Performance x 4A 2020
HONG KONG. ART CENTRAL. 17 MAR – 22 MAR 2020
4A returns to Art Central Hong Kong with our bespoke performance series Performance x 4A for the fifth year. The hum of the art fair will be interrupted by performances from internationally acclaimed artists Chun Yin Rainbow Chan (陳雋然) (Australia), Amitesh Grover (India) and 圍傳婆婆 Once and Again (Hong Kong).
The three artistic projects for 2020 profile gentle gestures and soft language as a means to practice memory and meditation. Through small acts – of song, sound and repetition – the artists seek to build oral archives that continue legacies of the past while imagining the future. Seemingly insignificant on their own, each little gesture complies to form a continuous tradition illustrating how everyday actions, no matter how tiny, can amount to something bigger.
In the midst of the busy bustle of the fair each performance will evoke a sense of stillness and contemplation. These poetic disruptions to the face-paced nature of the fair demonstrate how, in a world of increasingly rapid change, sometimes the more tender acts are the ones that have the most impact.
Amitesh Grover (b. New Delhi, India 1980 lives and works in New Delhi, India) has a practice that occupies the intermediate space between Performance, Interactive Art, and Theatre. Training in Live & Digital Arts at the University of Arts London his work has a strong orientation towards experiencing a radical form of proximity. He creates intimate art to explore the conditions of being near or close by. He has created work on grief, on sleep, on happiness, and on several other ephemeral grounds of knowledge. His works have been shown internationally, and he is the recipient of several awards and artist residencies. Most recently he has performed and exhibited Table Radica, Oddbird Theatre, New Delhi, (2019) What the frog’s eye’s cannot tell the brain, originally commissioned for the exhibition Hangar For The Passerby, Kiran Nadar Museum of Art, New Delhi, (2017) Notes On Mourning, Festival Belluard Bollwerk International, Switzerland, (2016) Body Double, Deutsches Theatre Berlin (2015) Gnomonicity at The Devi Art Foundation, Gurgaon, India (2012) and H.O.M.E, Rote Fabrik Studio, Zurich Switzerland (2008).
Chun Yin Rainbow Chan (陳雋然) | (b. 1990, Hong Kong, lives and works in Sydney, Australia) is a producer, vocalist and interdisciplinary artist of Hong Kong-Chinese descent. Chan is interested in mistranslations, diaspora and the effects of globalisation on modern Chinese society. She is currently researching women’s history, folk songs and language with a focus on her ancestral ties to Weitou people, the first settlers of Hong Kong. Most recently Chan’s major exhibitions include Gloss, Project Space, Cement Fondu, Sydney (2019) Gloss, project Space, Beijing (2019), A Kingdom of Flowers for My Mother, Firstdraft, Sydney (2018), How Deep is Your Like? in STORAGE, Newtown, Sydney (2017), To Enclose One’s Mouth in Familiar Stranger, 4A Centre for Contemporary Asian Art, Sydney (2017), Broken Vessel of 1996 (⼀九九六年的破釜), Longli International New Media Arts Festival, Longli Ancient Town, China (2016) and Faking it: Melamine Milk and Other Chinese Counterfeits in Conspiracy no.9, Minerva Gallery, Sydney.
Once and Again 圍傳婆婆 (Hong Kong) is a performance group comprised of elderly Weitou women from the small walled-villages of the Lung Yeuk Tau region, in the New Territories of Hong Kong. The group are a part of a wider project, run by the Caritas Lung Yeuk Tau Community Development Service Center in Hong Kong. The project focuses on recording the oral history of the senior ladies, the delivery of first hand information and community propagation of bridal laments as well as the public’s reaction to these songs. Over the course of a year, these old ladies performed local ballads from half a century ago, providing memories and lyrics that offer glimpses into the history and sentiments from a bygone era. The recording of these ballads has been accepted by the collection database at the Intangible Cultural Heritage Office and the aforementioned project is sponsored by the Lord Wilson Heritage Trust. It is also assisted by scholars, Dr. Shirley Suet-Lin Hung from Hong Kong Baptist University and Dr. Stephen Cheung from the Hong Kong Academy for Performing Arts. Over the last year, public support has strengthened the sense of self-worth of these old ladies and the exercise has brought residents across different generations closer to each other. As a community development service, this project places stronger emphasis on the group of senior women that has long been neglected with the hope they receive the recognition they deserve and the opportunity to showcase their narratives and strengths.