi joined the UBS Art Collection in 2017, based in Hong Kong. Currently as UBS Art Collection Specialist (APAC), Elaine is responsible for Collection management and APAC branch display. Before joining UBS, she was an intern at the Peggy Guggenheim Museum in Venice. Elaine is a MA Transcultural Studies graduate from the Heidelberg University (Germany), major in Visual, Media and Material Culture; and holds a Cultural Studies degree in from The Chinese University of Hong Kong. During her study, Elaine was in exchange programs at the Erasmus University Rotterdam and Ca' Foscari University of Venice.
UBS Art Collection
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Cusson Cheng, the curator of Retrograde, talked about his exhibition at Galerie du Monde in Hong Kong, how he developed this show, how he navigated the labyrinth of labels and we discussed the art works that are being shown. We also delve into the narratives behind some of the pieces and the questions that art curators need to address.
Cusson Cheng is a curator and art critic from Hong Kong. He has been Assistant Curator at Para Site since January 2021, where he has worked on exhibitions including Curtain (2021), Liquid Ground (2021), Noble Rot (2021–2022), and Minding the G(r)a(s)p (2022). He was invited by Galerie du Monde to curate ‘Retrograde’, a group exhibition on queer and sexual politics that opened in June 2022. He is currently organising his first major exhibition at Para Site, which will open in late 2022.
He was also one of the candidates for the 2019 Para Site International Conference & Workshops for Emerging Professionals. In addition to his curatorial work, Cheng serves as Art Editor at the Hong Kong-based leading Chinese-language art periodical Art and Piece (美紙).
He has interviewed internationally renowned artists, including Marina Abramović, Pipilotti Rist, Daniel Arsham, Nicolas Party, and Genieve Figgis. He is frequently invited by galleries and organizations to write exhibition reviews, including Korean artist Lee Bae's solo presentation at Perrotin, Hong Kong. Cheng received his BA with Honours in comparative literature, sociology, and Buddhist studies from the University of Hong Kong.
Para Site | 美紙 Art and PieceRetrograde, 18 June - 13 August 2022, Galerie du Monde, Hong Kong
Instagram @cusson.cheng
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Victor Wong is a rare individual who effortlessly incorporates a multiplex of historical domains, research and technological advancements into a seamless body of work. In this exclusive podcast, Victor shares his views on what art is before talking about the deeply symbiotic relationship between man and machine. We delve into whether the machine or Victor makes the decisions and the importance of pertinence in art. Victor ends the podcast touching on the next steps for project Gemini.
Victor Wong is renowned for his innovative treatment of media art and visual effects for movies. His work includes paintings, sculptures, digital art, animation, film, AR, VR and recently artificial intelligence.
“A.I. GEMINI” - An artificial intelligence that creates and paints ink by means of geographical parameters, algorithms formulated for terrain formation, Chinese ink-painting technique and robot arms.
Victor’s new A. I. Ink Series “FAR SIDE OF THE MOON” was exhibited in London, 2019. This series was inspired by China’s Chang’e-4 soft-landing on this uncharted side of the Moon, a region full of celestial mysteries. Analyzing the celestial data from NASA and close-up photos recently released by CNSA (China National Space Administration), A. I. GEMINI reinterpreted the moon’s far side by its own terrain algorithm and live-drew those unique landscapes by means of Chinese ink painting technique and a robotic arm, resulting in ink work that had never been seen before.
Instagram @victor_wong_art_tech
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In this episode of The Last Supper I talk to Angel Leung, a Hong Kong-born but London-based digital art curator. I spoke to her to unpack buzzwords from web3 to blockchain and the pitfalls of NFT art. We continued the dialogue and talked about her recent art projects, how the next generation of art collectors see ownership, we explored the evolution of mobility and we investigated what the future of digital art may look like.
Angel Leung is a multidisciplinary art curator, programmer, and writer. Currently the Programmes Manager of Videotage, she has organised programmes include ‘Artificial Landscape’ at SOGO Hong Kong (2019), ‘Centripetal’ at Art Basel (2019), Both Sides Now V: Queer (2019) with video club, ‘Reconstructing the Self – Performativity in Hong Kong’s Moving Image’ at LOOP Barcelona (2019), and curated ‘Sensory/Motor’ at Night of Ideas (2020). She also worked at Broadway Cinematheque in Hong Kong and organised film festivals including the Hong Kong Asian Film Festival (2017) and Agnes Varda Retrospective of Le French May (2018).
She finished her Master degree in Screen Art at Université de Strasbourg in 2016 and received her Bachelor degree in Creative Media at the City University of Hong Kong in 2009. She is also a researcher and writer on moving images. She co-edited the book David Lynch (Kubrick, 2017) and her articles are published on Stand News (HK).
Visit Angel Leung on https://angellonkee.com
- Birds Without Legs, Art Basel, 2022 https://angellonkee.com/c/birds.html
- Ersilia; Body Of The Gateway Cities, Alsace, 2022 https://angellonkee.com/c/ersilia.html
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Joyce Ng, the head of gallery and exhibitions at the Asia Society, talks about her previous experience at the Metropolitan Museum of Art in New York, her position at Christie’s in London and her current role in Hong Kong. We explore the development of conceptual art in Asia and also discuss the role of education at the Asia Society Hong Kong Center.
Joyce Ng is a seasoned arts professional hailing from Hong Kong with a background in strategic partnerships, business development, and top client relationship management. An art historian by training, Joyce moved back to Asia in 2018 to take on a management position at an international art fair. In her current role as Head of Gallery and Exhibitions at Asia Society Hong Kong Center, Joyce leads a curatorial team involved in the realm of cultural exchange. Pivoting from the commercial sector to a charitable entity, Joyce's work focuses on presenting balanced perspectives and promoting critical understanding of topics that are relevant to Hong Kong through visual art.
VisitAsia Society Hong Kong
Recovery, Resilience, Resurgence - Thirty years of Hong Kong photographs, 1940's-1970's is until 31st July, 2022
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In this episode I visit Fabio Rossi in his gallery in Wong Chuk Hang, Hong Kong. We begin the conversation how Fabio was introduced to contemporary art in Asia, we discuss why the Hong Kong art market is so resilient and successful, the role of Hong Kong Art Gallery Association and the changing landscape for galleries in Hong Kong. We end the conversation with his thoughts on the NFT’s.
Fabio Rossi was born in 1963 in Turin, Italy. At the age of eleven, he accompanied his mother, Anna Maria, on a trip to Afghanistan, Pakistan and India. This early exposure to Asia – its culture, arts and people – had a lasting impact on him, inspiring his future professional endeavours.
Fabio moved to London in 1983 to attend the School of Oriental and African Studies, from which he obtained both a bachelor’s and a master’s degree in art and archaeology. After a brief apprenticeship with the legendary dealership of Spink & Son, he joined forces with his mother, who had moved to London in 1986, to establish the gallery known today as Rossi & Rossi. Beginning in the late 1980s, Fabio started travelling extensively within the United States, reaching out to museums and collectors throughout the country, and developing relationships that endure to this day.
Since 2005, Fabio has also been instrumental in nurturing the careers of artists of the greater Asia – Pacific region – from Tibet to Cambodia, Hong Kong to Pakistan. He moved to Hong Kong in 2011, two years later, he opened a gallery where he now exhibits the work of artists who would otherwise lack local exposure in addition to the classical Himalayan art for which he and his mother have become world renowned.
Over the years, Rossi & Rossi’s innovative exhibitions and top-notch scholarly publications in both the classical and contemporary realms have solidified the gallery’s status as leaders in the wide ranging field of Asian art.
Rossi & Rossi gallery
Hong Kong Art Gallery Association
Unschedule 2021 | Southside Saturday
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In this episode I have the pleasure of talking with Frank Doogan, a Hong Kong-based poet. Frank reads a selection of his poetry and we discuss how he develops his narratives. We also talk about getting lost, the relationship between culture and intelligence, argue what art is and the role of craft in contemporary art.
The poetry discussed in this episode can be found on http://www.oscarvenhuis.com/blog/to-the-man-with-his-wife-in-a-car-in-sheung-wan-on-a-sunday-with-poet-frank-doogan
Frank Doogan
Poetry has been part of my life since childhood. My mother gave us all poems to memorize and recite, and taught us to formally debate and value clear expression – words were what we did as children. My father and uncles wrote poetry, and there was a genuine respect for anything that was defined as artistic, and anyone who was defined an artist. The naming was not done lightly.
The list of poets we learned from included Allingham, Yeats, Tennyson, Keats, Wordsworth, Auden, Shakespeare, Blake, Donne, Eliot, Dylan Thomas, Frost, Pope, and Shelley.
Part of why I memorize and write poetry is the conversation is quiet and resonant, bringing glimpses of meaning and beauty that are beyond us as people. Or, in the words of Yeats ‘… love is less kind than the gray twilight, And hope is less dear than the dew of the morn.’
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In today’s episode I visit Wing Chan, a photomontage artist who works and lives in Hong Kong. After Wing talked about his background and how he began his art career we discuss his stories, inspiration and narratives behind Wing’s exhibition at the SHOUT gallery in Singapore.
Born in Hong Kong, Wing Chan left for the United States when he was 18 and had an award-winning career in commercial design in New York City. In 2011, Wing returned to his roots in Hong Kong to focus on his photography and photomontage. Chan uses photomontage for a wide range of artistic expression that is more grounded in the contemporary arts than in photography. Although his art is two-dimensional, it transcends reality lending a great depth and movement to the work. Chan has held exhibitions of his photomontage work in Paris, Tokyo, Kyoto, Kobe, Seoul, Hong Kong, Bangkok, New York, and Singapore.
Wing Chan Instagram @hwc2525 | Email: hwc2525@gmail.com
Solo exhibition until 8th June 2022 at SHOUT Gallery Singapore
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In this episode I sat down with Danny Chau, a Hong Kong born photographer and printer who spent his formative years in the U.K. I met Danny in his Hong Kong studio and we talked about how a chance meeting at his father’s Chinese takeaway was the beginning of Danny’s career in photography and fine art printing, We discuss his personal photography project to capture consciousness, we delve into his practice of perpetual contentment of life and Danny has an answer what art is for.
Realising the potential of digital technology, Danny Chau then decided to invest into digital printing. With personal experience developed in computers since 1983 and digital imaging since 1989, Danny installed one of the UK's first Epson 9000 large format inkjet printers in April 1998, and an Imacon Flextight scanner in May 2000, to cope with demand. With this, he provided some of the first high-quality digital imaging services to clients in the UK. Seeing there was a gap in quality digital imaging suppliers, in 2002 Danny changed his firm's operations, to focus on best quality digital imaging solutions for professionals (in the UK). He also introduced the now popular on-demand fine-art gicleé printing (one of the first few printers to do so in London).
In 2006, Danny moved to HK because he wanted a change of lifestyle and started his printing workshop in 2008, he is still passionately offering fine art printing services today.
Some of the artists Danny has collaborated with include Michael Wolf, Fan Ho, Stephen King, Wing Chan, Wing Shya, Nicholas Chow.
Chaudigital HK Limited |chaudigital.hk
Room 1509, Phase 2, Chai Wan Industrial City
70 Wing Tai Road, Chai Wan, Hong Kong
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In this episode I talked with Robyn Leung who is part of a new generation of glass blowers and neon artists in Asia. I sat down with her to examine the science and art of neon.
Robyn talks about her work that explores the boundaries of the liminal space of her neon objects and we discuss the difference between working as a scientific glassblower and her personal neon art projects as well.
Robyn Leung (BFA, School of the Art Institute of Chicago 2018) is a sculptor and glass artist based in Hong Kong working in neon and scientific glassblowing. She is invested in analyzing and reimagining everyday objects, their effects and what is reflected from our material culture.
Her work explores delineating spaces in interacting with architecture and the polarity of negative and positive spaces, literal or otherwise. She utilizes the plurality of perspectives to explore interspatial relationships of how matter is conceived and discrepancies of common objects.
Robyn Leung |Instagram @robynleung
Other references:
- M+ Neon Signs
- Tetra Neon Exchange
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In this episode I sit down with Lee du Ploy (PhD), a Hong Kong-based psychotherapist and artist.
From his art studio in Sheung Wan we delve into his life’s work and we talk about his early career working with the rich and famous, the trappings of owning a Ferrari and the complex challenge of measuring emotions in psychiatry.
Through his amusing, real-life, and at times ironic anecdotes, we analyse society’s obsession with the attachment of monetary success, why depression doesn’t exist in Zimbabwe, and a lady who suffers of face blindness. The latter is also known as prosopagnosia, a condition when the individual doesn’t recognise faces.
Lee du Ploy (PhD) is both an artist and a complementary medical practitioner. He has exhibited his paintings since the early 1970's. His book "The Glass facade" is written to record his journey of treating people with psychological problems. As he said “Whereas psychology is my passion, art is my life. They are in essence the same journey.”
He now has a studio and works in Hong Kong. “I have over the last ten years explored via my paintings how we react emotionally and how the face conforms to that thought. We react to an emotional response sometimes ecstatically and sometimes dramatically sad. I have tried to incorporate the emotional responses be that via the eyes or the slant of the head in my portraits. People ask why my portraits always look sad, we reflect what we see, however many times what appears to be melancholic is just immensely interesting. Pretty pictures to me are irrelevant, they really don't reflect reality, hence, I suppose why I paint what I do to explore the extremes of human nature.” Lee du Ploy.
Website www.myartzpace.com | Instagram @leeduployartist
Lee du Ploy's work will be shown at Art Central in Hong Kong, 26-29 May, 2022.
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On 21st April 2022 the Sovereign Art Foundation announced their 30 finalists for this year’s art prize. I sat down and met with the executive director Tiffany Pinkstone at her office in Hong Kong. We talked about the background of the art prize, how this has evolved over the years, how they began in Hong Kong’s shopping centres and we addressed rats and pigs in the city as well.
Tiffany is a director for Sovereign’s Hong Kong office and also leads the marketing for the Group. She joined Sovereign in 2003 to launch The Sovereign Art Foundation which has become an important division for the Sovereign Group as a pledge to its commitment to helping communities around the world through art.
The 30 finalists will be shown at Art Central Hong Kong, 26-29 May, 2022.
You can view and vote for the finalists’ work of the The Sovereign Asian Art Prize here.
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Christopher Tang is my next guest on The Last Supper. We talk through his personal perspectives of market demand and his preference for happy, entry-level and approachable works. Christopher explains his ideas behind his art supermarket idea, a hybrid between shop and gallery that he hopes will transform how people purchase art in Asia. Chris also speaks about how Hong Kong’s lockdown and living circumstances are informing the desire for art.
Christopher Tang started his career in professional services with Ernst & Young, and has over 20 years experience in the field of private banking spanning a number of multinational banks. His last position was managing director of BNP Paribas Wealth Management before joining Crosby as the CEO of its wealth management division. Christopher is currently the founder and owner of SHOUT.
SHOUT locations:
- Shop 2033, P2, IFC mall,
- 1 Harbour View Street, Central, Hong Kong
- Shop OT308A, Level 3, Ocean Terminal,
- Harbour City, 7 Canton Road, Tsim Sha Tsui, Hong Kong
- Shop 109-112, 1/F , Hysan Place, 500 Hennessy Road, Causeway Bay, Hong Kong
- Shop No. 250A Level 2 New Town Plaza Phase 1, Shatin, Hong Kong
- Unit #02-04 to 07, Scotts Square, 6 Scotts Road, Singapore 228209
www.shout.art
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Sarah Greene, also known as Sarah Van Ingelgom, explains how she went from an early shipping career in Belgium to becoming a successful gallerist in Hong Kong and how photography, and many artists, found her in Fo Tan.
She describes her experience of discovering Fan Ho’s work in the US and the commitment it requires to develop new emerging artists. We explore how the seemingly necessity of identity, the longing of belonging, and the multiple dimensions of identity have manifested over the years in Hong Kong as well.
Sarah graduated in 1998 with a Masters Degree from the University of Ghent in Asian Arts and Cultures. She founded Blue Lotus Gallery in 2007 to promote Hong Kong’s artistic talent, has been instrumental in launching the careers of Hong Kong's emerging photography artists including KC Kwan, Romain Jacquet-Lagrèze, Tugo Cheng for which Blue Lotus has the exclusive Hong Kong representation rights, and Blue Lotus Gallery is the global representative for the Fan Ho Trust.
Blue Lotus Gallery, 28 Pound Lane, Sheung Wan, Hong Kong | www.bluelotus-gallery.com
'The Last Supper' is produced and hosted by www.oscarvenhuis.com | Instagram @oscarvenhuis | Twitter @oscarvenhuis
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In this episode I talk with Gillian Au Howard. She tells her story of how she always wanted to be an artist but instead studied journalism. While Gillian was in New York she developed a passion for photography that started her career, not as a journalist but as a gallerist in Hong Kong.
During her time as a gallerist she met actress Carrie Fisher of Star Wars, who she didn’t immediately recognise, but this lucky encounter was the beginning of her long journey of organising the very first digital art fair during the global pandemic in 2021.
Gillian Au Howard is the co-director of Digital Art Fair Asia - the new generation of art fair in Asia focusing on new media art, NFT art and immersive art experience.
Accomplished in fine galleries and museum management, Gillian has previously managed private museum collections and international galleries in Hong Kong and London. She has also consulted museum projects in Hong Kong, China and Russia. She also studied Art Business with the Sotheby's Institute of Art in London, With an extensive knowledge of new media art, she is now leading the Digital Art Fair Asia team and curators on creating a brand new art experience combining art and technology such as blockchain, 3D mapping, VR and AR.
The Digital Art Fair www.thedigitalartfair.io | Instagram @DigitalArtFairAsia
'The Last Supper - Talking Art' is produced and hosted by Oscar Venhuis www.oscarvenhuis.com | Instagram @oscarvenhuis | Twitter @oscarvenhuis
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Yves Sena Alavo shares his passion for art. He talks about how his time in Africa, Europe and Asia have informed his deep appreciation for cross-cultural identity and how these experiences have developed his art collection. He discusses the significance of emerging narratives through the cultivation of meaningful relationships with artists Lee Du Ploy, Serge Mouangue and how he has been able to observe the progression of Elon Catilina’s work from Bénin.
We continue the conversation by exploring the role of faces in Hom Nguyen’s work, a Franco-Vietnamese artist who is residing in Paris. Yves also explains why he began LIP (Leap Initiative Philanthropies) Foundation and how in 2017 the Full Circle Africa exhibition emerged from this. Full Circle Africa was the first African-Asian overview in Hong Kong that included two works by Serge Mouangue; ‘The Blood Brothers’, Japanese-lacquered pygmy sculptures and ‘Wafrica’, a series of kimonos in collaboration with Japanese kimono maker Kururi and Odasho. The garments focus on the weaving of two distinct cultures; the fabrics were sourced from West Africa, were made in the Netherlands and the pieces were photographed with African models. Mouangue’s work attempts to make the observer question the rules of identity, opening them up to the idea of a global culture.
We close the dialogue with Yves’ personal interest in purchasing books of African art and how over many years this has accumulated into probably the most extensive book collection in Hong Kong.
LIP Foundation | Full Circle Africa
'The Last Supper - Talking Art' is produced and hosted by Oscar Venhuis
www.oscarvenhuis.com | Instagram @oscarvenhuis | Twitter @oscarvenhuis
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I have the pleasure to talk with Nicholas (Nick) Chan, the cofounder of Refinable. During this episode we explore the process of creating or minting a NFT (Non-Fungible Token), address misconceptions of the blockchain and we discuss why the Bored Ape NFT is more than just a series of illustrated monkeys. We also talk about how the rise of the NFT has created a new market for art collectors and explain the difference between a conventional art provenance and the NFT on the blockchain.
Nick Chan is the co-founder of Refinable, a decentralised multi-chain NFT marketplace for users to trade items from across the metaverse. Nick has over 7 years of product and operations management for corporates and SMEs across hospitality, media, and eCommerce including The Walt Disney Company and Hundredfold Studios. In his capacity as co-founder, he is driving the evolution of Refinable as the definitive hub for users to setup, create, and trade items from across the metaverse - unlocking NFT’s full potential as a next-generation transaction platform. Mr. Beast, a prominent YouTuber with nearly 100 million subscribers, and Binance are among its main investors.
Refinable
Website www.refinable.com | Twitter @refinableapp | Instagram @refinableapp
'The Last Supper - Talking Art' is produced and hosted by Oscar Venhuis
www.oscarvenhuis.com | Instagram @oscarvenhuis | Twitter @oscarvenhuis
Send in a voice message: https://anchor.fm/oscarvenhuis/message
Dr Yanki LEE is an architectural designer, social innovator, design activist and expert in design research for social inclusion and participation. She has extensive experience collaborating with designers and enabling them to engage users in the design process.
As an international speaker and writer, Dr Lee has published over 50 peer-reviewed papers and articles. In 2000 Yanki was awarded an MA degree in Architecture from the Royal College of Art (RCA), she went on to join the Helen Hamlyn Centre for Design (HHCD) and became a UK resident. She was made an Honorary Fellow of the Royal College of Art in 2012 for her contribution to the Helen Hamlyn Centre, the RCA community and design research.
In 2017 Yanki established the Enable Foundation in Hong Kong, using startup funding from HKSAR Government’s Social Innovation and Entrepreneurship Development Fund (SIE Fund) as part of the Social Innovation Design Lab (SI.DLab). Enable Foundation is a non-profit social design collective with expertise in cross-generational co-creative and design research practices, set up for real-world impact.
Enable Foundation aims to develop capacity training programmes and projects on design thinking & doing. It also aims to facilitate projects that uncover creativity within individuals/organisations from private and public sectors.
Dr Yanki Lee www.yankilee.com | www.enable.org.hk
'The Last Supper - Talking Art' is produced and hosted by Oscar Venhuis
www.oscarvenhuis.com | Instagram @oscarvenhuis | Twitter @oscarvenhuis
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After graduating from the University of Edinburgh with a Master's Degree in Psychology, Stefan Irvine went on to receive a Post-Graduate Diploma in Photojournalism from the University of the Arts London (formerly "LCP"). Since moving to Hong Kong in 2002, Stefan has spent the last few years revealing the disappearing architecture of Hong Kong.
His work has been published in The New York Times, Wall Street Journal, National Geographic and has been shown in New York, London and Hong Kong. Stefan is the winner of the Independent on Sunday/Oxfam Photojournalist Award and his series on Tong Lau architecture was awarded 1st place at the International Photography Awards (IPA) 2020. Stefan’s project exposes the super-wide Tong Lau’s (唐樓) of Hong Kong, a Cantonese term for tenement architecture that was favoured throughout southern China for both residential and commercial use. In conjunction with post-production expert Jörg Dietrich, his photographs invite the observer to recede and take a moment to experience the full magnitude of an entire concrete apartment block that has supported many kinships.
The depiction and meticulous documentation of the Tong Lau’s decay serves as a significant historical artefact. Although there is some interest in conserving Hong Kong’s tenement architecture, many neighbourhoods have been demolished and have been replaced by high-rise redevelopment. How the destruction impacts the closely connected and symbiotic communities of generation-old shops and residents is yet to be seen.
Stefan Irvine Photography | Website: www.stefanirvine.photo | Instagram: @stefan.irvine
'The Last Supper - Talking Art' is produced and hosted by Oscar Venhuis
www.oscarvenhuis.com | Instagram @oscarvenhuis | Twitter @oscarvenhuis
Send in a voice message: https://anchor.fm/oscarvenhuis/message
In this episode I talk with art lawyer Laurens Kasteleijn. He is the founder of Art Law Services, a Hong Kong and Amsterdam-based consultancy that is offering legal services to individuals and organisations in the international art world. As a former art gallery director and corporate mergers and acquisitions (M&A) lawyer, Laurens founded Art Law Services in 2013, combining his love for the arts with his legal training and his expertise of international business.
Laurens holds a master’s degree in corporate law from the University of Amsterdam in the Netherlands, studied in France and at the Tsinghua University in Beijing, China. Laurens has lectured on ‘Legal Issues in the Art World’ at the Sotheby’s Institute of Art in Hong Kong and in London, and writes frequently on this subject.
He is the co-author of the Dutch chapter of the IBA Art, Cultural Institutions and Heritage Law Committee report. In addition to holding the position of Chair of the Art and Law Association in the Netherlands, he is a member of the Royal Asian Art Society, committee member of the IPBA, member of PAIAM, legal committee member of the Art Identification Standard, and a contributor to the Responsible Art Market initiative in Switzerland. In 2021 he founded a new company ‘Kasteleijn Mediation & Arbitration’ that specialises in solving art disputes for which Laurens is a registered mediator with the Court of Arbitration of Art (CAfA) in The Hague.
www.artlawservices.com | Linkedin: Art Law Services | Instagram: @art.law.services
'The Last Supper' is produced and hosted by www.oscarvenhuis.com Instagram @thelastsupper.asia| @oscarvenhuis Email: oscar@oscarvenhuis.com
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