• Dr. Isaac LEUNG 梁學彬博士
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  • Kyle CHUNG 鍾亦琪
Dr. Isaac LEUNG 梁學彬博士

History (to be) rewritten

One World Exposition 1.0 Context

Five years ago, One World Exposition was born with an agenda to rethink the subject-position of Hong Kong and Mainland Chinese artists, hoping to break away from the nominal discourse of contemporary Chinese art and reconsider the locality of contemporary Chinese art history. Apart from being able to present the most spectacular works produced in Hong Kong and Mainland China, the project showed a creative potential generated from disruptive engagements between people and spaces: not only did it create an unprecedented collaboration between Hong Kong and Mainland Chinese artists, it also demonstrated how different art spaces went beyond the limits of prescribed roles, leading to complex ecological interactions between different art players.

In the last edition, Li Zhenhua and I came up with a strategy to challenge the established curatorial convention. Without handpicking works that neatly fit into a central theme in advance, the multiple exhibitions were generated from a year of activities. Mainland Chinese artists were invited to experience Hong Kong outside the art market context, aiming for a kind of interaction with the Hong Kong art world without prior knowledge of standing. Hong Kong artists were brought into the map of contemporary Chinese art, in which they raised increasingly complex questions about memories and histories. Given the narrative of contemporary Chinese art is constructed as a result of the '85 New Wave Movement, along with the subsequently divided decades of political and artistic movements, to be able to disrupt the grand narrative by drawing in Hong Kong art was a great attempt to reinterpret the history of recent past and to open up its future.

To look back, this curatorial approach did not only connect various people and places that were previously unrelated to one another, but it also opened up spaces for socializing and interaction, a condition where new experiments and practices could be enacted. As a curator and historian, One World Exposition was a ground for me to test out how a project could mediate history-making through various forms of curatorial interventions. Although the artworks of One World Exposition were taken down and replaced by new ones, for me, the project has only begun.

One World Exposition 2.1 Re-contextualize

In the last edition, One World Exposition presented various influential Mainland Chinese artists who gained their prominence since the 1980s. If these artists are part of the construction of a conceptual apparatus that embarked from the ’85 reform movement, works produced by the younger generation are characterized by plurality, diversity, and at times a refreshed approach from their predecessors. Since 2015, I have been working on the second edition of One World Exposition with an eye towards the millennial generation of Chinese artists. In the time of China's impressive rise over the past few decades and the radical transformation of the art world, one may wonder how artists who are born after 1980 find new ways to remediate the former generation and the new global reality?

In China, the millennial generation emerged under a booming economy where new information, education opportunities, and technological knowledge are bountiful. These artists are vastly different from the generation before them: they are technologically savvy, open-minded, and committed to finding artistic languages that are different from the former artistic schemata - a discourse free from the rhetoric of the Cultural Revolution and Economic Reform. Unlike the former generation of artists, the millennials were born during a blooming of China’s art market. Many young artist have ridden China's wave of economic progression, and yet, these artists also live in a time of uncertainty as former ways of life have been uprooted in pursuit of fast-paced modernization.

In Hong Kong, the millennial generation was born in a liminal time between decolonization and the re-nationalization. Having encountered the political transition from the British to the Chinese or not, this generation is exposed to a complex discourse of the British colonial legacy. In the past few years, the vibrant flow of people, goods, and capital between Hong Kong and China has prompted many Hong Kong artists to rethink their existing beliefs, norms, and values. The fast-changing economic and geopolitical landscape has become a backdrop for Hong Kong’s millennial artists to create artworks that unfold throughout history within the present-day conditions.

Despite the commonalities and differences, one thing the millennial artists from Hong Kong and China share is the changing culture offered by disruptive technologies. No matter whether it is in Hong Kong, Beijing, or Shanghai, artists from this generation witness the structural transformation across the world, in which technological innovations have brought about new forms of interaction between them. For many young artists, their artistic production and distribution are conjointly integrated through social media. The new form of existence that is fused with a mixture of on and off line interactions also represents a generation of artists who are socially conscious, value-driven, and forward-looking. Artwork made by these artists often seeks to create more powerful connections between people, aiming to both engage an audience that is not confined by brick-and-mortar institution and to change the rules of the game in every aspect of our society. Millennial artists from Hong Kong and China are apparently born in entirely different societies, but they also share the mutually intelligible language and culture.

Against the backdrop of the complex relationship between Hong Kong, China and beyond, One World Exposition 2.1: #like4like endeavors to explore divides, boundaries, and spaces between the most celebrated artists of the millennial era from Hong Kong and China. To carry forward from where this project started, the second edition will continue to adapt the process-oriented approach and will be manifested in a yearlong project that spans across diverse locations. The exhibition at K11 will embark with presenting the most exciting works by Carla Chan, Chris Cheung(h0nh1m/XCEED), Chen Tianzhuo, Chen Wei, Double Fly Art Center, Lu Yang, Morgan Wong, Sun Xu, Tang Kowk Hin, and Wu Weiyi. These artists will participate in various forms of activities in Hong Kong and work closely with each other between April and September 2017. In the end, 9 newly commissioned works will be presented to demonstrate the outcomes of the yearlong interactions at the Visual Art Center.

As a curator who was born in the 1970s, to work with the most exciting 19 millennial artists from Hong Kong and China is a challenge and yet also a great opportunity. The idea to engage with new languages and cultures that I have not had chance to explore also prompted me to invite Kyle Chung, one of the most promising young curators who was born in the 1990s, to collaborate in this edition. The second edition of One World Exposition fully represents Videotage’s dedication to open new doors for the young generation of creative practitioners, despite the organization being one of Asia’s first non-profits for video and new media arts, founded 31 years ago.

In the curatorial statement written in the last edition, I promised One World Exposition to be an ever-unfinished project that would potentially pave the way for us to open up a new “world.” Indeed, that future has arrived. The labyrinth of the unexpected discovery about the city, the country, and the different generations has just begun. History continues to be rewritten, re-imaged, and reimagined.

One World Exposition 2.2 De-contextualize

To be continued in Sep 2017

Dr. Isaac Leung
Chairperson, Videotage



五年前,為試圖重新思考香港和中國大陸藝術家的主體地位,平行世界因而誕生, 希望擺脫以當代中國藝術為名的論述,並重新思考當代中國藝術史的地方性。除了能夠呈現香港和中國大陸最壯觀的作品外,該項目也展示了人類與空間之間顛覆性交流所帶來的創造潛力:不僅創造了香港與中國大陸藝術家之間前所未有的合作,也展示了不同的藝術空間如何超越規定性角色的極限,牽引不同的藝術工作者之間的複雜的生態相互作用。




在上一屆中,平行世界介紹了多位在80年代設立了自己的代表作,有影響力的中國大陸藝術家。如果這些藝術家是從 85藝術新潮起始,概念設備建構的一部分的話,年輕一代生產的作品的特點是多元的、多樣的、偶爾在他們前輩的途徑中注入新元素。自2015年以來,我一直致力於開發第二屆的平行世界,著眼於千禧一代的中國藝術家。在過去幾十年裡,中國令人矚目的發展和藝術世界的徹底改變之際,人們可能會疑惑,1980年後出生的藝術家如何尋找新的方法來糾正前一個時代和新的全球性現象?

在中國,千禧一代誕生於繁榮的經濟中,充斥著豐富的新信息、教育機會和技術知識。這些藝術家與他們之前的一代有很大的不同:他們技術精湛、開明、並致力於尋找不同於以前的藝術模式的藝術交流 - 一個沒有文化革命和經濟改革修辭的論述。與前一代藝術家不同,千禧一代是在中國藝術市場持續繁榮期間誕生的。許多年輕藝術家乘過了中國的經濟進步浪潮,然而這些藝術家也生活在一個不確定的時代,因為以前的生活方式被追求步調快速的現代化連根拔起了。









Kyle CHUNG 鍾亦琪


  • One World Exposition 2.1: #like4like looks ahead to the coming months of another exploration with the selected Generation Y media artists from Hong Kong and Mainland China, as OWE 1 did with Baby Boomer and Gen X artists in 2011.
  • The charm of #like4like as the first exhibition in OWE 2 lies in the process of dismantling the established views in media art by Gen Y in Hong Kong and Mainland China, through revealing the personal cultural background of each artist, as well as their odd world, time crisis and final fantasies.

Aftermath Child

  • As a millennial born and raised in Hong Kong, I grew up inheriting a local pride as a Hong Kong person while submitting to a new national identity.
  • I consider my supposed “identity crisis” fluid with little struggle; the search of identity is a process as much as it is the identity itself.
  • In this sense, any dogmatic propaganda seemed pretentiously assertive, including suddenly having to learn “March of the Volunteers” in primary school without knowing for years it was actually the national anthem.

Over the Lion Rock

  • The rhetoric of “Hong Kong Lion Rock Spirit”, which partly means “hardship eventually leads to success”, refers to the historical reference of economic struggles in 1970s Hong Kong working class.
  • It is excessively used as a political rhetoric to tell a path-to-middle-class tale.
  • How many people can register to the “hardship then, success now”?
  • It is becoming less effective towards my generation as a framing device of an excuse for neo-liberal extreme capitalism, largely due to the resulting unsustainable lifestyle (e.g. work hours, housing conditions) and the distance to the historical reference.

Mainland Parallel

  • Distant to the history of Mao’s cultural revolution and Deng’s economic reform, the Gen Y Mainland Chinese artists grew up in a new set of cultural and geopolitical factors, as well as a much more established art scene in China.
  • I would be belittling the context of OWE 2 if I claimed to understand their personal experiences with textbook history and second-handed analysis.
  • However, this first stage of OWE 2 is an appropriate time to ask questions: How do Gen Y Chinese artists exist in the recently mature art world with rapid growth? What is the power structure of blue-chip Baby Boomer and Gen X Chinese artists in relation to Gen Y? How does the internationalization of mainstream Chinese contemporary art affect the art practice of Gen Y?

An Underlying Factor

  • Beyond the respective development in geopolitics and art market, both Hong Kong and Mainland Chinese Gen Y artists encounter the digital age and particularly social media most/all of their lives.
  • Not only does social media influence the daily life of media artists socioculturally by the expanding social landscape and ever-changing social paradigms, it directly informs their art making, since the mediation process is a core creative element in media art.
  • How, if at all, do Gen Y media artists from Hong Kong and Mainland China react differently to such an unprecedentedly heightened form of engagement?
  • As a Gen Y curator, I recognize the need for innovative and comprehensive curatorial approaches to meet the new generation of artworks, artists and audience.


  • It is problematic if an exhibition is made now the same way as it was before there were smartphones.
  • The process-oriented setup of OWE 2 is a direct response to the increasing pace of information flow adapted by millennials, in which it embodies a progressive spirit as a curatorial method with a series of social media content to document the creative process between the artists and curators in the coming months.
  • A quote by curator, researcher and urban theorist Prof. Paul Goodwin, ‘As curators, we're here to inspire, not entertain.’
  • Here Isaac and I sincerely present this wittily crafted exhibition to audience within and outside of the art world, aiming to both “entertain to inspire” and “inspire to entertain”.
  • The questions addressed here and those we will raise through the exhibition, talks and seminars in the coming weeks will fuel the exploration and collaborations among the selected Gen Y media artists in months to come. I am beyond thrilled to share with you the outcome, and mostly likely even more questions, in September for One World Exposition 2.2

#like4like #PleaseLikeMyPost #怕你嬲嘛 #nofilter #instagood #instamood #有圖無真相 #AlternativeFacts #老老豆豆 #LetsTakeASelfie #exhibitionism #voyeurism #follow4follow #紅都臉晒 #尋晚Kelly鬧得我好岩 #BlackLivesMatter #millennials #DigitalNatives #廢青 #Hea #成功需苦幹 #其實唔難 #JustKeepSwimming #memewhore #stayclassy #紅豆軍艦 #NetflixAndChill #火星文 #textastrophy #難聽過粗口 #EpicFail #PleaseRecycle #出現了

Kyle Chung
Videotage House Curator



  • 就如平行世界1探索了嬰兒潮和X世代的藝術家,平行世界2.1:#like4like展望於未來數月對香港和中國Y世代媒體藝術的探索過程。
  • #like4like作為平行世界2的第一個展覽,魅力在於把香港和中國Y世代藝術家的既定觀點解體,並透過每個藝術家的個人文化背景,去揭露他們的奇異世界及最終幻想。


  • 在香港出生並於千禧年代成長,我一方面承繼著驕傲的香港人背景,另一方面須接受新的國民身分。
  • 我的「身分認同危機」其實較多變、多元化、少衝突;尋找身分是一個過程,亦是身分的本身。
  • 由此,任何強硬的政治宣傳都顯得裝模作樣,例如於小學時期突然需要學習《義勇軍進行曲》,儘管多年不知道這其實就是國歌。


  • 「香港獅子山精神」參考香港70年代勞動階層的艱苦歷史,某程度上喻意「努力終會成功」。
  • 這經常被用作成演繹「通往中產階級道路」的童話故事。
  • 其實「昨日的艱苦是今日的成功」可以代表多少香港人?
  • 這個比喻作為對新自由極端資本主義的表述工具,對於我的年代已經逐漸失去效用,主要歸咎於其導致的不可持續生活條件(工時、居住環境),以及與參考歷史的距離。


  • 與毛澤東文化大革命以及鄧小平經濟改革的歷史存在距離,Y世代的中國大陸藝術家成長於新的文化和地緣政治因素,以及中國前所未有地成熟的藝術環境。
  • 如果我聲稱可以利用教科書歷史及其他二手分析,去瞭解項目中每個藝術家的個人經歷,便輕視了平行世界2這個項目的價值。
  • 然而,平行世界2的第一階段是合適的時機去提出問題:Y世代的中國藝術家如何於內地急速成長的藝術世界立足?其與嬰兒潮和X世代的中國藍籌藝術家的權力結構是怎樣的?中國主流當代藝術的國際化又如何影響了Y世代的藝術實踐?


  • 儘管地緣政治和藝術市場的各自發展,香港和大陸的Y世代藝術家都是成長於數碼時代並完全融入了社交媒體。
  • 社交媒體不但於社會文化的領域中擴闊了社交版圖和令社交模式更多元化,從而改變了媒體藝術家的日常生活,而且由於傳播的方式及過程是媒體藝術中的核心創意元素,所以社交媒體對他們的藝術創作有直接影響。
  • 對於人與人之間這前所未有的高度連接形態,香港和中國的Y世代媒體藝術家如何反應?他們的反應有什麼不同?
  • 作為Y世界的策展人,我意識到我們需要創新及全面的策展手法,以應接新一代的藝術品、藝術家以及觀眾。


  • 策展以人為本,形式和手法不應與智能電話出現前如出一轍。更宏觀的看,即應與時並進。
  • 平行世界2的項目設立是以過程為本,從而直接回應千禧世代高速的資訊流動。未來數月將以一連串的社交媒體內容,紀錄藝術家之間與策展人的創作過程,具體呈現策展方法中的遞進精神。
  • 引用策展人、研究員及都市理論家Paul Goodwin 博士:「作為策展人,我們為人帶來的不是娛樂,而是啟發。」
  • 我和梁學彬謹此向藝術界內外的觀眾誠意呈獻這巧妙細緻的展覽,旨在「以娛樂去啟發」及「以啟發去娛樂」。
  • 在這裡提出的問題以及於未來數月的展覽、講座和研討會帶出的問題,將會推動受邀的Y世代藝術家之間的探索和合作。不論是探索成果,或是發掘更多問題,我都非常興奮將與你分享九月的平行世界2.2。

#like4like #PleaseLikeMyPost #怕你嬲嘛 #nofilter #instagood #instamood #有圖無真相 #AlternativeFacts #老老豆豆 #LetsTakeASelfie #exhibitionism #voyeurism #follow4follow #紅都臉晒 #尋晚Kelly鬧得我好岩 #BlackLivesMatter #millennials #DigitalNatives #廢青 #Hea #成功需苦幹 #其實唔難 #JustKeepSwimming #memewhore #stayclassy #紅豆軍艦 #NetflixAndChill #火星文 #textastrophy #難聽過粗口 #EpicFail #PleaseRecycle #出現了