146988034
×

The Tent

Dada on Tour pops up in Zurich

×

Brigid Leung. Collage

This Collage is a work by Brigid Leung, who participated in the project as a Scout.

Brigid describes her experience with Polytropos and her working method as follows:

'Students from ZHdK University and I went out into the streets of Hong Kong. We stayed together for about 10 days to get to know the local people, observe various buildings and the city with a critical eye. I was armed with my camera, pens and paper to interview local people and visitors in order to collect the secrets or the stories of them, and then conveyed those ideas in writing and sketches. The fruits of Polytropos workshop were to give thought to what is required in Hong Kong through the eyes of us and gain a lot of useful tips for my further development of my projects.'

×

Shruti Sadani. Travel Journal

This Travel Journal is by Shruti Sadani, who participated in the project Dada on Tour as a Scout.
In this journal Shruti reflects on our Hong Kong tour and about space mapping.

×

Vincent Ip. Portraits

Vincent made these portraits of the group from Zurich the day we had to break down our tent at the HSBC building. We decided to try another location, which turned out to be the Sheko beach. After a football match Vincent took his camera and arranged us before his lens.

×

Map Office: Hong Kong Impressions

Photos by Map Office documenting Polytropos - Dada on Tour in Hong Kong

High Island Reservoir, Sai Kung
×

Program & Places

Program 1st Phase, June 2014
POLYTROPOS: Dada on Tour. A Mobile Museum visits Hong Kong

Mon 16.06.2014
Dada on Tour at Connecting Space
Participant Observation at Fortune Tellers in Temple Street
Departure from Connecting Space: 6 p.m.
Who: All Scouts
Guided by: Hayat Erdoğan & Adrian Notz

Tue 17.06.2014
Kick-Off and Opening
of Mobile Museum Dada on Tour at Connecting Spaces, North Point
Time total: 4 – 9pm
Program:
4 – 5pm
Instruction of Scouts and Set-up Tent
5 – 7pm
Kick-Off Workshop, Lead: Hayat Erdoğan, Adrian Notz and MAP Office
7 – 8pm
Performance by Sascia Pellegrini

Wed 18.06.2014
Location 1: High Island
(Reclamation, Grass, Cow, Astrology), Sai Kung Country Park
Departure from Connecting Space: 10am
Time total: 10am – 7pm
Program:
11:30 am – 12:30pm
Instruction of Scouts and Set-up Tent
12:30 – 1:30pm
Picnic
1:30 – 5pm
Mapping High Island
Optional: Swim around the island
Arrival at Connecting Space: 7pm

Thu 19.06.2014
Location 2: Spring Workshop

3/F Remex Centre, 42 Wong Chuk Hang Road Aberdeen, Hong Kong
Departure from Connecting Space: 14:00
Time total: 2 – 9pm
Program:
2:30 – 3:30pm
Instruction of Scouts and Set-up Tent
3:30 – 6pm
Mapping the district, the industrial building
7pm
Introduction & Welcoming by Hayat Erdoğan and Adrian Notz
7:30pm
Opening of Mobile Museum & Aperitifs

Fri 20.06.2014
Location 3: Temple Street, Night Market

Departure from Connecting Space: 4pm
Time total: 4 – 10pm
Program:
4:30 – 5:30pm
Instruction of Scouts and Set-up Tent
5:30 – 8pm
Mapping Temple Street
8 – 10pm
Concert by Sascia Pellegrini
Arrival at Connecting Space: 11pm

Sat 21.06.2014
Recollection
at Scout’s Hostel in Sham Shui Po
Lead: Hayat Erdoğan & Adrian Notz
Time total: 4 – 9pm

Sun 22.06.2014
Location 5: HSBC / Central, Filipino Community & Shek O Beach

Departure from Connecting Space: 9am
Time total: 9am – 6pm
Program HSBC:
9.30am
Instruction of Scouts and Set-up Tent
10am – 1pm
Mapping HSBC and the Filipino Community
Guests/Hosts: Filipino Community & Erwin Lüthi
1 – 2.30pm
Departure from HSBC, Ride to Shek O Beach
Program Shek O:
3pm – 7pm
Instruction of Scouts and Set-up Tent
Go for a swim and have a football match
Dinner at Hong Kong’s Best Thai
Arrival at Connecting Space: 10pm

Mon 23.06.2014
Location 6: Chai Wan Typhoon Shelter & Map Office Apartment

Departure from Connecting Space: 4pm
Time total: 2 – 10pm
Program:
4.30pm
Instruction of Scouts and Set-up Tent
5 – 7pm
Mapping Chai Wan
Dinner
8 – 10pm
Set-up Tent in Map Office Apartment & Presentations by Scouts
Arrival at Connecting Space: 11pm

Tue 24.06.2014
Location 7: Lau Fau Shan, Oyster Field

Departure from Connecting Space: 10am
Time total: 10am – 6pm
Program:
11:30am – 12:30pm
Instruction of Scouts and Set-up Tent
12:30 – 1:30pm Picnic
1:30 – 4pm
Mapping Lau Fau Shan
Arrival at Connecting Space: 6pm

Wed 25.06.2014
Location 8: West Kowloon Cultural District M+

Departure from Connecting Space: 2pm
Time total: 2 – 10pm
Program:
2:30 – 3pm
Instruction of Scouts and Set-up Tent
3 – 5pm
Mapping West Kowloon
5 – 7pm
Presentations by the Scouts, Discussion
7 – 8pm
Concert by Vincent IP
Drinks
Arrival at Connecting Space: 10pm

Thu 26.06.2014
Recollection, Final Feedback Session at Connecting Spaces, North Point
Time Total: 12 – 2pm

×

Jan Koslowski. Fancy Fence Poster

×

Franz-Xaver Mayr. Video Work

×

Maria-Cecilia Quadri. Peaceful Occupation of the HSBC

Peaceful Occupation of the HSBC
by Maria Cecilia Quadri

Every sunday a large part of the filipino community, especially domestic workers like maids, meet at different places in Central.
The most notably and particular gathering is the one on the ground floor of the HSBC Hong Kong headquarters building.
It seemed to me like a peaceful occupation of a place, which is unusual to hang around and its transformation from its original function.
People, mostly women, sit on cardboard and blankets, making themselves comfortable and sharing a lively and friendly time together, making their nails and hairs, playing cards, eating self-prepared food, dance choreographies, talk and sell little items.

Normally sundays are their day off, but now and then, they bring the children of their employers with them, depending on the their schedule.

Not to far away for the HSBC building there is the World-Wide House arcade with many small shops, which mostly are run by Filipinos.
There are different offers like telecommunication and banking services, food and magazines.
Walking though those animated and intriguing places I thought about the require of energy and utilities to be as agile as this almost nomadic community. It was Laurent, knowing I use to photograph various sort of packaging on the street, that told me to go to the packaging area of the arcade.
So I went to photograph all the different techniques of transportation, collection and arrangement.

×

The Scouts

Maria-Cecilia Quadri
Graduate Dramaturgy, Zurich University oft he Arts, is interested in the conditionality of media and technologies from which we perceive reality. During her BA in Fine Arts (with specialization in Media Arts) she worked on different questions among literature, poststructuralist and feminist philosophy and its representation on video, audio and performance, as in “Virginia‘s translator“ (Zürich 2011) or “Bettgeschichten” (Zürich, 2012). (http://maria-cecilia.com/portfolio/) Furthermore, she worked with different complex apparatuses such as the Zurich chamber orchestra at the production of Philipp Glas “In The Penal Colony” or the Media Theater at the Center of Art and Media (ZKM) at the production of Andrea Molino “Three Mile Island”. In both productions she collaborated on an interactive stage, which interferes with the musical such as the narrative dramaturgy of the piece.

Franz-Xaver Mayr
Student of Theatre Directing, Zurich University oft he Arts, was born in the Salzburger Land (AUT) in 1986 and heard lectures by Heiner Goebbels while studying Applied Theatre Sciences in Gie- ssen. In his works he wants to portray content and form of disposal as mutual reflexions. The aim is to establish intellectual and sensuous experiences as equal counterparts.

Irina Müller
Graduate Dramaturgy, Zurich University of the Arts, lives and works as a dramaturge and choreographer bet- ween Berlin and Zürich. After completing her BA in Dance and Choreography at SNDO (School for New Dance Development) in Amsterdam she collaborated with various artists among them Thomas Lehmen, Jochen Roller, Diego Gil, Begum Erciyas, Eva Meyer-Keller, David Weber- Krebs, Hermann Heisig and others. Her interest lies in collective work on formats between the- ater, visual arts and performance. In her pieces for example „In a Lightscape“ (Sophiensaele Berlin 2012) or „On pleasure and fear“ (Tanz im August, Hau 3 Berlin 2010) oppositions often serve as productive paradoxes that move people and objects.

Lisa Friedrich
Student of Dramaturgy, Zurich Univeristy of the Arts, was born 1990 in Berlin and has also lived in different cities. She never had a job at a theatre or as an artist, but maybe she will someday. Lisa would have loved to work with Martin Kippenberger, Joseph Beuys and anyone associated with Fluxus who is now dead, except maybe Nam June Paik.

Lukas Sander
Graduate Stage Design, Zurich University of the Arts, was born in 1983 Berlin (West), studied scenogra- phy and exhibition design at the Karlsruhe University. While studying he worked at several departments in scenic film like camera, set design and editing and as editor in documentaries. Since 2008 he works as stage and costume designer and as an artist in sound- and video- installations in theatrical and musical contexts, as well as elaborating curatorial concepts and exhibition projects. Lukas lives and works in Zurich and is founding member of the theatre group “Hitzkopf” and the artistic collaboration under the name of “Surround”.

Sarah Buser
Graduate Dramaturgy, Zurich University of the Arts, did a BA in philosophy and German philology at the University of Basel. She then assisted in 2011/2012 at the Theater Basel. 2011 she performed in „Jugend ohne Gott“ at Theater Basel. With Patrick Gusset she staged Horvaths „Kasimir und Karoline“ (2012 Theater Basel), with Ute Sengebusch she wrote a play concerning people who don’t have a stay permit in Switzerland. As a dramaturge she also worked with Sebasti- jan Horvath in „Menschenfeind“ (2014 Theater der Künste Zürich). For her master-thesis she is dealing with the question of knowledge through art. Sarah Buser is interested in scientific philosophical contexts.

Jan Koslowski
Graduate Theatre Directing, Zurich University, works as director and artist in Berlin.

Ling Hoi Lam 凌鎧琳 (*1989, Hong Kong) makes short films and photos. After graduating from School of Creative Media, City University of Hong Kong (major in Cinematic Arts and Photography), she has worked in film industry as Art Direction Assistant and CG Production Manager. Currently, she is enjoying as a freelancer in video production for tvc, commercials, magazines, and also online platform.
By emphasising visual aesthetics, Lam‘s videos seduce the viewer into a world of on-going equilibrium and the interval that articulates the stream of daily events. Moments are depicted that only exist to punctuate the human drama in order to clarify our existence and to find poetic meaning in everyday life.
Her collected, altered and own films are being confronted as aesthetically resilient, themati- cally interrelated material for memory and projection. The possible seems true and the truth exists. By contesting the division between the realm of memory and the realm of experience, she absorbs the tradition of remembrance art into daily practice. This personal follow-up and revival of a past tradition is important as an act of meditation.
Her works sometimes radiate a cold and latent violence. At times, disconcerting beauty emer- ges. The inherent visual seductiveness, along with the consciousness of the exhibitions, further complicates the reception of their manifold layers of meaning.

Brigid Leung
Born and raised in Hong Kong. She received her BA (Hons) in Industrial and Product Design with first honours and a Master‘s degree of Design Strategies with distinction from School of Design, the Hong Kong Polytechnic University. She engages in a broad range of design, from LED lighting to sex toy, furniture and design planning. Brigid is also involved passionately in design education, and serves as a design tutor at Department of Design Foundation Studies at Hong Kong Design Institute.

Shruti Sadani
Recently did her Master’s degree in Design Strategies at the School of Design at the HK Polytechnic University. Her Majoring includes: Innovation Management; Design Thin- king and Process; Design and Culture; Interaction Design Theories; Information Architecture; Branding Strategies; Critical Consumer Trends and User Experience.
She is interested in using design as a catalyst to create experiences focusing on services, society and culture and to design engaging experiences and strategies stimulated by user centered research. She generated and conceptualized several consumer led brand strategies, was involved in conceptualizing and redesigning brand identity, delivering print communication like Brochure, Press Ads, Digital media, etc. and is also involved in mentoring and inspiring trainees.

Vincent, Ip Wan Sang
Born in 1990 in Hong Kong recently received his BA in Creative Media from the City University of Hong Kong.
He is interested in photography, as well as both video and installation art. His work taps upon these mediums in hope of revealing the inner humanity of us all while simultaneously capturing instantaneous moments for people within times of their lives through levels of communication and engagement with those around and part of my projects.

Mo, Yat Ting Leong
Student at the School of Creative Media, City University Hong Kong.

Mo, Yat Ting Leong
Student at the School of Creative Media, City University Hong Kong.

×

Ernest Hui Hei Yu

×

Mo Yat Ting Leong. Video Work

×

Adrian Notz. Essay

Flight into the People
by Adrian Notz

Recently we were in Hong Kong. Cabaret Voltaire and Dada were invited by POLYTROPOS as a giveaway gift for the people of Hong Kong. We wanted «to go into the people» - with Dada and POLYTROPOS
Hugo Ball, the founder of Cabaret Voltaire, had asked himself 100 years ago what the “Russian «go into the people»” might mean. He gave three possible answers. A totalitarian one: “To dis- cover the people, that is a class of human beings that had been neglected and despised, like a new part of the world.”
A more social and equal one, one of real interest: “to give the people education, and get from them a new and more solid education.” And a last maybe more magic and mythic one: “The event that is defined in the credo with the words ”descend into hell”.”
The idea of POLYTROPOS refers to Homer’s epic Odysseus, the cunning and adventurous protagonist of mobility, who is attributed “polytropos” by Homer. Polytropos, literally means “much-travelled” and “much-wandered”, but has also the metaphorical meanings “the man of twists and turns”, “turning many ways”.
Referring to Odysseus we decided not to be less ad- venturous and mobile by bringing Dada to the people and also challenged this mythic sphere. We planned to go to as many different places as possible in Hong Kong and to bring Dada as a Mobile Museum in the shape of an inflatable tent to these places. There we could not ex- pect art lovers, but much more fishermen, market sellers, Filipino housemaids, cows, fortune tellers, beach boys, soldiers and security officers. To these „people“ all across Hong Kong up to the border to China we wanted to bring Dada.
It was an honest intention like Ball described in his second answer. We brought Dada as a give-away gift to the people and wanted to learn from them, get a new and more solid education. At places where no people were, but only cows, trees, grass or oyster shells, we did not give up.
There we listened to the environment, attentively observed the logic of these districts, the specificities and physiognomic features of these places that were turning in many ways like our points of view. We had a group of scouts that would use the Dada tent as their own landmark and as their research base. From here they swarmed out to research the surrounding area, and get education from the people and the places. Their mission was to map the districts with a strictly naïve mindset.

By bringing Dada to the people - be it as a whole presentation video or just as a tent with the word Dada printed on it - we tested how good Dada as a gift works in places where nobody knows or cares about it. Sometimes we were a real Mobile Museum, sometimes we were a picnic tent, or even just a picnic blanket, other times we were a commercial stand trying to sell Dada and sometimes we were just a weird object in a totally remote area, symbolically standing as a last landmark of civilization.
We appropriated places with the Dada tent and exposed us to the milieus in which we planted our landmark. We did not only have to defend our landmark but we also had the mission to scout and map the surrounding areas with aesthetic urbanistic ideas that might not really apply to a high density place like central Hong Kong or to a deserted oyster field.

These exploratory ideas of scouting, mapping and urban research are strategies that had been developed in the West. And being in Hong Kong it wasn’t so clear if these strategies were the right ones to use in this context.
Also: In the tent itself we presented Dada by having a starry heaven with 165 Dadaist names written in the roof of the tent and showing all the places, where Dada was hundred years ago. Of course this is a Western European point of view. On the one hand there was a map showing places like Zurich, Paris, Berlin, Hannover, Barcelona or New York and only two Asian cities: Kolkata and Tokyo. And on the other hand there was a list of names with artists, authors and subjects. This might be said to be following the tradition of Western Enlightenment and with that the proclamation of the subject, the idea of Modernity. But even if Dada was against Modernity it still remains a product of a Eurocentric world.
Noticing that we had a Western mindset we were fighting against discovering the people and places, as a class of human beings and as exotic that had been neglected and despised, like a new, undiscovered part of the world. We were afraid of being colonial.
With this obsessed tour around Hong Kong we tried to get Hong Kong on the Dada map as well. We were afraid of a bold naïve approach like the Dadaists had a hundred years ago, when they got interested in so-called primitive art and started studying African sculptures and voodoo instruments. Like the Dadaists we were driven by a longing for an alternative to the ideas of Enlightenment, self-centered subjects and a search for truth.
We secretly longed to find a new way of seeing, experiencing and understanding the world. We were longing to find a culture that would be totally different to the one we live in. But we could not erase our cultural imprints and suddenly became neutral human beings. We could not throw our cultural heritage over board and stand there as empty pages waiting to be inscribed with a new cultural identity. We were not only afraid of going into the people and discover them as a class of neglected and despised human beings, we were also afraid of our longing for a flight out of our sophisticated world.
We were afraid of losing ourselves. But as Ball says in his second answer, we knew that we could only get something; gain a new way of seeing, if we would give away something in exchange.
We gave away Dada and we boldly followed our adventurous guide Odysseus, POLYTROPOS by visiting our very own underworlds.
We didn’t want to descend to hell. But we did. A bit.

×

Connecting Spaces

Connecting Spaces Hong Kong – Zurich is a transdisciplinary and transcultural project, an initiative by Zurich University of the Arts (ZHdK). Its two principal objectives are to explore perspectives and opportunities for cooperation between Hong Kong and Zurich and to consider the future of arts universities in the globalized twenty-first century. Connecting Spaces rests firmly on the principle of cooperation.
It aims to stimulate mutual exchange between Hong Kong and Zurich on the level of concrete cultural practices. It will run for three years, with a view to creating robust structures for a future Study Centre in Hong Kong. Connecting Spaces is a hub and an exploratory platform for collaborative projects between Zurich University of the Arts and various institutions in Hong Kong. At ZHdK, Connecting Spaces involves staff and students and investigates various teaching, production, and research formats. In Hong Kong, the project addresses actors from different educational and cultural institutions.
Connecting Spaces is aimed at stable cooperation and at firmly established curricular elements with distinct thematic focuses.

http://www.connectingspaces.ch/

×

Brigid Leung. Video

Video work by Brigid Leung

×

Lisa Friedrich. Travel Diary

Mon, 16/6 - Fortune Tellers, Temple Street

chose the booth i went to for the only word i was able to read, non-Chinese characters, printed on outside of booth. LISA. My first name, as well as the fortune teller's.
Face reading in Chinese with translation from guide, simultaneously. Reading didn't predict future events that should be bound to happen. Rather, Lisa told me about my personality, character, the way I deal with life. She read everything from my face and date of birth and only asked me after her readings what I thought about her findings. Apparently, it is bad luck for the fortune teller if I tell anybody what she read from my face.

Tue, 17/6 - Kick-Off at Connecting Space

Performance by S. Pellegrini. Exploring a room with sound.
Very vague, everyone was free to move around the space during the performance, as well as the performer himself. Once I accustomed to the situation I tried to get different kinds of auditory input by moving around constantly, only to find that I somehow managed to almost always get in the way of the performer and, thus, influencing the Performance itself. At this point I went out for a quest on finding the one place where I could withdraw myself from involuntarily being part of the Performance. I found this place in a small room adjoining the main room of Connecting Space. In this room it was dark as it was usually used for screening videos in the exhibition. In there I could make out the sounds from the performance, but in a muffled, damped way. No door or curtain separated me from the main room. I had the feeling, that due to me stepping out of the main room I instantly distanced myself from the Performance and could therefore find a new approach to the sounds made.
Lesson learned: Don't miss the forest for the trees.

Wed, 18/6 - High Island

Peculiar site. Didn't know how to relate to the place, so I tried going for a walk. Took camera, pen and paper, recording device/mobile with me, as I didn't know what to make of the location. Stumbled across so much noise: wind, cows, water, planes, speed boats, cicadas?, and the singing of a bird. Tried to draw a sound map. Tried to look for the animals, but couldn't see the cicadas?, or the bird (although I really wanted to know what kind of bird it was), or anything they left behind. Could see the cows, and the only thing the cows left behind were cowpats. Photographed cowpats.

Thu, 19/6 - Spring Centre

Neat and clean place, modern looking. Projected the image of a modern work place in the field of art that is usually found in the US or Europe. Felt out of place. Everyone was uberfriendly.
Tried riding the elevator with Lukas. None of the other floors looked nearly as well kept and looked after as the third floor, which is the Spring Centre floor. Getting in the elevator, pressing a button at random. Not knowing what to expect. Reminded of horror movies. Lots of garbage, but no smell except in the staircase (Paint? Varnish?). Started recording on mobile in secrecy, without telling Lukas. Went to 15th floor. Discovered “Winery” and
were invited by an Expat to have a glass of wine with him. Long talk about Hongkong, Expat-view, ensued. Were introduced to the neighbours of “Winery” on same floor: Swedish family producing and selling organic paint. Invited for a beer and the wine tasting later in the evening.
Went to the wine tasting with all the scouts. Overheard two male Expats talking about business. Watched female Expats enjoying themselves dancing and doing the splits and a headstand.

Fri, 20/6 - Night Market

Tried to interview several shop owners around Temple Street. Started with the Karaoke Places. Lam translated for Irina and me. Everyone was quite modest, not telling us much and rather avoiding. Tried to interview the owner of a jewellery shop. Same outcome. Rather frustrated we went into a hotel next to Temple Park in order to get a view from above. Rode the elevator to the top floor. Ended up at a restaurant that was closed. Couldn't look out of the window, no view.
Were told, that the district and the area was/is controlled by underground gangs.

Sun, 22/6 - HSBC Building

I got fed up with the noise at the HSBC Building. It sounded like a beehive. It looked like a beehive, too. Tried to escape the noise and went for a walk on the midlevels. Couldn't escape the noise, because people were everywhere. Midlevels were crowded, I was the only one with a light hair colour and a body height above 160cm. Almost everyone female. Felt like swimming in a sea of people. Tried to draw a map of the way I walked. A lot of people in front of the exchange currency-booths.
While trying to find a quiet place as near as possible to HSBC Building, I stumbled upon two women who were having their lunch at a viewpoint/outlook. I tried talking to them, but they kind of didn't want to be disturbed. They felt the need to explain to me, that on Sunday everybody has the day off.
On my way back, I walked by an open-air mass on a public open space. There, I was approached by an elderly man who asked me if I was looking for something or waiting for someone. He, also, told me without me asking that everyone has Sundays off. He shook my hand, told me he is meeting someone at one pm and went off to talk to some girls who were sitting nearby. Apparently, they didn't know him. During their conversation they were pointing at me, smiling, laughing and waving.

Mon, 23/6 - Chai Wan

Shruti and I spotted a peculiar old building site from afar (later found out that it is a cemetry). We tried walking in it's direction but arrived at a temple instead, that was located on a hillside. We took some pictures and climbed the stairs to find out more about the temple. Once we reached the top, the caretaker closed the gates, telling us that opening hours were just over, and that we should come back tomorrow. We peeked through the gates and started descending.
On our way back through the streets, a seemingly abandoned building stirred up our curiosity. We tried getting inside, only to realise that it was still in use (storage for construction material). Afraid to trigger some sort of attention or alarm, we made ourselves scarce again and got going to find the tent in time.

Tue, 24/6 - Oyster Field

Took pictures, walked around. Accidentally stumbled into somebodys makeshift workplace near the brink of the newly acclaimed land. Were caught, but nothing happened. Met other scouts on our way. Found the plastic tubes and wires hanging around very interesting in contrast to the landscape. It had a sculptural vibe to it.

Wed, 25/6 - West Kowloon Cultural District

A sudden rainstorm changed the scenery, i.e. the view of the Hongkong Island skyline immensely as it drifted by. Tried recording a video every other 20 seconds to document the visibility conditions.

×

Map Office: Zurich Impressions

×

Ling Hoi Lam. Okay let's go for a walk ... Video Work

×

Vincent Ip. Chai

×

Sarah Buser. Faces of Temple Street

Faces & Facades
by Sarah Buser

Is it possible to understand based on a surface?
What dissembles behind a face?
What happens behind a wall?
What is the wall itself able to tell?
How can I contextualise a phenomenon that is only known from its outside?
What is the surface able to conceal and what is seeping through it and reaches the receiving subject?

A face is naked.
It becomes apparent in its unconcealedness.
It is not able to hide.
It is always already disclosed.
The face is a casing that is able to contain different contents.
Those contents stay invisible for the outside.

×

Sarah Buser. Facades of Hong Kong's Oyster Field

Faces & Facades
by Sarah Buser

Is it possible to understand based on a surface?
What dissembles behind a face?
What happens behind a wall?
What is the wall itself able to tell?
How can I contextualise a phenomenon that is only known from its outside?
What is the surface able to conceal and what is seeping through it and reaches the receiving subject?
A face is naked.
It becomes apparent in its unconcealedness.
It is not able to hide.
It is always already disclosed. The face is a casing that is able to contain different contents.
Those contents stay invisible for the outside.

×

Maria-Cecilia Quadri. The In-Between

The Space of IN BETWEEN
by Maria-Cecilia Quadri

Reading Hong Kong alongside Kassner's critical theory of physiognomy, where there is no such thing as ears, noses, mouths etc. but fluidity, movements, transitions, bridges, stitches and folds, I looked for the IN BETWEEN spaces of the city.
Spaces that are not perceivable as a completed or enclosed thing, but yet as an entity of an “in between” space.

I have always considered construction areas as interesting spaces, due to its uncertain state.
You might understand very quickly, there is something under construction, maybe an apartment house or a hospital, maybe there is going to be an office building of a bank, a school, or you might see something old and decayed being renovated.
However, it's ambiguous.
Construction areas are places where something very specific was in the past and something new is going to be in future.
Its an “in between”, that is not only perceivable in space, but also in time. Furthermore, the spaces of construction areas have no specific function.
Actually it's not a question of function, but a question of a gap, of a spare or accessible territory, that has to be provided.
Who provides it and how?
How it comes to this accessible territory?
It might have been un-modulated trace of nature, taken as private or public property, a change of landowner or homeowner; it could have been taken violently or illegally.
The spaces of “in between” only let us speculate about this, but they visualize the organization and distribution of space and of the celerity and density of modulation, where and when it takes place.

×

Map Office

MAP Office is a multidisciplinary platform devised by Laurent Gutierrez (1966, Casablanca, Morocco) and Valérie Portefaix (1969, Saint-Étienne, France). This duo of artists has been based in Hong Kong since 1996, working on physical and imaginary territories using varied means of expression. MAP Office projects have been exposed in over 100 exhibitions at prestigious venues including the MoMA and the Guggenheim Museum (New York), the Georges Pompidou Centre (Paris) and the Ullens Centre for Contemporary Art (Beijing), around 30 Biennales and Trienniales around the world with for example five contributions to the Venice Biennale in Art and Architecture (2000, 2003, 2007, 2008, 2010). Their cross-disciplinary practice has been the subject of a monograph, MAP OFFICE – Where the Map is the Territory (2011). MAP Office was the recipient of the 2013 edition of the Sovereign Asian Art Prize.

Laurent Gutierrez is the co-founder of MAP Office. He is an Associate Professor at the School of Design, The Hong Kong Polytechnic University where he leads the following Master programs: Design Strategies as well as Urban Environments Design. In addition to his professorial position and artistic practice, Gutierrez is also the co-director of The Urban Environments Lab.

Valérie Portefaix is the principal and co-founder of MAP Office. After receiving a Bachelor in Fine Art, and a Master of Architecture degree, she earned a PhD in Urbanism. She is a Visiting Assistant Professor at the School of Design, The Hong Kong Polytechnic University.