 Moving Bricks08.01 - 26.02.2016 |  |
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 Selling Temperature | Freespace FestMUDWORK 2013 |  Mobile Bazaar | Freespace FestMUDWORK 2014 |
 Little Green Feet Mobile Library | In-Situ MUDWORK 2014 |
Moving Bricks
Jan 08, 2016 - Feb 26, 2016
@1a space
Moving Bricks is an artist-in-residence programme that transformed an exhibition space of Cattle Depot Artist Village into a studio. In a series of six weekend workshops, local art group MUDwork in collaboration with nearby residents will create mobile installation carts of specific functions, with architectural features of the Cattle Depot Artist Village. The installation acts as a catalyst, it broadens the imagination and implementation of unconventional activities of humanities in a fluid way. And it forms a bustling view of the community.
At the end of the exhibition, the installation carts will become a public space of nearby residents or hawkers for further uses so as to organically extend their entities.
MUDwork
Founded by two Hong Kong artists Chung Wai Ian and Ng Ka Chun. MUDwork seeks to raise an alternative way of living through making objects.
Chung Wai Ian
Hong Kong based artist. Chung Wai Ian received her BA from Hong Kong Baptist University in 2009. She has been invited in projects including “Social Manufacture - Made in To Kwa Wan”, art exchange project between Kam Tin and Busan “In Search Of Peachland”, Osage HK “Both Sides Now - Somewhere between Hong Kong and the UK”, Mumbai Artist-in-Resident “[en]counters 2013: powerPLAY”. She is a member of the artistic panel in 1a space. Recently, she seeks to practice sculpture by constructing micro-architecture.
www.chungwaiian.com
Ng Ka Chun
Hong Kong based artist. Ng Ka Chun received his BA from Hong Kong Baptist University in 2008. His art unsettles city dwellers' relationship with nature. In many of his works, he puts a spin on ready-made objects, presenting an alternative perspective that challenges the commonly accepted way of life. He also responds to social issues concerning fast-paced development in the city and preservation with interventional installations. In recent years, he has participated in several public/community art projects including “Grounded: Ping Yeung School of Art”, “In Search of Peachland” and etc. He is a member of the artistic panel in 1a space.
http://hei-ngkachun.blogspot.hk/
 One belongs where one is content12.03 - 13.05 2016 |  Beware of red virus!Ricky Yeung 2016 Photography Dimension variable |
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 Beware of red virus!Ricky Yeung 2016 Photography Dimension variable |  The Haw Par MansionLuke Ching 2016 |
 The Haw Par MansionLuke Ching 2016 |  Lonely Occupation －after and more than J.Kosuth Lawman Law 2016 Tent from the Umbrella Revolution, photocopies of “A Theory of Occupy: From Paris Commune to Occupy Central”, printed information from the web |
One belongs where one is content
Mar 12, 2016 - May 13, 2016
@1a space
Li Ka Shing, "One belongs where one is content."
Gui Min Hai, "One belongs where one is content."
Same wording, different contexts: leaving Hong Kongers perplexed in wildly contrasting ways. Li almost nonchalantly found a haven for his assets, thereby regaining his peace of mind. Gui, on the other hand, somehow achieved the improbable feat of secretly entering Mainland China via Thailand, adding fuel to the widely felt anxiety in Hong Kong regarding the intactness of ‘One Country, Two Systems’. While in China he recorded a video explaining that his covert trip was his way to find peace of mind, and urging the people of Hong Kong not to speculate and worsen the situation. Unfortunately, his effort was counterproductive and only presented yet another reason for Hong Kongers to feel even more alarmed.
‘To feel content’ and ‘to find a place where one belongs’: these have always been the ultimate concerns of ordinary citizens. The phrase ‘one belongs where one is content’ seems more and more clumsy and pathetic each time it reappears. It has become a copy of a copy, and in the process further distresses the audience.
One can’t help but notice the irony that whenever someone emphasises their contentment, it only creates more agitation and alarm. To disguise one’s unease with the facade of contentment: would this be the ordinary citizen’s ultimate compromise with fear? If the Hong Konger doesn’t belong to Hong Kong, where can they belong?
In this exhibition, artists Luke Ching and Ricky Yeung take the notions of contentment and belonging as the starting point of their explorations. Luke revisits and remakes his older works from his era of contentment, trying to demonstrate the possibility of attaining peace of mind at this time. Having been an impassioned teacher for decades, Ricky created a new work in which he denounces the school as an institution - one that has been half wrecked by National Education and its mutative forms and that is no longer a place of enlightenment where the young belongs.
 Pseudo Collection - What Do Artists Collect 28.05 - 22.07.2016 |  Cabinet of curiositiesAmy Chan 2016 Installation 194 x 114 x 90 cm |
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 i-20160331Frank Chan 2016 Sculpture 13.5 x 13.5 x 76 cm |  ForewordEdwind Lai 2016 Print 135 x 100 x 31 cm |
 Warning letterPaul Yeung 2016 Print 95 x 125 x 4 cm |  Lau Ching Ping\\\'s CollectiblesLau Ching Ping 2016 Installation 40 x 163.2 x 35 cm |
 Origin(1)Lam Tung Pang 2016 Installation 40.3 x 61.5 x 123 cm |  Star FerryTse Ming Chong 2016 Photography 400 x 95 x 4 cm |
 Xu BingJeff Leung 2016 Installation |
Pseudo Collection - What Do Artists Collect
May 28, 2016 - Jul 22, 2016
@1a space
Collection is Art – From Collecting to Collection
Everyone has a habit of collecting, be it a fetish, a memory or other reasons. Collecting is not merely about storing things up for daily life use, but an act when individuals gather, conserve and categorize objects for a piece of memory or appreciation. Not limited to collectors who buy valuable art works, the common people is able to afford collections to various extents, from fast food restaurants’ memorabilia to limited editions toys and sports shoes. These collectibles are not priceless in monetary value but important in another sense. They crystallize the lifestyle and culture of some individuals and specific communities.
With popularization of art fairs and collecting culture in this day and age, shall we have more imaginations and boundary-pushing practices towards “collection”? Possibilities and imaginations to “collection” are demonstrated in this exhibition via the showcase of artists’ collections.
Followed by the prosperity of art fairs, art collection exhibitions are also in vogue. Curators re-organize private art
Art, Collecting Art: Collections in the Eye of Artistscollectibles to reveal the cultural features under various artists, places and eras. In these exhibitions, the individual and collective meaning of the art collectibles, the personal meaning to collectors and the cultural meaning to the society overlaps and are being exposed to the public.
Artists like to collect, with different reasons. Some artists collect objects and turn them into creating materials, bringing new meanings to non-functional objects; while some artists collect art-related objects intuitionally, without any prerequisite. Obviously, the vision and attitude of collection are like an inspiration warehouse to be discovered. Then, how should we show artists’ collections?
Enoch Cheung, the initiator of this exhibition, was involved in a multi-media project “I Think It Rains” (2013) by a private collection Burger Collection and 1a space. He was impressed by the discussion of by the curator Daniel Kurjakovic and 1a space curating team, on the topic of the selection and exhibition of art
Pseudo, Collecting Art – The Display of Collection collectibles, the interaction among the artists, etc. Over the course of three years, Enoch hopes to further discuss different aspects of “collection”. He initiates this exhibition and invited multi-disciplinary artists to talk to and interact with in a series of activities, to explore the motivation and stories behind collecting, and to show their special collectibles or artworks inspired by the collectibles. The thoughts and logic of artists, presented by reasons and means of collecting are demonstrated in this exhibition. The name “Pseudo”, was interpreted as “man-made” on purpose (by disassembling the Chinese character), it emphasizes art lines in the process of collecting instead of the collectibles. Enoch is also a multi-disciplinary artist; he will engage in in-depth dialogues with artists, to explore the imaginations towards collecting together with viewers.
 Where the End is the Beginning19.08 - 28.08.2016 |  Before Collapse #1Matthew Tsang Man Fu 2016 Installation, charcoal chair |
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 Time DriftMatthew Tsang Man Fu 2015 Installation, burnt Aluminum foil Dimensions variable |  Before Collapse #2Matthew Tsang Man Fu 2016 Installation, charcoal feet |
 Black Ice Dissolve #1Matthew Tsang Man Fu 2015 Video, 06:13 |  Ice EmbersMatthew Tsang Man Fu 2016 Installation, ice, video 00:38 Dimensions variable |
 Before Collapse #3Matthew Tsang Man Fu 2016 Installation. charcoal objects Dimensions variable |
Where the End is the Beginning
Aug 19, 2016 - Aug 28, 2016
@1a space
Hong Kong – Artist Matthew Tsang Man Fu is pleased to present his solo exhibition “Where the End is the Beginning.” Tsang is a Hong Kong artist who has shown in Hong Kong and overseas for nearly a decade. The artworks in this show were several years in the making and are the ongoing resolutions of experiments with process and materials and deep reflections on the nature and understanding of change. Here he reflects on the passage of time and explores how changes relate to decay, regeneration, hope and melancholy.
Curator Cordelia Tam explains that, “Tsang utilizes ordinary yet elemental materials from daily life, including wood, charcoal, wax, water and ice, and subjects them to naturally transformative processes such as burning, melting or freezing. The resulting objects, in their altered physical states, become metaphors for the relentless changes we all experience in our life, be they gradual, drastic, deliberate or accidental.”
In Before Collapse, Tsang utilized extreme heat by building a metal kiln in his workshop. In this kiln, he fired wooden household items and stationery, from tables and chairs to rolls of paper and pencils, turning them all into charcoal. The striking appearance of the “charcoalised” objects, still recognizable but with their robustness gone, now fragile and blackened, strive to provoke the viewer’s reflections on changes in their own lives.
Another key piece in this exhibition is the large installation, Time Drift, consisting of over a thousand pieces of aluminium foil bearing an array of colours from earthy browns to jewel like iridescences. The foil had been used as wrapping in the charcoal making process, but unexpectedly the firing resulted in old paint and varnishes staining the surface as they vaporized. Tsang realized that traces of energy and time had been captured in the burnt shards.
In other pieces, more mundane and gradual transformative processes were involved, such as ice melting in Ice Embers and Black Ice Dissolve. Yet the end results, through Tsang’s presentations, are equally thought provoking: decay is not necessarily ruin, time passes and things change, in our personal lives this may be poignant and feel relentless, but we in turn are part of a regenerative cycle that is bigger than our individual lives.
Tsang says, “Although my starting point is always my own personal experience, change is universal and I hope the themes trigger a resonance amongst all of us.”
About the artist:
Matthew Tsang Man Fu (b. 1973) is a Hong Kong visual artist. He completed his BFA in 2008 and MFA in 2015, both with RMIT, Australia. His works investigate the relationship between time, change, process and materiality. He works mainly with a variety of natural materials including paper, wood, ice, water and wax and utilizes processes including burning, melting and freezing. His artworks are presented in installation, video, photographs and sculptural objects. He has been invited to participate in exhibitions in Hong Kong and Australia. In 2010 he was invited to join the East Kowloon Art and Cultural Initiation Scheme as the tutor of the sculpture course. Since 2012 he has been a lecturer at Hong Kong Art School.
 As the leaves fall10.09 - 28.10.2016 |  Yesterday, and the boys in yesterdayLai Shui Wing and Jesse Clockwork 2016 Installation, Silver Print with Darkroom |
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 Things we lost in the windMimi Ma and Peter Kong 2016 Sound and video installation, 10’28” Size Variable |  Plant, Her Photos, Planting with the woman Au Yiu Tai, Ivy Ma, Man Mei To 2016 potted plant, print on archival paper, Cement Dimensions variable |
 A Blind Corner at the 13 StreetLee Ming Chu & Enoch Cheung 2016 Knitting, dust and dirt |  Fragile Stories about Visible and Invisible from past to Present Chiu and Eddie Cheung Wai Sum 2016 video, image, installation |
 Collaborative painting by Ar Miu and Clara Lee Miu Han and Clara Cheung 2016 acrylic on canvas 100X 70 cm |  The Toothless Fairy RemembersKam Shui Yin and Edwin Lai + the Good Teeth group 2016 Mixed media |
As the leaves fall
Sep 10, 2016 - Oct 28, 2016
@1a space
The Aggregated Happiness - Collaborative Painting Workshop
In this difficult time of our city, the truth and the lies are not easy to differentiate. It is tough to cooperate, collaborate and move forward. Artist Clara Cheung will join hands with her silver-haired partner, Lee Miu Han (李妙嫻) to hold The Aggregated Happiness - Collaborative Painting Workshop and lead us back to the state of innocence and purity through art. We will go back to the origin of painting and enjoy the expressive power of color.
You are strongly suggested to bring your partners, families and relatives to join us. Each group will finish a collective painting.
Date: 18 September 2016 (Sunday)
Time: 3:30 pm - 5:00 pm
Address: 1a space, Unit 14, Cattle Depot Artist Village, 63 Ma Tau Kok Road, To Kwa Wan, Kowloon, Hong Kong
《As the leaves fall》is an very experimental collaboration art project curated by Grey and Green Ping Pong, the result going to be shown in 1a space from 9 Sept to 28 Oct. It aims to create a cross-age collaboration conditions, under social concern and creativity, artists would investigate the relationships between personal pain (fallen teeth) and social issues (e.g. Aging as a social problem and body decay) by using visual language. The project also aims to dig deeper about the meanings of collaboration and conversations, the possibilities and problems in achieving a balance and fair play of subjectivity with elderly during the creation processes.
The curator (Cally) believes that time cultivates quality conversation, of which she had invited seven artists and seven elderlies to join a one-on-one pair-up Collaboration Art Project《As the leaves fall》since February 2016.
The project is divided into two phases; the first phase is the Workshop of “Exchange Happiness”. As a starting point, participating artists share their favorite spots or leisure activities with their matching elderlies. Work-in-progress activities includes karaoke, hiking and ‘treasure hunt’ in Sham Shui Po. Concurrently, participating elderlies also shared their enjoyable spots or activities with their matching artists, such as practicing Tai Chi in the park, gardening at a lawn, have a Yum Cha gathering and weaving at home, etc. By participating in each other’s daily life, artists morph into attempt to get a firsthand experience and association with elderlies’ daily life condition.
The second phase is the creation part. Taking “as the leaves fall” as the theme, both parties will collaborate and create. Artist may initiate their personal creation in response to their experiences or dialogues with the elderlies. “Teeth falling out” could be taken as an imagery, a real life situation or the beginning of stories. To commence a fair, just and consistent conversation and develop mutual understanding is the beauty of Collaboration Art. It is the crux to widen the social imagination by poetic artlang (artistic language), to recognize the entanglement of body and self-identity, and to understand the relations between transformation/ decay of body and personal speculation to the social condition.
Participating Art Professionals and elderlies (In no particular order)
Lee Ming Chu and Enoch Cheung
Lee Miu Han and Clara Cheung
Chiu and Eddie Cheung Wai Sum
Mimi Ma and Peter Kong
Kam Shui Yin and Edwin Lai + the Good Teeth group
Au Yiu Tai and Ivy Ma + Man Mei To
Lai Shui Wing and Jesse Clockwork
Documentation
Lo King Wah
(Lo will produce a documentary short film on the collaboration process.)
Curator: Cally Yu
Founder of Grey and Green Ping Pong
Supplementary information:
The prevalence of tooth loss in seniors severely affects their daily lives. According to the Oral Health Survey (OHS) 2011 published by the Department of Health, there are 5.6 % of non-institutionalized seniors with no teeth. With a base of 450,800, there are 25,245 toothless seniors in Hong Kong excluding those in the age above 75. Meanwhile, the tooth loss conditions of seniors of the Social Welfare Department long-term care services were even worse. About 20% to 30% of them had no teeth at all. Each had 9.4 remaining teeth on average. The unaffordable dentistry is the main cause of this situation.
About “Grey and Green Ping Pong Project”
Established in 2013, the project aims at establishing a conversational platform, by using artistic force and creative workshops, for the grey and green generations to exchange ideas and share stories, fun alike playing ping pong game, which is an equal-based, two-way, ordinary, easy and embodied interaction.
Workshops provided by us will be multidisciplinary, e.g painting, improvisation dance, film-going etc, in hopes that, new artistic experience can release elder’s creativity, curiosity and imagination. Elderly identity and subjectivity would be the keywords during all the processes. Creative Aging is our mission.
In addition, the project also want to develop/discover new aesthetic from the amateur elderly artists. If grey have their own sensitive and stories, would there is a special elderly artistic narratives? How we review those works in aesthetic senses? Can we develop a new critic language to see the elderly community art works?
This project is curated by Cally Yu and thanks for all supports from independent donors and friends to make the project come true.
About Participating Art Professionals
Cally Yu ( Yeuk Mui, Yu) Curator
Cally Yu ( Yeuk Mui, Yu), a Chinese writer with strong concern on Hong Kong cultural and social development. She published four novels and one book collected interviews on the topic of “freedom” and “independent” with 12 women. She also produces poems, theatre text, art critics, interviews and feature stories for local newspapers and magazines since 1997. Starting in 2009, as one of the founders of Woofer Ten (a local alternative art space focus on community art), Cally experiments with different visual art elements, body movements and text, in theater production and happenings. Her theatre text, “Trembling Ears” was featured in the “New Writing Movement” curated by On and On Theatre Workshop 2014.
She found a community based art group, Grey and Green Ping Pong in 2014 to advocate creative aging in Hong Kong. The group is still working on different art programs with elderly and youth.
https://greygreenpingpong.wordpress.com/
Enoch Cheung Multi-disciplinary Artist
Enoch Cheung obtained B.A. and M.F.A. from the RMIT University, Australia, M.F.A. (Interactive Media and Environment) at Frank Mohr Institute of Hanze University, the Netherlands. He also obtained M.A. (Fine Art) at Chelsea College of Art and Design, London.
He has been involving many multi-disciplinary projects. Solo exhibitions include “Digital All” (2001, Para/site, Hong Kong), “Collective Memorabilia” (2007, Too Art Gallery, Hong Kong) and “Secret Dialogue: Half a second” (2011, Lumenvisum, Hong Kong). Group Exhibitions include “Move on Asia: Video Art in Asia 2002-2012” organized by Gallery LOOP, and exhibited in various European art institute such as ZKM,“Rediscover photography” and “City Confusion II” in China PingYao International Photography Festival (2011, 2014). Enoch has been participated in curatorial work such as the collaborative of Burger Collection and 1a Space project “I think it rains” in 2013. Recent series “Pseudo Something” is one of his on-going projects to explore the new perspectives of different medium. Exhibited works including “Pseudo writing” – the coffee drawing in “I think it rains” and the initiation of “Pseudo Collection – What do artists collect”
Clara Cheung Artist
Grown up in Hong Kong, Clara CHEUNG has been an art teacher at high school. Being the founder of C&G Artpartment, she is currently an active member of non-profit art groups: Project226, and Art Together, and a part-time lecturer at different local universities. Besides, she has organized various art education programs for different organizations and schools. Performance art is the medium she likes to explore recently and many of her works obtain inspiration from her daughters’ toys and science books.
Eddie Cheung Wai Sum Art critic, Artist, Curator
Eddie Cheung Wai Sum is an art critic, artist and curator. Cheung received his Ba(hons) in Chinese from Lingnan University in 2006, also MA in Visual Culture Studies from the Chinese University of Hong Kong in 2009. He mainly focuses on the relationships and representability between art exhibition and artwork, with the purpose of exploring another way of interpretation for art exhibition. The critiques mainly published in Art Plus, HKEJ, Standnews.
Peter Kong Artist
Peter Kong was born in Hong Kong in 1981, he was not academically trained in arts or design. He was an air-conditioning technician, a factory labour, warehouse assistant and became a graphic designer seven years ago. He focused on design of art and culture. The main perspective poster he designed for the Hong Kong Independent Film Festival was selected in Taiwan’s ‘2014 Outstanding Chinese Character Design Works Invitation Exhibition’. His exhibition ‘The Walking Bird’ is now touring in Taiwan.
Edwin K. Lai Art Historian, Art Educator, Curator
Edwin K. Lai graduates from Derby University, U.K., later obtains MPhil and Ph.D. degrees from the Fine Arts Department, the University of Hong Kong. He is now a Senior Lecturer at the Hong Kong Arts School, and has works shown in Hong Kong, U.K. and Japan. Lai has become more involved in curatorial work in recent years, and has curated exhibitions including ‘The Earliest Photographs of Hong Kong’ (2012), ‘Post-Straight: Contemporary Hong Kong Photography’ (2012), and ‘Rare Encounters: Nancy Sheung’s Portraits of Hong Kong Women in the 1960s’ (2015). He is also an active art critic and researcher in art and photography history, and has published more than one hundred essays and three books.
Ivy Ma Artist
Ivy attained her MA degree in Feminist Theory and Practice in the Visual Art University of Leeds, UK in 2002. She is an Asian Cultural Council grantee (2007), also the recipient of Young Artist Award, Hong Kong Contemporary Art Awards (2012). Ivy’s works are collected by the Hong Kong Heritage Museum and Hong Kong Museum of Art. Her major works interrogate spatial perception between photographic images and drawings.
Man Mei To Artist
Man Mei To (b.1990) was graduated in Bachelor of Arts in Royal Melbourne Institute of Technology (RMIT) University in 2015, majored in painting. Different media are used to construct her artworks, such as painting, photography, video, installation and mixed media.
Man’s artworks always engage the “body”. Defining the separated “individual” is the core idea for the development of artworks. By arising the tension made while objectifying and alienating “body” in her works, she discovered the natural landscape in daily ritual., as well as the way to measure the distance between him, her, it and us.
Lo King Wah Independent filmmaker
Lo King-wah, born in 1957, was an active independent filmmaker in the 1980’s. The films he made include: They are on The Fringes of Society (Film of Merits in Documentary Section at Hong Kong Independent Short Films Exhibition 1981);The Whimpers( Best film in Drama Section at Hong Kong Independent Short Films Exhibition 1982) ; The Gathering(Film of Merits in Drama Section at Hong Kong Independent Films Exhibition 1983); The incident( shown at the 9th Hong Kong International Film Festival, 1985); Story Wants to Tell Itself(1987); No Trespassing(1992). He then became a TV public affairs producer and reporter for over twenty years. In 2009, he started a blog named A Grey Reporter’s Words, commenting mainly on social and political events at home on the mainland. Now a retiring citizen who wishes to spend more time on writing and video-filming with a more personal touch on the city he calls home.
Jesse Clockwork Photographer, Producer, Bard
Jesse started shooting at the age of 12. He began his career as a photographer with newspaper, news magazine and lifestyle magazine after high school. During his free time, he shot rock concerts and theatre performances, in search of his photographic style. In December 2000, he was invited by renowned Hong Kong stage photographer, Cheung Chi Wai to assist in shooting a contemporary dance rehearsal. Jesse was touched by the art form, which connects with his own artistic direction. Since then, he spent all his leisure time in contemporary dance photography and had shot over 400 performances. In 2013 and 2014, he was shortlisted as nominee for the Hong Kong Dance Awards – Other Outstanding Achievement in Dance.
Art@ Kowloon City - Cattle Depot Public Art Project
Oct 16, 2016 - Dec 18, 2016
@1a space
Background:
Constructed in 1908, Cattle Depot Artist Village witnesses the changes of the city. From slaughterhouse (abattoir) and quarantine base to an artist village, Cattle Depot had been restored and revitalized with the historical monuments. Apart from the architectural merit, how much do we know about Cattle Depot? How should we comprehend the transformation of the environment and its future development? A series of workshops will explore the above-mentioned issues.
Workshop 1 :
The last moment of Cattle - Cyanotype (Blueprint) workshop
Tutor : Siu Wai Hang 蕭偉恒
There are not many related archives about Cattle Depot (Ex-Ma Tau Kok Animal Quarantine Depot) even it is an over a hundred year-old historic building. Mostly we could know about this place is its architectural merits and the history of its past and present. Regards to its origin, yet, the only thing related to cattle is the metal ring and chain installed at the base of the water trenches. Questions about cattle and its living condition remains unknown until now.
In this participatory art workshop, participants will employ their imaginations about cows through cyanotype with an ultimate goal of filling in the blanks of how cows spent its' last moment in Cattle Depot.
Workshops Time-slots:
A1 : 16/10 (Sun)
A2 : 23/10 (Sun)
A3 : 30/10 (Sun)
Time: 10:00 ‒ 14:30
Target: Age 5 or above
Workshop 2:
Chair making workshop: Row By Row
Tutor: Debe Sham 岑愷怡
Over a number of years, it seems like Cattle Depot has regarded as a village of art or a public space. Public facilities however remain absent in the village.“Chair making workshop: Row By Row” will present an on-site short story about Cattle Depot and participants will expect to explore the construction of red bricks buildings through a guided tour. By seeing through the lens, it enables us to learn the arrangement of bricks. Followed with a group discussion, participants can start to create their mini- sitting- structure by making use of colored-glass bricks and red bricks.
Workshops Time-slots:
B1 : 20/11 (Sun)
B2 : 26/11 (Sat)
B3 : 27/11 (Sun)
Time: 13:30 ‒ 18:30
Target: Full-time Secondary Students and Tertiary Students
/ Teachers and Parents are welcomed /
Workshop 3:
Freeze to Preserve - installation art workshop
Tutor: Carrie Wong 王麗瑋
From an animal quarantine depot to an artist village, Cattle Depot is a site full of special architectural element and historic significance. This Grade II historic building confronted its situation with the dynamic change of the society and its surroundings, “what to preserve” becomes a worthwhile topic for discussion.
This workshop will show you the history and development of Cattle Depot with the interpretation of the site and space. The workshop will invite participants to seek for conserved substances related to the site and create an installation with construction materials and mixed media. Through the process of building and preserving, participants could involve in making a “History” of their own.
Workshops Time-slots:
C : 4/12 (Sun)
11/12 (Sun)
18/12 (Sun)
Time: 13:00 ‒ 17:00
*Participants are required to attend all timeslots of the workshop
Target:Full-time Secondary Students, 2 to 3 person will work in group to create one artwork
- Individual participants, school and organization are welcomed
- Workshops will conducted in Cantonese
- Each school or organisation can apply for up to 2 workshops, 5 quota of each workshops
- Workshops will serve as first-come, first-served basis
- Application form can be collected at 1a space or email to : info@oneaspace.org ; Online application here: https://goo.gl/forms/esAKbKODUbkqhh1n2
- If the No. 8 Signal, the red or the black rainstorm weaning is issued 2 hours before the commence of workshop, event will be suspended. Rearrangement will be announced later.
- The Organizer/Event Producer reserves the right to amend the program of the rules and regulations. Should there be disputes, the Organizer/Event Producer reserves the right to the final decision.
 “Islands’ Narrative: Literature X VA12.11 - 23.12.2016 |  碎倒Choi Yan Chi 2016 Photography, installation |
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 桶之緣South Ho 2016 Installation |  兩生鳥Alex HEUNG 2016 Acrylic on canvas |
 宜Lau Hok Shing 2016 Installation |  這島嶼Hao Lap Yan Benjamin 2016 Mixed media |
 倒置的山，金色的海Ivy Ma 2016 Printer ink and gold foil on watercolour paper |
“Islands’ Narrative: Literature X Visual Art” Exhibition
Nov 12, 2016 - Dec 23, 2016
@1a space
Opening Reception: 6 – 8 pm on 12th November,2016
“Islands’ Narrative: Literature X Visual Art” Exhibition
Organized by the House of Hong Kong Literature and funded by the Hong Kong Arts Development Council, the second "Hong Kong Literature Season" is launched during October to December 2016. The theme of this year's Hong Kong Literature Season is “Literature love/very/good to Nature". The exploration of natural scenery, as well as living feelings, has always been a source of inspiration for literary and creation. The isolation and connection among the islands can also serve as a metaphor for art. The Hong Kong landscape is very unique, island is one of the local characteristics. The Hong Kong Literature Season will select six islands as the study objects. Six pairs of writers and visual artists will be invited to collaborate for cross-media dialogues in the way of literature and visual arts creation in order to show the multi-sensory relationship between the nature, literature and visual art.
The exhibition will be held from 12th Nov to 23rd Dec in 1a space. The exhibition will show different dimensions of history, tourism, living, humanities, natural wilderness and ecological species of the islands. The islands became the junctions of writers and artists. They could explored the possibility of cross/multi-disciplinary dialogue through the islands. The possibility of dialogue is the existence of differences. The differences could cause infinite creations and changes, and will always lead to the process of “becoming” where the dialectics of concept, history and reality will be emerged. The island is not the end to reach, is just the beginning.
Participating Artists:
Lantau Island - Liu Wai Tong X Ivy Ma;
Cheung Chau - Fan Sin Piu X Hanison, Lau Hok Shing;
Pearl Island- Hon Lai Chu X Choi Yan Chi;
Tung Ping Chau - Yam Gong X Hao Lap Yan Benjamin;
Po Toi Island - Tong Yui X South Ho;
Siu A Chau - Qua Nan X Alex HEUNG
Curators:
Tang Siu Wa(Literature)、Shek Chun Yin(Visual Art)
Writers and Artists Sharing
Date and Time: 12th November, 3–5pm
Speakers: Yam Gong , Choi Yan Chi , Hanison Lau Hok Shing, Hao Lap Yan Benjamin