Ken Currie: Interregnum

Interregnum is the first solo exhibition by the Glasgow-based artist Ken Currie, which describes the unprecedented limbo caused by the global pandemic. The title of the exhibition is taken from Antonio Gramsci’s Prison Notebooks, in which he wrote: “The crisis consists precisely in the fact that the old is dying and the new cannot be born; in this interregnum a great variety of morbid symptoms appear.”

When the pandemic started, Christine’s mask and Interregnum were painted. At that time, Currie used the mask as an accessory and deliberately covered it with the 18th century plague to deepen the surrealism of the objects. These paintings now have amazing quality. This evolutionary symbolism is echoed in Chinese gloves, because their practical use is familiar, rubber garments are pierced and displayed, and in the “casting of life”, the whole-body castings of children used for rehabilitation are treated as orders. The disturbing unused decorations are presented, thus showing a darker colours suggestive subtext.

Throughout the exhibition, Currie expressed his keen interest in the historical ritual superstition held by Scotland’s most remote island communities and their dependence on the ocean. The artist implied this cruel and unforgiving lifestyle on the red bare feet in the salt bath, which can be imagined in marine life. Children in wet clothes carry jellyfish in their fragile bare hands, as if they were provided, only for children eyes express tingling. The clothing worn in Liquidator is also reminiscent of Currie’s fishermen, wearing intestinal-covered work clothes and rustic aprons, as if in terrible preparations.





Money Honey?

As the saying goes, “Money is not brought with birth or not with death.”

But alive, we cannot live without it. Some people hate it, saying that money is easy to make people inappropriate, but some people “love” it and work hard for it.



Andrew Luk & Samuel Swope: Ready\Set\Fulfill

Ready\Set\Fulfill is a special collaboration project between the gallery’s representative artist Andrew Luk and Samuel Swope. The exhibition includes new works of art, including sculptures and multimedia installations, which together constitute a huge drone racetrack throughout the gallery space. During the exhibition, a first-person view (FPV) competitive drone competition will be arranged.

The emerging sport of FPV drone racing has prominent features in live performances and recorded video works. Race promotes dialogue about the relationship between humanity and overall speed and progress. They embody the “demography” (speed science or logic) concept of the philosopher Paul Virilio, who coined the term to believe that the development of society and culture is similar to race, and the fastest competitors are the most success. Furthermore, driverless racing cars also broke the boundaries between humans and machines. When pilots wear immersive VR headsets and fly the drone through the on-board camera, their field of view becomes that of the drone, and their actions become the actions of the drone. The fusion of humans and machines embodies the collective desire to transcend our physical bodies, mortal bodies, and accelerate the realization of a more effective, faster and cybernetic existence.

The exhibition aims to experience in two ways: one is through the eyes of humans, and the other is through the lens of a drone. The drone’s perspective will be broadcast live during the competition and looped during regular exhibition hours. Information about race may be released at a later date to comply with the relevant precautions for Covid-19.




The Art of Hope

The Art of Hope is a new exhibition dedicated to the Second School of Paris, which showcases a group of artists who became active in Europe after the Second World War. The exhibition presents the works of a group of outstanding and diverse painters who have created, built and hoped to have a brighter future along the Seine since the liberation of Paris in August 1944. Show, remember, the most important thing is to constantly question the relationship between the world and art, linking the past with the present, the near and the far.

Following large-scale exhibitions and retrospective that re-recognized the importance of the second school in Paris, this exhibition features works from iconic artists such as Pierre Soulages, Georges Mathieu, Hans Hartung, Nicolas de Staël, Jean Dubuffet, Jean Paul Riopelle, and Zao Wou-ki.

Luke Ching: Glitch in the Matrix

Glitch in the Matrix is a solo exhibition by Hong Kong-based artist Luke Ching Chin Wai, which features newly commissioned works and re-enactments and adaptations of Ching’s earlier works.

As one of Hong Kong’s most active conceptual artists, Ching changed the roles of artists and observers in and outside the city. He breeds a discourse system with an evil sense of humor to respond to and interrogate the cultural and political conflicts in Hong Kong. The title of the exhibition is borrowed from the movie “The Matrix,” in which the protagonist Neo feels déjà vu when he sees the same black cat appear twice. This is the result of a matrix failure, which leads to a change in the virtual world of encoding. In Ching’s case, his daily experience often made him feel trapped between “déjàvu” and “jamais vu”, which made him doubt whether there was a malfunction in the system.

The exhibition will display more than a dozen works from the early Ching Dynasty, as well as new commissioned works, revealing political views related to Hong Kong’s current social climate. In “Whispering”, the artist recorded the sound of birds in the Hong Kong Story exhibition at the Hong Kong Museum of History. These reverberating chi sounds evoke the birds in the cage. In this new exhibition, the artist spreads the recordings in the speakers from the speakers to outside the exhibition window, as a metaphor to release those who suffer from daily difficulties. In the new work of “Still Life”, “Ching” depicts everyday objects in the style of traditional still life paintings. What is represented in these scenes are some items that the visitors who met the detainees allowed to bring them into the Qingshan Bay Immigration Center. It took a long time of loneliness to attract these items, which also made his contemplate the ambiguity of time experienced by imprisoned refugees and asylum-seekers.