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≡ 马凌画廊香港 | 高倩彤个展“适当反应”5月30日开幕！

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? 图片由马凌画廊和艺术家提供

Image courtesy of Edouard Malingue Gallery and the artist

新展开幕 Upcoming Exhibition

“适当反应”

“Adaptation”

高倩彤

Ko Sin Tung

开幕 Opening: 19.05.30 | 6-8 pm

展期 Duration: 19.05.31 - 08.09

地点 Address:

马凌画廊 | 香港 | 香港中环德辅道中33号6楼

Edouard Malingue Gallery | Hong Kong

Sixth floor, 33 Des Voeux Road Central

(Scroll down for English version)

我们所处的生活环境，总是在不断地变化又受着当代社会的制约，而我们亦看风使舵，变得更快、更机警。香港马凌画廊呈献高倩彤（1987年生于香港）第二次个展“适当反应”，究诘身体、情感和精神协调的经过；即将自身与环境条件同化，以求共存的过程。展览进一步提出这样的疑问：这种种持续不断的转换，就其本质而言是真的转瞬即逝吗？或是说，这些转变正是永恒未来的基础？

毕业于香港中文大学艺术系，高倩彤近距离观察城市居民，好奇却又认同他们因所珍藏物品而形塑的价值观，缓慢观察这些物件是如何反映人们的生活，又或者最起码反映了他们所期望的生活方式。“适当反应”关乎我们对当下社会的对应策略以及我们如何针对变化的现实设定自我身份。

展览聚焦于作品如何审视和质疑这种“自我适应”。展览空间入口处的《白宝贴照片》（2019）呈现了宝贴万用胶的“调色”过程：当新与旧混合，展现著流动的、具延展性的外型。以小幅照片的形式展出，间接令其流动性封存起来，借此探讨顷刻与永恒的相互性，同时引导观者克制、耐心、严谨地观看展览，直接指涉甚至仿拟观看与自省之间的关联。

目注心凝，眼前的《适应》（2019）为一系列取材于建筑外部施工用的模具。它们被涂上白色，互相融合又各具个性，沉稳地伪装，与周围环境融为一体。艺术家通过这些平凡之物提示它们与我们的日常关联，但在艺术家对其重建的想像里，它们展现了一个被凝住的未完成状态，否定了种种潜在的可能。

仿石膏墙板《表面》（2019）对这种静止的状态加以审视。艺术家在画廊空间构建了“施工中”的状况，因而构筑出的“真实／模拟”之对应提醒了观者：白立方作为展览空间的本质，也是建基于这种“介乎”的状态，延伸出对社会工程、切换和扩建的暗喻。展览空间作为仿工地，由一系列题为《从暗到光》（2019）的摄影作品串联著。照片中的平行四边形被整片阴暗包围，实为施工进行时产生的洞；黑白颠倒，将未知的深渊转化为抽象的光晕。展览空间地上一对题为《箭咀》（2019）的雕塑作品同样充满意蕴：指示牌上的箭头被叠加的半透明道路贴纸所模糊，突显了行为模式与图像之间产生的冲突。

在“适当反应”的背景之下，高倩彤带领观者通过对外在环境的观察进行内省。诚如其以空间为重心的创作，展览让我们就个人面对物件、地方和流变的反应思忖片刻。人本无常，“适当反应”提供了这样的一个契机去提问：当外部环境的变幻过于迅速，我们的身心又还能否不断调整，伴随着这个世界而“前进”？

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Our surroundings, as they shift and bend to the sways of contemporary society; us, our beings, responding to them, ever faster, ever sharper. "Adaptation", the second solo show by Hong Kong artist Ko Sin Tung (b. 1987, Hong Kong) at Edouard Malingue Gallery, Hong Kong is an investigation into this process of corporal, emotional and mental attunement. It questions that self-adjusting process of fitting oneself into environments in order to survive, be at one. It goes a step further, however, and proposes: with the frequency of these constant shifts, are they indeed ephemeral in nature, or rather the foundations of a permanent future?

A graduate from the Department of Fine Arts at The Chinese University of Hong Kong, Ko Sin Tung observes the city’s inhabitants, their close-quarters, and identifies with curiosity their values as dictated through the items they treasure and keep, slowly observing how these objects mirror ways of life, or in the very least, illustrate what is expected for living. "Adaptation", in particular, address how we are required to respond and become accustomed to supposed temporal permanences.

This status of self-adjustment is propositioned and questioned through a series of works, each of which approaches our surrounding’s oscillatory condition. At the entrance there is A Blu-tack photo (2019) a little photograph of blu-tack in the midst of colour mixing, in transience between old and new. The shape is fluid, malleable - in flux. Captured via an image though, the fluidity is made still, the temporary converted to posterity. Small in size, the photograph forces you to look, to note, a viewing muscle that can be flexed throughout the rest of the exhibition as you pick up on details, a viewing approach that can also be turned and applied to oneself.

Eyes aflush, tone set, one then approaches Adaptation (2019), a series of decorative moulds as one would find on the outside of buildings. Painted white, they meld into each other, despite their ornate detailing. Resembling figures, they each have their own individuality. Yet, this is equally met by a sense of mimeticism and camouflage as each masks itself into the other and their surroundings. Domestic objects, there is a sense of everyday familiarity. One cannot help, however, when observing them to capture a sense of the unfinished through their monochromatism, as if they were frozen in a moment before becoming something more.

This static feeling is heightened by Surface (2019) the drywall walls, which appear mid-construction, mid-paint. This condition, intrinsic to the fabric of the environment the visitor finds themselves in, dictates and accentuates the sense of adaptation - walls being the very skeleton of the gallery space, what gives it shape and direction. It equally references our outside environment, the myriad of construction zones we’re exposed to, as society builds, morphs and expands. Moving through the gallery converted into site there are a series of photographs of parallelograms surrounded by darker shapes. Entitled From dark to light (2019) these are in fact pits from construction sites - the dark gaping holes left by building progress and attempts. They have been inverted, however, resembling luminous abstractions rather than an abyss. Finally, a set of two sculptures, Arrow (2019), lie on the floor - an agglomeration of semi-transparent road stickers making the arrow initially printed on them, unclear.

Ultimately, Ko Sin Tung in her consideration of self-adjustment creates an environment for outer and introspection. Following from her previous practice of experimenting with space, we can take that little extra moment to consider our own responses to things, places, objects in movement and change. We as individuals are never the same from one moment to another but ‘Adaptation’ is a zone for observing those nuances and through its comparative calm a chance to question: is our outer environment changing too fast, can our minds and beings move as well as follow forward?

艺术家简介 About the artist

高倩彤关注与城市生活有关的元素，从各类人造物、建筑工地、具象征意义的图像等窥探人们当下的需要和期盼；透过把观察综合、转化成不同形式的创作，流露出对社会上的集体价值的质疑，以及个人对现实产生的情感落差。

其作品曾于国际上不同地方展出，包括北京掩体空间（2019）、台北鳯甲美术馆（2018）、香港大馆当代美术馆（2018）、曼彻斯特华人当代艺术中心（2017）等。她曾获三亚华宇青年奖评委会特别奖（2016）、香港Pure Art Foundat ion年度资助（2013-2014）、香港艺术发展局的新苗资助计划（2014）。高倩彤现于香港生活及工作。

? 图片由马凌画廊和艺术家提供

Image courtesy of Edouard Malingue Gallery and the artist

Concerned with the elements of urban life from artefacts and construction sites to the semiotics of our contemporary needs and aspirations, Ko Sin Tung (b. 1987) creates visual dialogues using a myriad of mediums that challenge our collective values as well as emotional disparities regards our personal realities.

Based in Hong Kong, Ko has been exhibited internationally, including at the The Bunker, Beijing (2019), Hong-gah Museum, Taipei (2018), Tai Kwun Contemporary, Hong Kong (2018) and Centre for Chinese Contemporary Art, Manchester (2017), among other locations. She was awarded the Special Jury Prize of Huayu Youth Award (2016), Pure Art Foundation Grant (2013-2014), and Project Grant (Emerging Artists Scheme) from the Hong Kong Arts Development Council (2014).

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