Date :
2015.05.13 (Wed) - 2015.05.29 (Fri)

Location :
CMC Galleries, L3, Run Run Shaw Creative Media Centre

Time :
11:00am – 7:00pm

Free Admission

Opening Reception
Date: 13 May 2015 (Wed)
Time: 5:00pm – 8:00pm
Venue: L3 Gallery, Run Run Shaw Creative Media Centre, 18 Tat Hong Avenue, Kowloon Tong, Hong Kong

Curators: 
Dr. Linda LAI
Dr. Samson YOUNG
LEE Kai Chung

Participating Artists:
CHAN Ching Lam | Michelle CHAN Ching | Anita CHEUNG Hoi Ki | Brian CHOW Hau Yan | Angson CHOW Yun Fu | Joe CHUNG Pui San | Dom CHUNG Wing Sze | Karen HAU Ka Lam | Harry HON Yuet Hei | Allison HUNG Yun | KANG Xinyi | Janice TO Tsz Sum | Andio LAI Chung Man | Barry LAW | Green LAU Yik Kiu | Selena LEONI | Kelvin LEUNG Ho Yan | Andy LI San Kit | Miyu OZAWA  | PANG Tung Tung | Gloria SHUM Wing Pui | SHON Myokyung | Andy WONG Kai Hei | Ray WONG Kai Sing | Yiva WONG Lai Yee | Owen WONG Nga Kwan | Winsome WONG | Winnie YAN Wai Yin | YOUNG Hiu Ting |

“On The Road” is not just an exhibition. It is a necessary platform to put together some disparate yet focused views of the huge BACM student body in the new 4-year university system. While an exhibition is never going to be sufficiently representative of the breadth and diversity of students’ talents, proclivities and resourcefulness, all participating artists in this show commit to publish something they find meaningful – a work in response to a course, a work integrating a few of their favorite courses, a work to just try out technics that intrigue the maker, a work that is primarily a risk for collaboration, something that has been part of an artist’s mindscape with or without direct linkage to the curriculum, or simply personal obsessions.

“On The Road” suggests the “present continuous” – how to disagree, how to struggle, how to dialogue, how to negotiation. The limitation of a physical exhibition with over 20 artists is that such processes are not easy to reveal or represent. What does “On The Road 2015” do, then? “Connecting the Dots” physically and spatially. Visitors are to join us to connect these dots as who they are and where they come from. An exhibition is always multiple in its address.

“On the Road 2014” was an important experiment. The rigor and the “die-hard” dedication of the 8 selected artists in the show affirmed the need for a refreshed exhibition culture – one that is far more than occupying space in a venue. The 8 artists showed us the most critical phase of creation was 2-fold: when a concept materializes and when the material object re-discovers its life and potency in a physical venue and in connection to other works. Aesthetics is about engaging the sensibilities and perceptual experiences of others. Engaging the audience in a thoughtful way completes the aesthetic tasks. Notions such as immersion and interaction, therefore, are not just concerns of virtual realities or game works. “Connecting the Dots” points to ways of engaging the visitors as much as curatorial sense-making.

Now back at CMC, there is more room to take these issues more rigorously. “Connecting the Dots” features over 20 artists who have responded to our open call for work proposals. It was a risk, given how the demand of course work “drown” the senses of many students as much as their instructors. We are duly grateful to those who have made time to propose, not knowing whether their proposal would be accepted or not. We also thank 6 of the 8 artists who had walked the road in 2014, for each “sub-curating” an art project by inviting collaborators, to “play” with them, to “research” together, and to “negotiate” for final resolutions. The three curators have been “on the road,” too, since January this year, negotiating as much as coaching with each team and individual artist to strive for perfection. “Connecting the Dots” foregrounds modes of production, in response to the need for a refreshed exhibition culture.

To overcome the limitation of a physical exhibition, we have turned the final session of our proceedings into “art on paper.” These are fruits of students’ dedicated immersion into their core courses and should be given due coverage only in print form. “Critical Blueprints for Potential Works” records three works not on display in the physical venue, whereby we have glimpses into their reasoning and meditation.