As we step into March, it’s time for the annual highlight of the art scene: Art Basel Hong Kong. Following our first collaboration as a cultural partner last year, JCCAC is excited to bring you a unique artistic experience once again! This year, we are thrilled to welcome our guest curator Kobe Ko, who has crafted two exhibitions for JCCAC: the booth "Off-site" at Art Basel Hong Kong and the parallel exhibition "On-site" at JCCAC.
Both exhibitions draw inspiration from the former site of JCCAC—the Shek Kip Mei Factory Building—focusing on the everyday landscapes inside and outside this artistic hub. "Off-site" will serve as an introduction, showcasing the "On-site" within JCCAC to an international audience, sparking public interest in the vibrant development of local artists. We invite everyone to visit JCCAC and discover the cradle of visual art creation in Hong Kong.
The parallel exhibition "On-site" will also feature an additional fair, "Mini Collectables", showcasing over 80 new works from 25 artists. It's a wonderful opportunity to enjoy and perhaps collect your favourite pieces—don’t miss out!

JCCAC at Art Basel Hong Kong 2025 Parallel Exhibition: "On-site" and "Mini Collectables"
Exhibition Opening: 14.03.2025, 18:00

Exhibition Venues: L1 Gallery, L2 Terrace, Jockey Club Creative Arts Centre,
Additional fair “Mini Collectables” – L1 Central Courtyard, JCCAC

This exhibition of impressions from two great world cities examines what is often overlooked in busy lives: what lies beneath our feet. Artist Elizabeth Briel has impressed the characteristic hexagonal and octagonal tiles of Hong Kong and Paris into copper and paper to create urban prints directly from the city itself. This act is an interaction with architecture that will soon be destroyed and remade as part of urban renewal. Accompanying the prints are videos of the two cities' architecture and their interplay with raw materials, a meditation on what we often neglect as foundations of our lives today.

Venue address: Jockey Club Creative Arts Centre L0 Gallery

Like the ancient saying goes, "one tiny clue reveals the general trend; small beginnings show how things develop”. Pause and thoroughly observe each exquisite and radiant masterpiece, like a calling card which carries the reflection of the person upon themselves. Truth and sincerity always possess an enchanting charm, opening the palm to entice you and me to explore the artist's inner world together. Jockey Club Creative Arts Centre (JCCAC) will host a parallel exhibition titled "A Preface to Magnificence" at L1 Gallery during Hong Kong Arts Month (March 14-31, 2024). The exhibition features 12 artists with longer or shorter association with JCCAC - they include Chan Kwan Lok, Halley Cheng, Cheung Wai Sze, Choi Yuk Kuen, Kwong Man Chun, Lau Ka Chun, Leung Cho Yi, Leung Lok Hei, Man Mei To, Yau Wing Fung, Yung Chung Kong, and Angela Yuen. Around 20 representative works and 24 commissioned miniature pieces will be showcased. The mediums encompass art forms as varied as there are artists at JCCAC, including ink painting, woodblock printing, oil painting, mineral pigment painting, ceramics, mixed media painting and installation.

Venue address: Jockey Club Creative Arts Centr, 30 Pak Tin Street

This 2 session workshop will take participants through the fundamentals of presenting their works in an exhibition to create a compelling narrative. Participants will engage in conversations around conceptualising an exhibition, space, layout, materials and programmes. Participants will put these ideas into practice by working on and presenting an exhibition plan for their existing projects.

Rundown

19:00 – 19:30  Participants to work on their assignment / Consultation with facilitator

19:30 – 21:00  Group review & peer feedback

21:00 – 22:00  Moving forward: Engaging the community & Importance of exhibition programmes

22:00 – 22:30  Tidying up

Deposit: HKD 300*

*Please note that this workshop is open to confirmed participants only. Participants who have received email confirmation must settle the participation fee within the deadline. The admin fee charged by Eventbrite shall be borne by participants. Tickets are non-transferable.

*Refundable only upon attendance. The admin fee charged by Eventbrite shall be borne by participants. Absentees are not allowed for any refunds.

Registration link Click here

23.10 - 24.10.2023

19:00 - 22:00 Each day

Venue address: L2-02, JCCAC, 30 Pak Tin Street, Shek Kip Mei, Kowloon

年年有餘 (nián nián yǒu yú) is a greeting originating from southern Taiwan, where families traditionally prepare a special fish dish for the lunar new year's eve dinner. The annual act is a wish for an abundant year ahead — after all, 魚 (fish) and 餘 (surplus) are pronounced the same. The title 年年有魚 speaks to family relationships, and to the artist's understandings of family after becoming a father. At the same time, through the video work, the exhibition also discusses subjects like love, life, and time.

Bio:

Yan-Cheng Chen, a Taiwanese, explores the nature of time. He finds joy engulfing himself in photography, and since becoming a husband and then a father, has embarked on a project discussing family, love, and time. ‘After becoming a father, time is never as before. Maybe it is love, or some other reason I don’t know yet. I began taking these photos to understand.’

Mon to Sun 10:00 – 22:00 (L3 Common Space)
Tue to Sun 14:00 – 20:00 (Floating Projects)

Venue address: JCCAC L3 Common Space & L3-06D Floating Projects, 30 Pak Tin Street, Shek Kip Mei

Whether it is a frail tree in its loneliest moment, the inconspicuous view of hands, or a recognisable landmark familiar from pop culture, these scenes come together to form an anecdote of a life in disarray. The same symbols that one has lengthy relationships with can be coupled with the difficulty in attaching to a place or time — a fundamental ability to communicate is severed, and intimacy that one yearns for, seized.

Showing settings from Hong Kong and Japan, this series is part of the artist’s journey to resolve an identity. The local is the foreign, the insider is the outsider. Along with the visible, ponder the absent.

Mon to Sun 10:00 – 22:00

Venue address: JCCAC L7 Green Space, 30 Pak Tin Street, Shek Kip Mei

“Photography in Southeast Asia” series is back again after a difficult time in the past few years. Collaborating with ZHUANG Wubin, this year we invited Donna Chiu to participate in the 4th “Photography in Southeast Asia” Series in Lumenvisum. Born in Hong Kong, Chiu moved to Singapore in 1996. As an immigrant with distant relationship with her family, it has been a long and arduous process to build a sense of “home”. In this exhibition, she tries to understand and express her own experiences and emotions through her art-making, and to explore the possibilities in destiny of life.

Donna Chiu is a visual artist. She said she came from a diasporic family. Not only because she and her family do not always stay together, it also reflects her personal experience of moving to Singapore in her early years. Chiu’s practice focuses mainly on painting and photography, "I like to experiment with texture, which gives me the feeling of layering my different experiences and emotions. The photographic images in this exhibition mark specific incidents in our diasporic journeys.”

The "Photography in Southeast Asia" of Lumenvisum has been postponed because of tightened departure and arrival policies due to the epidemic in the past few years. As ordinary people, in the face of sudden changes in life, we may feel helpless sometimes, realising that nothing much we can do in fact. How to face the helplessness and uneasiness that similar to the feelings that Chiu and her family faced during their diasporic journeys, it might be the lesson of all of us.

Gallery address: L2-02, Jockey Club Creative Arts Centre, 30 Pak Tin Street, Shek Kip Mei, Kowloon

Curator’s message

Paul YEUNG

In recent years, the social upheaval and the Covid-19 pandemic have caused significant disruption to young people’s studies. For any students, the past few years have been full of twists and turns, both in terms of their studies and life experiences. They have experienced feelings of insecurity, loss, alienation, fear, confusion, shame, distress, and above all, loneliness, transforming a once familiar city into a place where even mere survival seemed at stake.

The young artists participating in this year’s joint exhibition are a beacon of light in these challenging times. During a period of significant upheaval and social confinement, they have continued to produce outstanding works of art, using a range of techniques to explore topics such as their own emotions, friends and family, and the local community. Through their work, they demonstrate that the young generation of today is more resilient than many people may think: despite the significant disruptions to their lives, they are still able to forge their own path – by no means an easy task in today’s challenging times.

Noted with thanks is Lumenvisum’s fourth joint exhibition of young artists. The exhibition aims to bring outstanding works of art by college and university graduates to a wider audience, and provides a platform for young artists to exchange ideas and showcase their works.

Venue address: L2-02, Jockey Club Creative Arts Centre 30 Pak Tin Street Shek Kip Mei, KOW

Set off in art and shuttle through time. JCCAC Festival 2022 takes on the theme 【Shuttling】, to let artists be our ferrymen, ferrying us across different time and space with their works, and steering through uncharted waters with their time-honoured craftsmanship. From ancient to modern, traditional to contemporary, art serves as a vessel that connects the past, present and future.

The month-long Festival sees a kaleidoscope of free programmes, including the feature exhibition Classics revisited, Classics reinvented, co-presented with White Box Studio (L2-03) and White Box Friends, and curated by artist Jor Yin Fun. Festival affiliated programmes include handicraft fair, movie screenings, common space exhibitions, workshops, guided tours, talks and art demonstrations, with topics on various cultures, shuttling between East and West. Come aboard, as we move on.

Handicraft Fair︰3 – 4 / 12 / 2022 > 13:00 – 19:00

Opening Reception︰9 / 12 / 2022 > 18:00

Feature Exhibition︰9 / 12 / 2022 – 1 / 12 / 2022 

Venue address: 30 Pak Tin St, Shek Kip Mei

Wing Tung So is a contemporary artist whose playful articulations are often marked by the visual obscurity of vernacular and iconic façades. Working with painting and video, it is a translation of planes of multidimensionality: when surface moulds into space, painting reacts with video, when one medium consumes the other. Scenes of our contemporary city in flux take centre stage in Wing's practice, from an active engagement with landscapes that defy singular planes to ambiguous expanses conjured by mirrored reflections and transparencies in glass architecture. From optical plausibility to perspectival impossibility, she mediates the fluid relations between material and virtual spaces. 

The artist's exploration of postmodern architecture introduces a fantastical peculiarity to her colour palette. The modulation of colour originates from the façades of her homeland Hong Kong, yet there is a striking resonance to the 80s’ aesthetic and movement of pixelated screens. Capturing the rhapsody of colours, in fluorescent neon hues, raw primary tones, to soft pastels, the psychedelic ethereality lends to the deliberate disorientation and warped geometry.

Venue address: S507, Block A, PMQ, 35 Aberdeen Street, Central

Unearth（挖土） comprises of two series of works, BARREN ROCKS (2021) and TRACING MOUTH OF THE STREAM (In progress). Both works are inspired by the imageries of the iconic panoramic mountain ranges of the Hong Kong Island. Through alteration and reinterpretation of found imageries, the works excavate narratives lying within the place and to contemplate how ideas and meanings are communicated between people, objects, and sites.
The works demonstrate the diverse processes including printing, drawing, casting, collecting, and altering. BARREN ROCKS (2021) would be presented as an archive, to be framed and displayed on a table with new paintings to be mounted on walls. TRACING MOUTH OF THE STREAM (In progress) would be presented in a cartographer’s work setting with drawings and sculptural models

Venue address: S507, Block A, PMQ, 35 Aberdeen Street, Central

Build a peaceful pure land in the depths of the soul, and enshrine the original intention behind the thought.

Tsz Man Cheung Kuby obtained her Bachelor of Fine Arts with a minor degree in Chinese Language and literature in The Chinese University of Hong Kong.  Cheung underwent an artist residency in Kaohsiung Autumn Pottery Wood Burning Kiln in 2019 and  I-Kiln studio(Fo Tan) from 2019 to 2021, and subsequently founded SoulTou studio at JCCAC. Creating is the product of accumulating all the past and combining it with concrete and abstract thinking skills. My creations are devoted to spiritual tranquillity.

Venue address: S507, Block A, PMQ, 35 Aberdeen Street, Central

To me, you, him and her, what is "true” and what is "false"?

There is a famous example – a chopstick placed in a glass of water. The refraction of the water gives the illusion that the chopstick is curved. In reality, to say that “the chopstick is curved” would be wrong, while saying that “a chopstick in a glass of water viewed from the side is curved" would be correct.

How does this apply to us?

There are truths and falsehoods in the world. Truth is sometimes difficult to detect, while falsehood may seem tangible and real. How do we define true and false? According to Plato's Allegory of the Cave, we make definitions simply based on our subjective and cognitive judgment.

Everyone has their own water glass and their own opinion on the shape of the chopstick. What do you see and what happens when it is placed in your glass of water?

Venue address: L0 Gallery, JCCAC, 30 Pak Tin Street, Shek Kip Mei, Kowloon

This exhibition's ideas come from the experiences of allergy treatments. Symptoms come and go over time. Emotion, relationship, and environment could be the allergens. "7 days of medicine," doctors said. Those are the words I heard many times. After taking the pills, the body will start losing part of the sensation for reducing the allergy reaction. During this period of time, we start to rethink what we did and what the allergens are. We will also try to search for a hint from our skin. The exhibition attempts to describe and record these experiences and feelings.

Multimedia, movement, sound effect and interaction of objects -- these terms are recently representing the recent directions of Tam Kai Fung's works. These are the roots for him to sculpture the beauty of sentiments and relationships of biologicals, and pursue the status between ambiguity and concrete. Growing in a digitalized metropolis, he likes to observe the sophisticated but instant emotion from strangers in daily lives. He experienced how the diversified ways of communication recently changed the direct approaches towards emotional expressions. The depression of the city leads to a lack of true opinions exchange between human beings. For him, the interaction of objects creates new dialogues and connection with audiences. Not to critique but tries to seek out new ways for people to express and re-value that ephemeral information from his work.

Venue address: S507, Block A, PMQ, 35 Aberdeen Street, Central

What the hell am I looking at? originated from the realisation that I had been spending more than three hours daily on the mobile phone and internet, yet was unable to remember what I have actually seen. With this in mind, I placed a plastic sheet on top of the TV / computer screen while the programmes were running, and used marker pens to draw all the colours appearing on the screen onto the sheet, thus forming an abstract painting.

I later sought out to freeze frame on images of trending topics and popular personalities, such as the lead singer Keung To of the popular Hong Kong boy band Mirror, celebrated swimmer Siobhán Haughey, ViuTV programme be ON game, YouTube channel Trial & Error, Marvel movie Doctor Strange in the Multiverse of Madness, Netflix series Squid Game, Japanese manga Demon Slayer, and Hong Kong Chief Executive-elect John Lee’s press meetings. I changed to oil markers for making collage-like layered images, and leave them for the viewers’ own interpretation.

I also experimented with painting directly onto the screen of TV, computer and smartphone purchased from second-hand stalls. During the exhibition, I plan to conduct live drawing demonstrations to allow more viewers’ insight into my creative process and everyday life. The exhibition aims to raise awareness of modern people’s over-reliance on electronic products and new media – about our relinquishing control of information dissemination to them, and our mindless reliance on them for escapist entertainment.

The artist will perform in the exhibition from 2:00 to 5:00 every day.

S507, Block A, PMQ, 35 Aberdeen Street, Central

“Burn After Reading” reflects the tension derived from the consumption process right after the reception of message(s). Sometimes, it might appear that there is a necessity, even urgency, for us to destroy the host and/or the evidence on our communication tools. The phrase also reminds us of the fact that all tangible and intangible matters are momentary: be they thoughts, words, books, or arts, they could vanish before we knew it.

 This exhibition brings together images and artists’ books, to explore how these objects fade from, while lingering in, both individual and collective memories. The artist duo draws inspiration from their own observations on historical and social events; for some years now, they have also been paying a great deal of attention on exploring the use of books and printed matters as forms of artistic approach.

Participating artists: Hsu Wai Lun and So Lai Ping.

Venue address: S510, Block A, PMQ, 35 Aberdeen Street, Central, Hong Kong 

In Till Love Do Us Apart, Liao Jiaming used images of human body and cityscape to create photo installations, questioning the social norms that hold the rein to our understanding of ideal lovers, and seeking liberation from such formula from the perspective of queer identity.

Performance by Liao Jiaming
30 October 2021, 5pm at 7/F JCCAC*

“Repetition maximum” (RM) is a concept in weight training, referring to the most weight you can lift for a defined number of exercise movements. The performance is a voyage through time and space. Led by the artist and different media, surveying the bodies of our own and others, we re-evaluate the weight of our torsos in the society of the spectacle filled with digital images.

* For those who wish to participate in the entire performance, please note that the artist will depart from JCCAC at some point then take viewers all the way to RNH Space, where the finale of the performance will take place. Register for event.

Reality Overdose, curated by Yang Jiang, is part of Satellite Exhibitions by Hong Kong International Photo Festival 2021.

Venue address: from L7 Green Space, JCCAC (30 Pak Tin St, Shek Kip Mei) to RNH Space (Rm 2313, Khora,128 Bedford Rd, Tai Kok Tsui)

With profound manual labour work as a respond to the accelerating planet, and an attempt to bring it back to normal, natural status.

Lau Ching Yee Cathleen 

Lau is a Hong Kong-based artist who is devoted to developing her artworks with new concepts in sculpting space. She engages in producing sculpture complemented by large scale cross-media installations. She graduated from the Hong Kong Art School (RMIT), majoring in sculpture. Her works explore the possibility of breaking through the inertia of sculpting materials. She is interested in constantly inventing “sustainable and renewable” substances. She is now molding and carving wood with inverted material that is in the form of sawdust, re-sculpting space with particular attention to materials and atmosphere. She is good at creating mixed-media sculptures and installations with different media carvings, in the melting pot of new materials, light and shadow, to present conceivable atmospheres that integrate the audience.

 Venue address: S510, Block A, PMQ, 35 Aberdeen Street, Central

Lumenvisum presents you: “Non-place” and “The Place”: KO Chi-Keung in Conversation with TANG Ying Chi, in October 2021. Curated by scholar ZENG Hong, the photographs by KO Chi-Keung, and works on canvas with mixed media by TANG Ying Chi, were put together to have conversation, and let the viewer to examine the relationship between subject and space.

Gallery address: L2-02, JCCAC, 30 Pak Tin Street, Shek Kip Mei, Kowloon

Hong Kong Open Printshop is honored to present “Tadayoshi Nakabayashi: Transposition” at HKOP Gallery from 25 September to 5 November 2021.

Tadayoshi Nakabayashi is an internationally renowned printmaker, the Emeritus Professor of Tokyo University of the Arts.

In recognition of his achievements and long-term contributions to art and education, Nakabayashi was awarded The Medal with Purple Ribbon in 2003 and The Order of the Sacred Treasure, Gold Rays with Neck Ribbon in 2014 by the Japanese government.

As an etcher, Nakabayashi's individual techniques and unique visual language can be seen in the Transposition – Ground Series, that is his long-term observation of nature.

Venue address: L8-06, JCCAC, 30 Pak Tin Street, Kowloon

𝑺𝒎𝒐𝒌𝒊𝒏𝒈 𝑹𝒐𝒐𝒎, the first solo exhibition of artist Chan Ting, presents an experimental field for the rhythm, transparency and reversal of meaning in(-between) image/ photography.

Chan Ting works in the fields of image-making, installation, performance and sound (stage name: ct1993). She is the co-founder and curator of an independent artist-run space - Negative Space, dedicated to developing contemporary imaging and lens-based media. Chan’s research explores luminous mind and contemporary imaging. With a focus on visual dialogue connecting mental image and sound-image, her practice often emerges as a stream of consciousness.

Venue address: S510, Block A, PMQ, 35 Aberdeen Street, Central

Lumenvisum presents you: "0500 - 0700" A Solo Exhibition By Kit Yee Tong, exhibiting a series photographs of Hong Kong landscapes by the photographer. Mao Hour is one of the 12-time units in ancient China, representing 05:00 to 07:00 nowadays. During that period, the sun rises, and the dark goes away, notifying everyone that a new day is coming. Kit-yee took a series of photographs when the sun just came out, when most people were still in bed. The morning sun is shining the places where had made Hongkongers hurt, puzzled, and feared.

The rapidly changing society in Hong Kong has made Kit-yee felt more and more unfamiliar to the place where she was born and raised. People are out of breath because of the new order enforcing in the society. She can only find peace during dark night and early morning. These photographs were taken with heavy feelings of the photographer from 2016 to 2021, capturing the familiar places and monuments or landmarks with her detached perspective, rethinking their meaning in the pass, and their value in present.

There is a sense of "awakening" in the quiet spaces captured in "0500 - 0700". It reminds people that waking up is a destiny. She hopes Hong Kong will see the ray of light in future, and we shall never lose our hope. Let us invite you to visit this exhibition, to emerge into the light of Mao Hour "0500-0700".

Artist talk: 2021.9.18（Sat）2:30pm - 4:00pm

Opening: 2021.9.18（Sat）4:00pm - 6:00pm

Registration

Gallery address: L2-02, Jockey Club Creative Arts Centre, 30 Pak Tin Street, Shek Kip Mei, Kowloon

We all have blindspots. Have you ever imagined living in the unseen? An existence that is in-between conscious and unconscious, visible and invisible, real and surreal, a space formed by a variety of creatures. BUT’s drawings are inspired by her imagination towards the daily life which, like a virus, plagues her vision and thoughts. 

 Stemmed from the artist’s intuition and imagination, this exhibition sees a series of drawings both fantastical and figurative, through which the artist attempts to present the inner working of her brain by visualising an imaginative space.

Venue address: S510, Block A, PMQ, 35 Aberdeen Street, Central

"To envision all the answers and possibilities, is surely the objective and meaning of this project."-anothermountainman

Visual creator anothermountainman (Stanley Wong) will hold an exhibition in Lumenvisum this August. A hundred and fifty thousand street photographs, took by anothermountainman in the past forty years, will be presented in different ways by four curators: Patrick Lee, Lau Ching-ping, Jimmy Lee, and Sharon Lee.

The personalities are showed among those photographs. This is a process for anothermountainman to know himself, and lead to an answer with full of possibilities.

His old and new friends, the four curators will present the works in the square exhibition area of Lumenvisum. This exhibition highlights the uniqueness of curators, and showing integrity of anothermountainman and curators, 4 views on 1 view. anothermountainman turns this solo exhibition for ‘re-views’.

Venue address: Lumenvisum, L2-02, Jockey Club Creative Arts Centre, 30 Pak Tin Street, Shek Kip Mei, Kowloon

Our living environment sees drastic changes every day, can you still recognise our city? Social context reconstructs constantly, forming new urban landscapes time and time again. Artist Rebecca Hon uses art as a vessel to explore the formation of “collective consciousness” in the city.

In between free expression of traditional Chinese ink art and practical composition of modern digital art, how do we strike a balance between innovation and preserving legacy? Through ink art, Hon demonstrates her techniques with exquisite details, while new media brings possible transformation to the works. Wandering between ink art and digital media, Hon hopes her works can blur the lines between traditional ink painting by hand and digital art, to create a unique sight in contemporary ink art.

Venue address: S510, Block A, PMQ, 35 Aberdeen Street, Central

"No man is an island entire of itself; … And therefore never send to know for whom the bell tolls; it tolls for thee." (17th century English poet John Donne)

Uneven pavements are ubiquitous in the city: bricks were dug out and potholes hastily filled. Homogeneous streets resemble the surface of a soap bubble—iridescent yet vulnerable. Chan Yi Ting’s first solo exhibition “Asphalt Island” showcases a series of screenprints she recently created. The artist uses photography to capture traces of protests on streets, and subsequently prints the images layer by layer in soft, pastel tones, conjuring dreamlike scenes based on reality. Through constantly experimenting with different colours and fine-tuning the images, she revisits and reconsiders moments she documented again and again. Slowly and invisibly, the weight of images wears away the emotions she has suppressed for far too long.

Venue address: S510, Block A, PMQ, 35 Aberdeen Street, Central

“Softened” is the comfort and encouragement you and I need in our journeys.

Art here has a soft touch, and embodies a gentle energy, bringing the audience’s focus to a quiet place. The word “tender” is something I always think about when making prints, as I remind myself not to go against my own weakness.

3:00 pm Artist Sharing
4:00 pm Screenprinting Demonstration
*Conducted in Cantonese
Venue address: L8-06 Gallery, Hong Kong Open Printshop (L8-06, Jockey Club Creative Arts Centre, 30 Pak Tin Street, Shek Kip Mei, Kowloon)

This exhibition describes Hong Kong Cityscape

’When we go sightseeing, we always look on the scene, we just look on from a certain distance but don’t know we are in the midst of it’.
This exhibition is not describing a cityscape in a certain distance, and is not describing that we can’t bear in this the holy distance. This is the unique scene of Hong Kong from 2019 to 2020. This scene becomes a memory, we are in the midst of it and become part of the scene. What we see in the scene is just a representation, covering our daily inside scenery. The free way of drawing let a layer of cover be poked, the distance of scenery is put near our skin, the warmth becomes four seasons, the wound becomes a river. An exit for this cityscape is needed and is flown from the daily frame.

10 - 29/04/2021 11:00 am - 9:00 pm
30/04/2021 11:00 am - 6:00 pm

Venue address: JCCAC L1 Gallery,

We are living in times of constant change. There is no fixed trajectory for change, as not everything follows the logic of transition from old to new. Old and new have always been relative: what is old eventually becomes new again. Throughout the course of history, woodblock printing has always been used as a tool to facilitate cultural communication and social reform. Jay Lau Ka-chun will exhibit his woodblock portraits carved and printed over the past year—the faces of his friends encapsulating the zeitgeist of present Hong Kong. By casting his wooden plate in concrete, Lau attempts to abandon the traditional form of print on paper and explore more possibilities of displaying prints. Through this, he hopes to construct a unique visual language of woodcut which responds to changes in the society.

Gallery address: Venue: Hong Kong Open Printshop (L8-06, Jockey Club Creative Arts Centre, 30 Pak Tin Street, Shek Kip Mei, Kowloon

Registration：https://bit.ly/thistooshallnotpass