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Liang Zhihe摄影作品
LEUNG, Chi Wo
Born in
Hong Kong in 1968, Leung graduated with a MFA from the Chinese
University of Hong Kong in 1997 after a photography study in
l'Istituto per lo Sviluppo Socio-Economico dello Spilimberghese in
Italy and an internship in het Museum van Hedendaagse Kunst in
Ghent, Belgium. He has exhibited in Hong Kong, New York, Melbourne,
Tokyo, Oslo, Vienna, Hamburg and Toronto, etc. Awards received
include the Asian Cultural Council Fellowship (1997), Urban Council
Award of the Contemporary Hong Kong Art Biennial (1996) and the
First Prize in Sculpture from the Philippe Charriol Foundation
(1995). In 2000, he has held a solo exhibition in the Queens Museum
of Art, New York. In 2001, his site-specific project was exhibited
in the Hong Kong Pavilion in the Venice Biennale.
Solo
Exhibitions
2007
Text
Format,
Hanart TZ Gallery, Hong Kong
Open
Home,
an sound installation in domestic space, Hong Kong
2006
Domestica Invisibile*,
Goethe Institut, Hong Kong
2005
Open
Home,
an sound installation in a domestic space, presented by S-AIR,
Sapporo
2003
Where is Hong Kong?,
Grotto Fine Art, Hong Kong
Color Series,
Zetterquist Galleries, New York
City
Mapping: Rough Cuts,
Lee Ka-sing Gallery, Toronto
City
Cookie
(in collaboration with Sara Chi Hang Wong), Gallery 44, Toronto
Always Gentian Blue Sky,
Site-specific work in public space, Sierre, Switzerland
2001
City
Cookie
(in collaboration with Sara Chi Hang Wong), Hong Kong Visual Arts
Centre
2000
Something about city sky,
Queens Museum of Art, New York
1998
Victoria Tunnel,
Para/Site, Hong Kong
Mapping the Invisible,
Fringe Club, Hong Kong
Selected Group Exhibitions/
Screenings
2007
Pearl River City,
Kunstverein, Hamburg
Reversing Horizons,
Museum of Contemporary Art, Shanghai
Talkover/Handover: Dialogues on Hong Kong Art 10 Years After 1997,
1a Space, Hong Kong
The
Reading Records of City,
M Art Space, 798 Art District, Beijing
The Pearl River Delta,
Contemporary Art Centre, Vilnius
2006
3500
cm2: art poster project,
Blueroom, Rome
Publicly Private,
Spazio Paraggi, Treviso, Italy
Busan Biennale*,
Busan, Korea
A
Yellow Box in Qingpu: Contemporary Art and Architecture in a Chinese
Space*,
Xiao Ximen, Shanghai
The
Pearl River Delta
(touring),
Nassauischer Kunstverein, Wiesbaden, Germany
A
Realm with No Coordinates,
1aspace, Hong Kong; Nanhai Gallery, Taipei
Close Distance,
Plymouth Art Centre, UK
2005
The
Contemporary Hong Kong Art Biennial*,
Hong Kong Museum of Art
S-AIR_ASIA:
Ah-Bin Shim + Leung Chi Wo*,
Moerenuma Park, Sapporo, Japan
Guangzhou Triennial*,
Guangdong Museum of Art, Guangzhou, China
In
the Deep of Reality: A Case of Chinese Contemporary Art,
Hangzhou, China
Island Art Film & Video Festival,
UGC Cinema, London
2004
Neither East nor West: Hong Kong Contemporary Art*,
East-West Center Gallery, Honolulu
Intimate Re-collection,
Hanart TZ Gallery, Hong Kong
Fridge*,
Hong Kong Arts Centre
Id-map, Real-scape: Leung Chi Wo & Sara Chi Hang Wong,
Gallery TEZZ, Tokyo
Para/Site: Open Work*,
Centre A, Vancouver
Behold! God….,
John Batten Gallery, Hong Kong
2003
Local Accent: 12 artists from Hong Kong*,
Pickled Art Centre, Beijing
Mapping Asia*,
Heritage Museum, Hong Kong
A
Strange Heaven: Contemporary Chinese Photography*,
Rudolfinum, Prague
Interrupt,
Singapore Art Museum
2002
4th
Festival des Cinéma Différents de Paris,
cultural centre La Clef, Paris
Motorik,
COURTisane Kortfilmfestival, Ghent
Paris-Pekin:
contemporary Chinese
art collection of Myriam and Guy Ullens*,
Espace Cardin, Paris
Moving Violations*,
Red Dog International, Hong Kong
Gwangju Biennale*
(part of Para/Site), Gwangju, Korea
2001
Re-Considered crossings: representation beyond hybridity*,
Fotogalerie Wien, Vienna
Hyphenation: Contemporary Hong Kong Art*,
Grotto Fine Art, Hong Kong
Microwave International Media Art Festival 2001*,
City Hall, Hong Kong
Pinhole Vision*,
Temporary Exhibition Gallery of Provisional Municipal Council of
Macau
Venice Biennale*,
Hong
Kong Pavillion, Venice
Hot
Pot: Contemporary Chinese Art*,
Kunstnernes Hus, Oslo
Polypolis: Contemporary Art from Asia Pacific Megacities*,
Kunsthaus Hamburg
2000
Contemporary Hong Kong Art 2000,
Hong
Kong Museum of Art
Shanghai Biennale*,
Shanghai Art Museum
Clockwork 2000,
Clocktower Gallery of PS1 Contemporary Art Center, New York
ARTscope Hong Kong*,
Morphes2000, Tokyo; City University of Hong Kong
*With
catalogue
Education
1997 MFA, the Chinese University of Hong Kong
1992 Museum Internship, het Museum van Hedendaagse Kunst, Ghent,
Belgium
1991 Post-Diploma (Culture of Photography), l'Istituto per lo
Sviluppo Socio-Economico dello Spilimberghese, Italy
1990 BA in Fine Arts, the Chinese University of Hong Kong
Awards
1998 Project Grant, Hong Kong Arts Development Council
1997 Lee Hysan Foundation Fellowship, Asian Cultural Council,
New York
1996 Urban Council Fine Arts Award, Contemporary Hong Kong Art
Biennial
1995
First Prize in Sculpture and Most Promising Artist Award,
Philippe Charriol Foundation, Hong Kong
1990 Italian Government Scholarship
Residency
2007 Australian National University, Canberra
2005 Inter-Cross Creative Center, Sapporo
2003 Monash University, Melbourne, Australia
2002 Ecole Cantonale d’Art du Valais, Sierre, Switzerland
2000 Banff Centre for the Arts, Alberta, Canada
1999 International Studio Program, Elizabeth Foundation for the
Arts, New York, USA
Selected Bibliography
(apart from catalogue essays)
1.
Samantha Culp, “Cantonese Accent”, South China Morning
Post, Sept 12, 2006.
2.
Richard Vine, “Report from Guangzhou: Cities on the Make”,
Art in America, Sept 2006, pp.71-75.
3.
Katie Lau, “Lost and found in space”,
Weekend Standard, Sept 9-10,
2006, pp38-39.
4.
Jaspar Lau, “No ‘Local’ is an Island”, Yishu, Vol.5,
No.2, Summer/June 2006, pp.85-91.
5.
Zoë Shearman, “Reviews”, a-n Magazine, Mar 2006, p.9.
6.
Kelvin Chan, "From a distance: homing in on what it means to
be a migrant", South China Morning Post, February 12, 2006.
7.
John
Clark, "A Spectacle of Questions", Asian Art News, Jan/Feb
2006, pp.68-72.
8.
Jonathan Thomson, “The Negative Horizon”, Asian Art News,
Jan/Feb 2004, pp.54-59.
9.
Hou Hanru, “The City and the Artists”, Flash Art,
March/April 2002, pp.91-92
10.
Danny
Huppatz, “Leung Chi Wo’s Open City”, ART AsiaPacific, Issue
36, Oct/Nov/Dec 2002, pp.58-63
11.
Alice Ming Wai Jim, “Notes from Hong Kong”, Flash Art,
March/April 2002, pp.93-94
12.
Danny Huppatz, “Roundup
from Hong Kong”, Log Illustrated, issue 15, 2002.
13.
Joan Kee, “Inertia Reels: Mobility in Hong Kong Video”,
Afterimage, Jan/Feb, 2002.
14.
Johan Pijnappel, “Asia At Venice”, Asian Art News,
Jan/Feb 2002, pp.58-61.
15.
Chang Tsong-zung, “Outer Landscapes And Inner Dreams”,
Asian Art News, Jan/Feb 2002, pp.65-67.
16.
Monica Dematté, “Chinese
Artists at the Venice Biennale Then and Now”, Chinese-art.com,
vol. 4, issue 4, 2001,
http://www.chinese-art.com/Contemporary/volumefourissue3/venice1.htm
17.
Marcia
E. Vetrocq, “Biennale Babylon - Venice Biennale 2001”, Art in
America, Sept 2001,
http://calbears.findarticles.com/p/articles/mi_m1248/is_9_89/ai_78334699/pg_8
18.
John Clark, “Asian Artists at the 2001 Venice”,
International Institute for Asian Studies Newsletter Online, No.
26, 2002.
http://www.iias.nl/iiasn/26/asianart/26ART3.html
19.
Chang Ju-ping, “Hong Kong heads to Biennale”, Taipei Times
Online, May 8, 2001,
http://www.taipeitimes.com/news/2001/05/08/story/0000084883
20.
Charis Dunn-Chan, “Asian art flavours Venice Biennale”,
BBC News Online, June 13, 2001,
http://news.bbc.co.uk/hi/english/entertainment/arts/newsid_1384000/1384753.stm
21.
“Asian Artists in the 49th Venice Biennale”
(Japanese), AsianArt.Net.com, July 2001,
http://www.asianart-net.com/news/venezia_biennale.html
22.
Hilary Binks, “A Larger Identity”, Asian Art News,
Sept/Oct 2001, pp.70-73.
23.
Josette Balsa, “Biennale de Venise: premiers pas de Hong
Kong”, Paroles, Sept/Oct 2001, pp.4-8.
24.
Richard Vine, Report from Shanghai: After Exoticism, Art
in America, July 2001, p30.
25.
Alice Ming Wai Jim, “Hong Kong Artists at the Venice
Biennale”, South China Morning Post, June 8, 2001
26.
Franco Fanelli and Jonathan Napack, “The national pavilions
at the Venice Biennale”, The Art Newspaper.com, June 2001,
http://www.theartnewspaper.com/news/article.asp?idart=6310
27.
Clarke, David, “The Culture of a Border Within: Hong Kong Art
and China”, Art Journal, Vol.59, No.2, Summer 2000,
pp.88-101.
28.
Misul Segae
(Korean), Vol. 189, 8/2000, pp.44-47.
29.
Clarke, David, “Para/Site Art Space: Installation and
Cultural Identity in Hong Kong”, Third Text, No.50, Spring
2000, pp.73-86.
30.
Cotter, Holland, "A Condensed International Melange", New
York Times, May 26, 2000.
31.
Iwasaki, Hitomi, Leung Chi Wo: Something About City Sky
(exhibition brochure), New York: Queens Museum of Art, 2000.
Fish Farm
Houses is a
visual study of these temporary-turned-permanent functional
buildings by the fish ponds in the northern New Territories of Hong
Kong, as part of a research of fish farming culture by
anthropologist Sidney Cheung. A lot of these houses were built in
the 1960s without an architect at a certain size limited by the
government, of mixed materials of wood, concrete and metal sheet.
Fish farming
in Hong Kong is a sunset industry with its glory back in the early
eighties. Now most people in Hong Kong consume fish from the
Mainland China. The remaining fish farmers are mainly elderly who
have moved out from these farm houses which once were called home
for them and their family. Traces of life remains in these houses
which were turned into a makeshift rest place or sleep quarters for
imported helpers from the Mainland. The mushrooming towers in
Shenzhen offer a contrast backdrop for the dilapidated houses set in
the rural Hong Kong.
Albeit its
anthropological approach, Fish Farm Houses also explores
beyond the documentary function to negotiate the voyeuristic look by
means of large format camera and sizeable prints.
渔屋
梁志和
渔塘府坐落在香港新界北部，是一个研究视觉艺术的佳境胜地。渔塘府是建在鱼池边的功能性建筑，由临时的栖身之所变成了永久性的住宅。渔塘府是渔场文化的一部分，考古学家Sidney
Cheung对它的研究颇有造诣。这些房子很多建于60年代，然而没有一位建筑师参与，政府把房子体积限定到很小。木头、混凝土和金属板料混杂使用，确保物尽其用。
养鱼业在香港是夕阳产业，但在80年代早期曾经风行一时。现在多数香港百姓吃的鱼是中国大陆运来的。仍操旧业的渔夫主要是白发老人，他们已经搬出了这些它们昔日称之为家的渔场小屋，而且是举家乔迁。但是生活的踪影依然萦绕着这些小屋，于是这里变成了临时休闲的场所。这些房子也成了大陆来港淘金者的安眠乐园。在深圳的蘑菇塔背景的对比下，这些破败的昔日香港农村的民宅显得静谧而安然。
虽然对这些渔场小屋用人类学方法去研究，它们也难以登上大雅之堂，乃至游离于新闻纪录片之外。大画幅相机以及大尺寸印刷机在这里无用武之地，携带它们来此采景只能如同满足一点窥阴癖的猎奇心理而已。
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