|2 May – 29 June 2013
|Tue - Sat: 1pm – 7pm
(Sun, Mon and Public Holidays by appointment)
|ART PROJECTS GALLERY
Unit 7, Level 14, Oceanic Industrial Centre,
2 Lee Lok Street, Ap Lei Chau, Hong Kong
+852 3485 5336
+852 3485 5336
A rhinoceros squeezed inside an opened shiny tin food-can; a rubberized blond doll in blue bikini fending off a bunch of cheeky, fishy intruders; a pack of toy pandas foraging for food in a forest of bamboo fungus - these describe a few of the curious and striking imageries that were created during Art Projects Gallery’s inaugural artist-in-residence program, titled “Invisible Cities: Hong Kong”, by Indonesian artist, Angki Purbandono, after spending a month in Hong Kong in the Autumn of 2012. An exhibition will be held at Art Projects Gallery to showcase works from 02 May – 29 Jun 2013.
The vision of Art Projects Gallery’s artist-in-residence program is to provide a platform for artists to experience life in a foreign environment - to explore the intricacies of a new place; to dream of endless possibilities; to discover new sights, sounds and smells; to rediscover one’s self; and to be inspired by all that the dynamic and multifaceted city of Hong Kong has to offer in their artistic creations. The program is inspired by Italo Calvino’s book, “Invisible Cities”, first published in 1972, that imagines the explorer Marco Polo’s vivid and poetic descriptions of numerous cities to Kublai Khan. Likewise, Art Projects Gallery envisions the participating artist to convey his/her own impressions of the city of Hong Kong through artistic expressions.
During the Angki’s 30-days residency in Hong Kong, the artist explored the city intensively, absorbing its sights and smells, unraveling its idiosyncrasies and nuances layer by layer, before dissecting them and then assimilating them back selectively and creatively into his artworks. Angki, currently the most prominent artist in Indonesia specializing scanography, created the artworks for this residency with this very medium.
Scanography refers to the use of a flatbed scanner to capture images of objects in the creation of art, similar to how a photographer would, using a camera. For Angki who also creates art with photography, “scanography is more than the camera; the scanner has the ability to capture the finest details of the object due to its light from within and the limited depth of field.”
Angki’s modus operandi for his creative process and art-making begins with “playing” with the objects he had found in Hong Kong, arranging them in various compositions that he has earlier visualized in his mind, before placing them on a flatbed scanner to scan. While doing so, he is especially sensitive to the effects of the light from the scanner on the objects that will define the shadows, textures, colors, depth and details of the digitized image.
The objects that Angki has used for the “Invisible Cities: Hong Kong” series are ubiquitous to the local culture, habits and lifestyle. He scoured places such as at the local supermarket in Causeway Bay, at the wet markets in Wanchai, the dried foods shops in Sheung Wan and the night bazaar at Temple Street for his creative subjects, delightfully finding items such as dried fish, an antique chopsticks rest set, a frozen duck, fresh fruits and even dried seahorses that are used locally as a traditional aphrodisiac. In one of the works, Angki had added items that he had brought from his home in Yogyakarta to Hong Kong – a collection of miniature Javanese knifes – with the intent of introducing his own culture into the work.
While the objects used for the artwork may be commonly found - albeit some items may seem like unusual art subjects - it is the way Angki had selectively juxtaposed and composed them, together with a sense of disarming playfulness and the artist’s trademark humor, that makes these works visually stimulating, thought provoking and truly memorable.
藝途畫廊舉辦的藝術家駐場計劃，目的是為了提供一個可以讓藝術家在國外環境體驗生活的平台──去探索新地方的錯綜複雜；去幻想無限的可能性；去探索新的景象、聲音和氣味；去重新發覺自我；並讓多方位的香港生氣氣息給予藝術家創作靈感沖擊。這個藝術家駐場計劃的啓發來自於意大利著名作家伊塔羅 · 卡爾維諾的作品《看不見的城市》，首次出版於1972年，描述了探險家馬可 · 波羅向忽必烈，通過生動和富有詩意的想象，講述他所見到及遊覽過的城市。同樣，藝途畫廊設想參與駐場計劃的藝術家，可以通過藝術表現形式來轉達他/她自己對香港的印象。