我 me: yipkaichuns (at) gmail (dot) com
葉氏於第二十一屆ifva獨立短片及影像媒體比賽（2016年）媒體藝術組獲特別表揚；其策展計劃亦於非常廟藝文空間「非常徵件」比賽（2016年），以及Mur Nomade徵集新晉策展人比賽（2015年）中勝出。他現正於The New Centre for Research and Practice就讀證書課程。
Yip Kai Chun is an artist-curator born and based 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.
Neglected history, culture and language of the localities are at the core of his research-based creations, which favour the components of sound, language (spoken & written) and found objects. He considers curation as an extension of his artistic creation. In curation, he poses questions about and experiment with contemporary exhibition and art happening making, curatorship, and alternative space and happening models. His involvement in several socially-engaged projects in recent years has nurtured his interest in the potentials of community, collective action, art and creativity.
He treasures the encounters and immersions in foreign countries as a chance to refresh his artistic practice and expand his imagination of the world. His artist in-residences in Armenia, Georgia, Kyrgyzstan and Portugal in 2016 and India in 2018 & 2019 have allowed him to dive into different localities and work with excitingly unexpected topics.
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). Yip is currently studying for the Certificate Programme of The New Centre for Research and Practice, USA.
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觀眾不時感到我的作品坦率、親密和着重內在。我深信，藝術是我與其他人深層溝通和連結的方式。相比事物之間的分別，我的作品着眼於事物之間的相似性和連繫 — 相似性和連繫，可以激發集體行動和改變。
Although my works address disparate topics and take various forms, they all focus on neglected language, history and culture of the localities wherever I situate. With this adaptability of locality, I have worked with a wide range of topics such as Soviet modernist architecture in the former Soviet states, imagined connection of a town in inland Portugal and my hometown Hong Kong, and the ignored indigenous Hakkanese language that I could have inherited from my father. My works expose and erode rooted perceptions and norms in these issues and invite audience to imagine alternatives.
I think of my works as stories — Narrativity is an essence in my works. I approach the topics from personal and micro perspectives with artistic research informed by ethnography. I then let the process decide the forms and media of the works, which are often mixed-media installations with the elements of sound, language (spoken & written) and found objects. Sometimes, my works draw reference from established entertainments such as chess and karaoke. My works have an approachable and rough demeanour, which can be fun and/or emotional. I always favour non-art venues and public space for their openness. Rather than art objects that demand audience to decipher, my works often encourage audience to interact with them, or with the other audiences.
Audience often describe my works as honest, intimate and spiritual. After all, I believe artistic practice is a way to communicate and connect. Instead of differences, my works highlight the interconnections and similarities among things, people and places, through which collective action and change may arise.
Curation is an extension of my artistic practice. At times, I imagine curation as another medium of my art. In curation, I question contemporary exhibition making, curatorship and alternative models of art happening. I blur the boundaries between different domains in art, art and non-art, the traditional and the contemporary, and artistic creation and curation.
(10 August 2021)