BACK
Group Show
A Collection in Two Acts
curated by Chris Wan, from the collection of Yuri van der Leest
Jul 16
-
Sep 16, 2022
Hong Kong

A Collection in Two Acts opens on July 16 through September 16 at Rossi & Rossi Hong Kong. Curated by Chris Wan, the exhibition utilises the private collection of Yuri van der Leest to present two frameworks of collectorship: one is institutional, such as museums and archives — treating artworks as files to be dealt with under a given context of art history; the other is personal, like a private collection built with artworks as repositories of memories and personal encounters. Through the use of critical fabulation, the two modes of art collecting are juxtaposed to raise a question about the structure and agency in the art system.

Critical fabulation, coined by Saidiya Hartman in her essay Venus in Two Acts, means a semi-fictional and semi-true fabulated narrative. Drawing reference from this concept, Collection in Two Acts fabulates two art-collecting subjects by dividing the gallery into two exhibition halls, and displaying artworks collected by van der Leest over the past seven years in two disparate formats. The display of Hall 1 invokes a sense of public organisations, where art is collected for exhibition, educational, and research purposes to offer narratives about the past and present. Exhibits are aligned with their finishing date, each with their annotation — however, in addition to rigidly formatted information about titles and medium, artists’ own writings are included in the published material. By introducing the human component to the documentation of art, artists are given more autonomy to how their works are archived. The current method of documentation is thus questioned: has the power of institutions superseded the individual? Who is the subject in history?

Hall 2, on the other hand, depicts a private collection with subjective and personal inclination. The ostensibly arbitrary and unmethodical arrangement of works implies the intimacy of a living space. Congruent to the display style, the collector’s presence is reinforced with texts by van der Leest, written in response to the works clustered around. With these first-person accounts detailing his experiences with his collection, visitors find a passage into the consciousness of a collector. It is the layers of consideration that draw a difference between art collection and hoarding, and if no evaluation is made beyond the act of buying, the practice of collecting is only a reflection of personal taste and instinct.

The formats of Hall 1 and 2 signal two different collectorships and aim to evoke different psychological distances. Such discrepancy can hardly be neglected as one traverses the two spaces, and it assigns the works of each hall unique ways of viewing. Using the rhetoric of placement and display, the curator contrasts two atmospheres in one single exhibition to make the behind-the-scenes perceivable. The two acts of this exhibition, when taken as a whole, presents a panorama of the art ecosystem – the display indicates a conventional development of collection where one artwork moves from the intimate personal space of a collector’s home to being archived within an institution or museum setting. Yet upon closer inspection, one can find a myriad of decisions made by different parties hidden within this process.  Mainly defined by the practices of buying, collecting, exhibiting and archiving, this exhibition invites viewers to look at these power mechanisms and think about their effects on the art ecosystem.

Artists featured in this exhibition include: Tap Chan, MC Chan Kai-chun, Chan Wai Lap, Kurt Chan Yuk-keung, Halley Cheng, Chloe Cheuk, Szelit Cheung, Luke Ching Chin-wai, Chow Chun-fai, Mark Chung, Guillaume Cornet, Eric Fok Hoi-seng, Go Hung, Genpei Akasegawa, Arnold Gross, Fan Ho, Kosuke Ikeda, Kitty Kong Chun-nga, Aaron Lam Kwok-yam, Lam Tung Pang, Lau Hong-lam, Prodip Leung, Joey Leung Ka-yin, Lit Wing-hung, Andrew Luk, Ivy Ma King-chu, Mak Ying Tung 2, Harland Miller, Carmen Ng, Kate Ouyang, Paik Name June, Pannaphan Yodmanee, Per Platform, Grayson Perry, Wilson Shieh, Hank Willis Thomas, Tsang Kin-wah, Annie Wan, Fiona Wong, Nicole Wong, Stephen Wong Chun-hei, Apple Wong Hiu-fung, Morgan Wong Wing-fat, Zao Wou-ki, and Zhao Zhao.

Works
Tap Chan
Complex
2022
Beeswax
60 x 60 x 11 cm
MC Chan Kai-chun
Gaze_20190704_01_001
2021
Gelatin silver print on aluminium foil
50 x 50 cm
Chan Wai Lap
If You Looked At Me: Kwun Tong
2018
Pencil and coloured pencil on paper
12 x 18 cm
Chan Wai Lap
If You Looked At Me: Kowloon Park
2018
Pencil and coloured pencil on paper
12 x 18 cm
Kurt Chan Yuk-keung
The First Chant of Diamond Sutra
2016
3D printing with polyamide
22 x 60 x 3 cm
Kurt Chan Yuk-keung
Pau Ding Dissecting Ox
2021
Ink on paper
45 x 55 cm
Kapok #7
2020
acrylic, mixed media on canvas
20 x 25 cm
Chloe Cheuk
Scattering Journey
2018
Archival inkjet print, edition 1/3
each 40 x 37 cm
Szelit Cheung
Space V
2020
Oil on canvas
24 x 20 cm
Luke Ching Chin-wai
Festival of Hong Kong
2017
Stamps
3 x 5 x 2 cm
Chow Chun Fai
Prince Edward Road
2020
Oil on canvas
30 x 20 cm
Chow Chun Fai
Causeway Bay
2020
Oil on canvas
22 x 18 cm
Ten of Swords
2022
Oil on canvas
17 x 9.5 cm
Mark Chung
Figment 03
2021-22
UV-print on aluminum
40.8 x 50.6 cm
Eric Fok
Paradise: Hong Kong
2016
Ink on art paper
18 x 149 cm
Eric Fok
2047.7 - Antique Suitcase Lightbox
2017
Ink on paper, vintage wooden case, LED light
20 x 31 x 49 cm
Go Hung
1kgd̶p̶
2019
Cast paper pulp sculpture, edition 3/25
62.5 (diameter) x 4 (thickness) cm
Kitty Kong Chun-nga
Orange Man II
2021
Coloured pencil and acrylic on paper
40 x 30 cm
Aaron Lam
Unutterable
2021
Plastic, a set of 21 pieces
Lam Tung Pang
Potted Landscape no.3
2018
Acrylic and charcoal on plywood
50 x 40.5 cm
Lau Hong Lam
A Night Sleeping with Eyes Open
2020
Mezzotint
17 x 20 cm
Joey Leung Ka-yin
Inclined Normal - It's Just Too Humid Lately
2020
Chinese ink, drawing pen, gouache, Japanese gold pigment, colored pencil on paper
22.8 x 41.5 cm
Installation