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DTSTART;VALUE=DATE:20220212
DTEND;VALUE=DATE:20220401
DTSTAMP:20220310T050050Z
CREATED:20220310T034133Z
LAST-MODIFIED:20220310T050050Z
UID:10018050-1644624000-1648771199@cultureplus.asia
SUMMARY:Hou Lam Tsui: Blind Curve
DESCRIPTION:RNH Space is proud to present Blind Curve\, Hou Lam Tsui’s solo exhibition. Spanning videos\, photographs\, and installation\, this exhibition features newly commissioned works that mirror commodified love\, emotions\, and bodies amid a capitalist society. The artist examines the perversion of reality in contemporary romantic relationships as well as our quotidian activities\, rethinking the inevitable commodification through fragments and floating signifiers. \nA significant part of Tsui’s artistic practice revolves around the media’s all-pervading portrayal of intimate relationships and sexuality that manipulates our understanding and expression of love\, happiness\, and sadness. To collect the most infamous evidence\, the artist situates her interest in Shōwa aesthetics and City Pop music in Japan during the 1980s\, wherein a bubbly filter was added to the entertainment industry which offered people a way to escape from the harsh reality of the economic bubble. Tsui seeks inspirations from such a fascinating era with a needle in her hand–she pierces the bubbles for the unapologetically authentic human emotions to resurface. Just as the sad lyrics were sung along the upbeat rhythm and the inspirational idols fearlessly revealed their own heartbreaking stories\, Tsui’s works always enable an honest space for women’s vulnerable\, miserable and masochistic emotions as a form of resistance. \nAs suggested by Eva Illouz in The End of Love\, in the times of penetrating capitalisation\, what is marked as an attractive quality we look for in our love interests is merely a consumer substyle – we define them by the commodities they pursue or possess. What is seen as a heartfelt affection is in fact an audience reaction to the economic performance. Tsui selects a Japanese City Pop song Blind Curve by Momoko Kikuchi as the exhibition title\, suggesting to view love from an alternative angle when the complexity as well as the dangerous side of love are less visible. \nTsui addresses the staging of specious meaning through a parody of such staging\, where impersonal love formulas should disintegrate and feelings of uncertainty\, vulnerability\, and melancholy are exposed. The artist’s photography works are situated in a meticulously calculated mise-en-scène\, shedding light on commodities\, cheap loose jewellery items\, and decoration parts. The images look surreal\, unsettling but somehow familiar. Some of them are presented as a series of prints as in the work we are only human\, loosely referencing fashion and commercial photography. The others are presented as part of the window display with gift boxes in GOLDEN☆BEST BEFORE THIS DATE\, reminding us of the disposable\, short- lived nature of both wrapping paper and commodification. In the photographs\, the fake tears made of cultured pearls reimagine commodified emotions. Pearls share a similar nature with tears – or the formation of pearls is coerced by the shells being injured or attacked\, just as tears also come from pain. The artist’s employment of cultured pearls\, which is produced by human-manipulated attacks to the shells to induce pain\, reflects and responds to the brutality of commodification and emotional manipulation. From Tsui’s perspective\, female’s sadness can be a power to challenge the phallocentric order\, but the appropriation of the sadness in favour of promoting a consumer item is a devaluation of the power\, a malicious deed by capitalism. \nTsui’s video work our love is not destined juxtaposes new monologues with a compilation of different Shōwa commercials to further explore the commodification of emotions and unfold the politics of love. Hyperreality could be observed when the consumer sphere is saturated with in-genuine intimacy that leads to a commodification of our private sphere\, whilst the original reality is then nowhere to be found. In this piece\, Tsui attempts to reassemble the lesser-known reality of intimate relationships whilst subverting the original narrative of these commercials with murmur-like monologues and questioning the definition of love.
URL:https://cultureplus.asia/event/hou-lam-tsui-blind-curve/
LOCATION:RNH Space\, Godfrey Centre Shop 121\, 175-185 Lai Chi Kok Road\, Tai Kok Tsui\, Kowloon\, Hong Kong\, Yau Tsim Mong\, Hong Kong
CATEGORIES:Multimedia,Photography
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20211030
DTEND;VALUE=DATE:20211213
DTSTAMP:20211108T111259Z
CREATED:20211108T111259Z
LAST-MODIFIED:20211108T111259Z
UID:10017668-1635552000-1639353599@cultureplus.asia
SUMMARY:Liao Jiaming: Till Love Do Us Part
DESCRIPTION:RNH Space is proud to announce Till Love Do Us Part\, a solo exhibition by Liao Jiaming. Using images of human body obtained from gay dating apps and cityscape photographed at cruising spots\, Liao creates photo installations and prints. One’s feelings of angst\, insecurity and doubts in finding love subtly permeate this body of works\, whilst it questions the social norms that hold the reins to our understanding of ideality. \nThe exhibition title coins the wedding vows ‘till death do us part’\, intending the marriage to last until death. To capture Liao’s feelings of defeated in his dating experience through apps and cruising spots\, he twisted the phrase to communicate his disappointment. Such consequences are rooted in the failure of dating platforms in helping people find true love\, whilst they nevertheless plant an illusional idea of ideal lover in the users’ heads\, by distorting the notion of beauty and encouraging desire of bodily perfection. Liao seeks liberation from such a formula from the perspective of his own experience in the community. \nComing from a background of journalism\, Liao gave up the idea of documenting news through photojournalism\, but leaps into an alternate position as a photographer connecting to personal emotions in his artworks. To further repurpose the objective reality documented in photography\, Liao trains artificial intelligence(AI) to analyse profile pictures found on dating apps then generate images of human body\, parodying human behaviours in producing perfect images of their bodies abound by the aesthetic standards on those apps. These generated images\, often surreal and bizzare\, are a reflection of detrimental perception of beauty throughout dating scenes in gay community. \nAt RNH Space\, installation work Eternal Home has the only part in the exhibition using AI generated image\, in the form of wallpaper\, acting as the backdrop to proclaim one’s social persona. The rest of the installation\, on the other hand\, applies honest details of human body to quotidian objects\, to exemplify a sense of authenticity. Main Ornament I in the form of a muscular human body made from 3D printing\, decorated by exquisite pearls\, is a commemoration of the ‘uniform’ one wears in front of daily encounters. Liao’s interest in the real intimacy of human body unveils the masked emotions and the desire for truth\, and paves the way for empowerment.
URL:https://cultureplus.asia/event/liao-jiaming-till-love-do-us-part/
LOCATION:RNH Space\, Godfrey Centre Shop 121\, 175-185 Lai Chi Kok Road\, Tai Kok Tsui\, Kowloon\, Hong Kong\, Yau Tsim Mong\, Hong Kong
CATEGORIES:Multimedia,Photography
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20210925
DTEND;VALUE=DATE:20211024
DTSTAMP:20210917T005705Z
CREATED:20210917T005705Z
LAST-MODIFIED:20210917T005705Z
UID:10017395-1632528000-1635033599@cultureplus.asia
SUMMARY:cucurrucucu: Waste Not
DESCRIPTION:RNH Space is pleased to announce Waste Not\, a solo presentation by cucurrucucu\, featuring her photo collages that eerily confuse realities. cucurrucucu unbosoms herself as she wanders between conflicting understandings of her own reality whilst sneakily steps into viewers’ discomfort zone. \nAs an artist who only produces artworks off duty\, cucurrucucu has found herself divided into different personae\, as her subconsciousness often challenges the interests of her consciousness: she likes rules\, but can be often distracted by disobedient thoughts; she is loyal to rationality and truth \, but cannot just let go of stranger things. \nIn Waste Not\, every collage work comes after she unleashes her subconsciousness. Collaging is also a desert island where she can land when drifting between these two states of mind. By juxtaposing a farmer and a commercial\, a masterpiece of painting and a flip phone\, the scenes of an earthquake rescue and factory pollution\, and so forth\, these artworks carry an undercurrent of humour with complexity.  \nThe images used in cucurrucucu’s works were cut out from vintage magazines mostly published in the last century\, collected in batches from second-hand stores during her stay in San Francisco. A reflection of the artist’s personal memories and fantasies\, these appropriated images are repurposed as the artist upsets their original orders and logics\, breaking down the realities they once represented and extending to novel imageries. In the exhibition\, the works are also framed with various findings from Hong Kong’s thrift shops. This decision not only inspired the exhibition’s Chinese title which contains the Cantonese slang term literally for thrift shops\, but also initiates a conversation that surpasses time and space. \nWaste Not is the first chapter of the series Reality Overdose\, which gathers three image-based exhibitions\, demonstrating individual experiences of how our self-awareness and understanding of life are confined by the realities which we are born into\, and how we can use such realities as vessels for authentic self-expression.  \nReality Overdose\, curated by Yang Jiang\, is part of Satellite Exhibitions by Hong Kong International Photo Festival 2021.
URL:https://cultureplus.asia/event/cucurrucucu-waste-not/
LOCATION:RNH Space\, Godfrey Centre Shop 121\, 175-185 Lai Chi Kok Road\, Tai Kok Tsui\, Kowloon\, Hong Kong\, Yau Tsim Mong\, Hong Kong
CATEGORIES:Ink & Drawing,Photography
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