Profile
Wong Cho Yi Jil (b. 2000)

Lives and works in Hong Kong, where she graduated with a Bachelor of Arts in Fine Arts from The Chinese University of Hong Kong. Working at the intersection of photography, sculpture, and installation, she often incorporates found objects, metal welding, and ephemeral materials to explore the subtle relationship between the monumental quality of ruins and the fragility of individual existence. Her practice foregrounds a dialogue between the material world and the inner self, seeking to construct an image-based practice rooted in humanistic concern and a deep reflection on human emotion.

In recent years, Jil has focused on copperplate etching, drawn to the reflective surface of the metal and the oxidized traces that emerge over time. Using traditional intaglio techniques—coating the plate with a photosensitive emulsion, exposing it to ultraviolet light, developing the image, and acid-etching the recesses—she merges photography, chemistry, and printmaking. Rather than treating the copper plate as a mere matrix for paper prints, she often presents the plate itself as a sculptural object with its own material presence.
       
Email, Instagram ↗

Education








香港中文大學藝術系文學士
The Chinese University of Hong Kong , Bachelor of Art in Fine Arts
2026

Professional Physical Theatre Youth Training Programme, Tang Shu-wing Theatre Studio
(2 years)

 
Solo Exhibition
 Noto Peninsula能登
Solo Exhibition at  Exhibition Gallery on M/F, New Asia College Ch’ien Mu Library
2026
Exhibitions
「 夜機 」，藝術系畢業展，香港中文大學
B.A. Graduati on Exhibition
Glide Across the Mist,The Art of CUHK 
2026

HAND PRINTED, ORIGINAL PRINTS BY HONG KONG PRINTMAKERS
Joint exhibition, Visual Art Centre, Hong Kong.
2026

SS26 Paris fashion Week 
DETAJ Showroom
Collaboration with DETAJ, Paris, France.
2026

倒敍
Group exhibition,許氏文物館，香港中文大學
2025

「 神戸交流展2025 」，神户藝術工科大學，神户，日本
IMAGINE PEACE DRAWING.
Joint exhibition at 神戸芸術工科大学
2025

「 希放的引力 」，WMA_HK, 香港
The Orbit of Hope, WMA_HK
Debut exhibition for WMA’s biennial theme, “Hope”
2025

As Silent As Thunder (一如雷默)
Joint Performance and Visual Art Exhibition, Furnace, Hong Kong.
2025

Book Lab: Landing on the Paper Space,WMA_HK.
Book Making Workshop and Exhibition
2024

Tiger A(r)m Strong Biennale,
HKICC, Hong Kong
Joint exhibition, invited.
2023

PORTRAITS BEYOND FACES
Open call at FLOOR,
 Seoul,Korea, selected.
2023

Frog and You
Joint exhibition, invited.
 2023

HKBU Associate of Arts (Visual Arts) Graduation Exhibition  – Millennial Dictionary
2022

Fringe Club 40 Years Exhibition
Joint exhibition. Hong Kong Fringe Club. selected.
2022

As Such: A Photographic Study Exhibition
Joint exhibition. Chan Lai-ling Gallery,
 Hong Kong Fringe Club.
2021

Upcycling Hong Kong: Creative Practices of Reuse in Contemporary Jewellery.
PMQ, Hong Kong. Invited.
2021


Awards/Scholarships
黃作仁先生學術獎學金（成績），香港中文大學
Mr. Wong Chuk Yan Academic Scholarships, CUHK
2026

陳啟豪校董藝術系獎學金，香港中文大學
Mr. Kevin Chan Scholarship for the Department of Fine Arts, CUHK
2026

嘉圖藝術獎學金，香港中文大學
Grotto Fine Art Award, CUHK
2026

中大60周年校慶藝術人才培育基金，香港中文大學
CUHK 60th Anniversary Artistic talent Development Scholarship
2026

新亞七十藝術展獎學金，香港中文大學
New Asia 70th Anniversary Art exhibition Scholarship, CUHK
2025

陳啟豪校董藝術系獎學金，香港中文大學
Mr. Kevin Chan Scholarship for the Department of Fine Arts, CUHK
2025

麵包工程有限公司獎學金，香港中文大學
Bread Mission Limited Scholarshio,CUHK
2025

院長嘉許狀， 由學院提名，香港中文大學新亞書院
Head’s List ( Merit) , by department nomination,New Asia College, CUHK
2025

李東強教授版畫獎學金，香港中文大學
Professor Li Tung Keung John Printmaking Scholarship, CUHK
2025

「新」 版畫獎，香港中文大學
“New” Printmaking Award, CUHK
2025

展覽精選獎，視覺藝術院，香港浸會大學
Exhibition Pick’s, Academy of Visual Arts, HKBU
2022

蔡冠深博士特別才能獎學金，視覺藝術院，香港浸會大學
Dr. Jonathan K. C. Choi Scholarship (Special Talent). HKBU
2022


Interview
ParaSite.HK ,Studio Visit, invited
2022                
JILWONG®   Sculpture
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Jil Wong
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Visual Artist / Photographer / Director
 


写真、彫刻およびインスタレーション実践に関する国際的レビュー。中国語‧英語‧日本語で出版。International Review of photography, sculpture and installation-based practices, published in Chinese, English and Japanese 國際攝影、雕塑與裝置藝術實踐評論，以中文、英文及日文出版。









1

 
B.A Graduation Exhibition, Glide Across the Mist, The Art of CUHK
“Glide Across the Mist,” was inspired by the view from a late-night flight. The concept suggests that despite the sheltering darkness of the sky during the journey, the plane will eventually cross the dawn mist and land illuminated by the rising sun. 

香港中文大學畢業展《夜機》
2026年度中大藝術系本科畢業展以「夜機」為題，靈感來自於深夜航班外的風景。縱然在乘搭的過程中夜色冥冥，飛機終會衝破黎明的薄霧，降落在被朝陽照亮的遠方。
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Artwork title:  An die Sonne (2026)
Artwork by: Jil Wong
Medium : Sound Sculpture Installation
Variable size  “An die Sonne” uses sound, sculpture, light, and copperplate etching as its primary media to explore the relationship between time, memory, and existence. The work takes as its point of departure the monologue in *Dead Poets Society* about “seizing the day,” and extends into a reflection on the meaning of choice within finite life: how one may make decisions in the present that remain valuable in retrospect, becoming a recognizable trace of existence. This awareness of the passing of time further leads the work to consider how the body is shaped, compressed, and consumed through labour and survival. The visual component centers on a curled female body, inspired by prolonged observation of the posture of my mother; this posture bears the weight of labour, repression, and historical burden, while also pointing to a more universal human condition of vulnerability. The sound component draws on personal recordings accumulated over many years, which, after being organized and compressed, are transformed into a memory archive that spans time, turning fragmented everyday moments into universal temporal traces that continue to resonate within an acoustic space. Through copperplate etching, a black iron structure, and a lightbox, the work constructs a monumental spatial form in which the erosion of time, the disappearance of the body, and the flash of memory intertwine; by reflecting on the signs of “redemptive time” (Jetztzeit), it allows forgotten sounds and images to reappear within an inescapable present, and become an ongoing inquiry into existence.

“An die Sonne”以聲音、雕塑、光與銅版為主要媒介，探討時間、記憶與存在之間的關係。作品以《Dead Poets Society》中關於「抓緊時間」的獨白作為出發點，延伸至對有限生命中選擇意義的思考：人如何在當下作出選擇，並使之在回望時仍具備價值，成為一種可被承認的存在遺跡。這種對時間流逝的意識，進一步引導作品關注身體如何在勞動與生存之中被塑造、壓縮與消耗。影像部分以蜷縮的女性身體為核心，源自對母親身體姿態的長期觀察；這一姿勢承載勞動、壓抑與歷史重量，也指向更普遍的人類脆弱處境。聲音部分則取材自多年累積的個人錄音，經整理與壓縮後，轉化為一種跨越時間的記憶資料庫，使原本零散的日常片段成為具普遍性的時間遺跡，並在聲學空間中持續回響。作品透過銅版蝕刻、黑鐵結構與燈箱光源，建構一個具紀念碑性的空間形式，使時間的侵蝕、身體的消逝與記憶的閃現彼此交織；透過反思「救贖性時間」(Jetztzeit) 的遏止迹象，在一種無法迴避的當下之中，被遺忘的聲音與影像得以再次顯現，並轉化為對存在的持續追問。  

2

 Noto Peninsula（2024-2026）
“Noto” is a documentary photography project centered on the earthquake in the Noto Peninsula, Ishikawa Prefecture, Japan. Through images, it records the changing landscape and the lives of local residents in the aftermath of the disaster, capturing the realities and emotional traces of 2024.
能登（2024-2026）
《能登》是一個以日本石川縣能登半島地震為背景的紀實攝影項目，透過影像記錄災難發生後當地的環境變遷與人們的生活狀態，呈現2024年間的真實面貌與情感痕跡。
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Artwork by: Jil Wong
Medium : Gelatin sliver print
20 x 24 inches, set of 20 During the summer of 2024, I travelled at my own expense to the earthquake-stricken Noto region in Japan, with the intention of documenting the situation through photography and creating portrait images for local residents.

“Noto Peninsula ” is the title of this photography exhibition. In the early hours of 1 January 2024, while many around the world were celebrating the New Year, the Noto Peninsula in Ishikawa Prefecture was struck by a magnitude 7.6 earthquake. In the depths of winter, amid snow and sub-zero temperatures, homes were destroyed in an instant or swallowed by the sea. For the people there, that day did not mark a new beginning, but the moment their world collapsed.

My initial attention to Noto arose in 2023, when I encountered news of the “Noto Peninsula Art Festival” and had intended to submit a proposal. While researching the region, I learned that it is both seismically active and geographically remote; many young people have left, resulting in a rapidly ageing population. Around the same time, I was deeply moved by the final scene of the film “A City of Sadness”, in which a family faces the camera to take a family portrait. As an artist working primarily with photography, I hoped to engage with the idea of the “family photograph” through artistic practice, by creating family images for elderly residents in the area. Although I never completed the application, the subsequent earthquake made me realise that I did not need to wait for an institutional opportunity, I could set out immediately and attempt to realise this project on my own terms.

My first stop was Wajima, where I happened to meet several Japanese volunteers. Through them, I was introduced to the owner of a local confectionery shop and a few residents. One man, using Google Translate, told me that his house had collapsed. I replied with the word “Genki” (stay well), and he responded with a quiet smile. In that brief moment of exchange, I made a portrait of him. These short, fragile encounters formed subtle yet significant bonds between us.

Later, the confectionery shop owner invited me to join a dinner with volunteers and residents, and I stayed one night at his home. We spoke in a mixture of English, Mandarin and Japanese. More important than the specific language, however, was the sense of sincerity and trust that emerged between us. By coincidence, I later discovered that his friend was one of the curators of the Noto Peninsula Art Festival, linking my original, unrealised plan back to the people I had met on the ground.

I have come to understand that this is why I was there, and why I began working with photography in the first place: to build connections with others and to share experiences and emotions that feel irreducibly real. At the same time, I often hesitate to lift my camera towards them, and struggle to convince myself to photograph those who have lost their homes. This tension—between the impulse to witness and the ethics of looking—runs through the entire project.

As the journey approached its end, my chest felt as if it were slowly opening. I believe that we share a fundamental human connection, a shared language of empathy that goes beyond words. For me, the power of photography lies in the act of attentive looking: to gaze intently at the world, and, in doing so, to also confront one’s own inner self. This journey has become a milestone in my practice, and this exhibition is my way of expressing gratitude to the people of Ishikawa Prefecture.

3

 The Orbit of Hope
Curated by Frank Lam, “The Orbit of Hope” is the debut exhibition for WMA’s biennial theme, “Hope”. Showcasing works by four Hong Kong artists—Jess Lau Ching-wa, Rocco Sung, Simon Wan, and Jil Wong—the exhibition explores the symbolic significance of stars and the distance between individuals and their hopes. Drawing on Newton’s law of universal gravitation, the show likens the dynamic between humanity and hope to invisible forces that pull us forward, guiding us along the trajectory of aspiration.
希望的引力
WMA雙年度主題「希冀」的首個展覽「希望的引力」由林彥鋒策劃，邀請四位香港藝術家劉清華、宋志新、尹子聰與黃祖兒，透過作品探討星星的象徵意義，以及我們與希望之間的距離。展覽啟發自牛頓的萬有引力定律，並以此隱喻人與希望之間的牽引和線索，視它為路標引領我們進入希望軌跡。 
Commissioned work for: WMA_HK
The Orbit of Hope
Artwork title:  Illumination (2025)
Artwork by: Jil Wong
Medium : Mixed Media
300 x 300 x 180cm
 As city skylines reach ever upward and angularise the contours of the sky, starlight becomes harder for us to notice. For more than twenty thousand years, stars have guided humanity, serving as both navigational markers and repositories of our hope, values and aspirations. In the Stone Age, humans identified seasons through the observation of the cycles of the sun, moon, and stars, enhancing their chances of survival and propagation. With the rise of civilisation, religions put priests to systematise the documentation of celestial phenomena, asserting interpretive authority over time and rule. Out of constellations arose myths and star signs, showing the transformation of natural rhythms into the calendars that structure society’s temporal flow. During the Age of Exploration, navigators relied on the North Star to determine latitude, while new approaches of measurements and mathematics, following the analysis and deconstruction of traditional astrological views, opened the way for voyages across unfamiliar seas. Even as starlight grows dim in our day, our lives still orbit around the imagery of stars—be it in striving for academic accolades, savouring Michelin-starred cuisine, or seeking esoteric guidance in astrological signs. Yet do we ever ponder the mutual force that draws us and the stars together? 

In 1687, Newton’s law of universal gravitation revealed an attraction between all objects: the greater the masses of the two bodies, the stronger the pull; the greater the distance, the weaker the force. Our sun—nearest of all stars at 149.6 million kilometers away—owes its birth to this faintest and most invisible of forces in nature. Though such distance remains almost unfathomable, we feel the sun’s warmth and radiance touch us daily. Morning sunrise, sunlight after rain, winter’s gentle heat—all moments tangibly present to us, when energy converges upon life itself. We can, perhaps, see hope gleaming in starlight, affirming our link with our hopes under the attraction of gravity.

“The Orbit of Hope” is the debut exhibition for WMA’s biennial theme, “Hope”. Here, gravity becomes our guide as we unravel the nature and symbolism of celestial bodies, embarking on the trajectory of hope. Using methods derived from astronomy—observation, documentation, analysis, and transformation—four artists invite visitors to rekindle a longing for the night sky. Jess Lau Ching-wa’s The Star Within Your Sun (2025) harnesses the photographic lens to transform the sun—too brilliant for the naked eye to bear—into the familiar symbol of stars, revealing the tangible yet overwhelming relationship between light, as a symbol of life, and ourselves. Inspired by a spiritual experience of being bathed in light within a church, Jil Wong’s monumental installation Illumination (2025) weaves images with copper etching, ceramic plaque firing, and cyanotype on Xuan paper layered atop fragile materials. Her work contemplates memory and forgetting, examining how both shape our visions of the future. Her work revisits moments of sensory resonance stirred by light, forging it into a symbol that bridges the past and the future. Simon Wan’s From _ to _ , I took a total of _ steps (2025) and I walked from Narita airport to Mt.Fuji (2025) employ walking as a method and the sun as time marker to humbly step into the unknown with minimal planning. Through multiple-exposure photography, Wan compresses the passage of days, reflecting on photography’s role in documenting and bearing witness to life. Lau's Sparkling Fountain (2021) disassembles star-shaped badges through stop-motion animation, showing how stars ultimately dissolve. This dissolution liberates the hopes and meanings embedded within the badges, returning them to energy and matter in the cosmos, ready to seed a new star. Finally, Rocco Sung’s series of astronomical images manipulates image data and colour to reconstruct the primal forms and birthplaces of celestial bodies, probing expanses that stretch tens of thousands of years.

Tracing the primal forms of stars, the nature of hope, and the force of gravity are all attempts to grapple with some of life’s most fundamental questions. NASA’s vision for space exploration—“Why are we here?” and “How can we make our lives better?”—echoes these same yearnings. The distance, trajectory and gravitational pull between us and hope mirror the inevitable doubts that arise in life. Yet, like celestial bodies, the mass of hope must become strong enough to draw us, our communities, and our cities into new orbits, releasing latent potential. The answers may well lie hidden among the stars. Together, we trace the origins of hope, following the subtle rhythm of gravity, gently piecing together scattered light and dreams.


People need old symbols to grasp new things—but not to repeat old wisdom. Instead, we excavate buried, unfinished hopes. For Benjamin, memory is not nostalgia but revelation: fragments of the past flare up to illuminate the present.

In a dark church in Italy, a glowing crucifix once suspended time for me. That light, later understood through Benjamin, became a flash of memory beyond linear time—an awakening that can surface at any moment in life.

The contemporary monument connects past and present. My work treats light as the monumental, symbolizing the immortality of memory. Like Benjamin’s angel of history, the sculpture faces the past yet is carried into the future. Made of fragile materials, it commemorates what is unfinished and weak rather than heroic and complete. By transforming photographic portraits into spatial forms, I build a personal monument—one that refines buried memory into a revelation of the now, lasting one day longer than eternity.




4



“ As Silent As Thunder” Guest Appearance
A joint exhibition and performance by Frog King, Tsang Tak Ping, and Jil Wong

「一如雷默」客賓臨
蛙王、曾德平及黃祖兒三人聯展及行為現場展演
 A year of preparation.

The Frog King: “A spectacle of beauty and savor in the gap between life and the edge of what can be rendered.”  

The guest performers include Frog King, Tsang Tak-ping, and Huang Tsu-chi, three generations of art practitioners.  

The exhibited works include guest performances, oil paintings, ceramics, and installations.




籌備一年。

蛙王：「生活必然刹那間之出現有跡可尋的端倪謂之竅。」

客賓臨演出者包括蛙王、曾德平和黄祖兒師徒三代蓺術工作者。

展覽作品有客賓臨後續、油畫、陶瓷和裝置。

 

5

 Book Lab: Landing on the Paper Space
Dates: July 25, 2024 to August 11, 2024 
Venue: WMA Space
書籍實驗所：著陸紙維空間
日期:2024年7月25日至2024年8月11日
地址:WMA Space
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Commissioned work for:  WMA_HK
The Return of Absence (2024)
Artwork by: Jil Wong
Artist book, 42 × 59.4 cm

How might flat book pages engender a conceptual three-dimensional space, allowing artists’ ideas to be uncovered, preserved, and circulated? 

“Landing on the Paper Space” showcases the outcomes from last year's “Book Lab” initiative co-organised with HART. “Book Lab” intends to explore the connection between lens-based practice and books, and challenges the conventional sequencing model when considering the book form. After participating in the book-making workshop last year, 8 artists (CHAN Ting, Tracy CHENG and Shera CHO, Jeremy CHEUNG, Jay LAU, Ray LEUNG, Marty MILLER, Jil WONG, WU Jiaru) turned their concepts into reality; they each produced a dummy photographic artist book that fulfilled readability, interactivity, and multivalence. These dummies take the form of toys and storage boxes, urging a re-definition of “book” and the various possibilities of reading. To expand on the concept of “photographic artist’s book,” the exhibition also features picks from the WMA reference library and an addition of two books by the 2024 WMA Graduate Award (Lens-based media) recipients (LEE Hoi Yi Minnie and Shaiana PO). In this era where information are highly fragmented, books develop to be non-linear, allowing for a more autonomous and multi-sensory reading experience for the readers.

This artist book begins with memories of my father and his work in Hong Kong’s garment industry. In the 1980s and 1990s, he ran a denim factory in Cheung Sha Wan, proudly producing jeans for local brands like Bosini. My earliest impressions of him are fragments—moments spent watching him work, surrounded by the hum of machines and the scent of cotton and dye.

Through this work, I revisit these fragile recollections to reflect on familial absence and silent inheritance. I connect the act of remembering with the cyanotype process, echoing my father’s use of indigo in denim-making. Using direct exposure and sunlight, I print enlarged family portraits onto fabric, allowing the images to gradually fade through washing—mirroring how memories soften over time.

The artist book integrates materials used throughout my practice—negatives, fabric, light tubes from the UV box, and velvet cloth—pre-serving the process as part of memory itself. Though my knowledge of him may remain limited, this work becomes a quiet dialogue with someone no longer here, and a gesture of enduring pride.

6

 Tiger A(r)m Strong Biennale
Vivamus sed condimentum leo. Nunc efficitur, magna condimentum gravida egestas, ligula mauris posuere neque, sit amet sagittis dui velit vitae neque. 
老虎巖雙年展
Aenean nisl nulla, porttitor interdum enim nec, sagittis suscipit mauris. Quisque malesuada ullamcorper lacus, nec posuere odio egestas vel. Suspendisse potenti. 
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Artwork title:  Away From Direct Sunlight (2023)
Artwork by: Jil Wong
Medium : Photography Found object assemblage and video installation
The work begins with photography as a means to question memory and time. By revisiting old family photographs, the artist reenters memories of a late father—an experience filled with indescribable emotions. In this process, the image becomes more than a trace of the past; itinhabits the liminal space between presence and absence, reality and illusion. Inspired by Roland Barthes’ *Camera Lucida*, the work reflects on photography’s essence as a state of “that-has-been”: an evidence of what once existed, and at the same time, what no longer is.

Through the act of re-photographing and re-presenting, photography emerges as a metaphor for death, dwelling between remembrance and oblivion. Each image is not merely a record of the father but a reawakening of lived time—a layering of memory upon memory. The process reveals that remembrance does not lead to greater clarity; rather, it exposes the fracture and uncertainty inherent in memory itself. This sense of detachment, of not being able to fully grasp another’s pain, reflects a universal human condition. Within this gap, the work searches for meaning in loss, presence, and the fragile continuity of existence.

7


Portraits Beyond Faces
 23.08.12 - 09.25.2023 @Floor_seoul

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FLOOR_SEOUL
Group exhibition
Wound not wound(2023)
one print, Ilford fine art smooth, 91.44 × 91.44 cm
Printed by: @floor_seoul
3.1
The exhibition aimed to explore portraiture that looks beyond the literal facial features, likely focusing on the essence, emotion, or environment of the subjects. Wound not wound (2023) is a reflection of the wound of the subject, mentally and physically. The portrait allows me to connect with the subject and feel their pain. This experience leads me to explore, and to find the true essence of life, eventually.

8


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Artwork title:  The Melting Contact (2022)
Artwork by: Jil Wong
Photo by: Tsang Tak Ping
Medium: Sculpture-based performance , 3 hours
Photography simultaneously possesses the dual qualities of "mirror" and "window": the "window" symbolizes the physical act of observing the external world through the lens, while the "mirror" points inward, reflecting the photographer's own self. In capturing my mother's image, this reflective mechanism simultaneously targets and reveals my own essence, evoking unease each time I gaze upon these photographs, as they nakedly expose my inner being.

This inherent quality of photography serves as a metaphor for my relationship with my mother. I encase photographs of her in ice blocks, employing performance art's unique elements—time, space, immediacy, and material ephemerality—to conduct a ritual of reconciliation with my mother during the prolonged process of the ice's dissolution, thereby revealing the inseparable bonds between individuals.

Throughout the creative process, I profoundly realized: the physical entity before me is my mother, yet the photographs predominantly point toward my own essence.

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Artwork title:  Far away so close (2022)
Artwork by: Jil Wong
Medium : Photography  installation
Sets  of 4  “ A Trace of Memory  in the Universe”

This work begins with light—as both the origin of life and a metaphor for memory. Photography, the act of painting with light, is restored to its primal form: through the processes of exposure and devlopment in the darkroom, it reconstructs the substance of recollection. Extending from the earlier work “ The Waiting Ward” , this piece explores the relationship between found objects and personal memories. A cracked glass bottle containing Polaroid images embodies a cycle of “rebirth through decay”. The imperfections of these discarded materials reflect fragments of my inner self, transforming fragile, unspoken memories into tangible form.

At the intersection of light and memory,photography ceases to be mere documentation. It becomes a continuous process of renewal--where life, time, and remembrance quietly converge.

10

 Be 40 Mixed-Media Exhibition
Vivamus sed condimentum leo. Nunc efficitur, magna condimentum gravida egestas, ligula mauris posuere neque, sit amet sagittis dui velit vitae neque. 
「邊渡四十年」混合媒介展覽
Aenean nisl nulla, porttitor interdum enim nec, sagittis suscipit mauris. Quisque malesuada ullamcorper lacus, nec posuere odio egestas vel. Suspendisse potenti. 
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Artwork title:  記憶寄生（2026）
Artwork by: Jil Wong
Medium : Gelatin sliver print
20 x 24 inches, set of 2
Venue: Hong Kong Fringe Club Be 40 is an eclectic collection of mixed-media works by 66 artists who have previously exhibited at the Fringe Club.  For some of the artists, the works recall memories of their first Fringe encounters. The exhibition also includes works commissioned and collected by the Fringe Club from 1982 until now.  It also features recent works by Frog King, the artist we presented in a solo show at the 2011 Venice Biennale.  Be 40 celebrates the conservation of the old Dairy Farm ice depot and its chimeric transformation over the past 40 years into the Fringe Club of today. The key image of Be 40 is appropriated from Hokusai’s famous ukiyo-e print “The Great Wave off Kanagawa”, which shows a way of life, revered and cherished – symbolised by Mount Fiji and the long fishing boats – under imminent threat.  It portrays a moment of great beauty before annihilation by forces beyond human control.  Despite everything, the human spirit still soars like the sea eagle high up above.


「邊渡四十年」是一個結集了 66 位曾經在藝穗會展出過的藝術家的混合媒體作品展覽。對一些藝術家而言，這些作品喚起了他們與藝穗會第一次相遇的回憶。 是次展覽亦包括了藝穗會由1982年至今的委約作品及收藏品。此外，也展出了蛙王的近作，我們曾於2011 年威尼斯雙年展為他策劃了一個個展。「邊渡四十年」更是慶祝藝穗會在過去40年間為保育舊牛奶公司倉庫所作出的努力及其轉變，造就了今天的藝穗會。 「邊渡四十年」的主視覺設計借用了日本浮世繪畫家葛飾北齋的木刻版畫 ——《神奈川沖浪裏》，它展示了一種受人尊敬和珍視的生活方式——象徵著富士山和長長的漁船——面臨著迫在眉睫的威脅。它描繪了在人類被無法控制的力量徹底摧毀之前的美麗時刻。儘管如此，人的精神仍然像海鷹一樣展翅高飛。

https://www.scmp.com/lifestyle/arts-culture/article/3182766/hong-kong-fringe-club-mounts-what-could-be-its-farewell-show

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