【2017 Art Basel HK-1】Highlighting Several Photographic Works

2017香港巴塞爾藝術展—攝影作品精選

  Titles sums up a piece of writing and I am afraid to say I still choose to stick with the plain old 2017 Art Basel HK. With the high price room rates of hotels surrounding the fair, various late-night events popping up everywhere in the city and the numerous art related exhibitions occupying March, Art Basel HK attracts all Asian art world and extends to the international art world. Like a magnet with a strong force art is connected simply because of this fair, making it like a personal HK art festival held by Basel. With the crazy rise of international art fairs around the world these facts do not appear new. Yet among the crazy schedule and the glitzy after-party events let us focus a little on the artworks shall we?

(Dinh Q. Lê’s The Deep Blue Sea 2017)

     Dinh Q. Lê’s The Deep Blue Sea 2017 is a hard to miss while some may consider it ”art fair art” it goes beyond what meets the eye upon first encounter. The lengthy photograph cascades from the top and forms a puddle of layers at the bottom, creating a fabric-like affect which is rare among the medium. The texture portrayal is interesting for the photographic medium usually occupies the fine art world laid flat or mounted on surfaces. With inspiration of Vietnamese grass mat weaving incorporated within his previous works it is not hard to understand this might be an extension of how he works with his materials. The Deep Blue Sea is in fact a reflection of the refugee crises in the Mediterranean Sea and correlates his practice of interweaving historical/ current events of the world into his works. Another artist Shi Guorui exhibited Light Frequencies 2015- 2016 (camera obscura images of Hong Kong) offered colossal images of Hong Kong but without any trace of human in sight, creating an eerie blandness upon first glance. Although, many would say the camera obscura is a dying art, the complicated and the nostalgic elements are still what draws numerous artists to create works by using the process, Richard Learoyd for example produces great color portraiture using the camera obscura. Dinh Q. Lê and Shi Guorui were brought by 10 Chancery Lane Gallery. For photography enthusiasts it is a sweet treat to see a gallery presenting works with variations of the usage of the photographic medium rather than just a medium for conceptual practice in Art Basel. 

1111111111111　

(Shi Guorui's Light Frequencies 2015- 2016)

     Artists like Masaru Tatsuki from Gallery Side 2 and Pratchaya Phihthhong from GBAgency, the former exploring time’s effect on human’s perception of history and the latter human’s lack of knowledge with the environment we inhabit are both works that have a strong narrative reflecting mankind and its relationship with the world. Tatsuki in his Kakera (First photography from mars 1976) 2016 the fragments were artifacts deemed by museums unworthy of collecting and were often wrapped with newspaper and stored until forgotten. To probe the meaning of worthiness and importance contrasted with time was the incentive. Phihthhong, on the other hand works with scientists to create A proposal to set Ch4*5.75H20 on fire (work in process) 2016, the fascination of this element buried deep under the earth and the way it ignites is a fascinating sight. 　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　(Masaru Tatsuki's works)

１１１１１１１１ 　

 (Pratchaya Phihthhong's works)

    Lastly, Chen Wei which one can see several galleries exhibiting his works is definitely an eye candy. His newest series which is also currently exhibiting in Centre of Contemporary Photography (CCP) Australia, The Club 2013-2015 is worth the attention. The Dusseldorf influence with the deadpan feel of the images holds aesthetics that the western audience may immediately relate the content however, is the reflection of the current Chinese society which I believe is very on point. The series wishes to explore how the Chinese understand the concept of entertainment and how it is embedded in their lives. The clubbing scenes here is a metaphor for relaxing, enjoying and entertainment is linked strongly with western values, resulting in what the artist believes the essence of enjoying life that is lost to form and partial understanding. The fact of being in a club and actually enjoying and feeling at ease are two separate things. Moreover, some works depicts rainbow colored entrances and others with aftermaths of the clubs and yet no one appears to be in sight. The contrast of the excitement and distortion reflects the mental state of the people who were in the club. Chen’s images are staged scenes giving the image another depth of uncertainty for the viewers.
         

11 　 　

(Chen Wei's works)

      Apparently it takes a few hours to queue for public day viewing tickets and all tickets were sold around 16:00 on the last day. The status differentiation of VIP’s means various cards divided by literally the thickness of the cards, time slots, bags and catalogue and walking in from different entrances. The prestige of the fair no doubt is also intensified through this system. Nevertheless, the works (although the blue chips may seem a little repetitive by now), do offer good quality such as interesting booths by emerging artists or booths with strong curatorial concepts. After all, who dares to question Art Basel?