Long View Under Scrutiny

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© Courtesy of the artist & Hanart Square
Long View Under Scrutiny

19 Kung Yip Street
Hong Kong
October 14th, 2011 - November 30th, 2011

hong kong
+(852) 2526.9019
(Mon-Fri) 10 am to 6:30 pm (Sat) 10 am to 6 pm


What might be the subject of Long View Under Scrutiny? For Hong Kong-based artist Lam Tung-pang, it is a whimsical landscape crossing over time and proximity, filled with found images and objects on plywood with Lam’s own painting. His work is poetic, humorous, allegorical, and full of surprises.

Developed as an extension of the Diorama series presented by Hanart TZ Gallery in 2010, Long View Under Scrutiny, opening at Hanart Square on 14 October 2011, exhibits new work that continues Lam’s contemplation of self and environment. By investigating an acquired perception of memory in comparison to reality, Lam placed one of his most personal and iconic works, Fold (2006; London), created while he sojourned in London five years ago, alongside with his most recent creations, including The Youngest and the Oldest (2011, Hong Kong), a work on five-panel plywood completed in his Fo Tan Studio. Such juxtaposition depicts an arch of the artist’s versatility and imagination, to manifest within and beyond himself to the society and its cultural context. The most intriguing aspect is to witness how Lam illustrated this sense of identity through a conscious turn of mind and direction. The Youngest and the Oldest represents a harmonic disjunction in form and substance that mapped his anxiety of the present. Lam’s transformed from a conceptual artist to a cultural translator, which visualizes today’s Hong Kong in a post-1997 and pre-2047 era.

2011 marks the ten years anniversary of Lam’s professional artist career. He left for London to pursue a master’s degree in 2003. When he returned to Hong Kong in 2007 and set up a temporary studio in Beijing upon his return, it had been exactly ten years since the handover. In the vacuum of its cultural identity between two eras, Hong Kong inevitably finds itself at both the birth and the loss of its own voice. This shifting is evident in Long View Under Scrutiny. For Lam, the four years he spent in London, along with a short-lived Beijing studio, enticed him to confront the cultural dislocation and the resulting angst. The chronicle layout provides an insight to Lam’s consciousness, as well as what invoked and redirected his later work on the choice of cultural context and use of object, form, and material.

The changing cultural multiplicity is also metaphorically reflected through Lam’s work on plywood, solid within, but retaining breathing room to look from afar. When closely examining Lam’s work and learning about his process, one has to wonder how he manages to synchronize all the different components. Whether it is the magazine cutouts, or the image transfer from the antique painting, or the little sculpture-like toy models, they are taken out of their initial context but intertwine organically in Lam’s work like a visual poetry. What used to be independently unrelated to each other now breathes in one ecosystem with an underlined order. Regardless of how they differ from each other in time, form, and origin, they translate a coherent spirit of freedom and openness. Again, this is probably what Lam wants to communicate the most: an invitation to play in his re-imagined ideal landscape, pieced together by different memories, some borrowed, some lived, and some re-created. As he tries to converse with the self he sees in the society, he still remains the ultimate seer, observing and creating at the same time.

His thinking becomes the reality of the world––the imaginative world in the best of times.

Extracts from Best of Time by Abby Chen
San Mateo, 6th September 2011

Abby Chen is a curator, writer, and art administrator based in San Francisco. She is currently the Curator and Deputy Director at the Chinese Culture Foundation of San Francisco, overseeing its exhibition and public art program.


繼2010年於漢雅軒以《情•景》為主題的作品集問世後,林東鵬個展《近觀遠望》將在10月14日於Hanart Square開幕。這新展表現了林東鵬一貫堅持對自我和周遭環境的審視,試圖探究一種對現實與記憶的認知。觀眾將看到他最具個人特點和代表性的舊作品—— 創作於五年前旅居倫敦時的《摺》(2006年,倫敦),和他近期在火炭工作室完成的新作——包括作於五聯木板上的《最年青及古老》(2011年,香港)。 展場這種並置的陳列方式體現出林東鵬藝術功底的多面性和想像力的弧度,以及遊離自如在社會和文化疆界內外的靈活性。而該展覽最引人入勝的一點當屬見證這樣 一個個體的身份,是如何通過內心和創作的轉折而被鮮活的呈現。如果說《摺》是一幅創作於活頁折疊木箱裡的自畫像,刻劃出林東鵬充滿好奇心卻又努力保護自我 的獨居異客的內心世界;那麼,《最年青及古老》則通過多重形式的隱喻映射出他對現狀的某些迫切,描繪著身外世界一種和諧的斷裂。兩幅作品彰顯的跨度展示出 他從一位觀念藝術家向一位文化傳繹者的蛻變。他用嫻熟的視覺語言勾繪了當今“後1997”和“2047前” 一個身在香港,個人內心的波瀾壯闊。

2011年標誌著林東鵬步入職業藝術家生涯的第10年。為了探尋全新的創作領域,他於2003年毅然離開香港,隻身前往倫敦攻讀碩士學位。當林東鵬 2007年學成返港時,恰逢香港回歸十週年,他甚至選擇在北京短暫的設立過一個臨時工作室。正是在這十年間。然而,置身於兩個時代的文化認知真空期,香港 無可避免地步入了重生與迷失的階段。林東鵬的“近觀遠望”則赫然體現出了這份變化。對林東鵬來說,四年的倫敦歲月和北京工作室的短暫創作歷程,迫使他直面 文化錯位及其引發的內心糾結。追尋著歲月的軌跡,讓我們看到了林東鵬的心路歷程,同時也理解了引領和推動他重新定位日後作品,包括對創作主體、物質、形 式,以及材料等的選擇和取捨。

走近林東鵬的藝術作品並瞭解他的創作歷程時,每個人都會情不自禁地好奇他如何實現各種元素的協調同步。無論是雜誌上的圖案、臨摹自古畫原跡,抑或是雕塑般 的玩偶模型,這些元素的取材來路各不相同併脫離其自身語境,卻又像一首視覺詩辭般彼此諧和相融。當所有獨立元素相繼呼吸於同一畫面中,雖互不相關卻相輔相 成、井然有序。淩駕於時間、形態和起源的差異,它們淋漓詮釋了自由、開放的恆久精神。或許,這就是林東鵬最願分享的邀約:進入他顛覆想像力的完美景緻中共 同遊玩:將各種——屬於他人的、真實存在的或再度重生的——記憶片段交織在一起。事實上,林東鵬在努力與社會形態下的自我進行溝通與交流的同時,保持了非 凡的洞察力,集審視和創作為一體。