6 March – 11 May, 2019 | Solo | “Saan Dung Gei” by Lam Tung Pang, curated by Abby Chen


“Saan Dung Gei” by Lam Tung Pang Curated by Abby Chen 26 March – 11 May 2019
Opening Reception: 23 March 2019, Saturday, 4 – 6:30pm Artist will be present. Conversation with artist, curator, and art historian Dr. Alpesh Kantilal Patel will take place from 4:30 to 5:15pm.
Venue: Blindspot Gallery (15/F, Po Chai Industrial Building, 28 Wong Chuk Hang Road, Wong Chuk Hang, Hong Kong) Opening Hours: Tuesday to Saturday, 10am to 6pm (Sunday and Monday by appointment only); closed on public holidays
Blindspot Gallery is pleased to present Lam Tung Pang’s first solo exhibition at the gallery, “Saan Dung Gei”, curated by Abby Chen, from 26 March to 11 May 2019. Conceived as a visual reader and a long-form novel, the exhibition consists of non-linear chapters that describe the allegorical journey of an itinerant traveler, “Eye”, who searched for, discovered and lost an anonymous novel’s manuscript. The exhibition features Lam’s latest works made in 2018-2019, with which the artist challenges his own medium and creates a three-dimensional medley of paintings, installations, video sculptures, kinetic projection, and found objects. The exhibition’s opening reception will take place on 23 March, and the artist will have a public conversation with curator Abby Chen and art historian Dr. Alpesh Kantilal Patel.
On November 2, 2018, Lam took the recently inaugurated high-speed railway from Hong Kong to Beijing. During the eight-hour journey, there was a 20-minute ride through a dark tunnel in Hong Kong’s territory. On this brief ride through the black hollow, Lam’s usual optimism yielded to a magical realist vision of anxiety and social unrest that gave birth to the title of this work, which literally translates to “the mountain hole notes.”
The audience encounters familiar iconographies in an unsettling otherness. Landscape in operation (2018) shows doctors in scrubs performing an open-chest surgery on a rocky landscape. In the video Hope (2006-2019), the flame of a struck match gives out feeble illumination, only to burn out and fizzle away as the bleached fireworks of Shining Stars in Cave (2018). Lam sees his city as suffering a monumental trauma. His yearning and desire to heal comes from a hope that is steeped in a sense of otherness—he foresees, or even wishes for an overwhelming force to intrude upon this place-to-be.
In declaring his works “the first novel on how Eye lost and found the manuscript,” Lam accentuates the volume of time that manifests in searching and forgetting. Known for his colourful and playful assemblage of images and objects, his newest work embodies a bleak, brutal blast at the present moment that marks a departure into a personal, dusky confrontation with a haunted land.
The desire to return is a chronic condition abundantly symptomized in Lam’s site-specific video installations. In A day of two Suns (2019), four projectors each superimpose a looping video on a diaphanous paper screen diptych, two en verso and two en recto. The same footages were set off against each other randomly, producing an infinite permutation of a similar fate. The uncesasing recurrence recalls the OTALEO Clock (2019) whose hands always return to the same spot at the same minute, as well as the model toy trains in Saan Dung Gei Turns (2019) that runs in futile circles around a hollow wall, always going but never close to reaching.


林東鵬:山洞記策展人:𣈱 二零一九年三月二十六日至五月十一日
開幕酒會:二零一九年三月二十三日,星期六,下午4時至630 藝術家將出席開幕酒會 藝術家、策展人及Alpesh Kantilal Patel 博士對談會將於下午430分至515分進行
地點:刺點畫廊(香港黃竹坑道 28 號保濟工業大廈 15 ) 開放時間:星期二至星期六,上午 10 時至下午 6 (星期日及星期一只供預約);公眾假期休息
林東鵬於刺點畫廊的首次個展山洞記將於三月 二十六日至五月十一日舉行,由陳𣈱策展。展覽 的構思猶如一本讀本和長篇小說,內容章節以非 線性進行,描述一個流浪旅人──「眼」的尋找、 發現並遺失手稿的寓言之旅。展覽呈現林東鵬由 2018 2019 年創作的最新作品,也是他挑戰媒 介的嘗試,由繪畫、裝置、錄像雕塑、動態投影 及現成物構造出三維的組曲。展覽開幕酒會將於 三月二十三日舉行,屆時藝術家、策展人與學者 Alpesh Kantilal Patel 博士將進行公開座談會。
2018 11 2 日,林乘搭剛通車不久的香港高鐵,由九龍出發到北京。在這八小時的旅程中, 有二十分鐘車程身處香港境內的黑暗隧道。這趟穿越漆黑山洞的經驗,令林的一貫樂觀角度轉化成充滿不安和社會動盪的魔幻寫實視野,也成就了山洞記這展覽題目──解作山洞中的筆記。
林東鵬稱作品是「第一本有關『眼』如何認領手稿的小說」,強調了尋找與遺忘中的時間跨度。他的新作與他 廣為人知的豐富色彩和俏皮模型形成猛烈反差,眼前這些極具衝擊力的荒蕪和殘酷強調了個體與一片幽險土地 之間的當下對峙。


觀眾會在令人不安的陌生感下遇見熟悉的符號。《景物手術》(2018)展示穿着手術袍的醫生們正為山嶽進行 剖腹手術。《希望》(2006 – 2019)的錄像中,劃火柴燃起微弱的火光,就如《幽幽洞裡見星光》(2018) 煙花一樣,只待烟燒雲散。林眼中的景觀猶如罹難巨大的創傷,療癒此地儼然已經迫在眉睫,甚至需要有 強大的外來力量或超體介入這注定改變的城市。
歸返的渴望蔓延於林的場域特定錄像裝置中。《一日兩天》(2019)裡,四個錄像循環投影於透薄的紙製雙屏 幕上,兩組以一正一反互相疊映。循環的片段隨機地交替重疊,營造出類似命運的永恆輪迴。不停回歸的命題 與其他作品互相呼應,《奧他利奧時鐘》(2019)中的指針每分鐘都回到同一位置;《山洞記轉》(2019) 玩具火車無效地圍著中空的牆繞圈跑,永遠往沒有終點的前方行駛。