“Cause & Effect” (2007)—Do Ho Suh @christiesinc
“Vanishing Point” by @gordoncheung — there are no words that can accurately describe how amazing it is to see a work of art that echoes what I have written. Last year, I wrote an essay in @qz about “Ghost in the Shell”, the live action feature adapted from the 1995 animated film classic of the same name. I discussed how Hong Kong acts as a silent character in both films and whether the “ghost of Hong Kong” can live in the new shell created by Beijing. I attempted to illustrate the very complex emotions Hong Kong people in face of the socio-political reality in the post-Umbrella era through the discussion of a work of popular culture. A lot of the times, words are not enough to express ourselves, and Gordon’s painting has put my feelings into visuals. It is pure coincidence, and it is a beautiful one. Read the essay here 👉🏼 https://qz.com/950919/ghost-in-the-shell-is-a-poem-to-hong-kong-as-it-faces-the-20th-anniversary-of-its-handover-to-china/
一度以為是理所當然的人、物、事，其實可以隨時消失。最可怕的是當你真正失去這些東西時，你並不知道自己丟掉了甚麼。 This @litfest_hk talk with Chinese dissident author Ma Jian @taikwun.hk almost did not happen. Ma Jian said at the talk that the Orwellian world depicted in 1984 has already descended to China today and its impact is already felt in Hong Kong. The drama has made local and international headlines but do people of Hong Kong realise the significance of the recent events, and the danger of losing what sets them apart from the rest of the region? Unfortunately a lot of people are still living in their dreams. #ChinaDream #MaJian #馬健
“WHAT WILL WE LEAVE BEHIND?” is the title of @nino_sarabutra’s work as well as her question for us. First created in 2012, this time at @bkkartbiennale, it is installed at the serene Wat Prayoon (Temple of Iron Fence) and the site adds another layer of meaning to the work. As I walk barefoot on the 125,000 ceramic skulls, in clockwise direction through the circular corridor of the temple, I contemplate the questions raised by the artist: What if today is my last day on earth? Will I die with regrets? The pain from walking on these ceramic skulls barefoot is a symbol of sufferings of life described in Buddhism. But as the circular corridor brings me back to where I begin, it feels like I’m about to experience the endless sufferings all over again. Is there a way to get out of the wheel of reincarnation and reach nirvana?
This is a replica of one of the caisson ceiling designs from Mogao Cave 320 in Dunhuang. Said to be created during Tang Dynasty (618-907 AD), the colourful floral pattern surrounding the lotus blossom in the centre — a Buddhism symbol — is most certainly one of our greatest treasures. I’m dazzled and surprisingly, this exhibition of Dunhuang at Hong Kong Heritage Museum has gotten into Buddhism. Visiting Dunhuang is now on my bucket list 🤩
Hang in there @alicjakwade @koeniggalerie
Window display is just another exhibition space @soniarykiel #paris
“Translution”, a solo exhibition by Stella Zhang @galeriedumonde
Zao Wou-ki’s “Juin-Octobre 1985” might have set auction record money-wise when it was sold for HK$510m/ US$65m including buyer’s premium at @sothebys Hong Kong sale today, but it is the sale of XUZHEN SUPERMARKET that is the real highlight. The “conceptual work” was sold for HK$2m/ US$255,680. Technically the buyer bought nothing but an idea, just like the enthusiastic shoppers who bought goodies from the “supermarket” that contain nothing. How will this change the way Asians value conceptual art?