Adjusted Visions Ng Sai Kit X Yeung Tong Lung
Adjusted Visions Ng Sai Kit X Yeung Tong Lung Exhibition
Dates: 29/11 (Fri) – 29/12 (Sun) /2019 Opening Reception: 6/12 (Fri) 6-8pm
Venue: Lumenvisum L2-10, JCCAC, 30 Pak Tin Street, Shek Kip Mei, Kowloon, H.K.
Opening Hours: Tue-Sun, 11am-1pm, 2-6pm (Closed on Mondays and public holidays) Curator: Lin On Yeung Presenter: Art and Culture Outreach Venue Sponsor: Lumenvisum
Enquiries: ACO / email@example.com / 2893 4808 Lumenvisum / firstname.lastname@example.org / 3177 9159
ACO presents “Adjusted Visions”, a joint exhibition of Ng Sai Kit and Yeung Tong Lung. This is the first collaboration between the two artists, Ng as a photographer and Yeung as a painter. The exhibition will showcase the aesthetic and unique perspective of both, leading to a profound dialogue of the connection between the two mediums. Landscape photography has been the sole topic of Ng Sai Kit. He uses technique of composition, control of the light and dark, lines and perspectives as the tools to cut captured space into slices, manipulating the experience of looking. In parallel, Yeung Tong Lung usually constructs and manipulates spaces in his paintings. Familiar local places and faces of plebeians are put into the stages, while perspectives, people’s gestures and sights, and forms of objects directing viewer to indulge and travel in the picture. Ng and Yeung, although using different mediums, they have shared a very common artistic view and concern. Therefore, this exhibition will surely unfold an interesting dialogue at the crossroad of the two.
“Recent Works 2015-2019” series is a new set of photo works by Ng Sai Kit. Following his exploration in the vertical panorama in “Found Landscape” and portrait form sceneries in “Meta-Landscape”, his new works are shot in horizontal frame of different corners in the city. Composition and cropping of his pictures are sharp and meticulous, shown in his control of vertical and horizontal lines in architectural spaces. Framing from a single space, spaces are divided as if multiple perspectives are captured, yet like a montage. For the line elements seen on some of his works, it appears as the crevasse between real and unreal. A printed banner of nature scenery with natural lighting that occupies the major area of the picture, appears like a three-dimensional real space. However, a real trunk on the far right of the picture shoots and crosses the picture. Planes of real and unreal landscape stack up in the picture, which shake and illude the perception of audience.
The current showcase of Yeung Tong Lung’s paintings is a mixture of his new and old works. However, a common theme is singled out, which is window glass. Glass as a transparent material contains both the scenery seen through and the scenery being reflected. Although the representation seems realistic, achieving reality is not the aim but only the mean. The subjectivity of painter is embodied through the painting technique which blends the reflection and reality. It is in fact the challenging viewing experience and contemplation that the painter wants to bring to the audience, if not getting lost in the maze of spaces. In the new painting “Window Glass No. 5”, a girl is looking to her phone as if taking a selfie. The trip of sights begins from the gaze with the girl. Then, the sight is directed to her phone and also the picture on screen as if watching from her eyes. The window glass that hints her sight also extends viewer’s vision to the landscape further away. Yet, the room behind the glass, space reflected from the mirror in the balcony, and the space outside the building create an accessible vision that allows visual wandering and penetration through spaces.
Ng Sai Kit as a photographer walks in real space to find the single point of location and time to compress the landscape into the image plane. Within the limitation of photo capture of spatial structure, he re-creates different layers of visual spaces. Yeung Tong Lung as a painter, however, freely constructs visual spaces through drawing and painting from memory. It is not necessary to follow the logical vision, but rather a reasonable one that recalls the visual memory and experience from the viewer. Their works share similarities under different limitations of mediums, and they both examine the border and trying the break through. Juxtaposing the two will amplify and add values of their works under visual dialectics.
About Artists: Ng Sai Kit Ng Sai-kit was born in Hong Kong in 1957. He has started his photography projects since the early 80s; at the same period, he set up the photography workshop The Photoventurers Workshop with other photographers. At that time, his photography was inspired by Ng Hon-lam and Cheung King-hung; in 1985, he participated his first group photography exhibition “Sensitive, Transitive”, which was curated by them. Afterward, between 1989 to 1990, he travelled to France and some of his photography works were collected by the Bibliotheque Nationale in Paris, France. After he returned to Hong Kong, The Photoventurers Workshop was reformed as The Workshop. Between 1993 to 1999, he took part in the editorial of 11 issues of non-periodical visual culture publications issued by The Workshop with the sponsorship from the Hong Kong Arts Development Council. Between 2005 to 2008, the Photocrafters workshop was set up. This workshop aims at promoting visual cultural activities in Hong Kong and it held many photography courses and exhibitions. In 2008, he set up the Out-Focus Group with friends at the Jockey Club Creative Arts Centre in Shek Kip Mei, Hong Kong. Until now, his works have been exhibited in Hong Kong, Macau, Tokyo, Canada and Paris, and some of the works were collected by the Hong Kong Heritage Museum. Yeung Tong Lung Yeung Tong Lung, was born in 1956 in Fujian, China and moved to Hong Kong in 1973. He began serious painting in 1975 and held his first solo exhibition in 1986, while holding joint exhibitions from 1984 until currently. He works as a mural artist and a set painter for interior designers, photographers and film directors for his living. Yeung's works deal with the landscape and the space of human being both in physical body and in mind. His works are exhibited in Hong Kong, Beijing, Japan, U.S.A., and Switzerland. The Hong Kong Art Museum, M+ West Kowloon Cultural District Authority, The Hong Kong Economic and Trade Office in Geneva, and some private collectors have collected his art works. About ACO: ACO Art Space at 6/F Foo Tak Building was initiated in early 2018, aiming at creating opportunities for artists to experiment and disseminate their works in a qualitative manner. We hope to strengthen the public's understanding of artists' creative energy, and encourage them to collect local artworks for enhancing their lives, while supporting the sustainable development of Hong Kong's art ecology. Since 2003, ACO manages 20 units of Foo Tak Building and has leased to art and cultural entities at a sponsored rate much lower than the market price. About Lumenvisum: Lumenvisum is a non-profit art organisation dedicated to the promotion of photography. Founded by four veteran photographers in 2007, it is a platform for cultural exchange, educational outreach, sharing of resources and building of knowledge.