TANG Kwong San
TANG Kwong San (HK) was born in China and now lives in Hong Kong.
He received his BAFA from RMIT University, Australia, in 2019. His practice combines photographs, drawings, objects and video that trace intergenerational family memories and social history. Through reorganising and reinterpreting old belongings, family photo albums and documents in a range of media, Tang explores the subtle, intricate and complex connections between longing, loss and belonging.
YUEN Nga Chi
Yuen Nga Chi (b. 1994) was born in Hong Kong. Through photography to explore the contradictions and gaps in society. As a family member, she aware of the formation of self-worth and social consciousness of parents in micro view, extend to the meaning of home. In recent years, she has observed the power relationship between humans and animals. She received a Bachelor of Arts (Hons) in Visual Arts from Hong Kong Baptist University in 2019.
|全職工作 – 袁雅芝
YUEN Nga Chi: Work full-time
|全職創作 – 鄧廣燊
TANG Kwong San: Full-time artist
Wake up at 7:30am [45 minutes earlier than the scheduled 8:15am, but still stay in bed for another 10 minutes]
Read a book I am researching or write down some creative ideas before my mind is flooded with other information.
With an A5 ringed binder in my hand, I continue writing after getting into a car.
Arrive earlier than scheduled and find a park with seating.
Sit down, set a timer for 10-15 minutes and continue with your ideas.
Finish the timer and walk to the workplace.
That’s it for the day.
After I graduated, I became unemployed.
I failed to connect with the local art scene, and felt lost in employment and artmaking.
I felt a sense of loss after completing my graduation work.
For a year, I am not able to come up with new topics that I feel like to explore, and my enthusiasm for art rested instantly.
A studio-based creative practice.
Walking from home to the studio, 8-10 hours a day in solitude everyday.
Repeating the same steps over and over again, while accessing information from the outside world through radio and computer.
The above boring situation gives rise to new creative ideas.
My creative process actively engages with different types of materials and media to broaden my artistic and visual language and to strengthen my problem-solving skills.
The process of interacting between materials is integrated through their self-organisation, construction and systematisation.
We have different creative approaches, but both take photography as a collective medium to explore the history and culture of Hong Kong.
We discuss, push each other and call out the stagnant one’s name, broaden our creative themes and reveal our own shortcomings at the same time.
In summary, it is a result of collaborative effort and division of labour – one person is responsible for the idea and the other for the technical implementation.
- 黃康迪 WONG Hong Tik
- 陳毅哲 CHEN Yi Che
- 馮以丹 Edy FUNG
- 李劻華 Khris LEE Hong Wah
- 詹昫嵐 Liv TSIM
- 梁慧欣 LEUNG Wai Yan
- 梅愷盈 MUI Hoi Ying, Carol
- 黎穎虹 LAI Wing Hung
- 張綺君 CHEUNG Yee Kwan, Sonia
- 強天锴 QIANG Tiankai
- 朱建林 ZHU Jianlin
- 鄺詠君 KWONG Wing Kwan
- Iris WONG
- 楊思嘉 Sijia YANG
- 張文智 ZHANG Wenzhi
- 盧韻淇 LO Wan Ki
- 馮靖嵐 FUNG Ching Laam
- 張亦勤 CHEUNG Yick Kan
- 葉雯 Manny YIP
- 無碼計劃 Project NoCode
- 劉菁兒 LAU Ching Yee, Cathleen
- 余榮基 YU Wing Kei, Rik
- 劉暢 LIU Chang
- 陳翠雯 CHAN Chui Man
- 許芷瑋 HUI Gi-Wai, Echo
- 譚綽琳 TAM Cheuk Lam, Jessie
- 鄭天依 ZHENG Tianyi
- 王昱珊 WONG Yuk Shan
- 李曉巧 LI Xiaoqiao
- 屈鍵晴 WAT Kin Ching
- 劉清華 LAU Ching Wa, Jess
- 曾淑芬 TSANG Shuk Fan, Tracy
- 張紫茵 Dorothy CHEUNG
- 林琬晴 LAM Yuen Ching, Esther
- 彭景 PENG Jing
- 馮以力 FUNG Yee Lick, Eric
- 張家樺 Janice CHEUNG
- 鄧廣燊及袁雅芝 TANG Kwong San & YUEN Nga Chi
- 潘美義 POON Mei Yee
- 徐然 XU Ran
- Florence LAM
- 朱穎琳 CHU Wing Lam, Kelly
- 黃姬雪 WONG Kei Suet, Ice
- 余淑培 YU Shuk Pui, Bobby
- 鄧卓敏 TANG Cheuk Man, Penelope
- 李珮瀅 LEE Pui Ying, Hiya
- 吳咏詩 Wing Sze NG
- 張國樑 Weera It ITTITEERARAK
- 黃詩慧 WONG Sze Wai
- 鄭裕林 CHANG Yue Lam
- 鄭虹 CHENG Hung, Dony
- 陳庭 CHAN Ting
- 馮倚天 FUNG Yee Tin, Thomas
- 譚敏晴 TAM Man Ching, Michelle
- 朱湘 ZHU Xiang
- 程新皓 CHENG Xinhao
- 沈軍 SHEN Jun
- 梁望琛 LEUNG Mong Sum, Joseph
- 李繼忠 LEE Kai Chung
A coin with a lion on it holding the Pearl of the Orient. A hole is drilled in the pearl, turning the coin into a tiny aperture.
At present, most public phone booths are marked with a notice of suspension of service. In more than half of these booths, the lightboxes are broken. A reflective cover is wrapped around the phone booth, and 18 sheets of photographic papers are glued to the insides of the unlit booth. The projection is turned into negatives through the aperture.
Chai Wan Kok Street, Tsuen Wan, sunny, 20 seconds, 24 x 60 inches Clague Garden Estate ‒ Tsuen Wan was the first new town to be developed in the New Territories, and the housing estate was named after Sir Douglas Clague, Chairman of the Housing Society from 1952 to 1981. In 1989, the-then Governor Sir David Wilson and his wife officiated the opening ceremony of the housing estate.
The Communications Authority decided to exclude 765 kiosk type public payphones (about 50% of the total number of kiosk type public payphones), with about 23% of them dismantled as of March 2020.
Every public phone booth has a designated number, and its coordinates can be located in the records of the Communications Authority. However, in view of the continuous decline in public demand for phone booths, the Communications Authority had plans to complete the review of its proposal to remove telephone booths by the end of 2019.
太子彌敦道，陰晴不定，1分15秒，24×60吋 太子站——2019年8月31日後，太子站B出口封閉，市民每天在太子站獻上白色鮮花。 花束佈滿站外，成為墓碑。2019年10月10日仍未解封。
Nathan Road, Prince Edward, overcast, 1 minute 15 seconds, 24 x 60 inches MTR Prince Edward Station ‒ after 31 August 2019, the Exit B1 of Prince Edward Station was closed. Some Hong Kong citizens left white flowers outside the exit every day, turning it into a gravestone. As of 10 October 2019, the exit remained closed.
香港大會堂，晴，25秒，24×60吋 和平紀念碑——刻有 ‘The Glorious Dead’ 並分別刻上第一次與第二次世界大戰的年份，悼念死難者。八十年代碑的側面再刻上「英魂不朽 浩氣長存」。
Hong Kong City Hall, sunny, 25 seconds, 24 x 60 inches The Cenotaph ‒ a memorial formally constructed to commemorate the dead from the First World War in Hong Kong. The Cenotaph was initially inscribed with the words ‘The Glorious Dead’ and the years of the First World War. The years of the Second World War were later added to the memorial. In the 1980s, the eight Chinese characters, ‘英魂不朽 浩氣長存’ (‘May their martyred souls be immortal, and their noble spirits endure’) were carved on one side of the Cenotaph.
Statue Square, overcast, 50 seconds, 24 x 60 inches The Court of Final Appeal Building ‒ the original building of the Supreme Court was completed in 1912, and it housed the Legislative Council between 1985 and 2011. The Statue of Justice, represented by the goddess Themis, still stands outside the building today. The Court of Final Appeal is now a historical monument and is not open to the public.
九龍塘窩打老道，晴，25秒，24×60吋 九龍東軍營——原名奧士本軍營，是英國政府於1997年7月1日交還中國政府的14塊軍事用地之一，供解放軍駐港作防衞用途，是中國恢復對香港行使主權的標記 。
Waterloo Road, Kowloon Tong, sunny, 25 seconds, 24 x 60 in Kowloon East Barracks ‒ formerly known as Osborn Barracks. The Kowloon East Army Battalion is one of the 14 military sites returned by the British Government to the Chinese Government on July 1, 1997. It is a sign that the Chinese Government has resumed its sovereignty over Hong Kong.
Central Ferry Piers, sunny, 15 seconds, 24 x 60 inches Jardine House ‒formerly known as the Connaught Centre. Completed in 1973, the 52-storey building is renowned for its circular windows, and it was one of the landmarks of the newly reclaimed area in Central at the time of its opening. It was the first skyscraper in Hong Kong and the city’s tallest building at one point during the 1970s.