Moderation(s): Incidents of Travel (Hong Kong)

date datum 7 January 2013 -
10 February 2013

location locatie Spring, Hong Kong

Latitudes, Incidents of Travel.  In Tai Po District met Ho Sin Tung, 29 januari 2013.  Courtesy Spring Workshop, Hong Kong.

Latitudes, Incidents of Travel. In Tai Po District met Ho Sin Tung, 29 januari 2013. Courtesy Spring Workshop, Hong Kong.

Latitudes – Incidents of Travel
7 January – 10 February 2013

Moderation(s) begins by inviting Latitudes, a Barcelona-based independent curatorial office formed by Max Andrews and Mariana Cánepa Luna, to a residency in Hong Kong during which they will investigate the urban territory from a curatorial perspective by looking into how it is articulated through specialist tours and attractions, both phenomena at the edge of the cultural, tourism and leisure sectors.

Elaborating on the approach of their project Incidents of Travel at Casa del Lago, Mexico City (24 September–4 November 2012) – the duo have invited four Hong Kong-based artists – Nadim Abbas, Ho Sin Tung, Yuk King Tan and Samson Young – to develop day-long tours, thus retelling the city and each participant’s artistic concerns through personal itineraries and waypoints. Alongside these ventures into the city, research around local forms of vernacular collection display and eccentric attractions will be made. This will encompass self-made or esoteric museums, museum-like retail spaces, or ‘marginal’ sculptural displays.

The undercurrents to this research would consider questions such as: How does the cultural currency of the tour-form relate to historical, geographical, sociological and commercial concerns? How is tour-guiding or tourism a form of moderation or spectatorship? What can contemporary curatorial practice – as well as future art institutions – learn from Hong Kong vernacular display strategies?

Since 2005, the duo have initiated and developed contemporary art projects in association with institutions and collaborated with artists in productions encompassing a range of organizational forms and scales: genres of display and presentation; editorial practice and publication; forms of assembly, hosting and programming; as well as theoretical and interpretative contexts.

Moderation(s) is supported by
Logo_web_kleurMondriaan Fund

About the participants
Abbas, Nadim Nadim Abbas (b. Hong Kong, 1980) is a Hong Kong-based installation artist. His work explores the intricate role that memory-images play in the intersection between mind and matter. This has culminated in the construction of complex set pieces, where objects exist in an ambiguous relationship with their own image, and bodies succumb to the seduction of space. Abbas studied sculpture (B.A.) at the Chelsea College of Art and Comparative Literature (M.Phil.) at the University of Hong Kong. He currently holds teaching posts at the Hong Kong Art School and City University of Hong Kong. Notable exhibitions and projects include: “No Longer Human”, Osage Kwun Tong, Hong Kong (2012); “Marine Lover”, ARTHK11, Hong Kong (2011); “Cataract”, EXPERIMENTA & Gallery Exit, Hong Kong, “FAX” Para/Site, Hong Kong (both 2010); and “Louis Vuitton: A Passion for Creation – The Hong Kong Seven”, Hong Kong Museum of Art, Hong Kong (2009).
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Chong, Heman Heman Chong is an artist, curator and writer. His art practice involves an investigation into the philosophies, reasons and methods of individuals and communities imagining the future. Charged with a conceptual drive, this research is then adapted into objects, images, installations, situations or texts. The artist has developed solo exhibitions at Rossi & Rossi (London), SOTA Gallery (Singapore), NUS Museum (Singapore), Kunstverein Milano (Milan), Motive Gallery (Amsterdam), Hermes Third Floor (Singapore), Vitamin Creative Space (Guangzhou), Art In General (New York), Project Arts Centre (Dublin), Ellen de Bruijne Projects (Amsterdam), The Substation (Singapore), Kuenstlerhaus Bethanien (Berlin), Sparwasser HQ (Berlin). His work has also been shown extensively in group exhibitions including San Francisco Asian Art Museum, Kumho Museum of Art, Museu d'Art Contemporani de Barcelona, Kroeller-Muller Museum, Stedelijk Museum Bureau, Nam June Paik Art Center, Gertrude Contemporary, Arnolfini, Thyssen-Bornemisza Art Contemporary, Museum of Contemporary Art Denver, Museum of Contemporary Art North Miami, Hamburger Bahnhof, Fukuoka Asian Art Museum, Kadist Art Foundation, Daejeon Museum of Art.
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Latitudes Latitudes is an independent curatorial office initiated in April 2005 by Max Andrews (b. Bath, 1975) and Mariana Cánepa Luna (b. Montevideo, 1977), that works in an international context from and in Barcelona, Spain. It initiates and develops contemporary art projects in association with institutions and collaborates with artists in productions encompassing a range of organisational forms and scales: genres of display and presentation; editorial practice and publication; forms of assembly, hosting and programming; as well as theoretical and interpretative contexts. Recent projects include “Lawrence Weiner – The Crest of a Wave”, Fundació Suñol, Barcelona (2008); “Portscapes”, Rotterdam (2009) and “No Soul For Sale: A Festival of Independents”, X Initiative, New York, and Tate Modern, London, (2009 and 2010). Latitudes was a partner organisation in “The Last Newspaper” at the New Museum, New York (2010–11), and was the guest curator of “Amikejo”, MUSAC, León (2011).
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Sin Tung, Ho Ho Sin Tung was born in Hong Kong and graduated from the Fine Arts Department of Chinese University in Hong Kong. Now a full-time artist based in Hong Kong because she doesn't have any part-time job. Sin Tung’s recent work predominantly uses pencil, graphite and watercolour in combination with found and ready-made images - such as stickers, maps, charts, rubber-stamps and timelines. These are reinterpreted to narrate stories of places, relationships and periods of time often within a considered, objective historical setting.

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Tan, Yuk King Yuk King Tan (China/New Zealand) is an artist who lives and works in Hong Kong, negotiating issues such as bi-cultural and multi-cultural identity within a constantly evolving post-colonial society. Her work, which includes detailed drawings in ash and smoke residue, exploding fire cracker installations, photographs taken from rockets, and a giant cardboard HSBC lion pushed through the streets of Hong Kong, is often poetic and frequently suggestive, connecting highly different subject-matters and mediums. The meta-themes in the artist’s work unveil interests in cultural delineations, global migration, and a personal relationship to world-defining issues such as value and economy. Yuk King Tan has had major solo and group exhibitions, most notably at the Camden Arts Centre, London; Ludwig Forum für Internationale Kunst, Aachen; Museum Fridericianum, Kassel; Kunstverein, Hamburg; Museum of Contemporary Art, Los Angeles; Wellington City Gallery, New Zealand; Hong Kong Arts Centre; and Artists Space, New York. She has held residencies at Dunedin, New Plymouth, Queensland, Aachen, Sydney, and London and has participated in international biennials in Queensland, Vilnius, Auckland, and São Paulo. She graduated from Elam School of Fine Arts, Auckland University, New Zealand in 1993. She has taught and lectured at graduate and post-graduate art schools. She currently lives and works in Hong Kong.
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Young, Samson Samson Young (b.1979) is a composer, sound artist and media artist. Young received training in computer music and composition at Princeton University under the supervision of computer music pioneer Paul Lansky. He is currently an assistant professor in sonic art and physical computing at the School of Creative Media, City University of Hong Kong. Young is also the principle investigator at the Laboratory for Ubiquitous Musical Expression (L.U.M.E), and artistic director of the experimental sound advocacy organization Contemporary Musiking. In 2007, he became the first from Hong Kong to receive the Bloomberg Emerging Artist Award for his audio-visual project “The Happiest Hour”. His brainwave non-performance “I am thinking in a room, different from the one you are hearing in now” received a Jury Selection award at the Japan Media Art Festival, and an honorary mention at the digital music and sound art category of Prix Ars Electronica. Festival presentations and honors include: Prix Ars Electronica (Austria 2012); Japan Media Art Festival (Japan 2012); Sydney Springs International New Music Festival (Australia 2001), the Canberra International Music Festival (Australia 2008), ISCM World Musid Days (Australia 2010), MONA FOMA Festival of Music and Art (2011); the Bowdoin International Music Festival (US 2004), Bang on a Can Music Summer Music Festival (US 2005), Perspectives International Festival of Media Art (US 2009); Internationales Musikinstitut Darmstadt (Germany 2006); Dark Music Days (Iceland 2008); Kuala Lumpur Contemporary Music Festival (Malaysia 2009); amongst others. His music received performances by Hong Kong Sinfonietta, New Jersey Symphony Orchestra, London NASH Ensemble, City Chamber Orchestra of Hong Kong, Bang on a Can and summer institute fellows, Network for New Music, New Millennium Ensemble, SO Percussion, Sydney Song Company, Hong Kong New Music Ensemble, MIVOS Quartet, among others.
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About the collaborators
Spring Workshop Spring is a non-profit arts space committed to an international cross-disciplinary program of artist and curatorial residencies, exhibitions, music, film and talks. Anchored in the Wong Chuk Hang industrial neighborhood of Hong Kong and opened in its current layout in August 2012, Spring serves as a platform and laboratory for exchange between the vibrant artists and organizations that define Hong Kong’s rich cultural landscape and the emerging and established artists and organizations around the world that seek to engage in far-reaching dialogue.
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