The hottest spot in contemporary art on the Hong Kong Art Scene is undeniably the Hong Kong Centre for Arts.
A day spent wandering through endlessly disappointing galleries of Hong Kong’s Soho Arts district wasn’t entirely fruitless. Amelia Johnson Contemporary yeilded suburban scenes from architectural models by Chinese photographer Xing Danwen, Konstantin Bessmertny’s strangely dark rennaisance-like comic books on canvas, and Larry Yung’s brooding glimpses of the depth of memory.
But the sheer energy of the Hong Kong Art Centre overpowered the wishful glamour of the Hollywood Road galleries. Half the building in a state of frantic installation by young graduating artists whose exhibit, “one show,” was scheduled to open the following afternoon. Too Art Gallery, a tiny space that floods into the adjoining hallway, showed the work of young sculptors with an irresistably tactile sense of materials. Chung Wai Lun’s obsessively meticulous “Drop” series, created with tiny drops of yellow gypsum, create grand organic forms but yet invite close inspection. Joe, Lui Long Ting turns tiny, delicate fishbones into fanciful forms that resemble insects suspended in space or, in another instance, pinned as if in a specimen case.
It is perhaps not so surprising that these students have as one of their teachers Tang Ying Chi. I had the great fortune of meeting her at an open studios event organized by the conference, and she welcomed us strangers with open arms. In her series Visual Veils, she creates unusual veils that cover the whole body, veils with holes, veils woven into glasses, and my personal favorite, an inverse veil that rises from the body like a collar, but continues up to cover the face completely. The fabric is subtly colored and barely metallic, entirely covered with manically crisscrossing machine stitching. The body of work was started in 2002, and remains resonnant with both the middle east confict and the continuing struggling for increased freedoms East Asia.