© 2019 Hidden Space

Past Exhibition

N22.5°E  高度一致

11 - 25 August 2018

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N22.5°E. Installation views

HO Hang Yi (HK)

Everyday elements, from real objects to observational drawing, are combined in an installation that highlights both the alienation of the urban Hong Kong experience but also finds a rhythm that we may or may not be able to sync with.

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HO Hang Yi (HK)

LAM Yan Yu (HK)

LAU King Nam (HK)

MOK Ting Yan (HK)

NG Sek Hin (HK)

NG Yin Lam (HK)

 

11 - 25 August 2018

Opening: Saturday 11 August 5-7pm

Hours: Thursday to Sunday, 1pm- 6pm

 

Hidden Space is pleased to present N22.5°E, an exhibition by The Failure Group: six young Hong Kong artists, Ho Hang Yi, Lam Yan Yu, Lau King Nam, Mok Ting Yan, Ng Sek Hin and Ng Yin Lam. 

In 2017, the communique of the Seventh Plenum of the 18th Central Committee of the Communist Party of China announced that society should attain a "high degree of uniformity". What does this mean for individuals in that society? And what does a high degree of uniformity mean to Hong Kongers, as they move through an unprecedented period of change? 

Of course, in broad terms, most people share at least basic common needs, values and desires. However, how do we as individuals reconcile a social ideology of uniformity with our individual sense of identity and our personal needs and desires? In this exhibition, the artists explore aspects of uniformity in their everyday lives. They examine the conflict between their struggle to cope with uniformity as a societal value and the search for singularity as individuals. 
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The six artists completed their BFAs with either CUHK or the AVA at HKBU between 2013 and 2015. In 2017, they joined forces as The Failure Group, and with strength in numbers they empower and support each other. As The Failure Group, they have exhibited in Hong Kong and Taiwan. N22.5°E is their fourth group exhibition together.

HO Hang Yi was born in rural China in 1990 and moved to Hong Kong at the age of 8. Taking inspiration from her personal experiences, she condenses and reconstructs familiar and alien scenes from everyday life to portray her diasporic identity. Her works often depict the complex feelings of indifference, uncertainty, anxiety and attachment associated with her origin and current place of residence. She received her BFA from the Chinese University of Hong Kong in 2015.

LAM Yan Yu (HK) uses varied media, including drawing and modelling, to respond to the complexity and constraints experienced by a young adult struggling to create a balanced life. Through examining and recording ordinary scenes, she aims to construct a calm place, a place that can appease the inner unease. She received her BFA from the Academy of Visual Arts at Baptist University of Hong Kong in 2013.

LAU King Nam (HK) uses Chinese ink painting to explore morbid relationships between individuals and society. His work is influenced by Japanese rogue literature. He received his BFA from the Chinese University of Hong Kong in 2015.

MOK Ting Yan (HK) works mostly in mixed media, emphasising the existence of an incident or an object through archiving it. By collecting and recording related information, she gives an account of an event or object's nature as a way to express her feelings toward it. In this way, through deconstruction and reconstuction, a simple daily commodity can be regenerated to become something surprising, something that may allow us to reach a new interpretation of it. She received her BFA from the Chinese University of Hong Kong in 2015.

NG Sek Hin (HK) works mainly in video and installation. He is interested in using images as a way of creating dialogue with the viewer. He received his BFA from the Chinese University of Hong Kong in 2015.

NG Yin Lam (HK) is concerned with land. Through the process of accumulation and sedimentation of paint materials, she explores the formation and structure of land, and uncovers buried sentiments. Ng was born in Mainland China and moved to Hong Kong when she was 8. She received her BFA from the Academy of Visual Arts at Baptist University of Hong Kong in 2015.
 

 

Out of Order, 2018

Installation, roadblock lamp, ink on paper, wooden boxes, mirror tiles, test tube, plant, framed drawing, overall dimensions variable

LAM Yan Yu (HK)

"Someone said, even in the darkest place there is always light. But didn't someone else say, you can't ask a black shadow to go away when it's already part of your life. When the dark days come, we have to imagine our sun."

Interval Terminus, 2018

Oil on canvas, 183 x 92 cm

Imaginary Sun, 2018

Installation, book of graphite on photocopies, graphite on paper, lamps, mirror, overall dimensions variable 

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LAU King Nam (HK)

Using gong bi style ink painting, Lau juxtaposes the delicacy of the technique with the depiction of the drudgery of relentless work.

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Selling Life, 2018

Ink and colour on silk, wooden framework, LED lights, overall dimensions variable

(3 silk panels, each 80 x 38 cm)

MOK Ting Yan (HK)

In an age of 'fake news', how can we trust in the neutrality and objectivity of news media? Pages of a contemporary newspaper are painstakingly obliterated with correction fluid, leaving only scattered and meaningless zeros - each one the circular part of letters or digits 0, o, p, b, d, or q.

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Tomorrow Post, 2018

Installation, correction fluid on newspaper, collage on acrylic sheets. shelf unit, bean bags, overall dimensions variable

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NG Sek Hin (HK)

"Some of us are on the road, some of us are in an endless loop. We all exist in the same moments."

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Days at the Edge, 2018

Two channel video installation, videos 02:33

NG Yin Lam (HK)

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Interval Terminus, 2018

Oil on canvas, 183 x 92 cm