Sea Pearl White Cloud is a project realised through a collaboration between 4A Centre for Contemporary Asian Art, located in the heart of Sydney’s Chinatown, and Guanzghou’s Observation Society, one of China’s most exciting contemporary art project spaces. Bringing together Sydney-based artist Lucas Ihlein and Guangdong-born, Hong Kong-based artist Trevor Yeung, Sea Pearl White Cloud presents new works informed by questions of temporality, exchange and poetics that reflect on the urban condition in the twenty-first century.

This is a two-stage exhibition project with the first presented at Observation Society in Guangzhou from 2 June – 24 July 2016, and second iteration that will extend the themes and collaboration to premier in Sydney at 4A Centre for Contemporary Asian Art from 30 July – 24 September 2016.

Following fieldwork within the distinctive spatial and social setting of the residential community in which Observation Society is situated in Guangzhou’s district of Haizhu, as well as further afield throughout the Pearl River Delta, this project has arisen from conversations and research undertaken by the artists over six months. Ihlein and Yeung’s conceptual approaches are informed by quasi-scientific methodologies of tracking and testing various dynamic systems of movement and stasis, control and disorder. Their aims as artists have little to do with producing knowledge in the traditional sense, but rather serve to propose poetic visual and gestural allegories that seek to illuminate everyday occurrences of material and spiritual transformations.

Trevor Yeung’s works are particularly concerned with manipulations of nature – as in his use of UV lighting, dehumidifying units and aquariums – to poetically propose connections between nature, the material world and their emotional import. Complementing this, Lucas Ihlein has extended his ongoing interest in Sydney’s more hidden and neglected natural waterways to that of Guanzghou. In his studied commitment to the idea of ‘drifting’ through landscapes, Ihlein’s psycho-geographies reveal often contradictory and chance encounters between human and natural imperatives at play in a delta that is also one of the most densely urbanised regions in the world. This artistic collaboration across themes and context is signaled by the project’s title: 海珠 (Haizhu) or ‘Sea Pearl,’ signaling a process of materiality – and even beauty – being forged through time; and 白雲 (Baiyun) or ‘White Cloud’, suggestive of interminable transience, while in a more practical sense being the name of the district in which Guangzhou’s international airport is located and where Trevor Yeung has sourced live fish and water for his works.

This project is supported by the City of Sydney with Observation Society’s exhibition opening being part of the official program of the City of Sydney and Guangzhou Municipality’s civic celebrations marking the 30th anniversary of their sister-city relationship. Having artistic collaboration at its heart – between individuals, organisations and cities – this exhibition builds on the links between cities while forging new modes of dialogue that reflect on our shared local, regional and global experiences.

Complementing the two-stage exhibition project 4A, with the support of the City of Sydney and Art Monthly Australasia, is pleased to announce Minerva Inwald as the recipient of the inaugural 4A Emerging Writer’s Project. Selected by a panel comprising Michael Fitzgerald, Editor, Art Monthly Australasia; Luise Guest, Director of Education & Research, White Rabbit Collection; and Pedro de Almeida, 4A Program Manager and Editor of The 4A Papers, Minerva will be an integral part of the project team, travelling to Guangzhou to undertake fieldwork as Observation Society’s exhibition unfolds, and later the exhibition in Sydney at 4A. Her research, including conversations with the artists, will see the publication of two critical texts that document the development, realisation and reception of the exhibitions, along with interviews with the artists and ongoing online content.





Lucas Ihlein (b. 1975, Sydney, Australia) is a Wollongong-based artist whose current work explores the relationship between socially engaged art, agriculture and ecological management. He is a founding member of artists’ collectives SquatSpace, Big Fag Press, and Teaching and Learning Cinema.Exhibitions include The Yeomans Project (with Ian Milliss), Art Gallery of New South Wales (2013-14); Green Bans Art Walk, The Cross Arts Projects & Big Fag Press, Sydney (2011); In the Balance: Art for a Changing World, Museum of Contemporary Art, Sydney (2010); There Goes the Neighbourhood, Performance Space, Sydney (2009); The Bon Scott Project, Fremantle Arts Centre, Perth (2008); and Bilateral, Australian Experimental Art Foundation, Adelaide (2002). He completed a PhD at Deakin University, Melbourne, in 2008 entitled Framing Everyday Experience: Blogging as Art, which won the Alfred Deakin Medal for best Doctoral Thesis in Humanities and Social Sciences. A recipient of numerous awards and artist residencies, in 2015 Ihlein was awarded a prestigious Australia Council for the Arts Fellowship for Emerging and Experimental Arts. He is currently an ARC DECRA Research Fellow at University of Wollongong, Australia.

Trevor Yeung (b. 1988, Guangdong Province, China) lives and works in Hong Kong. He graduated from the Academy of Visual Arts at Hong Kong Baptist University in 2010. Yeung’s practice uses botanic ecology, horticulture, photography and installations as metaphors that reference the emancipation of everyday aspirations toward human relationships. Solo exhibitions include No Pressure, Zürcher Hochschule der Künste, Zürich (2015); Garden Cruising: It’s Not That Easy Being Green, Blindspot Gallery, Art Basel Hong Kong (2015); That Dog at the Party, Gallery EXIT, Hong Kong (2014); and Trevor Yeung’s Encyclopedia, Observation Society, Guangzhou (2013). Group exhibitions include Adrift, OCT Contemporary Art Terminal, Shenzhen (2016); Peep Show, Long March Space, Beijing (2015); A Hundred Years of Sham – Songs of Resistance and Scenarios for Chinese Nations, Para Site, Hong Kong (2015); and Social Factory, 10th Shanghai Biennale, Power Station of Art, Shanghai (2014).


Minerva Inwald is a current PhD candidate in the Department of History, University of Sydney, whose research focuses on the history of the National Art Museum of China (NAMOC) between 1958 and 1989. Using Chinese-language primary sources to examine how exhibitions as this prestigious space were used to communicate ideas about the role of art in China in relation to conceptions of ‘the people,’ her research seeks to investigate broader questions of how art objects circulate in museum contexts, as well as outside museums such as in domestic, work and public spheres. Minerva graduated with Bachelor of Arts (Languages) Honours degree from the University of Sydney in 2012, and in the same year was awarded the Francis Stuart Prize for Asian Art History form the Department of Art History. She has contributed a number of papers at academic conferences in Sydney, Melbourne and Brisbane, and recently undertook an 8-month postgraduate exchange program at Beijing’s Central Academy of Fine Arts.

《海珠白雲》由兩家藝術機構合作策劃:位於悉尼唐人街中心的4A亞洲當代藝術中心,以及位於廣州的觀察社,中國最前沿的當代藝術空間之一。《海珠白雲》將展出駐悉尼藝術家Lucas Ihlein及駐香港藝術家楊沛鏗的新作,探討人情事物的暫時性、思想和情感交流的可能性及從當下城市生活產生的詩學等問題。這是4A與觀察社合作項目的首站,將在2016年六月2日至七月24日之間在廣州觀察社展出,項目的第二站將在2016年七月30日至九月24日在悉尼4A亞洲當代藝術中心展出。


兩位藝術家中,楊沛鏗的創作特別關注自然元素的運用,例如他會使用UV燈、抽濕機及水族器材,他的目的是以詩意的方式去提出自然、物質世界及其情感意義之間的聯系;而Lucas Ihlein則將他在悉尼的一個長期項目延續到廣州,他考察了城市中比較隱秘和不為人注意的河道 - 順著風景「漂流」,這是他致力於探討的藝術概念,他的心理地理學研究試圖反映在三角洲這種人口密集的地區,人與自然環境之間相互矛盾、不期而遇的關係。展覽的題目指向了這個藝術合作計劃的要旨:「海珠 」,即觀察社所處之區域的名稱,同時暗示了一種物質轉化之時間性及美;而「白雲」則是廣州另一區域的名稱,廣州機場的所在地,但它也意味着一種無法全然把握的變化,而且它也是楊沛鏗作品中一種觀賞魚的名字。


作為這個兩站合作展覽項目的延伸,4A得到了悉尼市政府及《Art Monthly Australasia》的支持,推出4A新銳藝術寫作獎,並宣佈首名獲獎助者為Minerva Inwald。本屆獎項的評審包括《Art Monthly Australasia》編輯Michael Fitzgerald、White Rabbit Collection教育及研究部主管Luise Guest及4A項目總監及《The 4A Papers》的編輯Pedro de Almeida。得獎者Minerva 將加入這次展覽項目的工作團隊,並赴廣州以考察廣州展覽的發生,及後亦會跟蹤悉尼站展覽的過程。根據考察、與藝術家的對話及研究,她將會寫成兩篇評論文章,以討論兩個展覽的構成、實踐及效果,期間亦會在網上發表相關的訪談及筆記。














Lucas Ihlein(1975年生於澳洲悉尼)現居卧龍崗市,他的創作涉及社會參與性藝術、農業及自然環境管理。他是藝術家小組SquatSpace、Big Fag Press及Teaching and Learning Cinema的創辦成員。他的展覽項目包括:《The Yeomans Project》(與Ian Milliss合作,新南威爾士美術館,2013-14年)、《Green Bans Art Walk》(The Cross Arts Projects & Big Fag Press,悉尼,2011年)、《In the Balance: Art for a Changing World》(悉尼當代藝術館,2010年)、《There Goes the Neighbourhood》(悉尼Performance Space,2009年)、《The Bon Scott Project》(柏斯Fremantle Arts Centre,2008年)及《Bilateral》(Australian Experimental Art Foundation,阿德來德,2002年)。在2008年,他在墨爾本迪肯大學獲得了博士學位,他的論文「框起日常經驗:博客作為藝術」獲得了Alfred Deakin 最佳人文及社科類博士論文獎;在2015年,他又獲得了澳洲藝術獎助局頒發的新銳實驗藝術獎。他現在是澳洲卧龍崗大學的ARC DECRA研究員。

楊沛鏗(1988年生於廣東省東莞市)現居香港,他於2010年畢業於香港浸會大學視覺藝術學院。楊採用植物生態,園藝,攝影和裝置來隱喻對人與人之間的關係而得到舒懷。個展包括《冇壓力》(蘇黎世藝術大學,蘇黎世,瑞士,2015年);《遊園:不太容易做綠色》(香港巴塞爾藝術展,刺點畫廊,香港,2015年)及《楊沛鏗的百科全書》(觀察社,廣州,中國,2013年)。聯展包括《他/她從海上來》(OCAT, 深圳,中國,2016年);《窺視秀》(長征空間,北京,中國,2015年);《土尾世界 - 抵抗的轉喻和中華國家想像》(Para Site藝術空間,香港,2015年)以及《社會工廠,第十屆上海雙年展》(上海當代藝術博物館,上海,中國,2014年)。


Minerva Inwald 現於悉尼大學歷史系攻讀博士學位,她的研究針對1958年至1989年之間北京中國美術館的歷史,探討歷史上在中國美術館這個尊貴地點舉行的展覽如果表達出藝術在中國的地位及藝術與「人民大眾」的關係,她研究的核心問題是在美術館語境中與在私人、工作及公共語境中藝術作品的流通。Minerva在2012年獲悉尼大學文學士學位,同年獲得悉尼大學藝術史學系的Francis Stuart 亞洲藝術史學獎。她曾在悉尼、墨爾本及布里斯本的學術會議上發表論文,現正在北京中央美術學院參加為期八個月的研究生交流計劃。