Hong Kong, May 28 – July 22, 2016, http://www.oneaspace.org.hk/
The definition of collecting has been left very open by the curators (Enoch Cheung 長康生 / Jeff Leung 梁展峰) of this exhibition. It could be anything from a “real” collection of artworks to a random grouping of material leftovers, implying the meaning as it is used in “refuse collection point”. It has been left up to the invited artists (including themselves) to define their understanding of what collecting means in their lives.
The number of exhibits was rather small, leaving large chunks of white walls in between them. This must be understood as a very positive thing in Hong Kong, where it’s hard to overcome the cubicle mentality of “efficient” use of space. Each exhibit had enough space to be observed undisturbed. A number of exhibits came across as humble everyday objects, making the observer doubt what they stand for at all. An indeed the boundary was unclear, with some artists responding to the theme of the exhibition by an artwork, while others responding by displaying objects from their collections.
The function of furniture was quite prominent in the show, as three artists made use of it. Once again at first sight, it may come across as too mundane, but at a closer look each piece of furniture displayed had different function: Amy Chan’s 陳一云 wardrobe has been used as a theatrical prop, enhanced by the installation of different light bulbs (she is a theatre light designer who collects them). Lam Tung Pang’s 林東鵬 chest of drawers (standard white, with one old wooden drawer implanted) presented itself as a non-functional sculptural object communicating at a metaphorical level about the site of collecting rather than the things collected. And Lau Ching Ping’s劉清平display case (showing his record collection) has been used in the primary function of a container for displaying other objects, in a way erasing its own presence in contrast with its contents, but nevertheless still present, expressing a certain design and lifestyle of the owner.
Other artworks also followed in this style of free association with the theme. Co-curator Jeff Leung exhibited a work by Xu Bing徐冰from his own collection. Frank Chan陳復showed his own sculpture made of small concrete cubes. Tse Ming Chong謝明莊 also showed his own work, a series of still frames from a video of crossing Victoria Harbour on the Star Ferry. Edwin K. Lai 黎健強 and Paul Yeung楊德銘are the last two artists I did not mention, presented with a “Foreword” (an artwork) close to the entrance of the exhibition.
There has also been an overabundance of text in the exhibition, with snippets of interviews posted on walls. This seemed at first sight a bit too much, hinting at the intruding urge to fill up the space with “something”. But it stayed just on the border. It made the exhibition quite text heavy. It also showed the research-based nature of the exhibition, where interviews and discussions prior to the show were an integral and important part of the result.
Overall the show was pleasant. Not overwhelming, modest at first appearance but offering some depth at closer look.
