Installation Archive
Have Yourself a Plant If You Are Not Picked Up in an Open Call
給自己一棵植物如果你不被Open Call選中
Installation, adhesive foil, cotton, plastic bag, die-cut paper
裝置藝術，裝飾膜，綿花，膠袋，剪紙
45 cm x 50 cm
45厘米 x 50 厘米
As a young artist, not being selected in an open call application is what I am always facing, from grant, residency, exhibition to award. It is a process of mixed feelings of expectation, frustration and anger. In order to face these failures, I decided to turn those unpleasant experience into an act of self-appreciation. By giving myself a plant, I am also gaining something from losing something.
作為一個年輕藝術家，被公開徵集拒絕是我一直面臨的經歷，一個從充滿期待到沮喪和憤怒的過程。為了面對這些失敗，我決定將那些不愉快化作自我鼓勵的行為。 通過給自己種植物，我也從失去中獲得了些什麼。
Jessie Cheuk Lam Tam
譚綽琳
2021
I Accidentally Broke the Finger When I Was Setting It Up
我不小心在佈展時把那根假手指弄斷
Mixed-media installation, plastic document, cotton, plastic bag, pastel, wood color and pencil on pattern paper, first-aid kit
混合媒介，文件夾，棉花，乾粉彩，鉛筆，紙，急救箱
Size variable
尺寸可變
I made a pair of hands out of plastic file one day to celebrate a happy moment in my studio that I can play all day. It is a pair of hands that is holding a small note that records the little moment. However, when I was setting it up later for documentation, I accidentally broke one of its fingers and it fell onto the floor. At that moment, I thought making art is never a pleasant thing but filled with hard work and time.
為了慶祝某一天我可以在工作室玩的快樂時刻，我用塑料文件做了雙手，握著那張小筆記。 但是在佈展的時候，我不小心折斷了其中一根手指。 在手指掉在地上的那一刻，我想創作從來都不只是一件令人愉快的事情，而是充滿了辛勤的工作時間。
Jessie Cheuk Lam Tam
譚綽琳
2021
I'm a Clock Who Runs Too Much And Stops Running
我是一個運作太多要停下來的鐘
Mixed-media installation, plastic bag, plastic sheet, cotton, sponge, pastel, pattern paper, towel, tissue, vacuum cleaner bag, single channel video, 4'29", color, sound
混合媒介，塑料袋，塑料片，棉花，海綿，乾粉彩，紙，毛巾，紙巾，集塵袋，單頻錄像， 4'29"， 彩色，有聲
A set of 5, size variable
一組五件，尺寸可變
I always work a lot and only feel the utmost desire for taking a rest when I am sick. These days, my body is running too much that it starts to say no to me. Somehow I work because I am a Hong Kong artist. Maybe we are hard working or making art is one of the things we can do. However, I doubt about this way of working, because it makes me not like a human. I decided to make a series of clocks that can encourage me to take a rest, to put“human”in front of being a Hong Kong artist.
我總是做很多工作，只有在生病時才感到要休息。 最近我的身體開始對我說不， 我想，我什麼都想做、什麼都要做好，是因為我是個香港藝術家，也許努力工作創作是我們仍還可以做的事情之一。 但是，我也對這種工作方式表示懷疑，因為它使我不像個人類。 於是，我決定製作一系列休息的時鐘，鼓勵我嘗試把“人類”放在"香港藝術家"這個身分前面。
Jessie Cheuk Lam Tam
譚綽琳
2021
Solace
Installation/ Wood, PVC pipes, metal, fabric, foam
裝置/ 木，PVC管，星鐵，布，泡沫墊
Variable / 333.2 cm x 385.5 cm x 215cm
尺寸可變 / 333.2 厘米 x 385.5 厘米 x 215厘米
Design Assistant: Gene Lee
設計助理：Gene Lee
Solace is a bodily-focused, multisensory immersive experience in direct response to current times filled with uncertainty, chaos and fear. The tunnel form is symbolic of metamorphosis, where the viewer enters a narrow, uncomfortable space of solitary darkness which gradually transitions into an expanded space of communal solace and strength in accepting the coexistence of darkness and light.
The choreography, materiality and form are centered around our body movements and senses to resurface traumatic emotions and memories deep within us. From physically crawling on all fours into a pitch-black, narrow geometric tube whilst touching the cold, metallic surface with our hands & feet, exiting into a slightly bigger space whilst guided by flickers of soft illumination, and lastly expanding and standing into a space of a light filled, fabric cocoon.
The choreography, materiality and form are centered around our body movements and senses to resurface traumatic emotions and memories deep within us. From physically crawling on all fours into a pitch-black, narrow geometric tube whilst touching the cold, metallic surface with our hands & feet, exiting into a slightly bigger space whilst guided by flickers of soft illumination, and lastly expanding and standing into a space of a light filled, fabric cocoon.
Solace是一種身體注重，多感官的沉浸式體驗，直接回應當前充滿不確定性，混亂和恐懼的時代。 隧道象徵著變態 (metamorphosis) 。當觀看者進入狹窄又不安的黑暗空間，慢慢過渡到一個充滿慰藉和力量的寬敞空間，接受黑暗與光明一起共存。
編舞、物質性和形式圍繞著我們的身體動律和感覺，深化我們內心深處的創傷情感和記憶。 我們利用身體四肢在一根黑色的狹窄幾何管中爬行，同時我們的手和腳與寒冷的金屬表面接觸。我們在柔和的燈光閃爍的引導下進入稍大的空間，最後擴展身軀並站立到一個佈滿輕盈織物繭空間中。
Michele Chu
朱凱婷
2021
To Retard a Running Horse
Performance/ Installation
表演/裝置藝術
440 cm x 450 cm x 280 cm
440 厘米 x 450 厘米 x 280 厘米
1 Samira Makhmalbaf, Asbe Du-Pa, 2008
2 vman10236, Two Legged Running Horse, https://youtu.be/jd8219Nj2so, 2009
Fung Ching Laam Natalie & Ringo Lo Wing Tao
馮靖嵐 & 盧永滔
2021
1.Untitled (Today We Must Savour)
Crow wing, 2nd century BCE Celtic socket axe烏鴉翼，公元前2世紀塞爾特斧頭
Size variable尺寸可變
2.Untitled (Fruits of Labour)
Crow skin, 18th century hand sickle 烏鴉皮，18世紀手鐮
Size variable尺寸可變
3.Untitled (IIIII, A Quiet Life)
Straw hats, enamel paint, rebar, metal wires草帽，瓷漆，鐵支，鐵線
Size variable尺寸可變
This series sculptures include a set of ancient iron tools I acquired online, shipped from Ukraine and Europe. I think I am guilty of overproduction. I once read that over 2 billion parcels are being shipped every day. In a world that is so abundant, is there room for loss and decay?
這系列雕塑包括了我在網上購買的一套古代鐵器，從烏克蘭和歐洲運來。我想我也在過剩的生產。我曾經讀過每天有超過20億個包裹被運送。在一個如此豐盛的世界裡，是否還有失落和衰敗的空間？
Vunkwan
譚煥坤
2021
Untitled (Two Baby Chairs)
Baby chairs嬰兒椅
These are two of a few used Ikea baby chairs I collected from different families. Highly standardized, mass produced, neutral, meant to be fit in any home. What interests me is that the baby chairs are vessels for bodies that no longer fit inside them. They relate to the human body, but more precisely, they relate what a body once was, a body that has changed and moved on. The shells remain.
我從不同家庭收集了幾張二手宜家傢私嬰兒椅。 高度標準化，大規模生產，中性，意味著適合任何家庭。 但令我感興趣的是，這些嬰兒椅是乘載不再合適它們的身體的容器。 它們與人體有關，但更準確地說，它們與曾經的身體有關，一個已經改變和離開的身體。 空殼依然存在。
Lucid Dream
Lucid dream is an interactive sculpture is a conception of the contemporary social construction of "dream"/ "ideal". Following the path of this perception would one come to realise the shattering truth laying behind...
The closer one goes, higher one becomes, closer danger gets.
Martha Hatch
王昊絢
2021