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MARK CHUNG

de sarthe

WHEEZING

鍾正

不宜 呼 吸


Mark Chung Wheezing

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Content | 目錄

Intro | 引言

Artist Statement | 藝術家自述 Ptosis | 眼簾下垂 Befogged | 朦 Growl | 吼

Befuddled | 使人迷惑 Volvulus, #2 | 紐結 #2

Crippling light, #4 | 傷殘的光 #4 Crippling light, #2 | 傷殘的光 #2 Volvulus, #1 | 紐結 #1 Fugue | 漫遊

Crippling light, #3 | 傷殘的光 #3

Mark Chung Bio & CV | 鍾正簡介和履歷

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de Sarthe is pleased to present the Hong Kong-based artist Mark Chung’s first solo exhibition, Wheezing, concluding de Sarthe’s fourth annual artist residency (deSAR). Featuring a series of interrelated immersive installations, the developed artworks are based on the artist’s empirical experience of Hong Kong, chiefly during the period of July 2019 to August 2020. The exhibition investigates the various symptoms of systemic dysfunction existent in the city by triggering unexpected sensory reactions through interventions in the gallery and creating immersive cinematic environments for audiences to engage. 德薩畫廊榮幸地呈獻駐香港藝術家鍾正的首個展《不宜呼吸》, 同時以此為第四屆德薩畫廊藝術駐留項目 (deSAR) 畫上句點。 展覽將反映藝術家由 2019 年 7 月至 2020 年 8 月期間在香港的 體驗,展出一系列彼此相關的沉浸式裝置作品。展覽通過在畫廊 中進行感似反烏托邦的不同設置,調查各種指向城市結構失調的 徵狀。

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Artist Statement text by Mark Chung All day long, we had been cutting trash into smaller pieces of trash, these are trash from an exhibition just finished. We had to cut the trash into smaller pieces to fit it in a regular household trash skip. The dry wall dust makes your skin dry and itchy. Your hearing for higher frequencies is temporarily lost from the repetitive banging and hammering. The saw-dust makes you cough and sneeze. With your hurting back in the narrow bus seats, you question everything you’d worked on for the exhibition you’d just trashed. We had to cut because the 3 of us cutting non-stop for a day is marginally cheaper than buying construction-waste trash skip services, and we can throw away the whole city and no one will bother to say a thing, as long as we cut it into small enough pieces. All day long we had been cutting trash into smaller pieces of trash, trash of an exhibition just finished. Everyone from the curators to artists to administrative staff know where things go after the show. It has never bothered them, they will simply say “such a pity to throw away all this trash” and continue making exhibitions the same way. This kind of cutting and trashing has happened countless times before, and will continue to happen until we exhaust everything, morally and ideologically. Yet, in the midst of this detrimental dust, the 3 of us continue to cut, contributing to this eradication almost involuntarily, convincing that we are powerless against what we are doing. The apartment on the 4/f in my walk up building always smells of old people slowly dying alone in the 2 subdivided flats in that apartment. Through the disorganized pipes buried under the floors, hidden behind the walls, tangled outside the building, I can vaguely smell their flats from the shower drainage in my flat. I only ever see one tenant coming in and out of these units; I hear a lot more, but my schedule never aligns with the rest of them. He has bald patches and grey skin, always with a cigarette hanging from the right corner of his black lips, he could be in his late 40s or late 60s, it is impossible to tell his age in this health condition. During the hottest days in the summer, I never open my toilet doors, trying to seal off that nauseating odor. Summers are no longer fun, they are pure torture; the air is hot, stuffy, wet and heavy. It was the hottest day recorded in the history of the city, after a whole day of physically demanding labour, I came home to realize that the toilet door was left open. The smell of rotting instant noodles, hair and excrement clogged up in the sewage filled up the house. There is no denying, we are sharing the same decaying intestines in this decomposing building subjugated by this corrupted city. There is no escape, the corruption of the city is in the air, the air is in your home, you can close the door, crank up the ventilation and only make it less noticeable but can never run away from it. Again, you gasp. Air-conditioning costs, the host will sometimes not buy the service of climatization when they consider it unnecessary. In a building that only relies on artificial ventilation, your whole body

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becomes sweaty and slowly dissolves into the humid air in the room until the first crates of artworks arrive, when the climatization becomes necessary. It is only when the air-con comes on, the perpetual sound of labouring in the background is dampened, with your sweat covered face you realize how overwhelming the grumpling of a ventilation is. This oppressive sound is the sound of the city breathing. This disorienting city of cloud touching buildings, of lights that pierce through the smog and of unimaginable wealth gap, this deafening sound haunts us the whole day everyday. You can only escape this deep moaning of the exhaust by leaving the city. While you slowly stop sweating in this relentless groaning of the building, you will hang images and place objects until you’re told to leave, have a few hours of sleep and come back the next morning. Breathing in the cold dry air that stings your nasal cavity, an A-4 sized red stickers with “RUBBISH” written on were distributed by the cleaners that work for the sub-contractor of the building. You were then told to label the objects you wish to trash. So that they will not mistakenly trash an art piece. It’s so fucking dark here, my breathing was agitated, shoulders tensed, prepared to sprint. Blue beams of light restlessly flashes through the transparent shield wall, attempting to blind everyone from their obscenity. They weaponise light in the dark, where everyone is panting, surrounded by confusion and overwhelmed with anger. One of the flash lights caught my dilated pupils and blinded me, it left me with an afterimage of an explosion of a star moving towards me. Soon everyone here could only either be blinded or disappeared, the slightest expression not parallel with the politics of the ruler will be labeled as an act of terrorism. We can only wheeze under this mode of governance. It is also almost impossible to see an end to this perpetual anguish that we have endured in the past 12 months. Suppose that this turmoil, in this current or other unpredictable forms, is to be extended permanently. This liquidated governance and normalised atrocity is not temporary. An end to this shameless exploitation of the last century is simply unimaginable, we are to live in this actualised dystopia for the coming decades. You never see everything that is there, the light is always changing. It’s too dark to see, it’s too bright to see, you will always miss almost everything in front of you. You are the accumulation of what you feel now, now and now and now. It was unthinkable that light could blind, air could scorch, water could burn, simple unquestionable morals vanish. The air is sickening, the air is unbearably warm, the air is chemically heated, the air is contagious… Now you know, the air of this era is unbreathable…

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Upon entering the gallery, visitors are immediately submerged in a monochromatic environment. Utilizing tube lights with low CRI (color rendering index), Chung’s Ptosis (2020) is an environment in which one can perceive only a limited spectrum of colors. A play on the normative purpose of light, which is to reveal visual information, Chung’s contradictory use of light removes a large swathe of visual information from our field of vision. By doing so, the artist elucidates the limits of our perception and both the exterior and inherent factors that bound them. 走入畫廊,眼見的事物都會立刻變成單色調。鍾正 的《眼簾下垂》(2020) 利用低演色性指數的燈管營 造一個肉眼僅見有限色彩的環境。光線的正統用 途本為轉達視覺信息,但鍾正卻偏偏反調地利用 燈光從我們的觀感移除一大部分資訊,從而闡明 我們感知的侷限性以及限制其的先天和外來因素。

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Mark Chung Ptosis 2020 Fluorescent lights, dimming ballast 45.5 x 187 x 7 cm Ed. 1+1 AP

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Prominently displayed on an otherwise empty wall, Befogged (2020) is a photograph portraying the Hong Kong skyline as seen from the ferry ride between To Kwa Wan and North Point. Heavy fog fills the image, disclosing only vague silhouettes of buildings and mountains. Taken during the heights of the 2019 protests, when the ferries became a substitute cross-harbor transportation for many, the image captures the city as it is shrouded in a mist that fills its streets, an ominous veil muffling the haunted metropolis. 一幅空牆的正中展示著一幅望向香港天邊摩天大樓的圖片。 《朦》 (2020) 是藝術家乘搭渡輪時,在土瓜灣和北角碼頭之間所捕捉 的照片。作品於 2019 年社會運動的高峰期拍攝,當時渡船成為 許多市民跨海的交通工具。大霧漫溢整片風景,僅僅露出建築物 和山脈的模糊輪廓。 捕捉到的景觀看似城市正被瀰漫在街道上 的霧氣吞噬,猶如一層煙幕籠罩著被消聲的都市。

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Mark Chung Befogged 2020 Ceramic photo, drywall 30 x 30 cm Ed. 2+1 AP

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Further into the gallery, Mark Chung’s Growl (2020) is a large-scale immersive installation in which the space is divided into two rooms with opposing temperatures. In one room, flexible aluminum air ducts reach down from the ceiling mounted air-conditioning units. The silver tubes slither and probe their way into a smaller room, redirecting cold air and leaving the larger room to be warm and humid. Comprising a mandatory route, viewers are required to move through the cold room in order to access the warm room. Using air and temperature as a core medium, the installation references the invisible systems, such as water treatment and climatization, that enable our existence within a metropolis such as Hong Kong. Chung likens these utilities to bodily organs such as airways and intestines, which, in their natural flow, function to maintain a life-sustaining cycle. By disrupting one of these systems, Chung places the viewer in a state of sensory imbalance. A demonstration symbolic of larger issues, Chung’s artwork challenges the problematic systems and normalized dysfunction on which the city operates.

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繼續前進,鍾正的大型的沉浸式裝置《吼》(2020) 將空間分成兩個溫度相對的房間。在其一房間中, 靈活的彈性鋁製風管從樓頂的冷氣向下延伸。銀色 的管道在空間中穿插蠕動,從多邊探入較小的房間 裡。管道將所有冷空氣重新引導,使較大的房間變 得炎熱而潮濕。訪客必須沿著藝術家設計的路線, 穿過寒冷的房間走到溫暖的房間。這件裝置作品的 核心媒體是空氣和溫度,如供水或恆溫等的無形系 統,允許我們在像香港般的都市生存。鍾正將這些 功能結構比作氣管或腸胃等的身體器官,其運行必 須維持流暢。通過擾亂其一系統的正常運作,鍾正 將觀眾置於一個感官失衡的狀態。 《吼》的設局不 僅象徵著更大的問題,更是挑戰正在潛移默化城 市的結構性失調。

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Mark Chung Growl 2020 Air conditioning system, flexible aluminium air ducts, in-line fan Dimension variable Ed. 1+1 AP

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Chung’s multimedia installation Befuddled (2020) comprises a video of one of Hong Kong’s most widely known attractions “A Symphony of Lights,” projected through a cracked glass partition. The artwork looks at the iconic lights and laser show as a bizarre and unnecessary celebration. Taking over the urban skyline, even indirect viewings of its large-scale display become unavoidable. Recorded using a drone, the video shows the performance through a reflection on the glass of the 108-story tall International Commerce Centre. Acting as a screen, a mirror, and a filter, the fractured glass at the center of the installation simultaneously distorts, reflects, and splinters the video, revealing alternative interpretations of the video. Refracting colors across the space while visitors’ shadows further intersect the layers of light and imagery, the staged environment seemingly transcends its physical elements into a phenomenological experience. The transition from one side of the glass to the other – to be bathed in light and then swiftly exiled – additionally creates a sense of instant displacement. The fragmented glass, stained by the projection, parallels the tinted lens through which observations are often made. Looking through the partition, the iconic spectacle that flaunts the flourishing of Hong Kong seems oddly estranged.

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鍾正的多媒體裝置作品《使人迷惑》(2020) 將香港廣為人知的景點 「幻彩詠香江」的錄影投射到爆裂的玻璃上。作品將這標誌性的激 光表演視為一個既怪異又不必要的慶祝活動,它橫掃城市天際線, 使城市中的人無法避免。藝術家運用無人機航攝視頻,透過高 108 層的環球貿易廣場玻璃外牆上的倒影呈現表演。裝置作品中心被敲 碎的玻璃則模擬著 2019 年示威活動期間,街道上日漸增加的破爛 櫥窗。投影機的光線穿透滿佈裂痕的玻璃,導致影像扭曲、反射和 破裂。玻璃同時充當屏幕、鏡子和濾鏡,將錄像拆解到無法組裝。 《使 人迷惑》的佈局將色彩折射整個空間,訪客的影子在光線和影像層 次之間介入。整個環境彷彿超越了物質,剩下意識層面上的體驗。 在玻璃的一側被光線淹沒,然後又迅速地被驅逐到暗黑的另一側, 這近乎即時的過渡亦讓人難以適應。投射影像為玻璃裂痕沾上色彩, 仿似我們進行觀察時,時常戴上的有色鏡片。隔著玻璃觀看,那炫 耀香港繁榮的景觀顯得遙遠陌生。

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Mark Chung Befuddled 2020 Video projection on laminated tempered glass Dimension variable Ed. 1+1 AP

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Tucked in the corner of the gallery and under the floors are Chung’s sculptural series, Volvulus (2020), which are made of polyurethane casts of PVC pipes. Further investigating the biological and organic characteristics of urban infrastructures, these intertwining forms reference the twisted sewage pipes commonly found on the exterior of buildings that house sub-divided flats. A mutation that developed in order to accommodate rent inflation and overcrowding, these pipes are often clogged and overstressed, producing horrific and nauseating smells. By casting the negative space of the pipes, Chung is reproducing its blockage – the by-product of an impermanent solution symptomatic of a dysfunctional system. 鍾正的雕塑系列《紐結》(2020) 藏在畫廊的角落和地板下,作品 運用了聚氨酯泡沫鑄入水管。這些相互交織的形體在參照劏房單 位外牆經常發現的污水管,延續了藝術家對城市設施生理特徵 的持續探索。扭曲的水管是為腐壞而產生的變異。這些管道經常 堵塞,產生惡臭與令人作嘔的氣味。通過鑄造管中的負空間,鍾 正在複製其堵塞物,並以這種由短期方案製成的副產物,診斷更 為大型的城市系統失調。

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Mark Chung Volvulus, #2 2020 Rigid polyurethane foam 66 x 40 x 22 cm

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Mark Chung Crippling light, #4 2020 Offset print photograph 16.2 x 27.3 cm

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Mark Chung Crippling light, #2 2020 Offset print photograph 16.2 x 27.3 cm

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Mark Chung Volvulus, #1 2020 Rigid polyurethane foam 75 x 84 x 43 cm

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The exhibition’s final work, titled Fugue (2020), is composed of silkscreen prints on a galvanized steel plate. The artwork is modeled after a vacant billboard Chung spotted outside the Cross-Harbour Tunnel in Hung Hom – an anomaly in the commercial center of Asia. Without an advertisement, a billboard is reduced to a mere physical existence stripped of meaning and purpose. A visual cavity amid urbanity, the empty billboard seemingly embodies a larger pattern that has swept the city. Streets without people, storefronts without stores – the city has fallen into an indefinite state of suspension. Examining emptiness, Fugue portrays a void in the shape of Hong Kong, and a withering cityscape emblematic of a system in atrophy. 展覽中的最後一件作品名為《漫遊》(2020),是鍍 鋅鋼板上的絲網印刷。藝術家以紅磡過海隧道外 一塊空置的廣告牌進行建模。留空的廣告牌在作為 亞洲商業中心的香港可稱上異常的現象。沒有內容 的廣告牌除了佔據空間以外沒有意義可言,但這個 高樓之間的視覺空穴卻彷彿意味著城市大局的趨 勢。人煙寥落的街道,日漸消逝的店鋪 – 城市陷入 了無限期的停頓。描繪空白的《漫遊》其實描摹著 一個香港形狀的空洞,凋零的城市景象。

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Mark Chung Fugue 2020 Silkscreen on galvanized steel sheet 40.5 x 124 cm

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Mark Chung Crippling light, #3 2020 Offset print photograph 16.2 x 27.3 cm

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About Mark Chung Born in 1990 in Auckland, New Zealand, Mark Chung was raised in Hong Kong and graduated with a B.F.A from Hong Kong Baptist University Academy of Visual Arts in 2014. Mark Chung’s most recent exhibitions include Very Natural Actions, Tai Kwun Contemporary, Hong Kong, China (2019); The Velocity Between Pacing and Stopping, Galerie OVO, Taipei, Taiwan (2019); A Tree Fell in the Forest and No One’s There, Power Station of Art, Shanghai, China (2018); In the Open or in the Stealth, Museu d’Art Contemporani de Barcelona, Barcelona, Spain (2018); Wan chai Grammatica: Past, Present, Future Tense, Pao Galleries, Hong Kong Art Centre, Hong Kong, China (2018); Empathic Park, CMC Gallery, City University of Hong Kong, Hong Kong, China (2017); A Book/Not a Book, AVA Gallery, Kai Tak Campus, Hong Kong Baptist University, Hong Kong, China (2017); Dawn Blossoms Plucked at Dawn, Duddell’s, Hong Kong, China (2017); Beyond Completion, Koo Ming Kwun Gallery, Hong Kong Baptist University, Hong Kong, China (2017); Bókverk / Artist’s Books: Printing Matter, Skaftfell Art Centre, Seyðisfjordhur, Iceland (2017); Imagine there’s no country, Above us only our cities, Para Site, Hong Kong, China (2015); Mind the Gap, 1a Space, Hong Kong, China (2015). He was the recipient of the Supported Artist grant from Soundpocket from 2015-16, and his work is included in the MoMA Library New York collection.

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關於鍾正 鍾正於 1990 年出生在奧克蘭,在香港成長。他於 2014 年在香 港浸會大學視覺藝術院取得藝術學士畢業。 鍾正近期的展覽包括《藏木於林》,大館當代美術館,香港,中國 (2019); 《介乎踱步與停歇的速度》,十方藝術空間,台北,台灣 (2019); 《林中的樹倒下而沒有人在看》,上海當代藝術博物館, 上海,中國(2018); 《公開或隱藏》,巴塞隆納當代藝術博物館, 巴塞隆納,西班牙(2018); 《灣仔文法:過去、現在、未來式》, 包氏畫廊,香港藝術中心,香港,中國(2018); 《移情公園》, 城市大學邵逸夫創意媒體中心,香港城市大學,香港,中國(2017) ; 《書不是書》,視覺藝術院,啟德校園,香港浸會大學,香港,中 國(2017); 《朝花夕拾》,都爹利會館,香港,中國(2017) ; 《Beyond Completion》,顧明均展覽廳,香港浸會大學,香港, 中國(2017); 《Bókverk / Artist ’s Books: Printing Matter》,

斯卡佛視覺藝術中心,塞濟斯菲厄澤市,冰島(2017); 《如果只 有城籍而沒有國籍》,Para Site,香港,中國(2015) ; 《小心空隙》, 1a 空間,香港,中國(2015)。 另外,鍾正獲選為 2015-16 年度聲音掏腰包「藝術家支援計劃」 的藝術家,他的作品亦被納入紐約現代藝術美術館的收藏。

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Artist CV b. 1990 born in Auckland, New Zealand; Currently works and lives in Hong Kong, China 2014

B. F. A. Academy of Visual Arts, Hong Kong Baptist University

Solo Exhibition 2020

Wheezing, de Sarthe, Hong Kong, China

Group Exhibitions and Projects 2019 2018

2017

2016

Mark Chung Wheezing

Very Natural Actions, Tai Kwun Contemporary, Hong Kong, China The Velocity Between Pacing and Stopping, Galerie OVO, Taipei, Taiwan A Tree Fell in the Forest, and No One’s There, Power Station of Art, Shanghai, China In the Open or in the Stealth, Museu d’Art Contemporani de Barcelona, Barcelona, Spain Wan Chai Grammatica: Past, Present, Future Tense, Pao Galleries, Hong Kong Art Center, Hong Kong, China Empathic Park, CMC Gallery, City University of Hong Kong, Hong Kong, China A Book/Not a Book, AVA Gallery, Kai Tak Campus, Hong Kong Baptist University, Hong Kong, China Latency, Hidden Space, Hong Kong, China Mark Chung, Silas Fong, Nicole Wong, Gallery Exit, Hong Kong, China Dawn Blossoms Plucked at Dawn, Duddell’s, Hong Kong, China Beyond Completion, Koo Ming Kwun Gallery, Hong Kong Baptist University, Hong Kong, China Bókverk / Artist’s Books: Printing Matter, Skaftfell Art Centre, Seyðisfjordhur, Iceland Translatio In Memoriam Edouard Levé, Charbon Art Space, Hong Kong, China

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2015

2014 2010

Perpetual Production & Consumption, Starprojects, Hong Kong, China Handle With Care, Ostrale - Center for Contemporary Art, Dresden, Germany Imagine there’s no country, Above us only our cities, Para Site, Hong Kong, China Mind the Gap, 1a Space, Hong Kong, China Pre-artist, 1a Space, Hong Kong, China Lumen Prize HK Exhibition, Hong Kong, China Anything Goes, International Art Movement Berlin Exhibition, Bethanien, Berlin, Germany

Performances / Screenings 2016

TIME is Love.9, Mur Nomade, Hong Kong, China I’ll Talk About My Mother, Maybe My Grandmother Too, Experimental Sound Studio, Chicago, USA

Public Collections MoMA Library New York, USA Grants 2015-16

Supported Artist, Soundpocket, Hong Kong, China

Residencies 2020 2019 2017 2016

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de Sarthe Artist Residency, Hong Kong, China Hong Kong House of Echigo-Tsumari, Japan Printing Matter Thematic Residency, Skaftfell, Iceland Wavefront Artist Residency, Experimental Sound Studio, Chicago, USA

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藝術家簡歷 1990 年出生於紐西蘭奧克蘭;現工作與生活於中國香港 2014

藝術學士,香港浸會大學視覺藝術院,香港,中國

個人展覽 2020

不宜呼吸,德薩畫廊,香港,中國

群展與計劃 2019 2018

2017

2016 2015

Mark Chung Wheezing

《藏木於林》,大館當代美術館,香港,中國 《介乎踱步與停歇的速度》,十方藝術空間,台北,台灣 《林中的樹倒下而沒有人在》,上海當代藝術博物館,上海,中國 《In the Open or in the Stealth》,巴塞隆納當代藝術博物館,巴薩 隆納,西班牙 《灣仔文法:過去、現在、未來式》,包氏畫廊,香港藝術中心,香港, 中國 《移情公園》,邵逸夫創意媒體中心,香港城市大學,香港,中國 《A Book/Not a Book》,視覺藝術院,啟德校園,香港浸會大學, 香港,中國 《Latency》,Hidden Space,香港,中國 《鍾正,方琛宇,王思遨》,安全口,香港,中國 《朝花夕拾》,都爹利會館,香港,中國 《Beyond Completion》, 顧明均展覽廳,香港浸會大學,香港, 中國 《Bókverk / Artist ’s Books: Printing Matter》,Skaftfell Art Centre,塞濟斯菲厄澤,冰島 《Translatio》,Charbon Art Space,香港,中國 《永續生產與消費》,Starprojects,,香港,中國 《Handle With Care》,Ostrale – 當代藝術中心,德勒斯登,德國 《如果只有城藉而沒有國籍》,Para Site 藝術空間,香港,中國

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2014 2010

《小心空隙》,1a 空間,香港,中國 《Pre-artist》,1a 空間,香港,中國 《Lumen Prize 香港展覽》,香港,中國 《Anything Goes, International Art Movement Berlin Exhibition》,Bethanien,柏林,德國

表演 / 放映會 2016

《TIME is Love.9》,Mur Nomade,香港,中國 《I’ll Talk About My Mother, Maybe My Grandmother Too》, Experimental Sound Studio,芝加哥,美國

公眾收藏 紐約現代藝術博物館圖書收藏,美國 獲獎 2015-16

獲得人, 「藝術家支援計劃」,聲音掏腰包,香港,中國

駐留項目 2020 2019 2017 2016

de sarthe Hong Kong

德薩藝術家駐留項目,德薩畫廊,香港,中國 越後妻有大地藝術祭 – 香港部屋,日本 Printing Matter Thematic 駐留項目,Skaftfell,冰島 Wavefront 藝術家駐留項目,Experimental Sound Studio, 芝加哥,美國

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Mark Chung Wheezing

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Mark Chung Wheezing 鍾正《不宜呼吸》 5–19 September, 2020

de sarthe 20/F, Global Trade Square, No.21 Wong Chuk Hang Road, Hong Kong Opening hours: Tuesday to Saturday 11am–7pm Tel: +852 2167 8896 Fax: +852 2167 8893 E-mail: hongkong@desarthe.com Texts 文字 Mark Chung 鍾正, Willem Molesworth 毛育新, Allison Cheung 張家容 Editing and copy-editing 編輯及校對 Willem Molesworth 毛育新, Allison Cheung 張家容, Vivian Yau 邱寶儀 Graphic Design 平面設計 Vivian Yau 邱寶儀

All rights reserved. No part of this publication may be reproduced in any form or by any means in whole or part, without prior written permission from the gallery and the artist. 版權所有。未經畫廊和藝術家的事先書面許可,不得以任何形式或手段全部或部分複製本 出版物的任何部分。

de sarthe Hong Kong

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de sarthe 20/F, Global Trade Square, 21 Wong Chuk Hang Road, Wong Chuk Hang, Hong Kong E-mail: hongkong@desarthe.com Tel: 2167 8896 www.desarthe.com

Profile for de Sarthe Gallery

Mark Chung - Wheezing  

Mark Chung - Wheezing  

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