Szelit CHEUNG, Hilarie HON, Ashlee IP Wai Ting, Him LO
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Szelit CHEUNG, Hilarie HON, Ashlee IP Wai Ting, Him LO at Gallery EXIT

text: Bernard Yeung

No offence intended, the recent group exhibition in Gallery EXIT by Szelit Cheung, Hilarie Hon, Ashlee Ip Wai Ting and Him Lo is as good as a degree show should offer.


No offence intended, the recent group exhibition in Gallery EXIT by Szelit Cheung, Hilarie Hon, Ashlee Ip Wai Ting and Him Lo is as good as a degree show should offer. And the four artists’ works are very nicely shown in the sense that their characters are equally expressed.

During the summer period, it appears to be more common than the rest of the year for galleries to offer group exhibitions. Gallery EXIT’s exhibition might disappoint a few visitors that its group exhibition does not even bear any title other than a list of the artists’ names. The gallery’s introduction of the exhibition is a compilation of introductions of individual artists without any explanation of any curatorial concept. Installation-wise, there are just enough, or slightly more than enough walls for all artworks. More walls could have been set up but some windows original to the gallery flat are left revealed.

Critics are left reluctant to comment on the exhibition as a whole or to comment on an artist with respect to a concept that is unrelated to his practice in the first place. They have to turn to the artists individually. These arrangements suit best to exhibitions that artists are meant to share an equal status and it is unfair to question the list of participating artist, i.e. degree shows. Though not a degree show by any margin, it is a clever gesture by Gallery EXIT to justify the combination of artists and artworks of this group exhibition as such.

Unrelated curatorially though, chemistry between the four artists is not entirely invisible. Together they compose a harmonious spectrum of distances between life and mind. Cheung depicts ‘a sense of helplessness and distancing of the familiar’ with his still life painting. Hon paints her imaginations inspired by a literature work. Ip’s works are of surreal and abstract scenes that reflect moments of fleeting passion, disconnection and cumulative emotions. Lo enquires with his work urban forms of destruction and reconstruction.

Although this style of curation is entitled to be accused of laziness, the advantage of letting justifying participating artists’ contrasting practices would argue the opposite. Put together, the works of the four artists raise questions regarding individuality in relation to the social. Lo’s practice and Hon and Ip’s are on the opposite ends whilst Cheung’s vaguely lies in the middle. If art is to pose critical thoughts to viewers, then subjectivities, such as the likes of personal emotions, shall not be mentioned. Art nonetheless accepts that subject matters be left unanswered. Hence, Hon and Ip’s works qualify for art more than Lo’s works which possibly otherwise can be dealt with by politics or sociology. These unsettled arguments about art are indirectly addressed by Cheung whose works suggest being answerless as answer.

In a group exhibition as such that has a minimal style of curation, participating artists and their works are free to support or challenge each other if viewers are not ready to see them individually. The fullness of the expression of the artists’ practice should be appreciated.

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Gallery EXITszelit cheung 0914 02

Gallery EXIT


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23 July – 27 August 2016

Gallery EXIT

from a.m.post Issue 122  September/October 2016全文刊載於 a.m.post Issue 122  9/10月 2016