Minimal Senses is an exhibition that came from hibernation, deep breaths, and subconscious processing in the back of the head, questioning, “Where does all the conserved energy go?” In the process of making directions and bypassing obstacles, one travels and yet reaches to no destinations. Living in a time with an overwhelming amount of fragmented stories, how does one find guidance for direction? When you stop sensing the world so much, and instead chooses to turn inward and hibernate, where do you go?   

Opening: Jan 18, 2025 (Sat) 4-8pm

Gallery address: 3F, Remex Centre, 12 Heung Yip Rd, Wong Chuk Hang

A deconstructed metro car structure, a composition of video screens, blinking handles, and metal benches, is set amidst an ambient soundscape of a train in motion. ‘Mass Transit Railway’ is a new installation by Sing Jantzen Tse that transforms mundane objects related to transportation, public streets, and recreational parks, employing a multi-screen and sound playback composite construction to evoke a feeling of sensory overload.

In a series of small screens overhead, Lana Tong: A Tailormade Tour (2024) shows a tourist guide who travels with us through the hustle and bustle of Hong Kong, from a public estate to a hectic shopping district. Her commentary is conveyed via deliberately low-fidelity speakers to emulate the sound quality of weathered public broadcast speakers. Passengers Back and Forth (2024) is displayed over six vertical screens, which feature passengers on a subway minding their own business. Seemingly banal, it represents a microcosm of everyday Hong Kong life, reenacted with detailed choreography by the artist who enlisted actors. Overhead, four small screens loop videos that parody advertisements of luxury apartments and dance tutorials inspired by square dancing trends, a blend of humour and self-deprecation. Juxtaposing public and personal space; interior and exterior, the video installation explores the social aspects of image production and consumption in our daily lives.

Gallery address: 3F, Remex Centre, 42 Wong Chuk Hang Rd, Wong Chuk Hang

Marginalia are “notes written in the margins of a text.” The exhibition’s title strikes parallel
between these intensely personal annotations to the center and our voices and perspectives as migrants and immigrants. marginalia is thus a collection of annotations, additions, responses and reflections from those who have occupied marginal positionings or who work with materials and practices deemed peripheral. It is a celebration of ways of creation that is found in our homes and places of gathering, learnt from friends and elders, and rooted in the routes of our migration.

Fifteen artists, collectives, and migrant and labor groups present new artworks and public
programs that use textiles and found materials; music and dance; food and cooking; film and video; print, drawing, and painting; and many other ways of expression, to reflect on the diasporic experience in Hong Kong. Some works reference festivals and folklores derived from the artists’ homelands, while others map, trace, and uncover migration histories and marginalizing practices here in the city. Existing works by two Hong Kong-based collectives will populate Current Plans’ kitchen and dining area, which visitors are encouraged to add onto throughout the show.

Gallery address: 3F, Remex Centre, 42 Wong Chuk Hang Road

This exhibition starts by looking at our inner desires that are often suppressed and dictated by social constructs and commercial influences through the lens of a clown. In the silent video “Spa,” a clown’s nose is being gently cleansed and massaged. The tranquil, almost death-like, stillness ends suddenly with a sneeze. In a site-specific staging involving videos and kinetic installations, Magdalen Wong looks at how clowns were recognized under numerous disguises and masks, from a witch doctor to an equestrian, and from a harlequin to a haunting character. The clown is like a storyteller who could be seen as a romantic hero for the sick, the disparaged, and the marginalized; or when under a different painted face, a clown can also be illustrated as a stubborn critic of social delusions and illusions, and at times poses as an unwieldy refugee left behind by change and progress.

Gallery address: 3F, Remex Centre, 42 Wong Chuk Hang Road

Yau Kwok Keung‘s debut exhibition “Blackout Momentum” in Hong Kong presents his extensive research on reframing mythological motifs and his unique aesthetic of chaos and balance. Drawing from his experience as a tattoo artist who sewed within human flesh, Yau presents a new series of meticulous paintings, videos, and mechanical sculptures that explore the theme of collective memory loss and societal trauma. Yau perceives amnesia as a state where one remains trapped for an extended period, with its relentless momentum frozen in darkness. Recurring motifs, including an illuminated sphere, a diving swallow and an expanding sea surface are juxtaposed to convey a sense of fragmented identities in an era of collective silence, where shared experiences are left unspoken. Whether a glimmer of hope or the last glow before destruction, Yau’s brush strokes unfold an elusive point of chaos—a paradoxical expression where the chaos depicted on the canvas becomes a two-way clue. Much like the iconic movie ”The Truman Show,“ where Truman’s routine quote carries emotional weight, serving as both a friendly greeting and an act of rebellion. It conforms to a controlled existence and yearns for authenticity at the same time —

”Good morning, and in case I don‘t see ya, good afternoon, good evening, and good night!“

Opening reception: 17.02.2024, 2 - 6pm

Gallery address: 3/F Remex Centre 42 Wong Chuk Hang Road Aberdeen

In the midst of our human hustle and bustle, I find solace in nature’s whispers, capturing transcendent moments, revealing the presence and essence of beings thriving even in urban life, and connecting us to something greater. A sunbathing prehistoric creature. Spirals on ancient marble. Each discovery through the lens leads me closer to cosmic enigmas predating humanity. Our region was once known as ‘Baak Jyut’ (Or ‘Baiyue’), and this Chronicle honours these historical roots. It aspires to create a sanctuary for the soul, a refuge far from Hong Kong’s modern constructs, and a livable frequency amidst life’s ceaseless ebb and flow.

Venue address: 2/F, Tak On House, 13 Wong Chuk Street, Sham Shui Po

This two-part series — ‘Fallen Portraits on the Soil’ and ‘The Rite of Passing By: I didn’t see them but I saw them’ — is set in public housing. The installation portrays the overseen and questions the use of materials and images, and the limitations of photography itself.

In the first set, the viewer gazes into beauty and decay, eternity and ephemerality, of flowers secretly planted by the residents, and of dead insects; The second set draws on a large number of images taken since 2017 of discarded household items. The viewer considers the former use of the objects, and the previous owners.

Mon to Sun 11:00 – 19:00

Venue address: 2/F, Tak On House, 13 Wong Chuk Street, Sham Shui Po

DETACHMENT ISSUES
⚠️ Opening on Friday (15/9) ⚠️
A group show of Current Plans' friends and collaborators, putting in a few words as the space comes to a close.

Gallery address: 2F, Tak On House, 13 Wong Chuk Street, SSP

The exhibition "I’ve already seen" takes its name from the French term Déjà vu, which refers to the feeling of familiarity with an unfamiliar scene, as if it has been experienced before, reflecting the creator's desired effect on the audience. The exhibition is based on the fictional character "01", artists Mak Hoi Ching and Chow Yi Lee depict a Hong Kong where social constructs have stalled, and interpersonal communication has become distant, with life feeling like a forgotten dream upon waking. Against this background, "01" creates a museum of her own, showcasing her journey in Hong Kong. Through objects, self-made works, and installation art, the exhibition presents a world that is familiar yet strange, guiding the audience to explore their meaning and value in this world, while contemplating the current state and future of society.

Gallery address: 2/F, 13 Wong Chuk Street, Sham Shui Po

Current Plans is delighted to announce the upcoming exhibition of Japanese wig artist and photographer Tomihiro Kono and Sayaka Maruyama, their first presentation in Hong Kong. Starting out by learning the skills of geisha hairstyles, Tomihiro expanded his expertise beyond the traditions of Japan, and after moving to London and New York, worked as a session hair stylist to make head props. Inspired by elements from the natural world, like underwater creatures and insects and plants, he incorporates the weird, quirky and uncanny into his vision and craft into wearable art.

Fancy Creatures is an exhibition which brings us a glimpse into their surreal world, where human, animal and plants are mingled into sculptural, wearable hair art. Consisting of fantastical installations, photographic prints and a screening room where the duo’s video projects can be viewed in a cave-like environment, Fancy Creatures brings together more than 20 wigs made from real human hair. The duo create everything from scratch, from drawings and designs, to hand-dyeing, weaving, and painting the hair into incredible creatures. They have been commissioned by some of the most avant-garde icons, from fashion house Balenciaga to experimental musicians like Bjork and Grimes.

Current Plans is delighted to have Eaton HK as cultural partner, where Kono and Maruyama accepted artists’ residencies at Eaton HK from 22 February until 1 March. From 22 February until 26 March, the walls of the Food Hall will be adorned with Sayaka Maruyama’s surreal photographs of Kono’s wigs worn by models, as curated by Eunice Tsang.

Gallery address: 2F, Tak On House, 13 Wong Chuk Street, Sham Shui Po

Group exhibition by four local artists, exploring the themes of intimacy and emotional fragility.

Artists:
Kingson Chan ｜Nikki Lam｜Ed Chan｜Sunny Wong

Opening Reception: 12/11/2022 (SAT), 2:00-6:00pm

*Exhibition Form: Mixed media, Video, Installation, performance work
*The exhibition is supported by Hong Kong Arts Development Council

Gallery address: 2/F, Tak On House, 13 Wong Chuk Street, SSP

When it comes to introducing a project about witches and spells, it feels imperative to start with a point about spell-ing. Witches don’t practice magic. They practice magick!

The ‘k’ at the end changes the energy of the word, and is a mental queue for us to think more in terms of the spiritual than of the clever or contrived. Many witches insist on this spelling to differentiate what they do from magicians’ stage magic. Magick often involves spending considerable time building up energy and focusing that energy, before releasing it into the universe in the direction of a goal.

Participants: Mirwan Andan, S.Yiyao Chao, Ysabelle Cheung, Olivia Chow, eteam (Franziska Lamprecht + Hajoe Moderegger), Christopher K. Ho, Pararailing (Jie Shao, Sixing Xu, Xuecan Ye), Peng Ke, Xiaoshi Qin, Qu Chang, Studio Hik, Yuk King Tan, Wang Tuo, Wong Binghao, X Zhu-Nowell

Curated by Wong Kit Yi, Eunice Tsang and Lok Wong

Gallery address: 2/F, Tak On House, 13 Wong Chuk St, SSP

Current Plans is excited to present its inaugural exhibition Perfect Sense with Chris Shen, which showcases 5 site-specific installations that activate with motion sensors. Constructed with ready-made objects and positioned strategically in covert places, these installations wait to be triggered by the unsuspecting visitor. If automated devices were created to assist our lives by easing our burdens, they require our full trust and total consent. But what if they don’t do what we thought they would?

Rather akin to entering a haunted house, it is only with the visitors’ own courage and willingness to explore the vacant, (seemingly) unsupervised space, will they gradually understand the relationship between their movement and gestures, and the output of the automated installations. Through the transformation of the space from a generous container to a kind of macabre machine that waits and reacts, Shen invites the visitor to experience how automation can become not just a tool, but a space for self-awareness and reconsideration by stimulating our sensory system in order to alter and expand our everyday experiences with banal objects.

The exhibition is open for 24 hours and the artworks will automatically turn on upon the visitor's entry.

Gallery address: 2/F, 13 Wong Chuk Street