大普及//// 林漢堅抽象畫系列作品展

日期及時間 : 2-13/12/2011 (12:00-20:00)
地點 : JCCAC 藝術村 L0-畫廊及L7-12A MOST另類空闡

近年香港和亞洲、中東及非洲多個城市都經歷數十萬人上街，佔據公共空間挑戰少數政治權力的情境。政治真理或假象在城市發展過程上怎樣被人民巔覆或被權力強化?作品創作的策略試圖利用香港TVB陳志雲總經理的金句『真的假不了!』作起點，借藝術之名和公民之力邀請公眾在咫尺画布的合法公共空間中繪寫2.12.2011日發生的時事的是是非非；並對當下香港時事及中國歷史繪畫的美學接點，在城市媒體或公仔箱以外提供富存在意義的反思和討論…
林漢堅油畫創作連繫建築及多媒體並植根香港文化深層作全球思考。曾參展於廣州三年展、深圳建築雙年展等。論文發表於光州三年展塲刊、蘇格蘭《異》雜誌、麻省理工《MIT-LEA》、《饒宗頤文集》、西班牙ARCO藝術博覽會、China-art.com等。作品有AIG藝術基金會等收藏。林漢堅在香港及劍橋修讀藝術及建築，曾任博物館館長、區局文化博物館及西九MAG顧問、藝發局藝術教育委員會主席、南韓聯合國教科文文化交流組港區代表等。

Like many other cities in Asia, Africa and Middle-East, there is an urgency here with hundreds and thousands of people taking to the street and seizing public space to confront the ruling minority. In the course of city development, will the truth be invalidated because of power politics? The motto of HKTVB Manager Chan Chi Wen - “Truth cannot be falsified!” - is now translated into a series of paintings of Lam who stitches current events of Hong Kong with popular Chinese paintings. Visitors are invited to reflect their opinions on a court case which will be documented on 2 December, 2011 in Lam’s TV color test painting in the name of art and the power of citizenry. The painting incarnates Lam’s “Engaging Art Theory (EAT)”, taking TV critique as a deliberation of the value of art in such fabricated condition as painting space and serving as an alternative system of city for one to think and re-think of their urban existence.
LAM studied art and architecture in Hong Kong and Cambridge. He served some museums in Hongkong as curator; he was a member of West Kowloon Cultural District Museum Advisory Group, chairman of Art Education Committee of HK Arts Development Council, National Focal Point (HK) of UNESCO South Korea Cultural Office, etc. Lam’s art is structured around the idea of inviting the public to think/ re-think globally the cultural situation specific to a locality. His engaging visual practices cross-over the boundaries of art-design-architecture. He participated in the projects of Guangzhou Art Triennial, Shenzhen Biennale of Architecture, Hong Kong Biennale of Art (with Collective Happening), Okinawa Public Art Biennale, MAAP Media Art Festival, etc. His art writings were published in MIT-LEA Press, Variance, Gwangju Biennale, China-art.com, Taiwan Art 99, Anthology of Professor Jao Tsung-i, etc. His paintings were collected by AIG Art Foundation, etc.
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