After the
solo exhibitions Land of Longing and Exile (2019) and Everyday
Practice (2020) and residencies in New York and Denmark, Chan
now invites three friends of his to interpret contemporary ink
aesthetics, as a kind of postscript for the red series.
The
curatorial framework appropriates the traditional genres of poetry,
calligraphy, painting, seal and object. To Chan Sai-lok, text and
literature are materials for creation. Not restricted to readable text,
poetry can be purely a sequence of text, alternating rhythms or abstract
formations. Fabric and silk are colours with which painting weaves
narrative layers like a novel. Chui Pui-chee has a long calligraphy
practice. As one entity, man and brush’s movement and momentum construct
the essence of his ink practice. The complementary chemical reaction of
ink and paper brings calligraphy art to another level.
Pau Mo-ching focuses on
the original usage of seal carvings as proof of identity and intent,
where loyalty and justice manifest themselves within the square inch,
symbolising a life lived tacitly. While these three play with the scholarly arts, Lau Hok-shing, on the
other hand, occupies himself with antique objects. The miniature
mountain compiled in layers on the
scholar's
desk evokes the mountain within us, while mirroring the scenery on the
Cantonese opera stage.
The idea of
‘exhibition’ originated in 17th century Europe, whose focus on cultural
heritage determined the design of the exhibition space. Regardless of
aesthetic style, history and material characteristics, calligraphy,
painting, text, seal and objects all have their own cultural contexts.
Their appreciation therefore should constitute a separate discipline.
Living in the culturally hybrid and technologically advanced modern
city, how do artists open up an aesthetic world that is both traditional
and new? How would they arrange the exhibition space to have a dialogue
with the audience?
