EX: 1/30/2012
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2016.01.15 Fri - 2016.03.05 Sat
Opening Exhibition
SOUTHSITE, 3/F, Blue Box Factory Building, 25 Hing Wo Street, Tin Wan, Aberdeen, Hong Kong 香港 香港仔 田灣 興和街 25 號 大生工業大廈 3 樓
+852 2541 1299
Opening Hours
Tuesday - Saturday, 1100 - 1800 (except public holidays; or by appointment)
星期二至六, 早上11時至下午6時(公眾假期除外;否則請致電預約)

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CHENG Ting Ting, Andrew LUK, YIP Kin Bon: The Imaginary Order
[Press Release]

Gallery EXIT is pleased to announce The Imaginary Order, a group exhibition featuring works by CHEN Ting Ting, Andrew LUK and YIP Kin Bon. The works presented relate to each artist’s exploration of memory and the physicality of the outer world in response to the paradoxical relationship between self, imagination and reality.


YIP Kin Bon, Dimension Variable, excerpt from the work,
2015, Newspaper Collage, 70 x 200 cm framed


CHENG Ting Ting continuously demonstrates her strong attachment to the outlandish colours and the random occurrence in daily life. In CHENG’s new artwork series, Fountain Hall, she unfolds her memory with her mother visiting a park and gazing at the same fountain everyday. Despite the seemingly endless flowing water, CHENG perceives such scene as a still image being unaffected by time. Extending from this visual experience, CHENG aspires to capture the fleeting serenity and re-present the eternally static water.


Andrew LUK investigates the physicality of materials with the passage of time. LUK collects objects in the abandon places and repeatedly experiments on them, resulting in the abstract forms of collage, painting and installation. His napalm paintings series adopts a radical approach by igniting the homemade napalm on copper plates. A new material order is generated and the artworks encapsulate the transitory time and space once existed.


YIP Kin Bon constructs a semi-fictional identity for his new artwork series: an incompetent archivist. Artist points out, “An archivist does not perfectly preserve the original form of the documents. During the collection process, besides manually removing parts of the textual and visual content, the archivist also pushes the filing cabinet over.” YIP’s daily works of gathering, comprehending, sorting and integrating diverse documents coincidentally resemble an archivist’s duties. Nevertheless, the elimination of texts and images superimposes the incompetent archivist on the distinctive visual elements, highlighting the imbalance and absurdity in reality.