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Artist | Lam Pok Yin Works Overview

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林博彦

Lam Pok Yin

Born in Hong Kong in 1988, Lam graduated from University of Hong Kong Department of Architecture in 2010 and then graduated from the Department of Photography, London College of Communication in 2015. His recent solo exhibitions include: “…and then we submerged in clouds”, Vanguard Gallery, Shanghai, China (2021); “Gas Station Ⅵ”, Vanguard Gallery, Shanghai, China (2013); group exhibitions include: “Beneath the Skin, Between the Machines”, HOW Art Museum, Shanghai, China (2022); “Bot or Not”, The Pole Gallery, London, UK (2019); “Intimacy Spills”, Barbican Arts Group Trust, London, UK (2019); Paris Photography Exhibition-Aperture Foundation Photo Book Award Finalist Exhibition, Grand Palais, Paris, France (2019); “HOTSHEET”, Downstairs at The Department Store, London, UK (2019); “40 Years of Chinese Contemporary Photography 1976-2018”, OCAT Shenzhen, Shenzhen, China (2018); “Simultaneous Eidos”, Guangzhou Image Triennial 2017, Guangdong Museum of Art, China (2017); “IMMEASURABLE: 2016 the 8th Three Shadows Photography Award”, Beijing, China (2016); “Open Call Portfolio Winner”, GuatePhoto Festival, Guatemala, Guatemala (2015); “Beyond the Camera”, Pingyao International Photography Festival, China (2015).

Lam Pok Yin has always kept a constant focus on the intersection of technology, media, and people. Because of his academic and practical training in architecture and photography, he is willing to re-examine and disassemble the process of image production and dissemination. Through joking, poetic, or mischievous methods, he tries to reveal the power mechanism and social construction factors behind this process. In recent creations, his long-term interest in the Internet makes his creative practice naturally transition to digital technology and the related platforms, mechanisms and logic of the data generated. Through multimedia installations, performances and texts, he uses the language of the platform itself and the research methods of “locality” to explore the political and personal implications of these technologies. In the past two years, his works have mainly focused on: (1) online labor dispatch; (2) social platforms and attention economy, and in the process reflect on the history and narrative of early Internet development.

Human Workforce Superhighway

Installation view

Multichannel video

5-6 min.

2021

(And To Think...) This Was the Future

Installation view

Multichannel video

26'48''

2021

Installation view of “… and then we submerged in clouds”

Vanguard Gallery, 2021

“… and then we submerged in clouds” is Lam Pok Yin’s first solo exhibition with Vanguard Gallery. In this series of works, through the act of collecting, sampling and rearranging, Lam observes and investigates the debris left behind by the early World Wide Web after its humanistic ideals had disintegrated under neoliberalism. His collections fall into two main categories: materials and “artefacts” that Microsoft produced and used to promote the early World Wide Web; and personal memories and experiences related to the internet, ranging from the collective nostalgia for the early days of the World Wide Web, to stories gathered from online workers commissioned through Amazon’s Mechanical Turk platform (MTurk), an online crowdsourcing marketplace for human intelligence. These two categories expand respectively while remain intertwined.

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There Are No Places of Worship on This Street

Lightbox (UV Ink on Membrane)

96 x 120cm

2021

Where Do You Want To Go Today (Evening)

Inkjet Print on Hahnemuhle Photo Rag Ultra Smooth

67 x 53cm

2021

An Increasingly Difficult and Futile Task

Installation view

Multichannel Video Installation

Metal Shelves, Glass Jars, Used Phones

2021

The Untimely Apparatus of Two Amateur Photographers

Collaboration with Chong Ng

(2015)

i）

This camera is a combination of a telephoto-pinhole mailing tube, a 4x5'' large-format film back and a rifle scope, measuring at 1.8m and with an apertre of 1/1250.

In these instructional images, we, the camera operators, seem to be demonstrating the correct use of the aforementioned apparatus, when actually, we are hacking these devices, violating their original uses, and making them to serve a new purpose.

ii）

A light sensitive glass globe was exposed with a camera with multiple lenses looking at different directions. To invert the image, we reversed the mechanism of carousel projectors and adapted them into cameras. This projector-camera then rephotographed the sculptures as they rotated, reframing them at different angles. The same projector was then used to project these photographs, converting them into comprehensible positive images.

iii）

A Copal flip clock is made into a camera. Each number flap would be covered in photographic paper, turning the flaps into individual image-capturing surfaces.

Lam pok Yin & Chong Ng

win the 8th Three Shadows Photography Award (TSPA)

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My Book Is My Camera

(2013)

Photo series | 10×12.7cm

The handmade book/camera, is a container for thoughts and light, that turns them into words and images. The same area from every written page is cut out each time and replaced by film to take one photograph.

Our Little Worlds

(2012-13)

Photo series | 32×40cm

This is a eerie and fragmented collection of people who absorbed into background. Without narratives, they do not tell a lot about the person in the frame as individual photographs. Rather, they are about the relationship between people's relationship with other. Shot in temporal, banal and transitional public spaces, these individuals appear to be absorbed in what they are doing, submerged in a world of their own and isolated from the surroundings. These scenarios add up and perhaps reflect the current mode of human interactions.

A city of 7 million

(2012)

Photo series

120 x 96cm

Gas Station VI Installation view; (Duo solo exhibition, Vanguard Gallery, 2013)

Functional Monument

(2014)

Performance / Installation

Based on the interior architectural language of the National Gallery, "Functional Monument" is a movable sculpture that acts as the extension of the institution's power and influence, transforming its surroundings into atmospheric paintings by generating a Turner-like smog.

Echoes, Lights Unfixed

(2013)

Performance at Basement 6, Shanghai | 26 Silver Gelatin B&W Prints

These prints are the results of a series of earlier performances in which eight participants at a time were guided by the artists through a number of choreographed positions. The performances took place in a completely darkened chamber with live synchronised sound installation, through which would periodically flash a bolt of light, burning onto the retina of the participants a temporary ghost image of the scene confronting them, which would then fade and gradually return in shades of blue and purple. Each participant was accompanied by a handmade camera, operated by the artists, which mirrored their eyes journey through the chamber. The same burst of light is etched into 8 different camera, in different positions and angles.

How to have your travel photos taken when you've lost your camera (in London)

(2013)

Performance / HD video

Thanks to the omnipresence of cameras and the abundance of images circulating online, my images could be collected from image sharing platforms. I anticipated myself to be photographed by others both openly and candidly, strategically placing myself so that I would appear in the frame. These images taken by difference people become a democratic documentation of my stay in London.

Air (6.75m2)

(2013)

Performance, 14h30h

16 large format photographs; 35mm / digital documentation images

We wanted to bring some fresh air to the densest and most polluted part of the city. We decided that we would climb up a 500m hill, collect as much fresh air we could physically carry, and bring it all the way from the peak to the downtown on foot.