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DTSTART:20220101T000000
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260116
DTEND;VALUE=DATE:20260315
DTSTAMP:20260623T102715
CREATED:20260103T144819Z
LAST-MODIFIED:20260103T144819Z
UID:10022243-1768521600-1773532799@cultureplus.asia
SUMMARY:Yirui Jia: Play Gravity
DESCRIPTION:Kiang Malingue is pleased to present at its Hong Kong location Play Gravity\, Yirui Jia’s first solo exhibition with the gallery. \nJia has created for the current exhibition more than twenty paintings that dilate on the spirited\, volatile\, and playfully expressive aspects of her art. A dozen paintings in Play Gravity depict an owl\, or an assembly of the nocturnal bird soaring and perching against a vehemently vibrant backdrop. A giant and a small owl can be found in Picnic (2025); these cross-eyed\, comical raptors bisects—effectively dismember—a reclining female figure who is seen playing a flute. The painting’s mottled surface accentuates the dishevelled\, strewn feathers\, nesting a slapdash reality that defies gravity\, where one collides and intertwines haphazardly with another. Storm Eye (2025)\, along with a smaller version of it that incorporates a layer of painted newspaper\, vertically divides the composition into two\, leaving a fluttering owl to the right side of the picture. The highly deformed human figure next to it is the red-haired heroine that Jia has portrayed in many of her works; the artist’s frenzied brushstrokes transforms her into a fiery\, cyclopean monument-figure\, whose gaping maw resembles a violent volcanic crater. \nInformed by the history of birds in art and literature—such as\, most notably\, Georg Baselitz’s bird paintings and Haruki Murakami’s The Wind-Up Bird Chronicle—Jia introduces birds into her practice as a vehicle to explore non-anatomical\, non-representational possibilities. The playfully constructed\, economically coloured owls dart and weave in curious gestures\, scattering their plumage onto other things\, landscapes\, and skies\, gnawing open a weightless\, disorienting world. Owl γ (2025) and Atlas 1 (2025) are similar in composition: the former gathering a flock of owls around an ice cube\, and the latter a bloody piece of meat. Jia’s depiction of encirclement and references to Chaïm Soutine’s carcass paintings intensify a kind of vitalist ferocity that has for long permeated her art. \nPlay Gravity also includes a selection of paintings that revisit some of Jia’s favourite subjects\, such as skeletons: Front and Back (2025) features a reclining flute player as in Picnic; this time\, her body is divided by and entangled with the front and rear sides of the same winged skeleton. Traffic cones\, Jia’s prominent signifier of grounded-ness and gravity\, also return in Storm Eye and Bones and Cones (2025); the latter\, along with the densely layered To Be or Not To Be (2025)\, incorporates found vintage maps and gel—devices Jia employs to create and encase additional layers of space in painting. The three Legendary La Rose Noire works\, which clearly reference the Hong Kong film 92 Legendary La Rose Noire directed by Jeffrey Lau\, provide space for Jia’s shapeshifting femme fatale to take over and perform a nocturnal vitality that is spontaneous\, uninhibited\, mischievous\, and victorious.
URL:https://cultureplus.asia/event/yirui-jia-play-gravity/
LOCATION:Kiang Malingue Wanchai\, 10 Sik On Street\, Wan Chai\, Hong Kong
CATEGORIES:Painting
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251107
DTEND;VALUE=DATE:20251225
DTSTAMP:20260623T102715
CREATED:20260103T145402Z
LAST-MODIFIED:20260103T145402Z
UID:10022244-1762473600-1766620799@cultureplus.asia
SUMMARY:Grace Carney: Subrisio Saltat
DESCRIPTION:Kiang Malingue is pleased to present at its Hong Kong location Subrisio Saltat\, Grace Carney’s first solo exhibition in Asia. The exhibition features a selection of new paintings and drawings from 2025. \nMajor pieces in the current exhibition including Subrisio Saltat (2025)\, D for Duration (2025) and The Rose of Onlooking (2025) took their titles from Austrian poet Rainer Maria Rilke’s seminal work Duino Elegies. Instead of narrating stories\, however\, Carney is concerned with orchestrating harmony and moments of dissonance\, balancing forces\, light\, gravity\, and heaviness of the paint in her work\, while leaving the right to read\, interpret and make intertextual associations to the viewer. \nYou\, Girl (2025) takes as its point of departure Italian Mannerist painter Bronzino’s An Allegory with Venus and Cupid\, transforming a figure borne aloft by angels into a highly abstract contour\, before rendering its body and movements substantially physical. The composition of pale\, irregularly shaped lights flooding through from different impossible sources\, effectively penetrating the central figure\, is counterbalanced by the remarkably dense textures over the translucent body\, turning this intangible corpus into an amalgamation of traces and marks.
URL:https://cultureplus.asia/event/grace-carney-subrisio-saltat/
LOCATION:Kiang Malingue Wanchai\, 10 Sik On Street\, Wan Chai\, Hong Kong
CATEGORIES:Painting
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250711
DTEND;VALUE=DATE:20250921
DTSTAMP:20260623T102715
CREATED:20250708T115525Z
LAST-MODIFIED:20250827T031329Z
UID:10021696-1752192000-1758412799@cultureplus.asia
SUMMARY:Liu Yin: Summer
DESCRIPTION:Kiang Malingue is pleased to present at its Hong Kong headquarters “Summer”\, an exhibition of recent paintings and works on paper by Liu Yin. The exhibition continues the artist’s exploration of nature that began with her 2023 exhibition “Spring”\, revealing gentle and surging emotions in flowers\, trees\, fruits\, seas and rocks. \nMore than a dozen paintings on view at Kiang Malingue’s Sik On Street space are organized into three chapters. In the first series of paintings\, one sees a number of fruit-figures floating and frolicking in the waters: works such as River #1 (2025) reflect the artist’s interest in small bodies of water\, such as rivers and streams\, where traces of life remain and constantly redefine the environment in which they are left—the natural elements found in the waters interact with one another\, adding another lively layer to the complex ecosystem of the flowing waters. In these paintings\, Liu continues to paint adorable shōjo manga faces over flowers\, leaves\, and fruits\, turning them into sentient\, sensitive beings. They are unapologetically emotional in the network of affect they form with the environments\, guiding the viewer’s gaze through compositions that deal with bodily concerns and expressiveness. Another work in this chapter\, Summer (2025)\, actively draws the viewer’s body into a verdant landscape where joyful flowers emerge from a deep labyrinth of branches and leaves.
URL:https://cultureplus.asia/event/liu-yin-summer/
LOCATION:Kiang Malingue Wanchai\, 10 Sik On Street\, Wan Chai\, Hong Kong
CATEGORIES:Painting
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250523
DTEND;VALUE=DATE:20250706
DTSTAMP:20260623T102715
CREATED:20250515T044352Z
LAST-MODIFIED:20250515T044352Z
UID:10021596-1747958400-1751759999@cultureplus.asia
SUMMARY:Chou Yu-Cheng: borrnnn
DESCRIPTION:Kiang Malingue is pleased to present at its Hong Kong space “borrnnn”\, an exhibition of more than a dozen paintings by Chou Yu-Cheng created in 2025. The new series of paintings is directly affected by the birth of Chou Yu-Cheng’s first child with his wife\, fellow artist Yang Chi-Chuan. The sheer joy inspired by the newborn child envelopes this series of meticulously crafted paintings\, which recognise metaphorically through ripe fruits and gourds new hopes shaped by love and life. \nIn 2024\, Chou developed during Yang’s pregnancy a new series of gradient paintings entitled “Imaginary Body”. Already anticipating the birth of the child\, the series is filled with natural\, organic forms that gradually connect with each other in a still chaotic environment\, patiently shaping a full\, complex body structure. The last two paintings from the “Imagined Body” series already shifted from depicting this process of bodily organisation to depicting a classic metaphor for the human body and fertility: the natural fall of a ripe gourd. The first line of Classic of Poetry: Origin of the House of Chow reads: “See the trailing young gourds\, how they spread/ See in these how our people first grew.” Gourds and melons alike have long been considered a symbol of continuous and vigorous life force. In Han Dynasty\, there were records of gourds being identified as auspicious signs; from Tang Dynasty to late Qing Dynasty\, there were an abundance of paintings depicting gourds and melons\, examining the metaphorical potentials of the rounded\, organic forms. \nIn 2025\, Chou began to create “borrnnn”\, a series that directly follows the “Imaginary Body” paintings. The new series\, situated between still life and portrait\, depict gourds by using exuberant contrasts\, cradling the ripened fruits in soothingly colorful environments. Chou also further develops his unique language of gradient painting with this series: by applying self-ground earth pigments on paper for the first time\, Chou allows the fine gradation of different color fields to pervade in a more organic\, free-flowing fashion. He then assembles on canvas the large or tiny pieces of paper with remarkable precision\, filling the composition with a gentle and playful relationship of colors. For Chou\, the basic logic of gradient painting is to respond to and capture light; the particularly figurative series of “borrnnn” balances technical and textural subtlety with a candid expression of unrestrained emotion. \nSuspended\, mounted on walls\, or perched on pedestals\, the “borrnnn” paintings on view at Kiang Malingue Hong Kong also demonstrate Chou’s longstanding interest in spatial physicality\, emphasising the relationship between the fruit and the pictorial space in a painting. The Chinese proverb “fall of the ripened gourd” is indicative of the subtle relationship between things and their environments\, as well as the potentials that the process of birth creates in the world.
URL:https://cultureplus.asia/event/chou-yu-cheng-borrnnn/
LOCATION:Kiang Malingue Wanchai\, 10 Sik On Street\, Wan Chai\, Hong Kong
CATEGORIES:Painting
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250320
DTEND;VALUE=DATE:20250514
DTSTAMP:20260623T102715
CREATED:20250411T070850Z
LAST-MODIFIED:20250411T070850Z
UID:10021537-1742428800-1747180799@cultureplus.asia
SUMMARY:Ho Tzu Nyen: Three Stories: Monsters\, Opium\, Time
DESCRIPTION:Kiang Malingue is pleased to present “Three Stories: Monsters\, Opium\, Time”\, an exhibition of recent films and video installations by Ho Tzu Nyen. This is the esteemed artist’s second exhibition with Kiang Malingue\, showcasing three independent bodies of work: “Night March of Hundred Monsters” (2021)\, O for Opium (2023)\, and a suite of more than forty “Timepieces” (2023). Timepieces was first shown at Ho’s recent mid- career survey show\, Time & the Tiger at the Singapore Art Museum\, which subsequently travelled to Art Sonje Center\, Hessel Museum of Art\, and Mudam Luxembourg – Musée d’Art Moderne Grand-Duc Jean\, next to be shown at the Hamburger Kunsthalle in November 2025. \nKnown for critically reflecting upon the construction of history\, myth\, ideas and identities by working across a range of media in the past two decades\, Ho continues to explore subjects as diverse as yōkai (monsters\, demons\, or spectres as they are known in Japan) and its intertwining with histories of Japanese Imperialism; the history of the opium trade; and the concept of time in particular manifestations. “Three Stories: Monsters\, Opium\, Time” is a structured exhibition that alludes to trailokya or the three realms\, the religious division of the world into three domains: the netherworld\, the earth\, and heaven\, allocated to the three-storied building of Kiang Malingue. \nIn the place of the netherworld\, “Night March of Hundred Monsters” is an ongoing project that is directly inspired by the Japanese folkloric tradition of envisioning a horde of monsters parading through nocturnal darkness. For the two “Night March of Hundred Monsters” video installations that are shown in a quasi-cinema setting made specifically for the exhibition\, Ho has observed the tradition and compiled\, in his signature style\, an animated encyclopaedia of monsters in which each individual yōkai is carefully depicted. In his picture scroll\, however\, one sees not only legendary monsters such as the Kitsune (Fox Spirit)\, Kappa (River Sprite) or Tanuki (Raccoon Dog). A number of historical Japanese individuals who participated in the occupation of the Malayan Peninsula during World War II\, including General Tomoyuki Yamashita and the wartime secret agent Yutaka Tani—both of whom were widely known as the Tiger of Malaya\, have found their way into Ho’s bestiary. Ho further complicates the structure of the origin stories by identifying the monsters in historical events: The Illusionary Monk\, for example\, is identified as the many Japanese soldiers who metamorphosed into monks in the last days of World War II. Another fabled creature\, Mokumokuren (Many Eyes of the Screen)\, is described as an analogy for the Thought Police in George Orwell’s 1984. These creatures remain firmly embedded in the everyday imagination\, imputed into the realm of popular culture through Japanese media such as anime and manga.
URL:https://cultureplus.asia/event/ho-tzu-nyen-three-stories-monsters-opium-time/
LOCATION:Kiang Malingue Wanchai\, 10 Sik On Street\, Wan Chai\, Hong Kong
CATEGORIES:Multimedia
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20241213
DTEND;VALUE=DATE:20250209
DTSTAMP:20260623T102715
CREATED:20241202T010841Z
LAST-MODIFIED:20241202T010841Z
UID:10019900-1734048000-1739059199@cultureplus.asia
SUMMARY:Evaporates
DESCRIPTION:The definition of a place coincides with architecture; transliterating market into mar-git\, two meeting and bonding together—an intimate relationship. A special bird call at 5 AM accompanied her over there in Phnom Penh. Gobble\, gobble\, om\, om. Taking nine steps to the south on the balcony\, sitting by an unknown corner table\, observing a long line of ants on their sugar hunt; collecting fruit-skins that curled up in distinctive gestures; a disoriented mosquito\, sucking blood\, landing on a familiar skin—this act of pausing achieved a balance between movement and stillness. The experience of living together in Phnom Penh allowed them to re-examine the ways in which one may participate in creation. To be caught in an unfamiliar environment can indeed\, at first\, sharpen one’s perception\, but cultural differences\, language barriers\, and the discomfort and anxiety that comes with the climate interfered on a daily basis; one had to also be mindful of the etiquette and emotional restraint that come with living with others. In an environment of unending heat\, an environment of production and material scarcity\, the will to create was held back by mundane tasks\, and every participant was dealing with a unique emotional challenge. The place where they have lived together\, its length\, its humidity\, its light and shadow change from one hour to the next; its animals\, its winds\, its some places may refer to a mood\, a sound\, or a smell\, rather than a physical space. \n“Evaporates” at Kiang Malingue’s Sik On Street space is organised by Yu Ji\, and is the first chapter born out of the self-organised residency program in Phnom Penh\, Cambodia. Featured in the exhibition are works by all artist friends who participated in PLAY KNOW ATTENTION: Casey Robbins (Vermont\, New York)\, Ho King Man (New York\, Guangzhou)\, Boat Zhang (Tokyo\, Shanghai) and Kojiro Kobayashi (Tokyo). The artists reminisce about the space and time of the residency in Hong Kong\, living together again at Kiang Malingue in the last month of 2024.
URL:https://cultureplus.asia/event/evaporates/
LOCATION:Kiang Malingue Wanchai\, 10 Sik On Street\, Wan Chai\, Hong Kong
CATEGORIES:Multimedia
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2024/12/6cccf1c7aab1438c299ad60226295d73.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20241207
DTEND;VALUE=DATE:20241215
DTSTAMP:20260623T102715
CREATED:20241122T015609Z
LAST-MODIFIED:20241122T015609Z
UID:10019881-1733529600-1734220799@cultureplus.asia
SUMMARY:Geumhyung Jeong: Spa & Beauty Hong Kong
DESCRIPTION:Kiang Malingue is pleased to present “Spa & Beauty Hong Kong”\, an exhibition by Geumhyung Jeong. The exhibition that runs from 7th through 14th December coincides with two performances by the artist\, featuring humanised objects\, props\, videos and a number of sundries used in daily routines. \nJeong’s body of work ranges from performance\, dance\, choreography\, theatre\, video and installation. Since the beginning of her career\, she has been investigating the relationship between the human body\, the objects that are immediately associated with it\, and its artificial counterparts through productions that combine languages and techniques from the fields of contemporary dance\, puppet theatre\, self-taught programming\, and the visual arts. In the course of the physical interaction between her body and the objects\, it becomes ambiguous who controls whom\, blurring the line between inanimate and animate\, the inauthentic and the genuine. \n“Spa & Beauty” was first presented at Tate Modern in London in 2017 and has since toured cities including Berlin\, Seoul\, Madrid\, and Vienna. The forthcoming exhibition at Kiang Malingue’s Tin Wan space is a new reiteration of the evolving project\, exploring the relationship of body-objects\, highlighting the tactility of a type of highly industrialised care manifested in beauty and body care products. Brushes\, sponges\, soaps and other functional objects that touch our naked body on a daily basis form a disconcerting display\, creating a narrative that invites one to reconsider ideas of beauty\, intimacy and consumption. The two scheduled performances on the 7th and 14th of December are effectively a series of demonstrations\, in which the artist\, treating her body as a medium par excellence\, activates the modern artefacts by using them in particular\, even idiosyncratic ways\, shedding light on the sprays\, bottles\, bathtubs\, and the pleasure of consuming and touching. \nOpening | Saturday\, 7 December\, 4 – 6 pm\nPerformance | 7 & 14 December\, 4 – 4:40 pm
URL:https://cultureplus.asia/event/geumhyung-jeong-spa-beauty-hong-kong/
LOCATION:Kiang Malingue Aberdeen\, 13/F\, Blue Box Factory Building\, 25 Hing Wo Street\, Aberdeen\, Southern\, Hong Kong
CATEGORIES:Multimedia
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2024/11/b5255259583712041196c6ae9e8cbea7-e1732240533988.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20241026
DTEND;VALUE=DATE:20241124
DTSTAMP:20260623T102715
CREATED:20241022T041446Z
LAST-MODIFIED:20241022T041446Z
UID:10019806-1729900800-1732406399@cultureplus.asia
SUMMARY:Jin Mei
DESCRIPTION:Kiang Malingue is pleased to present at its Tin Wan space an exhibition of drawings by Jin Mei. This is the first comprehensive exhibition of more than 150 drawings by the artist\, tracing the origin and developments of Jin Mei’s drawing practice since 2015. The exhibition is accompanied by an essay written by Jin Mei’s daughter Chang Yuchen\, who acted as the editor of the artist’s recent publication\, jm.
URL:https://cultureplus.asia/event/jin-mei/
LOCATION:Kiang Malingue Aberdeen\, 13/F\, Blue Box Factory Building\, 25 Hing Wo Street\, Aberdeen\, Southern\, Hong Kong
CATEGORIES:Ink & Drawing
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2024/10/40eee137213c128f6b29de88dca9ab6b.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20241024
DTEND;VALUE=DATE:20241124
DTSTAMP:20260623T102715
CREATED:20241017T102125Z
LAST-MODIFIED:20241017T102125Z
UID:10021131-1729728000-1732406399@cultureplus.asia
SUMMARY:Su-Mei Tse: Daydreams
DESCRIPTION:Kiang Malingue is pleased to present “Daydreams”\, an exhibition of Su-Mei Tse’s sculptural and photographic works. It is the artist’s second exhibition with the gallery since “Elegy” in 2017\, featuring around twenty recent works finely placed in the space of Kiang Malingue’s Sik On building. \nFor Tse\, the formation of daydreams is a personal sharing of the everyday life\, and a sensitive operation that is particularly poetic and substantial in relation to the world’s reality today. “It helps me to handle the everyday experience and to deal with suffering in the world by shifting the view and weaving the vulnerable material into my artistic process.” Against overwhelming waves of negative news\, threats and crises\, daydreaming and the pursuit of poetry could be regarded as a vital practice\, empowering an individual by offering alternative perspectives and a sheltered space of one’s own. \nTse composed the exhibition in the spirit of disposing written notes in a rhythmical\, circular choreography that traverses the space. This is the process by which recurring motifs\, voices\, images and words emerge\, simulating the ways daydreams take shape as sublime\, seemingly intangible visual manifestations\, and then dissipate just as quietly before making another return. \nOn the ground floor of the Sik On building\, one sees in Ear (nested) (2024) a found bird’s nest atop an Italian-style table from the artist’s personal antique collection\, as well as a black & white image of an ear occupying the nest. From a surrealist sign that hints at the presence of discrete sounds and silent moments throughout the space\, to the artist’s well-known treatment of nestling bodies and fabrics\, as well as the intention of incorporating temporal inscriptions—this peculiar\, feathered object from the artist’s home sets the conditions for daydreaming. \nThe brass pieces Sealed (2024) here presented as a triptych are indicative of Tse’s fascination with the Japanese tradition of tsutsumu\, which is a delicate form of wrapping used to protect fragile objects and to show respect for others. Tse has used strings in previous works such as Le Coup scellé (2014)\, and has explored wrapping as an act of significance in works including Pieds bandés (Bound feet) (2000). The recurrent interest in strained strings can also be traced back to the artist’s musical background as a cellist. Here\, she combines the technique with an insistence on tension and creates an enveloped form that insulates as it gently traces fissures and openings\, in the spirit of a drawing. With Entanglements (2024)\, an installation presented in the white cube space of the gallery\, Tse creates another work with the same wrapping gesture\, addressing similar topics around vulnerability and around coping with an entangled world\, but contrasting Sealed with its mat\, silent material. \nBroken (teapot) (2024)\, also on view\, captures the fragile nature of reality. Collapses and accidents that take place in life are understood by Tse through the perspective of creation; the remains of a broken teapot are sublimated into a new entity\, encouraging one to consider\, rather than in terms of repair and restoration\, an experiential moment of authenticity that is cherished. In addition to exploring existential dilemmas\, the repeated spheric forms in “Daydreams”—including the hand-made Dorodango (2024)—explore the deeper meaning of creation\, and can be seen as directly linked to the video work Shaping (2019)\, projected on the ground floor of the gallery. \nTowards the end of the exhibition\, before reaching Love Letters (2024)\, an installation made of unwrapped\, thin paper-like porcelain sheets\, is the text piece God sleeps in stone (2024) that adapts an ancient quote and reads: “God sleeps in stone/breathes in plants/dreams in animals and awakens in man.” By dwelling in spiritual and meditative moments\, Tse delicately transforms fragments and mundane entanglements into a pure and poetic visual score.
URL:https://cultureplus.asia/event/su-mei-tse-daydreams/
LOCATION:Kiang Malingue Wanchai\, 10 Sik On Street\, Wan Chai\, Hong Kong
CATEGORIES:Photography,Sculpture
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2024/10/2c92d667070260976022eea3eb2ef1ba.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240921
DTEND;VALUE=DATE:20241020
DTSTAMP:20260623T102715
CREATED:20240917T073743Z
LAST-MODIFIED:20240917T073743Z
UID:10021053-1726876800-1729382399@cultureplus.asia
SUMMARY:Yeung Hok Tak: I See You There
DESCRIPTION:Kiang Malingue is pleased to present “I See You There”\, Yeung Hok Tak’s second exhibition with the gallery after “What A Big Smoke Ring” in 2022. Showcasing nineteen new paintings at the gallery’s Tin Wan 12F space\, Yeung balances lyricism and cynicism on canvas by depicting a variety of characters\, landscapes and stories that are nostalgic\, amusing and affectionate. \nIn the last fifteen years\, Yeung has developed a unique painting practice that incorporates his rich experience as a comic book author. Dealing with a variety of subjects—such as absurd turns of events on the streets\, lonely and defiant figures against epically silent backgrounds\, or fantasy stories and fables in which animals and action figures play prominent roles— Yeung’s exuberant paintings explore intimate emotions\, treasured memories\, and complex relationships between people and places. \nIn “I See You There”\, large-scale paintings including Faintly Hearing Auld Lang Syne (2024) is exemplary of a new style\, which involves a particularly luminous palette and a suavely smooth surface. The brilliant\, crisp compositions romanticise classic Hong Kong landscapes by introducing surreal elements\, and by telling stories that are nostalgic and extraordinary in essence. In a number of smaller paintings\, Yeung also returns to the subjects of friendship and familial love\, carefully portraying eccentric\, otherworldly characters that either disrupt or harmonise the urban life in a strange way. All My Gundams Had Been Trashed (2024) tells one of Yeung’s favourite stories: gundams and teen spirits getting old. The gundam and his nemesis are both homeless now\, killing time in a bloody sunset. Both Junior Lion Dancing Club (2023) and Street Interview (2024) deal with juveniles by depicting “lion cubs” in different states: the adorable\, exhausted children in the former are having a break\, while the heavily- maned werelion in the latter is having a breakdown. \nGonna Get You All (2024) features an intimidating dragon playing hide- and-seek in a residential area with children. Yeung’s short story that goes with the painting encapsulates the complicated nature of his art\, combining contentious political ideas and sincere messages of care: “…A hider has to be cautious and leaves no traces; once caught\, he must in turn assimilate and become the seeker. It’s no fun when everybody is the same. Don’t conceal yourself too much though\, or mom and dad won’t be able to find you.” For Nothing To Declare (2024)\, a painting of a casual exhibitionist waiting for the train with a bubble tea in his hand\, Yeung wrote: “As you can see\, I am a bona fide gentleman who has always been honest and has nothing to hide. If you still have any doubts\, I will be happy to discharge the pearl I have just swallowed for your examination.” With a unique sense of humour\, Yeung deals with preposterous realities\, reimagining the ways in which outsiders\, dissidents and goners situate themselves in rapidly changing environments.
URL:https://cultureplus.asia/event/yeung-hok-tak-i-see-you-there/
LOCATION:Kiang Malingue Aberdeen\, 13/F\, Blue Box Factory Building\, 25 Hing Wo Street\, Aberdeen\, Southern\, Hong Kong
CATEGORIES:Painting
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2024/09/4daa79161b6f0cccd51933df9a8cc733.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240912
DTEND;VALUE=DATE:20241013
DTSTAMP:20260623T102715
CREATED:20240903T045108Z
LAST-MODIFIED:20240903T045108Z
UID:10021035-1726099200-1728777599@cultureplus.asia
SUMMARY:Nabuqi: Geopoetics regarding a waterless sea
DESCRIPTION:Kiang Malingue presents “Geopoetics regarding a waterless sea”\, Nabuqi’s third exhibition with the gallery. Based on an eponymous novel by author Chen Si’an written for this exhibition\, Nabuqi has created a new body of sculptures and installations that investigates the changes of time\, memory\, spirituality and faith\, the distinction between land and sea\, and the intertextual relationship between literature and sculpture. \nNabuqi collaborated with Chen for the first time on the occasion of the Beijing Biennial in 2022\, producing a distinct series of sculptures including Thread\, and Symmetry (Residence and Tomb) based on a perusal of The Flame Within\, an anthology of Chen’s short stories. The foundation of the current exhibition is a structured collaboration: Nabuqi first commissioned Chen to create a chaptered novel after conducting research in Hong Kong; she then conceived a new body of work that in turn became the starting point from which Chen expanded the novel. The exhibition’s title is derived from the novel\, and the individual artworks are also named after the chapters and elements that appear in the literature. Nabuqi’s long-term practice is characterized by a concern for the diverse literary traditions of China and Europe—from The Black Dwarf by Walter Scott to Autumn Night by Lu Xun—the current exhibition of “Geopoetics regarding a waterless sea” is another attempt to nurture forms with words\, and to rewrite stories sculpturally. \nA group of six “How do humans obtain from the sea things that it does not possess” works addresses the relationship between land and sea\, rendered inseparable by the idea of desire in Chen’s novel. These slender sculptural pieces seem like unbalanced tools or improvised weapons\, or some kind of key (Chen: “To understand this place\, those who arrive from an indefinite future must rely solely on narrative. Is story. Is key.”). Nabuqi aimed to create a series of sculptures as modest and quiet as “an existence of nothing\,” incorporating in different parts photographs taken in Hong Kong\, including a view of Victoria Park\, a fish tank at a seafood market\, a beach\, and the statue of Queen Victoria. Using geography and local histories as metaphors\, Chen’s narrative reimagines the transformation of human and non-human beings as they flee from land or sea\, while Nabuqi’s objects fold Hong Kong\, a unique destination\, onto itself. \nIn recent years\, Nabuqi has frequently used found images in her art\, combining photographic and sculptural forms through either incongruous or harmonious combinations. The four works in the series “Fish finding a path ashore” continue the artist’s exploration of light sculptural forms since the exhibition “Cold Nights” in 2017\, layering found images on irregular cylindrical shapes. The artist first printed the images onto archival paper\, then folded them before coating a layer of clear resin over the surface to create uncanny oceanic forms that are both floppy and plumb. \nIn Chen’s story\, the Geo-cataloguer is an eccentric specialist who documents all topographies\, a patient\, calm and even cruel observer of geological changes. On the esoteric map that he works upon day after day\, “a stream from thousands of years ago penetrates cloud-reaching skyscrapers; an overflowing muddy swamp infested with sick flies houses a colossal\, densely wired power station; boils underneath the hustle and bustle of an urban district is a marching canal… Layer after layer\, the topographies used to adhere fast to the earth as skins immediately attached to bodies\, but are bloodily peeled off before they have fully withered.” Nabuqi’s response to this figure is Geo-cataloguer\, a sculpture that is also informed by her table works shown at the Centre Pompidou x West Bund Museum Project\, Shanghai in 2022. The cast aluminium sculpture\, which is only 3 to 5 mm thin\, represents the cryptic map in the story\, an encyclopaedic chart that is at once ephemeral and unbearably voluminous. For Nabuqi\, it is a surface that is “fragile and manifold\, in which one casually becomes another without the possibility of definition.” The use of resin and clay in “Geopoetics regarding a waterless sea” reintroduces the handmade quality of her previous works\, which also aligns with the novel’s emphasis on the bodily\, the haptic and the unearthly—in the novel\, a rock describes its friendship with a bird: “The companion’s language is gesture\, speed\, and its immersion of itself into the waves with all its strength. My language\, is permanence\, solidity\, and a barely noticeable tremor.” \nSituated on the gallery’s rooftop space is It\, a sculpture that is evocative of the many transformations that take place in Chen’s chapters: fish that yearn for a life ashore\, and Tanka people who fled the land thousands of years ago. The Tanka people are a unique community of fishermen who make boats their home. Some scholars have traced their origins to the ancient Yue ethnic group\, who fled from the rule of Qin and migrated into the sea. Chen portrays in her story the last Tanka\, who emits the fragrance of squeezed shoulang yam juice from his shirt\, complacent and proud of his unique legacy and identity. This Tanka frowns upon Song Dynasty scholar Zhou Qufei’s account that demonises his people\, and is yet pleased with naming himself after Zhou’s words: “roaming between heaven and earth.” In the artist’s signature style\, Nabuqi’s It reflects upon a number of traditions of modern sculpture in terms of materiality and form\, and shapes a paradoxical form that is stubborn yet soft\, firm yet hollow—a structure that stands by a “key\,” a story.
URL:https://cultureplus.asia/event/nabuqi-geopoetics-regarding-a-waterless-sea/
LOCATION:Kiang Malingue Wanchai\, 10 Sik On Street\, Wan Chai\, Hong Kong
CATEGORIES:Multimedia,Sculpture
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240718
DTEND;VALUE=DATE:20240901
DTSTAMP:20260623T102715
CREATED:20240708T102707Z
LAST-MODIFIED:20240708T102707Z
UID:10019598-1721260800-1725148799@cultureplus.asia
SUMMARY:Dominique Knowles: The Solemn and Dignified
DESCRIPTION:From afar\, Dominique Knowles’ paintings look like soft animal hide I could sink my face into. “Just go by what you experience and feel\,” he says\, when I ask how I should approach his art. Swathes of afternoon orange\, marred by flecks of black like small slits of the void. A featureless being plunging face-first into an icy pool. Knitted walls that open up to a sky\, blue as a balm against the encroaching fire. A stain of blood against a blinding canvas of light. That these works are titled My beloved only adds to the unease. What was it that he was mourning? What was I mourning? \nDominique didn’t know where home was. He had lived in Chicago\, Paris and Florida\, and these days he was in various art capitals around the world for months at a time\, the kind of vagabond life that looked enviable from a distance but became unmooring after a while. (Had he said this\, or was I projecting?) For a long time\, home was where his horse Tazz was\, in his native Bahamas. Tazz had been a constant companion to the artist since he was four – he felt he had manifested him by making miniature horse sculptures before he even had his own horse. It was his first experience in creating art to fulfil his heart’s desires. Then\, in 2021\, in the midst of the pandemic\, while Dominique was away\, Tazz’s body started failing. Dominique flew from a horse show in Florida back to the The Bahamas and made the difficult decision to euthanise him. “If I had been there\,” he said\, “I wondered if Tazz would have stayed alive.” \n“Died of a broken heart. There’s nothing else you can say\, really.” I brush the ash from your cheek\, smear it across my tongue. For a year\, I lived in a house between a cemetery and a suicide bridge. My apartment was haunted by the woman who had died just a month before I moved in\, and I kept getting all her mail. I offered these facts to friends as though it was a joke\, but really\, I had hoped living among the dead would render me more alive. Instead\, I faded against the landscape\, translucent and sopping. \nThe first time I met Dominique Knowles\, he had just woken up from a nap in the Lamma village house in which we had both found ourselves. He had stayed up all night on a call with a beloved friend several time zones away\, and was in the city because he had been commissioned by a gallery to paint a wall. Soon he was worn out by the heavy crowds and the spiny skyscrapers; he craved the water and trees of The Bahamas\, and moved out to the island. He asked me about the two books I had left on the dining table – Derek Jarman’s Blue and Etel Adnan’s Sea and Fog. They were my talismans\, I explained. Lamma was my blue island. Within the first hour we had covered attachment theory\, Zadie Smith\, the nature of intimacy\, and the mushiness of time during moments of political and public health crises. Later\, when I asked the artist about his latest obsessions\, he sent me an article about the Mishaka Pond in Japan’s Nagano Prefecture\, where the waters were so clear the surrounding trees were mirrored onto the surface. I didn’t understand until I looked up Kaii Higashiyama’s painting Midori Hibiku (1972). There it was\, between rows of towering trees and their reflection – a majestic white horse\, trotting across the woods. \n“With horses\, you have to be very zen\,” Dominique Knowles says. “Horses can recognise your feelings but they don’t understand why you have them. A horse can hear your heartbeat from 1.2 meters away.” The animals mimic each other’s movements to guard themselves from predators. In that sense\, they are perfect mirrors\, a reflection of the outside world. “Picture a horse’s heartbeat in the center of the herd in a field – radiating outwards to the horse at the edge of the forest of trees.” \nDominique Knowles was dressed in mourning tones of black\, standing in front of an inferno he had created. Among the nineteen photographs I took of him that day\, on the second day of Hong Kong’s art fair of the year\, he is smiling in just four of them. He is aware of the artist persona he has to maintain\, though he performs it with a note of irony. Even in casual conversations\, he speaks with the measured pace of a writer. Sometimes he wishes the art world would put on fewer exhibitions and organise symposiums instead. He doesn’t particularly care what pronouns you use for him\, though elsewhere he has described his work as “metaphors for queer desire”. The performance is Dominique’s way of both meeting and betraying the audience’s expectations. A teacher once told him: “The way you move through the world doesn’t have to be your truth.” His paintings are tender but violent\, like the poems of Franny Choi. He is always reaching towards a soft death. Later\, when he sent me a screenshot of Noriyuki Haraguchi’s Oil Pool\, all I saw was a gleaming\, bottomless well of black grief. \nThe island is a self-intervention – the grief was boring me. Lilac morning glories turn stupidly towards the sun. I strip down to my underwear and run into the cradle of the water. The place where light could no longer reach the ocean is the midnight zone. Back at home I show you my bruised knee\, and you press your lips against my blue-black skin. \nMy beloved\, my beloved\, my beloved\, my beloved\, my beloved. Say it once and it remains an expression of adoration; say it five times and it becomes an incantation to summon what has been lost. “I would go into the work thinking of a burial\, but it would come out a resurrection\,” Dominique Knowles once said in an interview with Elephant Magazine. Ghosts dominate in two of the canvases – a horse depicted in sensual brushstrokes of chestnut\, and a figure in white that could be his grandfather\, a poet who often invoked the phrase for all that was around him\, even stray dogs. At his funeral\, a line of mourners formed from the cathedral to the cemetery\, all crying out\, my beloved! What he called people endearingly\, Dominique said\, became his name eternally. Are the figures emerging from\, or walking into the flames? Who is left here to gather the things we lost in the fire in the ruthless morning? \nI drift from street to street\, retrieve the remaining evidence and bury it between my ribs. The grief has no name. Or rather it did\, once upon a time\, but it’s since been redacted. The mass has congealed and I knead it until a head takes shape. My beloved\, I say. My beloved. That is not what I wanted to call the absence\, but it will do for now. \nBy Karen Cheung
URL:https://cultureplus.asia/event/dominique-knowles-the-solemn-and-dignified/
LOCATION:Kiang Malingue Wanchai\, 10 Sik On Street\, Wan Chai\, Hong Kong
CATEGORIES:Painting
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20240517
DTEND;VALUE=DATE:20240630
DTSTAMP:20260623T102715
CREATED:20240508T083319Z
LAST-MODIFIED:20240508T083319Z
UID:10020771-1715904000-1719705599@cultureplus.asia
SUMMARY:Zheng Zhou: Spanish Grilled Fish
DESCRIPTION:Kiang Malingue presents Zheng Zhou’s fourth exhibition with the gallery “Spanish Grilled Fish”\, showcasing more than ten paintings completed between 2019 and 2023. \nZheng has continued in recent years to base his painterly creations on free movements of brilliant colours\, seeking visions and signs from the interplay of the paint and the canvas in a manner similar to ancient Chinese divination practices. When painting\, Zheng is less concerned with representing fragments of reality or producing a predetermined scene\, than with observing the free flow of paint on self-stretched canvases\, before discerning in the splashes and drips human figures\, animals\, plants\, atmospheres and stories. For Zheng\, the proper act of painting is\, instead of the actual mark-making process\, the viewing experience in the studio\, which might last up to six months. He constantly and repeatedly examines the paintings in different stages\, adding new elements that can be either harmonious or unsettling\, rendering richly textured\, fabulous scenes.
URL:https://cultureplus.asia/event/zheng-zhou-spanish-grilled-fish/
LOCATION:Kiang Malingue Wanchai\, 10 Sik On Street\, Wan Chai\, Hong Kong
CATEGORIES:Painting
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20240517
DTEND;VALUE=DATE:20240630
DTSTAMP:20260623T102715
CREATED:20240508T082931Z
LAST-MODIFIED:20240508T082931Z
UID:10020768-1715904000-1719705599@cultureplus.asia
SUMMARY:Fabien Mérelle: From island to island\, the landscape that disappears
DESCRIPTION:Kiang Malingue is pleased to present “From island to island\, the landscape that disappears”\, an exhibition of recent drawings on paper\, tuffeau stones and ceramics by Fabien Mérelle. The drawings are part of the ongoing project to portray the landscape and topography of Pointe de Gatseau on Oléron Island (Île d’Oléron) off the west coast of France\, which began eight years ago. \nA suite of thirteen ink on paper drawings continues to explore the unique landscape on Oléron Island\, where the land gradually vanishes due to global warming. Mérelle initiated the long-term series in 2016\, immersing his own avatar—a man in his pyjamas\, always remaining in proximity to dreams and nightmares alike—into Oléron Island’s natural environment\, occasionally interacting with man-made structures along the shores. After contemplating the environment for half a decade\, Mérelle realized that he was drawn to the landscape because it has disappeared; drawings made in 2016 could no longer represent the reality of the island\, where land is gradually eroded away as sea level rises. Making visible the water for the first time\, a large number of drawings shown in “From island to island\, the landscape that disappears” are effectively documentations of trees\, rocks\, bunkers and barricades that are now under water.
URL:https://cultureplus.asia/event/fabien-merelle-from-island-to-island-the-landscape-that-disappears/
LOCATION:Kiang Malingue Wanchai\, 10 Sik On Street\, Wan Chai\, Hong Kong
CATEGORIES:Crafts,Ink & Drawing
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20240514
DTEND;VALUE=DATE:20240630
DTSTAMP:20260623T102715
CREATED:20240502T132055Z
LAST-MODIFIED:20240502T132055Z
UID:10020756-1715644800-1719705599@cultureplus.asia
SUMMARY:Jan Gatewood: It's Very You
DESCRIPTION:i: gore \nThe body is falling. Between the gusts of wind and the way that buildings soar past them as they plummet\, this feeling is unlike anything else they’ve ever felt. With outstretched limbs\, they reached for something to define this feeling\, wondering if grace sounded right. There is a pool of blood slowly expanding outwards from the back of their head. The body is a sight to behold. The body is\, slowly but surely\, being opened up\, the fragments of what kept it together made viscerally clear.  It is more than just blood that seeps out of the wound; it is the soul\, the self that they constructed for themselves. Each drop of blood another fragment of someone who no longer knows where they’re going. All they know\, all they can hold on to\, is where they’ve been\, who they became. Seeing red\, they hope that they might become\, again. The fall was just the beginning\, and even that dull thud didn’t hurt as much as what comes next; that impulsive\, desperate scrawl\, the digging deep\, of being put back together again. \nii: stitches \nThey admire the scar in the mirror; a long\, deep gash on the back of their head. If they look at it closely enough\, they can see the suture that holds it—them—together. Whenever this happens\, they’re tempted to pull at it\, to see what happens if they come apart again. They give it a short\, firm tug. The tension on their sutures brings them back to that feeling of falling\, back at the top of the hill—one always finds one’s burden again—finding peace not in their brutal descent\, but the knowledge they can go back again\, their body not as final or finite as they first imagined it to be. After getting a haircut\, they wanted to make sure that the scar\, the suture\, was visible to anyone that might look their way. There is power in being able to point to the ways in which we’ve been put together\, a hastily assembled mass of scars and stitches\, constantly striving to become more than the things which first held us together; more malleable than we might ever imagine flesh and blood to be. \niii: other raw materials \nA deeply personal archive: the playbill for a production of Six Degrees of Separation; the cover of an album by Simply Red; a barely legible line of text that makes reference to X-Ray Spex. The point seems to be that these errant words\, these layers of references\, challenging how faces look\, or what’s in a name\, are difficult to decipher. Source material becomes less abstract and more visceral; a tool through which things might be (re)made. Even the paper looks as if it’s been stitched together\, or overwritten. The sense of self might not even exist\, at least not in a concrete way; instead\, it becomes a palimpsest\, the verse of a Prince song ripped from context and used elsewhere\, like language being spoken anew.
URL:https://cultureplus.asia/event/jan-gatewood-its-very-you/
LOCATION:Kiang Malingue Aberdeen\, 13/F\, Blue Box Factory Building\, 25 Hing Wo Street\, Aberdeen\, Southern\, Hong Kong
CATEGORIES:Ink & Drawing,Painting
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20240325
DTEND;VALUE=DATE:20240505
DTSTAMP:20260623T102715
CREATED:20240317T193652Z
LAST-MODIFIED:20240320T151011Z
UID:10019303-1711324800-1714867199@cultureplus.asia
SUMMARY:Wong Ping: anus whisper
DESCRIPTION:Kiang Malingue presents “anus whisper”\, an exhibition of recent installations\, sculptures\, and films by Wong Ping. Inspired by the experience of paracusia\, Crumbling Earwax\, Georges Bataille’s The Solar Anus\, and a tête-à-tête with a stranger in bed in the afternoon\, the sizeable artworks thematically and formally correspond to one another\, exploring the aesthetic meaning(-lessness) of bullshit\, expanding Wong’s curious body of art that revolves around circular narratives and motifs.The titular anus whisper (2024) departs from the erotic-topological story of Crumbling Earwax (2022)\, incorporating an unprecedented portion of newly filmed footage in the animated story: while fart sounds are generally commonly assumed to be natural\, they are in fact the product of the protagonist’s laborious efforts to improvise sounds as people fart. In anus whisper\, he is seen conversing in bed with a stranger before heading to work; the newly found experience of anal auditory hallucinations reminds him of an irreconcilable relationship with another stranger. Interwoven into Wong’s story is Bataille’s early surrealist text The Solar Anus (1931)\, repeatedly and freely parodied in the film that confounds both the senses\, and the dichotomy between the cephalic and the sexual-intestinal—the anus is taken as a mouth through which whispers are emitted\, and words are in turn transformed into abject things. Numerous lines from Bataille’s text\, such as “Disasters\, revolutions\, and volcanoes do not make love with the stars\,” serpentine and metamorphose in the film. In addition\, the possibility of becoming one’s lover as suggested by the French author (“Without knowing it\, he suffers from the mental darkness that keeps him from screaming that he himself is the girl who forgets his presence while shuddering in his arms.”) finds resonance in anus whisper‘s topological confusion of bodily cavities and canals\, and of love\, fetishism\, aversion and apathy.Wong often acts as the sole voice-over narrator for many of his videos and animations\, telling stories about interpersonal connections and relationships. For the present exhibition\, Wong fosters interactions and collaborations in the creative process: working with artists\, musicians\, and professionals from different backgrounds\, Wong invites actors to perform on and off screen\, delivering dialogues that are at once profound\, passionate and ambiguous. The new sculpture      ) * (     (2024) also occasions another collaboration: Wong invites a musician to improvise with a trumpet inside the giant asshole sculpture at the opening of the exhibition\, echoing the story of anus whisper.Also included in the exhibition is the three-channel video installation Crumbling Earwax (2022) and blah-blah-blah (2022); the latter employs earwax fired into a copper ear sculpture to produce paracusia sounds reminiscent of church bells. After the exhibition of “Your Silent Neighbor” at the New Museum in 2021\, the two monumental pieces were commissioned for the exhibition “Earwax” at Times Art Center Berlin in 2022\, demonstrating Wong’s expanding interest in inner experience—channeled by the eyes\, ears\, mouths\, noses\, skins\, and genitalia. Towards the end of anus whisper\,  Wong declares after Bataille that “earwax is the parody of tolls\,” contemplating the excess that is the negligible\, abject things such as earwax\, auditory hallucinations\, filth\, or shit talk out of an asshole. The time has come to restore power to the filth being watched.
URL:https://cultureplus.asia/event/wong-ping-anus-whisper/
LOCATION:Kiang Malingue Wanchai\, 10 Sik On Street\, Wan Chai\, Hong Kong
CATEGORIES:Multimedia
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20240324
DTEND;VALUE=DATE:20240623
DTSTAMP:20260623T102715
CREATED:20240306T140626Z
LAST-MODIFIED:20240306T140626Z
UID:10020597-1711238400-1719100799@cultureplus.asia
SUMMARY:Liu Xiaohui: Flowers of Hong Kong
DESCRIPTION:Kiang Malingue is pleased to present “Flowers of Hong Kong”\, Liu Xiaohui’s first solo exhibition in Hong Kong\, showcasing twenty sets of oil and tempera paintings. A number of the artworks in the exhibition were created when Liu was the artist-in-residence at Kiang Malingue in 2023. The recent paintings in various sizes combine the artist’s newly found interest in flowers; long-term fascination with the human body in action; a focus on the solitary female figure\, and an experience of identifying with the external world triggered by the environment of Hong Kong.Ten years ago\, Liu pondered the themes of flowers and nature with a number of depictions of the Chinese rose on paper. He revisited the subject in 2021 and created a series of hibiscus paintings\, celebrating modesty and tenderness of the plant. For Liu\, the continuous and laborious practice of painting has influenced the way he treats the forms and colours of flowers in recent years\, and has also prompted him to regard flowers as a symbol for natural\, uncontrived\, and truthful gestures. Brushstrokes\, therefore\, should emulate or mirror the natural state of the flowers. Flowers and plants featured in “Flowers of Hong Kong” exhibition include lilies\, red and white hibiscus\, hydrangea\, and roses; Liu repeatedly examines the individual plants\, portraying in different scales the serene yet vivacious natural beings through contrasting colours and orderly compositions.The two Lilies (2022) continues to isolate the flowers as the sole subject of representation\, while Reading and Lilies (2021-2023) in a more complex arrangement integrates the various elements Liu has explored in the last two decades: subtle\, quietly disturbing colours; overlapping\, stacking rectangular structures and shapes; pictorial depth that is playfully hindered and mystified; a solitary female figure who turns away from the viewer\, and a meek\, graceful cat. White Hibiscus (2023)\, White Hibiscus With Black Background(2023)\, and Untitled – Standing in Front of the Red Hibiscus (2021-2023) are related to one another in a similar fashion: Liu’s recontextualisation of flowers turns the natural beings into pictures-within-pictures that are larger than life\, responding fancifully to the enumerated realness of the interiors. The nebulous Reading and White Hibiscus (2023)\, on the other hand\, confuses the figures in the foreground with the looming buds in the background\, evocative of Goya’s engraved fantastic scene.In the exhibition “Flowers of Hong Kong”\, works focusing on the movement of the human figure such as Labor Movement With Red Headband (2020-2024) and Labour work at Industrial Building (2023) reiterate the artist’s interest in labor and contortions. The Island(2023)\, On the Sea (2023)\, Hydrangea and Sunset (2023)\, and other groups of small-scale tempera paintings splice fragmented objects and scenes\, laying out meandering narratives comprised of intricate and detailed sights. The exhibition space of “Flowers of Hong Kong”\, designed by Tian Jun\, counterbalances the industrial atmosphere of the Kiang Malingue Tin Wan studio space by remapping the room\, introducing an artificial environment that intimately and physically contextualises the paintings.
URL:https://cultureplus.asia/event/liu-xiaohui-flowers-of-hong-kong/
LOCATION:Kiang Malingue Aberdeen\, 13/F\, Blue Box Factory Building\, 25 Hing Wo Street\, Aberdeen\, Southern\, Hong Kong
CATEGORIES:Painting
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240324
DTEND;VALUE=DATE:20240428
DTSTAMP:20260623T102715
CREATED:20240319T185647Z
LAST-MODIFIED:20240320T151937Z
UID:10020664-1711238400-1714262399@cultureplus.asia
SUMMARY:Carrie Yamaoka: lucid / liquid / limpid
DESCRIPTION:Kiang Malingue is pleased to present at its Tin Wan studio space lucid / liquid / limpid\, Carrie Yamaoka’s first exhibition with the gallery\, also the artist’s first exhibition in Asia. Carrie Yamaoka is a New York-based visual artist whose work spans painting\, sculpture\, photography and drawing. Featuring mostly recent works and including some works that date back to 2009\, the exhibition provides a glimpse of the artist’s handling of material\, process and reflectivity\, in an evolving body of work that revels in transformation and flux.The surfaces of silver mylar\, urethane resin and vinyl film are reflective here\, to varying degrees\, also almost topographical\, chronicling the trajectory of their facture. Yamaoka is interested in the way error\, defect and chance influence the outcome of the object. Black and silver vinyl is acted on by the heat generated by sunlight in her studio and it responds by rippling. Sometimes she pours black paint onto the surface of reflective polyester film\, and then rolls it up while still wet; when she unrolls it\, the paint lifts off in random traces on the other side of the reflective film — this then forms the basis of 72 by 45 (lift-off)(2023).  She sets up the conditions for things to happen\, but does not compose the picture. Always shifting and never static\, the artworks in turn set up conditions for the viewer to experience engaging with the object. The viewer becomes author and editor\, complicit in the making and re-making of a picture constantly in flux. The folding and unfolding action Yamaoka performed when making 20 by 16 (black vinyl fold) (2015/2024) left a crease running down the left-hand side of the work. The invisible residue left by the artists fingerprints on the black vinyl had formed a kind of resist. This caused the clear resin the artist poured on top to lift ever so slightly in certain spots over time. This work thus continues to develop in time\, re-structuring the artwork set up in the original “photographic” moment almost a decade ago. Yamaoka has recently re-poured a fresh coat of resin on top—a gesture in keeping with her current revisiting of older works.The cast flexible urethane resin works on view are part of an ongoing series of works that began in 2007. Particles of powdered pigment are suspended in resin and poured into a mold along with a sheet of reflective polyester film. The heat generated by the curing of the resin causes the pigment particles to converge towards the center. Several different variables affect the way the particles land and set up: temperature\, humidity\, viscosity\, concentration of pigment\, placement. It is another reference to the photographic moment— which runs like a thread throughout Yamaoka’s work.
URL:https://cultureplus.asia/event/carrie-yamaoka-lucid-liquid-limpid/
LOCATION:Kiang Malingue Aberdeen\, 13/F\, Blue Box Factory Building\, 25 Hing Wo Street\, Aberdeen\, Southern\, Hong Kong
CATEGORIES:Multimedia
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240123
DTEND;VALUE=DATE:20240310
DTSTAMP:20260623T102715
CREATED:20240111T003932Z
LAST-MODIFIED:20240111T003932Z
UID:10019146-1705968000-1710028799@cultureplus.asia
SUMMARY:Chang Ya Chin: These Things
DESCRIPTION:Kiang Malingue is pleased to present “These Things”\, an exhibition of recent paintings by Chang Ya Chin. This is the artist’s first exhibition in her hometown Hong Kong\, focusing on depicting a variety of local food and delicacies in the manner of classical still life.Having received rigorous training in academic and classical traditions in Florence\, Paris\, and New York since 2015\, Chang makes modestly-sized\, placid compositions in which contemporary objects are in contrast with traditional methods and techniques of still life. All of her paintings are painted from real life: be it a group of pears\, a bugle\, a bowl of rice or a game of Tetris\, Chang closely studies the distinctly textured objects—effectively “casting” the objects as actors and performers—before rendering them tangible and verisimilar on canvas.In “These Things”\, Chang presents more than a dozen small-scale paintings that feature various regionally specific cuisines\, drinks\, and sweets\, telling microcosmic stories that are either unequivocally whimsical or self-referential in essence. Teamwork: Har Gows Rowing (2023) pictures three har gows rowing haphazardly in a tiny dragon boat atop a stand; the mild absurdity of the scene and the artist’s emphasis on chiaroscuro and reflections give the painting its credibility—a miniature dragon boat being suspended in a water-less interior environment calls for undersized\, non-human athletes. Dive: Dumplings\, Black Vinegar (2024) also plays with the thrill and risk associated with heights\, and the notion of sportsmanship: plump dumplings climb up a slim ladder in a row\, preparing themselves on a platform before jumping into a bowl of black vinegar. In different scenarios and against similarly neutral\, sober backgrounds\, Chang’s non-human subjects ponder the significance of gravity and depth\, and the various possibilities of falling: the gracefully peeled Lychee on a swing (2023) has seemingly fallen unconscious; one of the sauce bottles in Dai Pai Dong\, Sauces\, Good Friends (2023) is drunkenly tipped over; the excessively shallow architecture in Bridge: Tea Egg\, Suitcase (2023) barely has enough room for the eggs in three different stages\, effectively boiling up a vanitas in which falling becomes the fragile yet bouncy subject’s gesture par excellence.On the other hand\, the mirrored image in Together: Instant Noodles\, Sunny-Side-Up (Chicken) Egg\, quail eggs (2024) not only demonstrates once again Chang’s interest in exploring textures and materialities\, but also reveals her long-term fascination with self-referentiality in painting: effectively staging a self-portrait session that is distorted\, warped and touched\, it echos thematically with Bubble Tea Self Portrait (2023)\, the latest development from Chang’s series of self-portraits\, first started in 2019. Based upon two drawings made by Chang’s niece and nephew\, the impossible yet affectionate self-portrait means to inspire exchanges that are universal and indiscriminate in essence.
URL:https://cultureplus.asia/event/chang-ya-chin-these-things/
LOCATION:Kiang Malingue Aberdeen\, 13/F\, Blue Box Factory Building\, 25 Hing Wo Street\, Aberdeen\, Southern\, Hong Kong
CATEGORIES:Painting
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2024/01/a0145140-c4b1-f03b-782d-946c1b894568.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231212
DTEND;VALUE=DATE:20240128
DTSTAMP:20260623T102715
CREATED:20231204T010150Z
LAST-MODIFIED:20231204T010150Z
UID:10020443-1702339200-1706399999@cultureplus.asia
SUMMARY:Phillip Lai: For Caution
DESCRIPTION:Kiang Malingue is pleased to present “For Caution”\, an exhibition of new work by Phillip Lai. This is the London-based artist’s second solo exhibition with the gallery. \nOver the past three decades\, Phillip Lai has developed a sculptural language which explores approaches to the ubiquitous materials and experiences that derive from a techno-industrial culture – such as that of mass production\, functionality\, the mechanistic\, automation\, ergonomics\, infrastructure. Its basis refers to our psychological interactions in this culture\, as well as an intermingling with it. Transfers or retentions of energy are envisioned\, through materials and objects that often suggest the support of basic daily functions\, needs and the sustaining of human life. \nFor his exhibition at Kiang Malingue\, Lai’s work occupies various floors of the gallery. The new works made for this show cross-reference each other in their formal vocabularies as well as in their resonances and discords\, building upon each other’s offerings. Cages and enclosures appear in this exhibition\, making reference to municipal tipper refuse vans\, hazardous storage or emergency vehicles that control waste and risk in our everyday life. The work probes a peripheral attention and subliminal alertness to these commonplace features of the urban.
URL:https://cultureplus.asia/event/phillip-lai-for-caution/
LOCATION:Kiang Malingue Wanchai\, 10 Sik On Street\, Wan Chai\, Hong Kong
CATEGORIES:Multimedia
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2023/12/Phillip-Lai_key-visual.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231128
DTEND;VALUE=DATE:20240114
DTSTAMP:20260623T102715
CREATED:20231123T005140Z
LAST-MODIFIED:20231123T005559Z
UID:10019037-1701129600-1705190399@cultureplus.asia
SUMMARY:Kwan Sheung Chi: Not retrospective
DESCRIPTION:Kiang Malingue is pleased to present “Not retrospective”\, showcasing less than 40 previous and recent sculptures\, photographs and videos by Kwan Sheung Chi. Playing for the third time—after Kwan’s debut exhibition “A Retrospective of Kwan Sheung Chi” in 2002 and “100 things\, a little retrospective” in 2012—with the idea of mounting a retrospective\, a form of exhibition that emphasises comprehensiveness\, totalised coherency\, reinterpretation\, canonisation and belatedness\, the presentation includes important early works such as five videos from the “ONE MILLION” series\, a number of curious everyday objects from the project of “Well\, you can have what’s left of mine.”\, “I am Artist” books made twenty years ago\, and a suite of videos and installations made in 2023. \nFor Kwan\, conceiving “Not retrospective” does not entail the need to revisit old works\, but accommodates the desire to “get rid of them.” Previous works take up physical and conceptual space\, and have effectively become a burden. In relation to the common practice of cataloguing one’s work and belongings before leaving Hong Kong for good in recent years\, Kwan is also interested in discovering whether old works can generate new market value\, constructing the first part of “Not retrospective” as a store in pure white. Sculptural works and curious objects such as an iron horse in the literal sense that was made in the absence of an original (Iron Horse –– After Antonio Mak\, 2008/2020); a whetstone that was disguised as a strangely shaped cigarette pack (Marlboro\, 2015); and the artist’s sweat elegantly bottled (L’art s’évapore (formerly known as ‘Eau dévoilé’)\, 2023/2012)—all cheerfully foreground the commodity status of the individual pieces\, readily stocked along with a banner piece that made use of dust jackets of Marx’s three volumes of Capital (Karl Marx’s Capital\, 2015)\, and the “ONE MILLION” series of money-counting videos. \nOn view in the second part of “Not retrospective” is a selection of Kwan’s latest video works\, revolving around the notions of family\, sovereignty and sameness. In the three-channel video Handover (2023)\, the artist himself\, his wife Wong Wai Yin and their son hand over a glass made of ice. Being passed from one screen to another\, the object completely melts as the video ends. In Defence of Kwan Sheung Chi (2023) stages a speech by Wong\, passionately defending Kwan’s practice while condemning those who unjustly criticise him. The official-ideological tone of the speech echoes in Resistance is futile. You will be assimilated. (2023)\, which compiles Star Trek alien group Borg’s declarations to their subjects: “We are the Borg. Resistance is futile. You will be assimilated. Existence\, as you know it\, is over… Your existence is irrelevant. We are the beginning\, the end\, the one who is many. We are all that has been\, all that is\, all that ever shall be. Your individuality is irrelevant.”
URL:https://cultureplus.asia/event/kwan-sheung-chi-not-retrospective/
LOCATION:Kiang Malingue Aberdeen\, 13/F\, Blue Box Factory Building\, 25 Hing Wo Street\, Aberdeen\, Southern\, Hong Kong
CATEGORIES:Multimedia,Sculpture
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2023/11/Not-retrospective.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231029
DTEND;VALUE=DATE:20231203
DTSTAMP:20260623T102715
CREATED:20231015T044307Z
LAST-MODIFIED:20231015T044307Z
UID:10020324-1698537600-1701561599@cultureplus.asia
SUMMARY:Homer Shew: Meanwhile
DESCRIPTION:Kiang Malingue is pleased to present “Meanwhile”\, an exhibition of Homer Shew’s recent portraits. This is the New York-based artist’s second exhibition in Hong Kong since Backgrounds in 2021\, including a number of portraits based on the same sitter years after the first portraits were made\, adding a poignant temporal dimension to the artworks. Focusing on depicting Asian Americans\, Shew continues to explore the social fabric and contiguous elements of the community as individuals inside it continue to grow and change. \nShew made a portrait for Pulitzer Prize winner Hua Hsu in 2021\, whom he admires as an exceptional Asian American writer. For the current exhibition\, Shew created Hua Hsu II (2023)\, an organic development from the previous portrait. Hsu is seen once again donning a Hawaiian shirt — a fortuitous opportunity for Shew to fully express his liking for plants and leaves — in a relaxed\, sitting pose\, calmly looking away from the viewer as he is engaged in a friendly conversation. In a strange and playful way\, the depiction moves away from a classic Asian American portrait that emphasises racial features to a portrayal that obfuscates the racial identity of the sitter: Hsu’s skin tone darkens under the sun and the awning shade while his hair attains a dramatic jaggedness that echoes the arboreal elements in the background\, eyes lit and widened with sincerity and enthusiasm. No longer frozen in a staged pose\, Hsu is here naturally integrated with his surrounding environment\, at once metamorphosing into and out of the New York streetscape behind. Hua Hsu II shows that the writer has not changed but has for the artist become an endearing subject who goes beyond the necessity of racial descriptions. \nShew’s second portrait of Bogota-based artist Charlie Mai\, among other two-timers including Brandon Blackwood II (2023)\, Simon II (2023) and Chantal II (2023)\, functions in the same way: Mai is\, in this slightly smaller painting\, wearing the same bandana and blue checkered shirt\, and even the same necklaces. Charlie Mai II (2023) made two years after the first piece unapologetically revisits the sitter in the same look\, intensifying the chiaroscuro and the expressive handling of the subject. The slender artist friend in Charlie Mai II directly approaches the viewer\, producing under Shew’s unexpected brushwork a friendly expression that is as intent as it is languid. The inscription of “respect”\, a fragment from the awning of a martial arts studio at the bottom left corner of the painting also conveys Shew’s feelings for the sitter. \nKaren and Tenn Joe (2023) is the largest painting in the exhibition and a rare double portrait with two sitters. Capturing the affectionate\, playful scene\, Shew fully contextualises the couple by surrounding them with traffic\, trees and the location of the lunch — 45th street\, Queens\, New York. The unmistakable focus on the faces testifies to the artist’s interest in exploring visages\, and in discerning the inherently abstract and gestural within representation.
URL:https://cultureplus.asia/event/homer-shew-meanwhile/
LOCATION:Kiang Malingue Aberdeen\, 13/F\, Blue Box Factory Building\, 25 Hing Wo Street\, Aberdeen\, Southern\, Hong Kong
CATEGORIES:Painting
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2023/10/2-1-1649x2488-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231027
DTEND;VALUE=DATE:20231203
DTSTAMP:20260623T102715
CREATED:20231015T044909Z
LAST-MODIFIED:20231015T044909Z
UID:10020326-1698364800-1701561599@cultureplus.asia
SUMMARY:Cho Yong-Ik: Late Works
DESCRIPTION:Kiang Malingue is pleased to present an exhibition of the late Cho Yong-Ik’s (1934-2023) abstract paintings created in the last five years. Recognised as a leading figure in Korean abstract painting\, Cho produced a series of vibrant paintings after his exhibition at Edouard Malingue Gallery\, Hong Kong in 2016\, continuing to explore the haptic and spiritual dimensions of art\, concluding a remarkable\, ever-deepening oeuvre that first made its international appearance in the 1960s. \nFor the new body of work\, Cho applied signature painting methods such as scratching — gently peeling off the top layer of paint with his thumb\, a dry brush or a knife to reveal the alter undertone — freely oscillating between the celebrated “Wave” and “Bamboo” series to reexamine structural and semantic associations between the independent series. While the painting processes and the matrix-making marks were just as rigorous and porous as earlier series\, the palette became increasingly lively and robust: in his eighties\, Cho made extensive use of unprecedentedly saturated indigo\, aquamarine\, crimson\, turquoise and olive alike\, measuring the different ways in which the dashing\, permeable white marks — constant yet always unique — take form against a highly contrasting surface. \nThe larger works in the exhibition such as the densely annotated crimson 17-1013 (2017) and the peachy 19-414 (2019) are exemplary of Cho’s practice in this period\, leaving organic openings and sinuous curves across the surface. The subtle gradation across the canvases celebrates the meditativeness\, vitality and the value of natural forms. Cooler surfaces such as 19-323 (2019) and 17-624(2022) also testify to the artist’s interest in the dynamic between natural forms and a carefully balanced shapeshifting process: the slightly stretched surfaces of the paintings echo with Cho’s marks\, warping an abstract reality that is as enticing as forthcoming. \nIn 2019-1024 (2019) and other works on Korean paper including 2018-17 (2018) and 2019-19-21(2022)\, the individual marks have become notably fractured\, viscous and slithery\, at once submitting to and remapping the textured veneer of the paper. One of the most recent works\, 22-0903 (2022) is particularly calligraphic\, passing painting gestures as inscription\, revealing the endurance of a singular abstract practice whose narrative pertains to the act of writing itself.
URL:https://cultureplus.asia/event/cho-yong-ik-late-works/
LOCATION:Kiang Malingue Wanchai\, 10 Sik On Street\, Wan Chai\, Hong Kong
CATEGORIES:Painting
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2023/10/e335cbbc-e9d9-53eb-d093-e5d6fb1f79dc.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231010
DTEND;VALUE=DATE:20231112
DTSTAMP:20260623T102715
CREATED:20231003T022041Z
LAST-MODIFIED:20231003T022041Z
UID:10020297-1696896000-1699747199@cultureplus.asia
SUMMARY:Savage Winds\, a land of stone\, Forsaken intelligence\, left alone
DESCRIPTION:Kiang Malingue is pleased to present “Savage winds\, a land of stone\, Forsaken intelligence\, left alone\,” an exhibition of Miao Ying’s latest simulations and paintings. This is the artist’s first exhibition with the gallery. The exhibition continues Miao Ying’s exploration of digital assets in the broader sense—visuals\, sounds\, special CG effects\, gestures and data that have been radically owned\, shared and misappropriated in the virtual world—identifying artificial intelligence as a type of digital asset par excellence\, a modern alchemy that functions as a black box beyond its creator’s control. \nTechnomancy at Polarized Rift (2023) and Technomancy at Lava pit (2023) are two simulations that depict evolving landscapes\, continuously conjuring from a stationary point of view an array of digital readymades: generic\, pre-made assets such as epic landscapes\, environmental objects and special effects used in many existing games. Spontaneously\, audio is generated as poems written by GPT describing the rugged landscape features\, fantasy political spells\, and technomancy spells are being read by an AI trained in a British accent. The title of the exhibition derives from one such spell that appeared in Technomancy at Polarized Rift. Highlighted is the relationship between magic-ideological incantations and happenings on screen\, grounding predestined causality in a randomised cacophony. \nBattle for Glorious Magic (2023)\, on the other hand\, is an interactive simulation playable on both computers and mobile devices. Assuming the form of a video game\, Battle for Glorious Magic is a first-person experience of the realm of Walden XII—part of the long-term project “Pilgrimage into Walden XII” started in 2019 inspired by B. F. Skinner’s 1948 utopian story Walden Two—that is different in each play-through as the environments\, encounters and events are procedurally generated. This algorithmically organised adventure is also voiced-over by an AI- generated voice that solemnly performs spell incantations\, describing in- game encounters that allude to political situations in the real world. The voices across different simulation works may be considered a critique of the politically motivated agenda underlying gaming culture that is seemingly liberal\, and of the impossible dungeon that is the world today: it takes bardic magic and fantasies to solve the world’s political and ecological problems. \nThe three recent paintings from “Training Landscapes” series also on view trace the complicated process of technomancy apprenticeship: Miao Ying feeds a host of generated images as references into another AI system\, which in turn uses them to imagine and generate new visual content. After transferring the resulting images onto canvas by a painter trained in socialist realism\, Miao Ying glazes the paintings individually. In “Savage winds\, a land of stone\, Forsaken intelligence\, left alone\,” Miao Ying considers the distribution\, circulation\, and evaporation of digital assets— which is at once free and costly\, empowering and impoverishing— questioning the way in which authority\, magic and capitalism function in relation to such precarious property.
URL:https://cultureplus.asia/event/savage-winds-a-land-of-stone-forsaken-intelligence-left-alone/
LOCATION:Kiang Malingue Aberdeen\, 13/F\, Blue Box Factory Building\, 25 Hing Wo Street\, Aberdeen\, Southern\, Hong Kong
CATEGORIES:Multimedia,Painting
ATTACH;FMTTYPE=image/png:https://cultureplus.asia/wp-content/uploads/2023/10/keyimage.png
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20230919
DTEND;VALUE=DATE:20231022
DTSTAMP:20260623T102715
CREATED:20230901T052300Z
LAST-MODIFIED:20230903T235941Z
UID:10020228-1695081600-1697932799@cultureplus.asia
SUMMARY:Cui Xinming: Just Arrived in This World
DESCRIPTION:Kiang Malingue is pleased to present on the twelfth floor of its Tin Wan studio space “Just Arrived in This World”\, an exhibition of new paintings by Cui Xinming. The opening will be held on 16 September from 3 to 6pm. \nThe painter’s fourth solo exhibition with the gallery features more than a dozen oil paintings on wood board and canvas\, expanding themes and series developed in the exhibition “Differentiation” in 2018. The artist’s sincere yet surreal depictions of everyday scenes with absurd elements respond to the profound impact on life by recent global and local crises. \nCui Xinming’s early painting practice revolved around theatrical narratives by highlighting the contrast between thematic\, fiery elements in crimson or faded red and glooming backgrounds that were frigid and sombre. Long-term series such as Black Hole of Memories from 2011 and Sleepwalker from 2013 are exemplary of the artist’s intent to reflect psychological tension by building highly detailed architectural environments in which an isolated community is caught. For the exhibition “Differentiation” in 2018\, Cui created a group of paintings organised in pairs\, examining dichotomised relationships such as ancient—modern; exposed—concealed; lucid—chaotic\, measuring the possibility of reconciling Chinese classical thought with western artistic traditions. \nThe paintings included in “Just Arrived in This World” crystallise the continued development of Cui Xinming’s artistic language\, and are representative of the accumulated yet ruptured life experience due to the outbreak of the global pandemic in 2019. Among the earliest works in the exhibition is the small-scale Genre Painting Study (Treasure Seeking) (2019) which captures and transforms a mundane and absurd sight — a hawker vending an alligator snapping turtle dug up from a construction site. For Cui\, this fragment of reality that is at once common and complex brings together a variety of topics including commerce\, land and environmental change\, exotic animals\, and different traditions of mysticism. This full-length portrait of the man\, evocative of poised cavaliers in Dutch golden age portraits\, demonstrates the use of “scratching and white-piercing” techniques in a painting process described by the artist to be akin to a type of “total casting” — fully integrating disparate compositional parts as if in one unifying stroke. \nUsing a variety of instruments\, Cui Xinming’s “scratching and white-piercing” techniques produce an amorphous white glow that radiates by scarring and bleeding into other objects and figures on canvas. Inspired by traditional Chinese painting’s notion of white-spacing\, this unique process reveals delicate textures and introduces into the paintings a sense of mysticism. The artist has also been exploring the materiality and texture of wood board as a painting surface\, carefully priming each wood board about twenty times before starting the painting process\, rendering it texturally suitable for his “scratching” brushwork. Genre Painting Study 13 (Smelting) (2021) is another painting on board that depicts an isolated individual at work\, this time caught in a relationship with the environment that is more intense and aggressive: the masked man with a red\, hot soldering iron in his hands scorches his environment. Based on an image of a gardener tending flowers and trees in a park\, the painting deems great\, uncontrollable global crises as the turning point from which a daily caring practice is transformed into a devastating act. Another pithy painting on wood board Portrait Study 11 (Pope) (2020) revisits the artistic tradition from Velázquez to Bacon\, but totally erases the face of the sitter. It is instead focused on the strange\, highlighted hair in place of the camauro worn by the pope. Cui thinks of hats and headwear alike as the index of an individual’s social status and roles; by replacing a hat with wig-like hair\, Cui renders the majestic scene absurd\, inserting an element of banality that breaks the originally mystical atmosphere. \nLarger works on canvas such as Genre Painting Study (Spring Outing 2) (2022) and the diptych Genre Painting Study (Junzi 1) (2023) both pertain to outings in perilous times. The human figures are seemingly relaxed\, and\, out of confusion and boredom\, apathetically or intensely fixated on an abrupt white hollow on the ground. A signifier of absence\, this flat\, amorphous\, paradoxical cavity Cui has repeatedly painted since 2015 stands for misplacement\, hollowness\, error and otherworldliness\, leaking enigmatic\, illuminated ooze onto the canvas. Reminiscent of and readily opposed to the Is it getting dark? series of paintings of interior spaces from 2010\, It is almost dawn I (2021) and It is almost dawn II (2021) created long before the ending of the pandemic candidly express the artist’s angst regarding the future\, leaving the white hole beyond the highly textured\, protective yet suffocating curtains: permeating could be the sunlight; not arriving yet could be the dawn.
URL:https://cultureplus.asia/event/cui-xinming-just-arrived-in-this-world/
LOCATION:Kiang Malingue Aberdeen\, 13/F\, Blue Box Factory Building\, 25 Hing Wo Street\, Aberdeen\, Southern\, Hong Kong
CATEGORIES:Painting
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2023/09/452d81e2-aa60-d5ac-893d-614d4f546f19-scaled.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230527
DTEND;VALUE=DATE:20230709
DTSTAMP:20260623T102715
CREATED:20230522T052218Z
LAST-MODIFIED:20230522T052218Z
UID:10020033-1685145600-1688860799@cultureplus.asia
SUMMARY:Lai Chih-Sheng: It's a quiet thing
DESCRIPTION:Kiang Malingue is pleased to present at its Sik On street space It’s a quiet thing\, Lai Chih-Sheng’s exhibition that directly negotiates with the architecture of the space. By presenting a series of site-specific installations and interventions\, the exhibition in its totality examines Kiang Malingue’s headquarters opened in the second half of 2022\, configuring an environment that is ephemeral and poetic. It emphasises the confrontational relationship between the actor\, the observer and the architecture\, while reflecting upon the physical and ideological limitations and potentials of an exhibition. Lai freely applies a singular perception of space that he has developed over the last three decades\, expressing by staging seemingly barren scenes conceptual generosity\, in relation to urban\, architectural and human conditions today. \nNamed after Morgana King’s song It’s a quiet thing from the 1960s\, the exhibition transforms via a series of spatial interventions the boundary between quietness and noise into the figure of a mosquito: after appropriately conditioning the second floor white cube space\, the artist leaves it entirely to the insect. Lai: “Regarding the subtle quietness\, the barely noticeable… is there anything hidden in it? One of the most common noises or nuisances in life is probably the discovery of little insects like mosquitos around you. As soon as there is one\, people start confronting the air and the space\, with their hearing and sight heightened\, becoming evermore sensitive. This seemingly feeble threat in a realistic way amplifies our perception of a lived space; we fear that in the blink of an eye the mosquito could have it. Of course\, once we are done with it\, on the other hand\, we get to feel a particularly rewarding satisfaction.” \nInstead of confronting an artwork\, the observer is left with an isolated mosquito; although the artist’s intervention delineates the relationship between the observer and the observed thing\, it is difficult to categorise this observation as appreciation or confrontation. On the contrary\, the artist means to explore the possibility of noises and entropic elements\, and of being free from them: “Straightforwardly handing over the space. Placing the mosquito next to a blankness\, making a whole space — where people are also invited for exactly this purpose — available for its wander. This idea may generate other thoughts regarding exhaustion\, waste and meaninglessness\, but it is perhaps exactly at this uncertain juncture where something mild and quiet can grow within our feelings\, where there is immediately a sense of spiralling\, so much so that we start to think about (and for) a mosquito.” The intervention I put a mosquito in the space practises hindering one’s sight with a leaf: the leaf is at once the mosquito and the room in which it resides. Guests on both sides of the screen are reminded of weak dangers: floaters in eyes; a situation in which one is prey; or a standoff in which each individual’s presence is corporeally and spatially experienced. \nIn It’s a quiet thing\, Lai also further investigates the potential of a mosquito as a quasi-object by presenting a new video Daze. In the artist’s view\, the societies and art worlds in places such as Hong Kong and Taiwan have been slowed down in recent years due to the pandemic\, but are at the same time collectively and paradoxically anticipating accelerated\, intense events; a feeble noise such as the presence of a mosquito at once suggests the emergence and memory of a pandemic\, and an insistence on the urgency of seemingly mundane\, uneventful life — perpetuated noises\, nuisances and interruptions contain within themselves revolutionary potentials. \nOther site-specific installations in the exhibition include A brick on the parapet\, and A brick on the crossbeam\, making use of one of the artist’s favourite construction materials that means to question the integrity of an architectural environment; recent creations such as Sunbath\, Drawing Paper and Paint Cans on the other hand demonstrates the artist’s intent to de-spectacularize. The installation Princess Pea made specifically for the top floor gallery space continues the artist’s interest in the theme of the land\, first manifested in the 1990s: be it the numerous iterations of Border at Aichi Triennale and Biennale de Lyon among other major international exhibitions; Island shown in 2015 at Para Site\, Hong Kong; or Redundant\, conceived in 2022 for Taipei Dangdai\, these works reveal Lai’s long-term concern with the foundation of artistic practice today.
URL:https://cultureplus.asia/event/lai-chih-sheng-its-a-quiet-thing/
LOCATION:Kiang Malingue Wanchai\, 10 Sik On Street\, Wan Chai\, Hong Kong
CATEGORIES:Multimedia
ATTACH;FMTTYPE=image/png:https://cultureplus.asia/wp-content/uploads/2023/05/b46f55af-02ae-2527-773b-e930b4370256.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230520
DTEND;VALUE=DATE:20230701
DTSTAMP:20260623T102715
CREATED:20230511T071817Z
LAST-MODIFIED:20230522T095338Z
UID:10019985-1684540800-1688169599@cultureplus.asia
SUMMARY:Tromarama: Contraflow
DESCRIPTION:Kiang Malingue is pleased to present at its Tin Wan studio spaces Contraflow\, showcasing recent paintings\, lenticular prints\, performative sculptures\, installations and videos by Tromarama. The artist collective continues exploring the significance of the digital economy\, the intersection of play and labour\, retrieving traces of the personal and the intimate amidst data and statistics\, as they reveal the infrastructures of social media\, the production of happiness and simulated joy. \nThe titular piece Contraflow is a troupe of Himalayan salt lamps. Allegedly purificatory and good for nurturing a meditative state\, the lamps scattered along the wall are activated by tweets that use hashtag #power\, performing blinking dances choreographed by a binary code-translating machine. Representative of Tromarama’s longstanding interest in re-assessing the link between the analogue and the digital\, the performative lamps shed a spectacular yet intimate light on other artworks that physicalise speculations. \nParade\, the serpentine sculpture inspired partly by the experience of playing with children\, consists of 497 sculpted kinetic sand modules\, and on each of the identical sand cubes is a recurring Tromarama motif: group member Febie Babyrose’s eye\, appeared also in previous works such as the 2010 Extraneous. When taken as a whole and examined from a providential aerial view\, the Parade reveals itself as an abstracted candlestick chart of Twitter’s stock price on May 1st\, 2014. Associating marching movements and activism on an international holiday (Labour Day) with speculative procession in the stock market\, Parade considers the role social media plays in contributing to or exploiting public interest. Additionally\, the seven Abundance glossy lacquer paintings that appropriate cottonlike kapok seed fibre — a material commonly used to produce traditional Indonesian mattresses — are also annotated with Twitter candlestick charts\, reflecting further upon the pseudo-hedonistic and aesthetic aspects of social media. \nDear oh dear #4 and Dear oh dear #5 deal directly with the leisure-labour paradox on social media: by applying hot foil pressing on punched attendance record cards\, Tromarama draws an analogy between workers punching in and out\, and social media users logging in and out on a daily basis. The artist collective demonstrates that\, what is promised as a form of leisure is always already a form of (in)voluntary labour\, contributing to the data economy that is insatiable and inescapable. The fact that punch cards were one of the earliest data-inputting means when digital technology was nascent also complicates the equation of leisure=labour. \nTromarama also shows in the new video Incognito a more fashionable way of punching in: compulsive thumbing on the phone. One sees in the video hovering thumbs\, being listlessly caressed and cleaned by mops. Tromarama relates this absurd act to the need for cleansing in ritualistic and spiritual contexts\, meaning to address the necessity of cleansing and detoxication. \nAnother two works that are activated by Twitter hashtags are the installation Pacupicu\, and the performance Tukar guling. Pacupicu (pacu and picu respectively means “race” and “trigger” in Indonesian) consists of a latex horse mask\, a speaker\, and a monitor\, all mounted on a custom metal tripod. The monitor displays live tweets that use the hashtag #contest\, collected in real-time. All the collected tweets activate various children’s voices\, effectively creating a sound composition that emits through the horse’s mouth. Tukar guling (“asset swap” in Indonesian) on the other hand involves a performer with a custom-made device on his or her wrist; whenever the device fetches a tweet using hashtag #pleasure\, the performer claps hands as the device vibrates. \nAlso on view on the 12th floor of Kiang Malingue’s Tin Wan studio space is a selection of new lenticular prints from the Notes on Play series. The images combine punch card and mattress patterns\, pictures of fresh orchids — the classy yet dispensable symbol of financial power par excellence — and materials from Tromarama’s personal archives\, including receipts\, invoices and other documents that trace the members’ economic activities. By laying bare and sublimating infrastructural elements into sophisticated aesthetic forms\, Tromarama’s Contraflow examines how one is instrumentalised and alienated in contemporary society\, envisaging alternative ways in which one can freely and radically play.
URL:https://cultureplus.asia/event/tromarama-contraflow/
LOCATION:Kiang Malingue Aberdeen\, 13/F\, Blue Box Factory Building\, 25 Hing Wo Street\, Aberdeen\, Southern\, Hong Kong
CATEGORIES:Multimedia,Painting,Sculpture
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DTSTART;VALUE=DATE:20230321
DTEND;VALUE=DATE:20230507
DTSTAMP:20260623T102715
CREATED:20230322T091109Z
LAST-MODIFIED:20230322T091802Z
UID:10018413-1679356800-1683417599@cultureplus.asia
SUMMARY:Tiffany Chung: entangled traces\, disremembered landscapes
DESCRIPTION:Kiang Malingue is pleased to present entangled traces\, disremembered landscapes\, Tiffany Chung’s first solo exhibition in Hong Kong\, featuring new cartographic works and a 3-channel video installation. By tracing the entanglements of nature\, culture\, colonialism\, war\, and state-making\, and introducing pivotal temporal aspects to the act of mapping\, the internationally acclaimed artist continues her ever-deepening exploration of geopolitics\, history\, and memory\, marking critical shifts in historical narratives. \nThe works on view include an edition of USM GLOBAL (2022-2023) commissioned by PAFA\, a delicately textured piece associated with Studying for USM GLOBAL\, Chung’s online archive of her research in mapping the U.S. military global footprint and spotlighting regions including countries in Sub-Saharan Africa\, Syria\, Iraq\, and Afghanistan in Southwest & Central Asia\, as well as Okinawa\, Japan in the Asia Pacific. Chung also layers the complex history between the U.S. and Hawai’i in the late 19th century\, and between the U.S. and Japan during WWII in her drawing from faraway lands to dust we return (2018)\, referencing Hawai’i as a traumatic site of memory: transpacific migration\, plantation labor\, economic expansion\, and military imperialism. Her personal quest for understanding the conflict known as the Vietnam War and its aftermath has led Chung further into unpacking how the United States’ commercial interests intertwined with its Cold War policy and political influence in places such as Guatemala\, exemplified in another embroidery work El Pulpo: UFCo’s Great White Fleet Routes and Properties in Central America & the Caribbean (2020). \nNew works on vellum and paper from the Terra Rouge: circles\, traces of time\, rebellious solitude series inspect the terra rouge plateau of Bình Long–Phước Long in three distinct periods\, depicting Neolithic circular earthworks (CEW) dated between 2300-300 B.C.; an extensive network of rubber plantations established in 1897 by French colonialists; and abandoned airfields that Chung’s father frequented as a South Vietnamese helicopter pilot during wartime. Chung contends that revisiting Neolithic circular earthworks might lead us to imagine a different possibility—a hypothetical trajectory in which earthwork groups had never been incorporated into a new socioeconomic and political polity\, but instead chosen to remain in what the artist calls “rebellious solitude.” \nIn the 3-channel video If Water Has Memories (2022)\, Chung retrieved from the UNHCR archive statistics\, archival maps\, and coordinates of pirate attack locations between October 1985 and June 1986 in the Gulf of Thailand\, where she filmed the body of water that witnessed Vietnamese refugees enduring acts of violence. Performing a symbolic burial at sea\, this poignant gesture of remembrance commemorates lost lives and calls for acknowledgment of historical atrocities in hope of healing. Interweaving music\, poetry\, and moving image\, the work meditates on loss and trauma while reminding us of the humanity buried underneath the inhumanity.
URL:https://cultureplus.asia/event/tiffany-chung-entangled-traces-disremembered-landscapes/
LOCATION:Kiang Malingue Wanchai\, 10 Sik On Street\, Wan Chai\, Hong Kong
CATEGORIES:Multimedia
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2023/03/Terra-Rouge-CEW-Study-No.9.jpg
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DTSTART;VALUE=DATE:20230318
DTEND;VALUE=DATE:20230507
DTSTAMP:20260623T102715
CREATED:20230322T092303Z
LAST-MODIFIED:20230322T092303Z
UID:10018416-1679097600-1683417599@cultureplus.asia
SUMMARY:Zheng Bo: Beech\, Pine\, Fern\, Acacia
DESCRIPTION:Kiang Malingue is pleased to present Beech\, Pine\, Fern\, Acacia\, Zheng Bo’s solo exhibition at the gallery’s Tin Wan space. For the first time\, Zheng Bo groups together four “biophilia films” in one space — Pteridophilia (2016-)\, The Political Life of Plants (2020-)\, Le Sacre du printemps (2021-)\, and Samur (2023) — tracing the myriad trajectories through which their artistic practice has evolved in the last decade. \nZheng Bo’s four film projects have been unfolding in four distinct ecological situations: Pteridophilia in a subtropical forest with lush ferns outside Taipei; The Political Life of Plants in an old-growth beech forest near Berlin; Le Sacre du printemps in a primeval pine forest in Dalarna\, Sweden; Samur in the Arabian desert with a single umbrella thorn acacia tree. \nZheng Bo began the Pteridophilia series in 2016. As the first project in the ambitious “biophilia films” framework\, Pteridophilia connects queer people and queer plants by imagining close contacts between humans and ferns. The participants cultivate deep emotional and physical relations with the plants: making love to them\, trying out BDSM acts\, and bonding with fiddleheads and spores. The stunningly sensual Pteridophilia series provided the foundation upon which later “biophilia films” have expanded. \nFirst shown in the artist’s 2021 solo exhibition Wanwu Council at the Gropius Bau in Berlin\, The Political Life of Plants is a black-and-white film that speculates about the forest’s political life in a cinematic style that alludes to the aesthetics of early 20th century Soviet cinema. Featured in the film are conversations between the artist and two leading ecologists in the region\, on topics such as symbiosis and community-building. Focusing intently on Grumsin\, an ancient beech forest in Brandenburg and one of Germany’s UNESCO World Heritage sites\, The Political Life of Plants is a portrait of the forest as a queer assembly where the trees take part in a congress of their own “more-than-human” form. \nLe Sacre du printemps\, referencing Nijinsky and Stravinsky’s 1913 landmark experiment\, was first presented at the 59th Venice Biennale in 2022. Zheng Bo returns the dance to a living forest. Five Nordic dancers keep their bodies upside down to compose ecosexual courtships with pine trees that are hundreds of years old. \nZheng Bo’s latest film Samur\, completed in January 2023\, is part of a two- year Artist’s Garden commission at Jameel Arts Centre in Dubai. During extensive visits to different natural habitats around the UAE in the previous summer\, the artist was captivated by the umbrella thorn acacia tree\, known locally as Samur. In the film\, two immigrant dancers and a Samur tree in the Mleiha desert are delicately entangled. For Zheng Bo\, the dance is a way for all of us to reconnect with the tree and the land. \nBiophilia\, according to renowned biologist E. O. Wilson\, describes our innate urge to connect with other forms of life. Zheng Bo insists that their chief responsibility in making these “biophilia films” is “ecosensibility” — instead of creating or directing. The panoramic Beech\, Pine\, Fern\, Acacia conjures a garden of earthly delights in which humans and plants dance\, love\, and flourish together.
URL:https://cultureplus.asia/event/zheng-bo-beech-pine-fern-acacia/
LOCATION:Kiang Malingue Aberdeen\, 13/F\, Blue Box Factory Building\, 25 Hing Wo Street\, Aberdeen\, Southern\, Hong Kong
CATEGORIES:Multimedia
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2023/03/collage_key-visual.jpg
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DTSTART;VALUE=DATE:20230117
DTEND;VALUE=DATE:20230226
DTSTAMP:20260623T102715
CREATED:20230111T021157Z
LAST-MODIFIED:20230111T025252Z
UID:10019417-1673913600-1677369599@cultureplus.asia
SUMMARY:Frida Orupabo\, Mawande Ka Zenzile\, Simphiwe Ndzube\, Thenjiwe Niki Nkosi
DESCRIPTION:In an exchange of programming between galleries\, Frida Orupabo\, Mawande Ka Zenzile\, Simphiwe Ndzube and Thenjiwe Niki Nkosi exhibit at Kiang Malingue’s Tin Wan space in Aberdeen\, Hong Kong. Simultaneously\, a show of works by Tao Hui\, Tromarama and Wang Zhibo takes place at Stevenson in Amsterdam. \nFor all four artists from Stevenson’s programme this show marks their Hong Kong debut\, each presenting artworks that articulate the key concerns of their respective practices. \nFrida Orupabo’s presentation of video\, sculpture and collage\, all created from found material\, highlights the artist’s process of excavation and retrieval. Orupabo’s lexicon\, developed from restricted and archival footage of black subjects\, weaponises remembrance to explore questions related to race\, family relations\, gender\, sexuality and violence. \nMawande Ka Zenzile’s recent paintings\, created using cow dung and oil paint\, foreground his ongoing project of ‘decolonising visualities’. His non- representational works\, often likened to western conventions of abstraction\, bring specific focus to isiXhosa modalities and the broader aesthetic sensibilities of indigenous South Africans. Ascended Masters\, a text work\, takes this further\, uniting spiritual\, intellectual and philosophical leaders from different contexts to better debunk the illusion of their separateness. \nFollowing a body of work in which the artist worked from photographs and found images\, Simphiwe Ndzube’s new paintings mark a return to the flamboyant mysticism of his imaginative universe\, The Mine Moon. These two-dimensional works as well his Amagents sculptures move between folklore and township vernacular\, to combine the figurative and the fantastical in a mode that is characteristic of Ndzube’s magical realism. \nIn her new suite of figurative paintings\, Thenjiwe Niki Nkosi continues to use sport as an allegorical environment for her analysis of power relations. These large-scale group-scenes – depicting athletes at rest\, in preparation and in communion – are minimally rendered to pointedly evaluate history\, imperialism and the endurance of camaraderie. \nThe conversation about this joint project started when Stevenson partner Joost Bosland and Lorraine Kiang met through the organizing committee of the International Galleries Alliance. The galleries shared an interest in alternative models for global reach that are open to midsize galleries\, beyond digital presentations and art fairs. One prime asset that all galleries already have is their physical spaces\, designed and maintained with great care. Sharing this asset in specific strategic ways as well as their networks and highly specialised knowledge of the local audience allows them to thrive in ways that are particularly in tune with what art is all about.
URL:https://cultureplus.asia/event/frida-orupabo-mawande-ka-zenzile-simphiwe-ndzube-thenjiwe-niki-nkosi/
LOCATION:Kiang Malingue Aberdeen\, 13/F\, Blue Box Factory Building\, 25 Hing Wo Street\, Aberdeen\, Southern\, Hong Kong
CATEGORIES:Multimedia,Painting,Photography
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2023/01/Key-visual.jpeg
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