There Are Trees Above 《上面有樹木》
Gallery EXIT is pleased to present There Are Trees Above from July 9 to August 6, 2011. Four young Hong Kong artists, Chihoi, Hei NG Ka-Chun, Roy NG Ting-Ho, Frank TANG Kai-Yiu will present responses to the works of Beijing-based artist YANG Xinguang. Just as Yang’s There Are Stones Below negotiates the boundaries between rural and the urban, each artists’ works are their unique approaches to their surroundings.
In Fall, Chihoi illustrates an intuitive world where one encounters a landscape of peace and worry, abundance and cravings, hopes for the future but also nostalgia. It is, in a sense, a recollection of a parallel world for which the audience can escape the regime of the city and be rendered in silence. Hei Ng’s installation consists of hammers with houses sculpted out of their handles. With reference to the Nail House in Sichuan, the artist plays on the oxymoron between preservation and destruction, the antagonism between the power of the state and the integrity of a common person. Roy Ng’s kinetic installation is inspired by Yang Xinguang’s Leaf 2, where a pierced leaf on a sharpened branch blurs the threshold between deliberate and coincidental. Before leaf falls mimics a leaf surfing through the current. Frank Tang is a process-oriented artist. Through the medium of video, Tang captures himself replicating Chinese ink landscapes. By deconstructing the practice of painting and exporting it into the terrain of performance and video art, the artist investigates the changing meaning of such traditional practice in the contemporary setting. The local artists are available for interview upon request and will be present at the opening reception.
Gallery EXIT 安全口畫廊將在7月9日至8月6日期間舉行《上面有樹木》。四位年輕香港藝術家：智海、吳家俊、吳鋌灝和鄧啟耀，將對楊心廣的藝術品作出回應。正如楊的作品《下面有石頭》探討他畫室所處郊外與城市的交界，參展 藝術家也用獨特的手法，探討和反映他們周圍的環境和生活。
透過《Fall》藝術兼漫畫家智海嘗試描寫一個直覺的世界 - 平靜又憂心，豐足又飢渴，滿懷盼望但又思鄉。這作品是某個平行宇宙的記憶，令觀眾逃脫城市的法界，讓他們感受那刻稍瞬即逝的寧靜。吳家俊承接往用現成物作 標題的風格，使用數個木錘柄子，於末端雕了幾間小房子，而創作靈感來自四川的釘子戶。他籍此表達不同的矛盾狀態：如保育與毀壞之拉据，國家政權與個人人權 之衝突。吳鋌灝的《樹葉落下之前》是一件活動式裝置，以楊心廣的《樹葉． 二》為創作起點。《樹葉·二》是一塊被尖銳樹枝貫穿的樹葉，它模糊了「蓄意」與「巧合」的區別。吳的《樹葉落下之前》利用機動裝置驅動一片樹葉像 波浪般緩慢地飄浮着，呈現一片樹葉的生命重量。鄧啟耀是一位重視過程的藝術家。他用錄像機記錄自己謄寫中國山水畫。他嘗試條分縷析繪畫中國山水畫之步驟與 細節，把它轉化成行為和錄像藝術，從而探察當今這門傳統藝術蛻變的意義。