我 me: yipkaichuns (at) gmail (dot) com
Yip Kai Chun is an artist-curator born, bred and living in Hong Kong. His first two solo exhibitions were about his mother (Incomplete Finale, 2012) and father (voice from the root, reclaiming, 2015) respectively. It was the creation of these two works that (re)set him on the path of art making.
His artistic creation mostly investigates ‘origin’: family, identity, home district – that of his own often involved. He approaches these with research and documentation informed by cultural studies and ethnography. The resulting works are often mixed-media installations, with sound and language (spoken or written) being the two recurring elements. He always favours working outside of the white cube for the openness and possibilities.
As his art had been largely about his familiar surroundings of hometown, to reflect upon his practice in different social and cultural environments, he participated in residences in Georgia, Armenia, Portugal and Kyrgyzstan in 2016. Since then, he has become ready to engage with any localities with his interests in culture and history.
Yip studied Critical Intermedia Laboratory (2003-6) in the School of Creative Media, City University of Hong Kong, and Master of Cultural Studies (2006-8), Lingnan University, Hong Kong. He was awarded Special Mention, Media Art Category, The 21st ifva Media Art Exhibition, Hong Kong (2016). He is the winner of the 3rd VT Open Call, VT Artsalon, Taiwan (2016) and Open Call for Young Curators by Mur Nomade, Hong Kong (2015). Since 2011, he has been in the curatorial team of Microwave International New Media Arts Festival.
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I am intrigued by the things immediately around me: family, own identity, vicinity – matters of home and origin. My art shares my exploration of these matters; my art gives voice to personal and alternative histories. I am always for the locality.
From neglected local history (of the past generation of Chinese immigrants), overlooked banality (of Soviet residential buildings), to imaginary correlations (of scenes of my hometown in a distant village on another continent), I investigate them with research and documentation informed by cultural studies and ethnography. The research-based process determines the materials and the form of my works, which are often mixed-media installations. Sound and language (spoken or written) are two recurring elements in his works. I always favour working outside of the white cube for the openness and relationship to everyday life. Although the subjects and forms of my works are diverse, the concern about memory and history and the presence of my own experience are consistent.
Rather than objects, I consider my works as experiences for audience to actively engage and resonate. Audience often finds my works honest, intimate and spiritual. In fact, art is a way for me to (re)connect to people. With my art, I hope to unravel the taken-for-granted and neglected, recreate lost connections, and evoke possibilities and alternatives in daily life.
Curation is an extension of my artistic practice. In curation, I pose questions about and experiment with contemporary exhibition making, curatorship, and alternative space and happening models. I dissolve conventional boundaries — between different art forms, art making and curation, the traditional and the contemporary, and art and other disciplines.