Amin Gulgee “7.7”
Curated by Paolo De Grandis and Claudio Crescentini
Co-curated by Carlotta Scarpa
Preview for the press: Wednesday 25 July at 12.00
Inauguration with performance: Wednesday 25 July at 18.30
Mattatoio – La Pelanda
Piazza Orazio Giustiniani, 4 – Rome
26 July – 26 August 2018
The internationally renowned Pakistani artist Amin Gulgee presents at the Mattatoio the exhibition “7.7” curated by Paolo De Grandis and Claudio Crescentini and co-curated by Carlotta Scarpa with the curatorial assistance of Adam Fahy-Majeed.
Promoted by Roma Capitale – Department for Cultural Growth and Azienda Speciale Palaexpo, the exhibition is organised in collaboration with PDG Arte Communications and with the Embassy of the Republic of Pakistan in Italy.
Amin Gulgee is an innovator of tradition, his medium is metal and he draws inspiration from the rich and varied artistic and spiritual history of his native country, Pakistan.
His expressive path, linked to Hindu mythology, to the figures of Buddhist thought and to Islamic calligraphy, has developed over the years through sculpture and installations. Copper, his chosen material, offers itself to the artist as a means of expression aimed at calligraphic synthesis and new sign expressions as at "7.7" where La Pelanda hosts two large installations that develop by contrast through full and empty, light and shade, to the synthesis of a video installation. Copper, carbon and the projection of an algorithm thus become the testimony of a symbolic path of change, a reflection that is both personal and universal, a path towards the future marked by the recovery of tradition.
The verse in the Koran in which we learn that God "taught man what he did not know" (Koran, 96:5) is the leitmotiv of Amin Gulgee's expressive search; it recurs at first legible, then gradually unstructured and finally in the form of fragments and fractions.
This calligraphic text has been appearing and returning now for some time as a persistent, almost obsessive concern in the artist's works, manifesting itself in various sculptural compositions, sometimes in the form of geometrical constructions, signs that are ideally nourished by fractal geometry. The fragment is the image of the whole. With his artistic intuition, Amin Gulgee demonstrates the profound link that exists between mathematics, art, spirit and nature, and, once again, the fil rouge is beauty.
Hovering between "Apollonian" and "Dionysian" beauty, the letters decomposed and freed from semantics take on a symbolic meaning that, as such, has, on the one hand, a character of aesthetic-sensitive immediacy and, on the other, moves towards a relationship that rejects domination and possession, thus offering the possibility of establishing a real spiritual dialogue with the world. In search of the most intimate meaning, the visitor can unroll the symbolic ball of wool through this labyrinth.
There is always rhythm in all Amin Gulgee's work. The continuously evolving signs and the outwardly dilated letters are real visible music and the architecture of the whole gains a new form. A perpetually evolving form, a sign to be decoded in a kind of timelessness where space, acting as counterpoint, stimulates reflection and becomes a cognitive instrument, a table on which to measure past and present.
During the inauguration, the interactive performance Love Letters will be presented, and a personal performance with the participation of Ana Rusiniuc.
Amin Gulgee, an internationally renowned artist and performer, was born in 1969 in Pakistan, son of the famous Pakistani artist Ismail Gulgee. After graduating in "History of Art and Economics" at Yale University (U.S.A.), he began his artistic career, creating and exhibiting his works in Pakistan, the United States, Europe and the Middle East. In Italy, he has never exhibited in Rome, but in 1998 and 2017 he took part in “OPEN – 20th International Exhibition of Sculpture and Installations", linked to the "Venice International Film Festival" and he will represent Pakistan at the next "International Art Exhibition – Venice Biennale". He has held legendary performances, as an emerging artist in Pakistan, and in many museums in Europe and North America (Karachi, Lahore, Dubai, Nagoya, New York, Philadelphia, Dresden, etc.), the most recent in the Royal Albert Hall in London (2017). In these performances, based mainly on words, signs and phonetics, he often involves other artists as well as the audience, in an artistic and creative contrast between East and West. Besides, Amin Gulgee is an innovator of tradition. His main medium is metal and he draws inspiration from the rich and varied secular and spiritual history of his native country, Pakistan, with themes drawn especially from Hindu mythology, from Buddhist civilisation and from Islamic calligraphy. In his work these different components influence and nourish one another, as they all seek to represent the spirituality of man. The leading art critic of the “Washington Times”, Joanna Shaw-Eagle, wrote in her review of his personal exhibition at the FMI in 1999: “Amin Gulgee is an artist to watch both for the originality of his ideas and the sensuous, handsome quality of his work.” In 1987 Amin Gulgee won the “Conger B. Goodyear Fine Arts Award” with his work-thesis on the Moghul gardens. In 2005 he received the prestigious “President’s Pride of Performance”, which is awarded only to exponents who have achieved iconic stature in their field of excellence, by the President of Pakistan. The Pakistani government commissioned him to create numerous pubic sculptures, including the following: Messaggio, for the Presidency of Islamabad; Minar for the Quaid-e-Azam International Airport in Karachi; Forgotten Text, standing 40 mt tall, for an important rotonda in Karachi. He has taken part in numerous international collective exhibitions, among them: “Pakistan: Another Vision,” Brunei Gallery, London, UK (2000); Beijing Biennial (2003); “Beyond Borders,” National Gallery of Modern Art, Mumbai, India (2005); “Paradise Lost,” WAH Center, Brooklyn, NY, USA (2008); “Rites of Passage,” Ostrale, Dresden, Germany (2010) and “New Pathways: Contemporary Art from Pakistan,” UN Headquarters, New York, NY, USA (2016). He has also held more than thirty personal exhibitions in Pakistan, Malaysia, Singapore, UAE, India, UK, Portugal and USA , among which we recall the most recent: “Walking on the Moon”, Wei-Ling Contemporary, Kuala Lumpur, Malesya (2015); “Washed Upon the Shore”, Canvas Gallery, Karachi, Pakistan (2015). In 2017, following in the wake of the great international artists and curators, he conceived, planned and organised the "1st Karachi Biennale 17".
PDG Arte Communications
Open to the public: 26 July – 26 August 2018
Opening hours: from Tuesday to Sunday | from 14.00 to 20.00.
Entry is allowed up to 30 minutes before closing.
Closed on Mondays.
Special thanks to:
PALERMO CAPITAL OF CULTURE
Mura delle Cattive
16 June – 19 July 2018
Opening hours: 10 am - 7 pm
On the occasion of PALERMO CAPITAL OF CULTURE, an installation by Yoko Ono will be presented for the first time in Palermo. INVISIBLE PEOPLE, a project that has required long preparation: a symbolic and metaphoric vision of the journey of migrants, between imagination and poetry, so as not to forget.
YOKO ONO is an artist whose thought provoking work challenges people's understanding of art and the world around them. From the beginning of her career, she was a conceptualist whose work encompassed performance, instructions, film, music and writing.
Promoted by the City of Palermo - Department of Culture, curated by Jon Hendricks and Paolo De Grandis, coordinated by Carlotta Scarpa, the exhibition is organized by PDG Arte Communications in collaboration with Valorizzazioni Culturali.
The work will be exhibited at the Mura delle Cattive, considered one of the symbols of Palermo. The “Walk of the Cattive” is a nineteenth-century monument in Palermo overlooking the sea, located on the city walls at the Felice Gate and close to the Foro Italico. The name of the Walk dates back to the nineteenth century, for many centuries it was for Palermo the extreme defence of the city. The story tells of a nineteenth-century terrace reserved for the "bad" women, that is, the prisoners (from the Latin captivae) of pain. As widows, in fact, they could take their walks without being bothered.
INVISIBLE PEOPLE, presented as a world premiere at OPEN 20 - International Exhibition of Sculptures and Installations, conceived by Paolo De Grandis in parallel with the International Film Festival, will be open in Palermo until August 19.
YOKO ONO was born in Tokyo in 1933, and moved to New York in 1953, following her studies in philosophy in Japan. By the late 50s, she had become part of the city’s vibrant avantgarde activities. In 1960, she opened her Chambers Street loft to a series of radical performance work, and exhibited realizations of some of her early conceptual works there. In 1961, she had a one-person show at the legendary AG Gallery in New York of her Instruction Paintings, and later that year performed a solo concert at the Carnegie Recital Hall of revolutionary works involving movement, sound, and voice. In 1962, she returned to Tokyo, where she extended her New York performance at Sogetsu Art Centre, and showed her Instructions for Paintings there. In 1964 Yoko Ono performed Cut Piece in Kyoto e Tokyo, and published Grapefruit. The end of that year, she returned to New York, and in 1965 and 1966, performed another concert at Carnegie Recital Hall, participated in the Perpetual Fluxus Festival, and exhibited The Stone at the Judson Gallery, made the first version of Film No. 4 (Bottoms), as well as doing numerous other events throughout that year and half. In summer 1966, she was invited to take part in the Destruction in Art Symposium in London, and held oneperson exhibitions at the Indica Gallery, and the next year at the Lisson Gallery. During this period, she also performed a number of concerts throughout England. In 1969, together with John Lennon, she realized Bed-In, and the worldwide War Is Over! (if you want it) campaign for peace. ONO has made a number of films, including Fly and Rape, and many records, including Fly, Approximately Infinite Universe, Rising, and most recently, Between My Head and the Sky. She has had numerous exhibitions in museums, including traveling exhibitions organized by the Museum of Modern Art Oxford and the Japan Society in New York. In 2009, she exhibited ANTON’S MEMORY at the Bevilacqua Foundation in Venice, and received the Golden Lion for Lifetime Achievement from the Venice Biennale. Among numerous recent exhibitions, in 2010, she exhibited I’LL BE BACK at the Studio Stefania Miscetti in Rome, and DAS GIFT at the Haunch of Venison in Berlin. In 2011, she showed participatory installation pieces at the Wanås Foundation in Sweden, and the Yokohama Triennale, and held four one-person exhibitions in Tokyo, New York and Hiroshima including Road of Hope – Yoko Ono 2011 at the Hiroshima City Museum of Contemporary Art, where she was honored with the prestigious 8th Art Prize for her dedicated peace activism. Currently, Yoko Ono has major one-person exhibitions at the Serpentine Gallery in London, and the Moderna Museet, Stockholm. This year, she was given the Oskar Kokoschka Prize 2012 in Vienna, Austria. In February 2013, the Schirn Kunsthalle Frankfurt is mounting a major retrospective, which will travel to three other venues. In 2007, she created the permanent installation IMAGINE PEACE TOWER on Viðey Island, Iceland, and continues to work tirelessly for peace with her IMAGINE PEACE campaign.
For further details,
PDG Arte Communications
From La Biennale di Venezia & OPEN to Rome. International Perspectives | "7" AMIN GULGEE
Curated by Paolo De Grandis e Claudio Crescentini
Co-curated by Carlotta Scarpa
"7" AMIN GULGEE
Amin Gulgee, one of the most important Pakistani artists
at the Galleria d’Arte Moderna
For the first time in Rome, the installation "7" by Amin Gulgee,
an artist who has made an art form out of secularity and poetry
Galleria d’Arte Moderna
31 May – 23 September 2018
Rome, 24th May 2018 - New exhibition concept of the project “From La Biennale di Venezia & OPEN to Roma. International Perspectives” promoted by Roma Capitale, Department for Cultural Growth - Capitoline Superintendency for Cultural Heritage, conceived and curated by Paolo De Grandis and Claudio Crescentini, co-curated by Carlotta Scarpa. Museum services by Zètema Progetto Cultura.
The general project, launched in 2016, is dedicated to the presentation in the Capitoline exhibition areas of international installations from International Art Exhibition – Venice Biennale and from OPEN International Exhibition of Sculpture and Installations, linked to the Venice International Film Festival, in a site-specific version, recomposed and remodelled for the capital. The aim is to bring together the art "perspectives" of two cities that work to allow the experiences of international art to travel in the national territory. From the city on the lagoon to the capital.
To mark this new appointment, held in collaboration with PDG Arte Communications and the Embassy of the Republic of Pakistan in Italy, an installation entitled “7”, is presented, by the Pakistani artist Amin Gulgee, who has made an art form out of secularity and poetry.
The artist starts off from a sentence in Arabic, transcribed in nakshi script, untranslatable but with a universal significance, since it refers to peace among peoples and human love. Gulgee divides the sentence into seven parts, those of the title, with very light bronze installations, located in the cloister/garden of the GAM in via Crispi. The sentence is then broken up and repeated several times in the installation, as in spiritual meditation, yet without becoming legible and thus becoming a universal sign.
Below this sentence/sign, a mat of letters in charcoal and copper will be created, a mat that cannot be walked on and which repeats the same sentence, still decomposed, thus creating a metaphysical structure that juxtaposes the vertical lines of the works with the horizontal line of the mat, like a metaphor of top and bottom, of heaven and earth. On the day of inauguration of this "artistic space", there will be the performance conceived by the artist and a reading of works by poets invited by the artist himself to read their poems and texts inspired by the theme of the work.
The poets - Lucianna Argentino, Italo Benedetti, Stella Cacciamani, Antonella Maria Carfora, Patrizia Chianese, Laura Colombo, Rossana Coratella, Francesco Del Ferro, Stefania Di Lino, Andrea Felice, Camelia Mirescu, Daniela Monosi, Angelo Palombini and Maria Grazia Savino – and the members of the audience will be invited to write, still starting from the sentence in nakshi, declarations of peace and love as a potential sign of freedom of spirits brought together by one and the same thought which becomes action. Art for everyone, therefore, and not just a privilege of chosen spirits.
The sentences that emerge will be inserted in special containers and taken to Karachi, where the artist will read them during a grand public performance: an ideal connection between Europe and Asia, Rome and Karachi, cities linked by the conceptual work of Amin and by the words of the participants dedicated to love and peace.
Amin Gulgee (1969) internationally acclaimed artist and performer. After graduating in "History of Art and Economics" at Yale University (U.S.A.), he began his artistic career, creating and exhibiting his works in Pakistan, the United States, Europe and the Middle East. In Italy, he has never exhibited in Rome, but in 1998 and 2017 he took part in “OPEN – 20th International Exhibition of Sculptures and Installations", linked to the "Venice International Film Festival" and he will represent Pakistan at the next "International Art Exhibition – Venice Biennale". He has held legendary performances in many world cities (Karachi, Lahore, Dubai, Nagoya, New York, Philadelphia, Dresden, London, etc.). In these performances, based mainly on works, signs and phonetics, he often involves other artists as well as the audience, between East and West. The leading art critic of the “Washington Times”, Joanna Shaw-Eagle, wrote in her review of his personal exhibition at the FMI in 1999: “Amin Gulgee is an artist to watch both for the originality of his ideas and the sensuous, handsome quality of his work.” In 1987, Amin Gulgee won the “Conger B. Goodyear Fine Arts Award”. In 2005 he received the prestigious “President’s Pride of Performance”, which is awarded only to exponents who have achieved iconic stature in their field of excellence, by the President of Pakistan. The Pakistani government commissioned him to create numerous pubic sculptures, including the following: Messaggio, for the Presidency of Islamabad; Minar for the Quaid-e-Azam International Airport in Karachi; Forgotten Text, standing 40 mt tall, for an important rotonda in Karachi. He has taken part in numerous international collective exhibitions, among them: “Pakistan: Another Vision,” Brunei Gallery, London, UK (2000); Beijing Biennial (2003); “Beyond Borders,” National Gallery of Modern Art, Mumbai, India (2005); “Paradise Lost,” WAH Center, Brooklyn, NY, USA (2008); “Rites of Passage,” Ostrale, Dresden, Germany (2010) and “New Pathways: Contemporary Art from Pakistan,” UN Headquarters, New York, NY, USA (2016). He has also held more than thirty personal exhibitions in Pakistan, Malaysia, Singapore, UAE, India, UK, Portugal and USA. In 2017, following in the wake of the great international artists and curators, he conceived, planned and organised the "1st Karachi Biennale 17".
Zètema Progetto Cultura Press Office
Gabriella Gnetti +39 06 82077305; +39 348 2696259; firstname.lastname@example.org
“AMIN GULGEE / 7”
Galleria d’Arte Moderna in Rome
Via Francesco Crispi, 24
31 May – 23 September 2018
Press preview: 30 May 2018, at 11.30 a.m.
Inauguration: 30 May 2018, 6.30.9.00 p.m.
From Tuesday to Sunday, 10.00 a.m. - 6.30 p.m.
Visitors will be allowed to enter until half an hour before closing time.
Closed on Monday 1 May.
Admission ticket to the Galleria d’Arte Moderna: € 7.50 full price and € 6.50 concession, for non-residents; € 6.50 full price and € 5.50 concession, for residents; free for the categories provided for by the current rates.
060608 (every day, 9.00 a.m. - 7.00 p.m.)
In collaboration with
Rome Department for Cultural Growth - Capitoline Superintendency for Cultural Heritage
PDG Arte Communications and Embassy of the Republic of Pakistan in Italy
Conceived and curated by
Paolo De Grandis and Claudio Crescentini, co-curated by Carlotta Scarpa
Zètema Progetto Cultura
SPONSOR SYSTEM OF CIVIC MUSEUMS
With the technical contribution of
Ferrovie dello Stato Italiane
Poetry of the Flow
Curated by Maria Rus Bojan
Collateral event at Manifesta 12 in Palermo
Yahon Chang, Untitled, 2018, Oil on canvas
17 June – 19 August 2018
Inauguration 15 June 2018, 6pm – 8pm
Sala delle Armi, Palazzo Chiaramonte-Steri, Palermo, Italy
In the exhibition Poetry of the Flow, Taiwanese artist Yahon Chang’s site-specific installation converts the monumental space of the Sala delle Armi in Palazzo Chiaramonte-Steri into an interactive environment, tackling philosophical, spiritual and existential issues that revolve around the contemporary human condition. Employing Chinese ink painting techniques, Poetry of the Flow shows multiple large-scale ink paintings that cover the entirety of the exhibition space that surround the viewer.
Over the last 2,000 years, Palermo has been occupied by numerous European countries and has long-term connections with North Africa and the Eastern Mediterranean. The artist draws inspiration from the social context of the city which hosts Manifesta 12, with its lavish historical, syncretic and cultural values.
Ink painting and calligraphy have been an integral part of Chinese literati culture for thousands of years. Chang uses these classical techniques and aesthetics to create a new language that is relevant to a contemporary society. Rather than focussing on the process of creation, the artist works similarly to the western art movement Expressionism whereby the artworks are expressive of the artist’s inner feelings or ideas.
Creating an open and performative element, the artist involves visitors and the local community with the exhibition by inviting them to daily workshops at his temporary studio on via Pantelleria during the vernissage week. He will be teaching Chinese calligraphy as well as how to paint on traditional lanterns.
The artist integrates local materials through painting on bedsheets acquired in Palermo, which are hung in the outdoor garden of his studio. This mirrors the urban landscape within the city, where citizens hang their laundry on balconies in abundance. The combination of the large-scale Chinese ink paintings and paintings on locally sourced bedsheets comments on the layering of histories that have saturated the city for thousands of years. Chang creates a bridge between his own culture and the multicultural Palermo.
Notes to editors
About the artist
Born in 1948, Yahon Chang lives and works in Taipei, Taiwan. He has shown in numerous international solo and group exhibitions including the recent solo show The Question of Beings at MACRO in Rome (2016) and the 56th International Art Exhibition - la Biennale di Venezia (2015). Raised in post-Japanese-colonial Taiwan, his works portray a particular visual language that voices the agony, rejection, struggle, adversity, acceptance and love as well as his quest to find a higher spirituality and peace. There is a mysterious quality to Yahon’s paintings that cements serenity within the viewer, rendering the work in a state of timelessness.
17 June – 19 August 2018
Sala delle Armi, Palazzo Chiaramonte-Steri, Piazza Marina 61, 90133, Palermo, Italy
Daily 10am – 7pm (closed on Mondays, except 18 June)
Workshop and painting studio
14 – 20 June 2018, 4-5pm
Via Pantelleria 18, Palermo, Italy. (10 minutes walk from the exhibition space)
The workshop is open for visits from 14 – 20 June for an hour daily from 4-5pm. Embracing inclusivity and connecting local and international audiences, the artist invites the diverse communities of Palermo and the surrounding region into his personal space through an accessible public programme that incorporates dialogue and a unique opportunity to perform ink painting with the artist. Activities include painting Chinese lanterns with messages, as well as drawing and ink drawing workshops. These activities are part of the collateral event programme of Manifesta 12.
(b. 1948, lives and works in Taipei, Taiwan)
Maria Rus Bojan
MDCA Foundation, Taipei, Taiwan
Paolo de Grandis & Carlotta Scarpa
PDG Arte Communications, Venice, Italy
BANK / MABSOCIETY, Shanghai, China
C-Space + Local, Beijing, China
Valorizzazioni Culturali, Venice, Italy
Under the patronage of: Città di Palermo
Carlotta Dennis-Lovaglio at Pelham Communications
+44 (0)20 8969 3959
Francise Chang email@example.com
Vertical Fabric: density in landscape: Hong Kong in Venice
Collateral Event of the 16th International Architecture Exhibition – La Biennale di Venezia
Illustrate Hong Kong Vertical Architecture and Urbanism with Innovation Visions
The Hong Kong Institute of Architects Biennale Foundation (HKIABF) and Hong Kong Arts Development Council (HKADC) jointly organise the exhibition titled “Vertical Fabric: density in landscape” (垂直肌理：密度的地景) to participate in the 16th International Architecture Exhibition - La Biennale di Venezia under the sponsorship of Create Hong Kong (CreateHK) of the Government of the Hong Kong Special Administrative Region (HKSAR). The Grand Opening of the Hong Kong Exhibition will be held at 5:00pm, 25 May 2018 (Friday), while a Forum will be held at 4:00pm, 25 May. A Media Tour will be arranged for press preview at 11am, 25 May.
The Organisers are pleased to announce that Professor Weijen WANG (Chief Curator), Mr. Thomas CHUNG (Co-curator), Mr. Thomas TSANG (Co-curator), and Ms. Grace CHENG (Managing Curator) have been appointed as curators of the exhibition following a public call for proposals. The curators have extensive experiences in curating similar exhibition, including Hong Kong Biennale of Architecture and Urbanism, HK-SZ Bi-City Biennale of Urbanism\Architecture both in Hong Kong and Shenzhen, as well as Collateral Events at the International Architecture Exhibitions of La Biennale di Venezia. In response to the theme titled “Freespace” of Biennale Architettura 2018, the Curatorial Team has developed concepts for the exhibition.
INTRODUCTION OF EXHIBITION
Vertical Fabric: density in landscape
100 towers 100 architects
Looking down on Hong Kong’s Central from the Victoria Peak, one could find that the city’s vertical fabric creates a wave of towers springing up from the sloping terrain down to the harbour front, spreads along the water edge as a belt of tightly woven texture. The slender towers, framed by land economy through demands of density, establish the city’s dominating typology, not only governing the urban skyline but also shaping daily urban and architectural experiences. Distinguishing itself from other global cities, Hong Kong is unique in its urban form celebrating an aesthetic of density, while comprising a gigantic rhetoric of speculation for both transaction and consumption.
Responding to the theme on “Freespace” of Biennale Architettura 2018, the Hong Kong Exhibition Vertical Fabric: density in landscape, demonstrates the urban conditions of Hong Kong and explores the freespace through towers. The exhibition manifests innovation within constraints while generating extraordinary spaces from ordinary form. A total of 100 white tower model-bases with infrastructures of 360mm square plan extrusion and structure of 2.0 meters in height, are open for the 100 exhibitors to re-define the typological, spatial and façade potential while maintaining the constraint of its envelope as a collective urban form. A total of 100 Exhibitors, including architects from Hong Kong and overseas, are invited to design their towers of Freespace, making statements on tower typology in the vertical city.
By installing 100 towers marching along the courtyard extending into the exhibition rooms in Venice, the Hong Kong exhibition illustrates the compactness of Hong Kong’s urban form. The exhibition provides a platform for dialogue with the world, shaping a discourse of Hong Kong’s urbanism and vertical architecture.
And most importantly, the venue provides architects with opportunities to re-think the design of tower typology beyond, incubating visions for vertical freespace facing global challenges in technology, environment, society and culture.
“Vertical Fabric: density in landscape: Hong Kong in Venice”
25 May 2018 (Preview) ;
26 May – 25 November 2018 (Open to public)
11am, 25 May 2016 (Friday)
5pm, 25 May 2016 (Friday)
4pm, 25 May 2016 (Friday)
Campo della Tana, Castello 2126-30122 Venice, Italy
(opposite the main entrance of Arsenale)
The Hong Kong Institute of Architects Biennale Foundation www.hkia.net
Hong Kong Arts Development Council www.hkadc.org.hk
Vertical Fabric: density in landscape: Hong Kong in Venice http://vbexhibitions.hk
ABOUT CHIEF CURATOR
Professor Weijen WANG
Wang Weijen , FHKIA, AIA, HKIUD, Professor at the Department of Architecture, University of Hong Kong; Design Director of Wang Weijen Architecture. Received MArch from UC Berkeley, MS and BS from National Taiwan University, he was the Associate at TAC San Francisco 1987-1994. Joined University of Hong Kong since 1994, he was the Head of Architecture Department from 2012-2016, Visiting Professor at University of Montreal and Taiwan Jiaotong University in 2014, as well as Visiting Associate Professor at MIT in 2008. He was also the Curator of 2007 Hong Kong Biennale of Architecture and Urbanism.
His design projects have won AIA Honor and Merit Design Awards, HKIA Design Award, Japan Good Design Award, Far Eastern Architectural Award, China Architectural Media Award, WA Architectural Award, as well as Merit Award from Green Building Council. His design works had been exhibited in Taipei Museum of Modern Art, Architecture Biennale in Shenzhen, Beijing, Shanghai, Chengdu, as well as Biennale Architettura in 2008 and 2016.
With research focuses on typology and transformation of Chinese Architecture and Cities, his design works and articles have been published in Domus, Mark, Stradt Bauwelt, T+A, TA, WA, Dialogue, UED. His main publications include Refabricating City: a reflection by Oxford University Press, Regenerating Patio: Studies of Macau Historical Urban Fabric, Urban Courtyardism: Special issue of Wang Weijen Architecture by Taiwan Architecture 185, UED 056, and AW 158.
Chief-Curator: Weijen WANG
Co-Curators:Thomas CHUNG, Thomas TSANG
Managing Curator: Grace CHENG
CHAN Billy/TZE Ida
CHAN Stephen/TAM William
CHANG Wallace/ YUET T.C.
CHANG Yung Ho
Cheung Suanne/KUNG Alvin
HE Jian Xiang
HSIEH Ying Chun
HU Rossana/NERI Lyndon
LEE Sarah/YANO Yutaka
LIU Xiao Du
REISER Jesse/UMEMOTO Nanako
SO Kwok Kin
TAKEYAMA Kiyoshi Sey
TING Evelyn/TSE Paul
TSE Serena/YEUNG Wyan
YIP Alvin/ ITO Irene
ZHU Jing Xiang
ZHU Xiao Feng
CHEUNG Kong-yeung Architects
Dennis Lau & Ng Chun Man Architects & Engineers
Hong Kong Housing Authority
Omar Yeung Architect & Associates
P&T Architects and Engineers
Philip Liao and Partners
Ronald Lu & Partners
For general administrative matters, please contact the Organizer:
HKIA Secretariat Mr. Ken TSANG
Tel: (852) 2805 7372
For curatorial matters, please contact Curatorial Team:
Curatorial Contact Person Ms. Grace CHENG
Tel: (852) 9417 2490
For media matters, please contact the appointed PR agency
Blink Events & PR Consultants Ms. Mandy LAW
Tel: (852) 9611 5027
Create Hong Kong of the Government of the Hong Kong Special Administrative Region provides funding support to the project only, and does not otherwise take part in the project. Any opinions, findings, conclusions or recommendations expressed in these materials/events (or by members of the project team) are those of the project organizers only and do not reflect the views of the Government of the Hong Kong Special Administrative Region, the Communications and Creative Industries Branch of the Commerce and Economic Development Bureau, Create Hong Kong, the CreateSmart Initiative Secretariat or the CreateSmart Initiative Vetting Committee.