#parasitehk
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Ellen Pau, Portrait (2018). Courtesy the artist and Para Site.
Ellen Pau, What about Home Affairs?, Para Site, Hong Kong (8 December 2018–3 March 2019). Courtesy the artist and Para Site.
#ellen pau#portrait#para site#ocula#ocula art#ocula gallery#contemporary art#contemporary artist#parasitehk
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My #招牌菜 (chef’s recommendation) made it to @cosmincostinas top 25 list of works shown at @parasite.hk in the past 25 years. Very honoured. You will be able to experience this work at the opening show at M+ later this year. Here is a text about the work by @p__yao and @mplusmuseum : Monument to the People I Have Forgotten (I Hate You) centers on a singular common object—a #namecard—multiplied a million times. Sized 8.5 x 5.5 cm and printed black on both sides, the name cards swarm and blanket the floor as an understated, underfoot #monument. Spread over the ground in layered piles to form an unbearable tactility and slippery instability, the name cards bring to mind notions of failed #promises and the false #intimacy of fleeting personal relations. Acting as a monument to the #nameless, #forgotten, and #unimportant, Monument to the People I Have Forgotten (I Hate You) is a suggestion of how thin the line is between the emotions of #love and #hate. #monumenttothepeopleweveconvenientlyforgotten #HemanChong #IHateYou #mplusmuseum #parasitehk (at Para/Site) https://www.instagram.com/p/CPFhf12lcJO/?utm_medium=tumblr
#招牌菜#namecard#monument#promises#intimacy#nameless#forgotten#unimportant#love#hate#monumenttothepeopleweveconvenientlyforgotten#hemanchong#ihateyou#mplusmuseum#parasitehk
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Last day to bid via link in bio! My Window on display at @sohohousehongkong for @parasite.hk online Benefit Auction with @edelassanti and @yasmostashari is available until tomorrow, November 19 10AM EST. 🚨 Window #8, 2018 Unique piece of Financial Times newspaper, bamboo, and adhesive. 🚨 Para Site is Hong Kong’s leading contemporary art centre and one of the oldest and most active independent art institutions in Asia. Contributions from the auction will go directly towards the institution’s future – including supporting and sponsoring artists, public programmes, and publications. 🚨 #GordonCheung #BritishChineseArt #ParaSiteHK #ContemporaryArt #ArtAuction #PSAuction2020 #HKArt #OnlineAuction #OnlineSale #BuyArtOnline #BuySculpture #BidArt #SohoHouseHongKong #SculptureArt #ArtForSale #ArtAuction (at Soho House Hong Kong) https://www.instagram.com/p/CHvB2T7lBj5/?igshid=ropf20lxex29
#8#gordoncheung#britishchineseart#parasitehk#contemporaryart#artauction#psauction2020#hkart#onlineauction#onlinesale#buyartonline#buysculpture#bidart#sohohousehongkong#sculptureart#artforsale
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@parasite.hk will host a sharing session about their publication works at Postpost Space, #3ssbeijing 9/4/2020, 7pm Presenter: Anqi Li, Curator of Education and Public Programs @cucurrucucuanqi #parasitehk #pospost #3ssstudios #3standardstoppage (at 3Standardstoppage) https://www.instagram.com/p/CEr3KOqg9ZS/?igshid=wrgwx5e3wdkz
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#charleslimyiyong #parasitehk (at Para Site)
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#himynameis - 14 Oct 2017
What a crisp Saturday morning. One that showed up out of nowhere in the midst of a Fall season that very much resembled something close to the surface of the sun here in Hong Kong. It was a sign of times of sorts, the typhoon coming into town just as all of this year’s participants of the Workshops for Emerging Art Professionals sauntered into Para Site and this eight-day programme.
Something close to the feel of a reunion-orientation rolled out, as the participants met in person after having already met through the interwebs (this social bunch!), hence the oxymoron.
Today was a day essentially for introductions, which in itself entails presentation, so in a most natural course of events, what ensued was what was right within the newly mint walls of the Education Room. A testament to its name, the room was subsequently filled with the knowledge of the projects and proposals from each participant, ranging the corners of the world that they are from. These proposals were the first we knew of our now 12 participants, from a pool of over 80, slowly distilled into a palatable typhoon of ideas. Each took their turn to present their curatorial intentions through their proposed exhibitions, outlining a number of focuses important to them and the larger discourse of the art/curatorial diaspora. These proposals will be the focus of their week here, perhaps readily malleable by the encounters and discussions they have with the art community, its leaders, and institutions in Hong Kong.
We’ll check back in with their proposals at the end of this programme, but for now, a quick taster test includes talk of the effects of visual language contextualised to its location, curatorial stance in direct challenge to the existing notions of art and cultural history, tensions in academic traditions, language in all senses of the word, synthesis of human experience, and art’s ability to be both a welcome intervention as well as a leader of gentrification.
The day quickly rolled into evening, now we’re up to a Typhoon 3, leaving brains a little winded, so a quick walk to stretch the legs later, we have a performance by artist Léuli Māzyār Lunaʻi Eshrāghi. tagatanu'u, a performance highly reliant on speech and language as an integral tool for expression, the artist conveyed using several tongues to touch upon the body, spirit, sex-shaming of indigenous communities, coupled with issues of commodification, exoticism, the colonisation of labour, and reclaiming intergenerational trauma, leaving a trail of gold flecks and an aroma of coconut milk in his wake.
As far as orientation days go, this one smoothly segues into conversation over dinner at the favourite neighbourhood joint, amidst liplicks and toasts to the week ahead, so must be a sign of good times in the forecast right?
More to come, but signing off this Saturday typhoon,
Apoorva Rajagopal, Para Site
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Yesterday we were at the @parasite.hk pop-up art book fair displaying for the first time Foto Féminas' library while playing E Arenas - accompanying record to Lorena Endara's @lalorilori book. Glad we could meet other local artists, exhibitors and speakers. #hongkong #parasitehk #ffbiblioteca #fotofeminas #americalatina (at Hong Kong)
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This Tuesday, October 27 in Hong Kong: Angel Otero's Untitled, 2014 is included in Para Site's annual benefit auction with @paddle8.
All proceeds support the exhibitions, education programs, residencies, and publications produced by Hong Kong's leading contemporary art centre and one of the oldest and most active independent art institutions in Asia.
To preview works in the auction visit @Bonhams Hong Kong, and click through to bid online now.
Angel Otero, "Untitled," 2014
Oil paint and oil skins collaged on canvas
25.98 x 20.51 x 2.99 in, 66 x 52.1 x 7.6 cm.
Courtesy of the artist and Lehmann Maupin, New York and Hong Kong
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I’ve never separated work and life and I don’t think I can. I’ve always worked where I lived and I usually work until I collapse from complete and utter exhaustion. It’s the only way (I was heavily addicted to sleeping pills for 2 years) I know how to get to sleep without being addicted to any coma inducing substance. I’ve always made paintings on tables. I don’t really know how else to make one. It’s kinda like desktop painting, which is similar to desktop publishing I suppose. Here is a very, very early painting. One that predates the book covers and everything else. The painting obviously an Ed Ruscha rip-off. The text is obviously lifted from Godard. I don’t know why nobody called me out on it. I wish someone did. This is a painting made in 2008 for the @parasite.hk fundraising auction. @distantatlas asked me to donate something so I took the opportunity to make a painting the way I think I know how to make a painting which is to make some kind of layout with texts of some sorts. Anyway. Painting. #HemanChong #Breathless #2008 #ChristinaLi #ParasiteHK #DesktopPainting #DesktopPublishing (at Blk 3 Haig Rd) https://www.instagram.com/p/CHDS1oAl5CD/?igshid=ruzwwgkz21xh
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Howie Tsui's Kowloon Wudang Walled City LOT11 at Para Site's annual fundraising auction. #howietsui #parasitehk #parasitehongkong #hqueens (at H Queen's - 80 Queen's Road Central)
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呢排成日見到黃炳,，呢個位係全場最靚位，唔錯唔錯！ At Para Site's annual fundraiser auction! #parasitehk #parasitehongkong #wongping #hqueens (at H Queen's - 80 Queen's Road Central)
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June 25, 2016
Today was a glorious day of exploration. Of all things valuable in the field, one of them would be visiting artists, and witnessing the stories behind projects. In the past days we’ve visited a number of galleries including a tiny gallery that had works by Thai artists talking about the cosmos – it was a beautiful exhibition in a petite low-key shopping building, the gallery was called Neptune. Yesterday we visited two spaces surrounded by the beating humdrum of the super-busy market area Sham Shui Po (100ft Park and Things That Can Happen). And today we went to new media art space (with café!), Floating Projects. Next was the pristine and spacious, Spring Workshop (with an outdoor garden!) and lastly, artist-duo-run, C&G Artpartments. Today’s discussions were prompted by writer and curator Tirdad Zoghadr.
The HK FARMer's Almanac, at Spring Workshop.
How do artist and art spaces mobilize under a luxury dominated economy? Since 2011, global sales for luxury goods reached about $250 billion, and consumers in East and Southeast Asia account for more than 50 percent of that figure (The Luxury Economy and Intellectual Property: Critical Reflections, 2015). A symptom of this rise are a shift to global brands on the rise, and transnational movements that challenge branding practices (Art Basel HK?) I always wonder how local artists operate or mobilize under these conditions, especially if there are no developed, or engaged support or understanding between artists and ideologies of infrastructure.
At Spring Workshop, a cross-disciplinary platform with artist and curatorial residencies, exhibitions, music, film and talks.
Spring Workshop was a pleasant surprise. It’s a 5-year project with a thought-out program with residency. Everyone had the question of why it will only exist as a 5-year project. Christina Li, It’s director, laughed, as it was a question she encounters quite regularly. The matter is, “space is just space” and the more important ideas around it’s life-span, is it’s resonance. How has it affected the arts community, and in so doing, how can the programming create a sense of continuity (or transfer) in concept and form?
Floating Projects which houses projects by media practitioners has a penchant for coffee, as such a permanent coffee shop is in the space (where they also include in their programming). At that time, curator-participants Tess Maunder (Brisbane/Delhi) and Alba Dawoon Lim (Seoul) had some espresso-making skills, and they took over the café. The rest dispersed around the coffee-table-area as it became a social congregation of chats and coffee.
Clara Cheung of C&G Artpartments
Clara and Gum are two artists who founded C&G Artpartments, they are an artist-couple who do performance, research-based, durational practices. It is one of the oldest artist run-spaces in Hong Kong (2007). They have curated more than 30 art exhibitions and more the 70 local artists that respond to social and cultural issues in Hong Kong in their space. At the time we visited them, they are doing a painting workshop with kids, and in the gallery spaces are performance and intervention works by artists who do guerila practices in the city with issues that revolve around urban engagement, food, and the soil. The exhibition is called Soil/Play, Decongestants for West Kowloonization.
The group hung out at C&G Artpartment for a while and read some books from their book shelf filled with artist monologues (Thank you Clara and Gum!). In between the spaces, we also met with writer and curator Tirdad Zoghadr who talked about didacticism, and shades of activism. The talk tried to shake discussions in thinking of ways in which you can discuss within the binaries of contemporary art orthodoxy. The push and pull of institution in particular context and anachronisms are very fluid when it comes to the question of countering, identifying or dis/identifying power relations. To rehabilitate or undo is one thing – but for a market economy, in a specific cosmopolitan region – one has to think of ways on how to creatively work around or against it. How can spaces exist in the realm of a private economy without a canceling-out of agendas? The participants had a lot of questions during workshop discussions and gallery visits. At this point, one realizes that even without answers, the practice of questioning is always a good shared exercise.
This evening while waiting for our bus, we went to have snacks and try out some Hong Kong street food - fish balls, tofu and squid tentacles!
- Lian Ladia
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June 24, 2016
Onion Peterman (exhibited at 100ft Park, Sham Shui Po, Hong Kong)
Today I focus on things that happen in the present. I hear wall clock ticks as each second passes. The vibrating hum of the neighbor's airconditioner comes through my window. A tinkering shaking sound calls out from the busy street. My kettle bubbles for the hot water. To be honest, only in rare occasions do I find myself focused on the “now.” On the train, I see people’s faces thinking about the next destination. In school, youre conditioned to think of the past, and reflect on the future. Quite explicitly, you are trained to seek a sense of order. You follow orders within an indoctrinated framework (also known as academia). You aim for acceptance, rather than fostering an impulse to challenge well-worn models. Or Rather than fostering your impulse to respond what's right in front of you.
Joanna Mytkowska took the workshop participants for a walk. For the first time, conditions of people working and living outside of the 22nd floor, surrounding the geography of the buidling is talked about. Carol Yinghua Lu presents ways and perspective of thinking and viewing the choreography of bodies around the exhibition. Apart from space, another aspect of perspective is the power structure of working with other people, the names curator/installer/artist already forges a separation that is interesting to break.
In the afternoon we went to Sham Shui Po and as soon as we get off the bus - instead of thinking of the next destination, a buzzling array of sound, scent and texture consumes you all of a sudden. We walk past shanties of stores with disco lights, plastic supplies, phones of all kinds and types, workers uniforms, stinky tofu, roasted chestnuts, the scent of mint and tangerine oozing out of a humidifier store, a button and buckle store, a man selling squid tentacles….in the moment, a workshop participant pauses to buy a strip of egg waffles. We walk and talk, under the sun, in the shade of hanging clothes from 10-story old buildings. A swarm of young guys wearing kurta's pass by running, in a festive way, in my back.. watch out for a truck is making its way through the street! Things happen! I always think about the Hong Kong artist, what does it mean for her/him to work under these conditions? First we enter a staircase, whose stairwell is being renovated with bamboos mounted as a support structure.
Onion Peterman (exhibited at 100ft Park, Sham Shui Po, Hong Kong)
The door opens and its a tiny gallery called 100ft park welcomes us. A print show called "Everything Ok", greets the group with drawings of chance encounters in the city. Artist books are in a table together with the guest sign-up. A few minutes after introductions and casual conversations, we head out again. Sham Shui Po has so much business and interaction going on. The scent of the gutter and money is around, combined with cheap tasty fried or fresh food that is just out on the street.. in a tv and electric repair shop, I see a century old phonograph.
Ocean Leung, A response to an intervention, Things That Can Happen, Sham Shui Po, Hong Kong
Our next destination is a space founded by Hong Kong artist Lee Kit and co-founder Chantal Wong. This blog entry is actually inspired by Lee Kit's presentation. Matter-of-factly, he created narrative association's on how things came to be, how he confronts things, and the sense of openness to re-evaluate or distorts the present, and move-on. He is quite open to the idea that there are "Things that can happen" (The name of the space). May it be a revolution, or a sense of frustration, support, or fear, the luxury economy or the exchange economy amongst artists and supporters, gentrification or the loose way on how immigration or refuge is recognized. I think part of his artistic practice is being present in the moment, in touch with daily life and being open or shut down.
Ocean Leung, A response to an intervention, Things That Can Happen, Sham Shui Po, Hong Kong
Today was a moment of recalibration. I should focus more on my breath. As the tipping sound of my keyboard taps away, I hear the ticking sound of the left hand clock on the wall again. There's something brewing downstairs, I can hear some activity and voices. I should direct myself more on the beating sound of the present. Being optimistic or pessimistic does not matter, its more about a sense of confrontation, involvement and honesty – to foster the impulse to see things creatively/instinctly.
Over dinner, we had a playful visitor who creeped up under the table while we were eating!
- Lian Ladia
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June 18, 2016
Red dish in center: Braised Spareribs in Chinese Hawthorn Sauce
Dinner was presented with two slippery chopsticks, one for serving, and one for eating. My eye was on the prize: Braised Spareribs in Chinese Hawthorne Sauce, soft and tender pork sliding in its bone, surrounded in the flavor of sweetness dampened by the brew of its palatable sauce with a salty undertone.
What happened prior this concluding session? A blur of a crowded swarm of bodies at a double decked tram, voices crackling of peoples projects we just viewed, humid weather in the night.
I look at the chopstick for serving and remember presentations we ended with some of the workshop participants: a diverse and multi-focal perspective on articulating nation, a female viewpoint of a multi-layered notion of China, an alternative to a panoptic view of exhibition-making and spatial territory, migration, recolonialization, decolonialisation, transcience, anxiety, occupation, and survivalism.
I contemplate on the other chopstick: for eating, and remember an exhibition walkthrough with curators at the Para Site exhibition Space, “That Has Been and May Be Again” – the local HK curators selected through a program by Para Site, Leo Li Chen and Wu Mo –walked the group through each work, and each step, in a steady flow of description and discussion. The title of the exhibition, was derived from an excerpt in a 1920’s short story by Yu Dafu called, “Sinking.” I was able to digest a localized perspective of a recurring artist desire of an autonomous life from materialism. Through the exhibition and recurring patterns of flight from the anxiety of waiting – I understood a central feeling which has repeating patterns of moments of contempt within China, in the 1920’s (with Japan), 1990’s (with the failed student revolt), and currently (with the occupation movements). Works in the exhibition mostly focused work and work production that gears towards the underground, self-organization, nostalgia and flight.
Since the food was served I had my eye on Braised Spareribs in Chinese Hawthorne Sauce. Reminding me of my specific appetite of why I went to Hong Kong: with the conference of Para Site in mind – asking permissions from colleagues and advisors from graduate school to make it a possibility. The 20th anniversary conference which includes a workshop for emerging professionals, and the 3-day conference– with discussions on how the landscape of Hong Kong and the surrounding art world has changed in the last 20 years. It sounds meaty, fully-formed, full flavored. What are the pros and cons of a localized/ geopolitical contextual narrative. How will I consume it, how will I digest it? I used to just watch the conference in its past years livestreamed whether I was in Manila or Amsterdam. What taste will it leave in my mouth? What will I have for dinner next, and how will that relate to the rest of my day? Let’s see in the next days to come.
- Lian Ladia
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