Art history has generally been written on the basis of the history of works of art. It is rare to find a piece of historical writing that goes any further than the works themselves. To quote British artist and critic Liam Gillick, “the problem is that the whole question of the curatorial model is not being examined in the same way that artists have been encouraged to look at the classical ideas of the author and the ego over the last 30 years.” In an era increasingly dominated by the “white cube” phenomenon, an individual work should not be discussed without considering its production and exhibition context. The history of contemporary art should be rewritten through exhibitions, not only through an analysis of works.

This is a one-year research project instigated by wrongplace. In response to the proliferation of contemporary art exhibitions, we feel an urgent need for more reflection and discussion on the current state and direction of exhibition practice. By adopting such an unprecedented approach—to question the exhibition as a form and as a process—this project will not become just another exhibition but an experimental laboratory. Our primary goal is to invite curators, artists and like-minded people in the art field to question the assumption behind, and to explore new approaches to, the production, presentation and reception of contemporary art. Given that curatorial practice is not naïve or neutral - it determines what to be seen, we should question all elements related to exhibition making: from the concept to the display and catalogue; from the venue to the form and function of the exhibition; from the white walls to the seemingly trivial operations of sending out invitation cards, throwing an opening reception, and setting up the opening hours. We aim to visualize and make transparent the implicit exhibition making process, testing the limits of the exhibition medium that has largely been overlooked.

The project comprises four different but equally important exhibition experiments focusing on the study of curating. A research cluster has been formed at wrongplace, by art enthusiasts Janet Chan, Stella Fong, Selina Ho, Lee Chun Fung, Jeff Leungand Vivian Ting. As an individual case study, each experiment will be devised and led by different cluster members, making use of the same pool of existing works by six artists including Hanison Lau, Lee Kit, Ivy Ma, Tang Kwok Hin, Damon Tong and Justin Wongrepeatedly in four different experiments. The exhibition will be re-presented and rewritten from June to October 2010 with details as below:

Meanwhile, an experimental intervention platform will also be set up among the four exhibition experiments. Taking different approaches each time, our cluster member Janet Chan will create a critical interface dealing directly with the exhibition components to examine and question the methodology of the research experiment and its impact on the overall exhibition experience.

In brief, this project is less a curated exhibition than an exploration of possibilities. It is unconventional as it focuses on the exhibition practices, not the works and artists; it concerns the exhibition as a process rather than an end product. We envision these experiments to have more differences than similarities in their forms. We are not interested in self-reflexively foregrounding the curatorial framework, since such limited self-referentiality inevitably ends up privileging the curator. Instead, our intention is to reveal the phenomenon and significance of exhibition practices so as to generate possible dialogues for the future.

展覽實驗 ž 實驗展覽
由wrongplace主辦一系列四場展覽實驗

所有實驗都始於一個問題、一點疑惑。

一般來說，藝術史多建基於藝術品的歷史，鮮有文獻探討作品的展示等課題。正如英國藝術家及評論家 Liam Gillick 所說：「問題在於我們對整個策展模式議題的審視，跟藝術家在過去三十年間對『作者』以至『自我』的反思並不相同。」在「白盒子」（white cube）現象逐漸風行的時代，當代藝術史的編寫必須透過展覽，而非單純分析作品。討論藝術品而忽視其生產及展覽背景，往往未窺全豹。

為了回應當代藝術展的湧現，wrongplace 發起為期一年的研究計劃，反思和討論展覽實踐的現狀和發展方向。透過嶄新的方法─以展覽媒介質疑展覽的形式及產生過程。此計劃並非「另一場展覽」，而是一探索冒險的實驗平台。我們旨在邀請策展人、藝術家及藝術工作者，藉策劃展覽的生產、展示和觀眾接收等各方面探討當代藝術現有的框架，從而尋找藝術展覽的新方向。策展決定作品怎樣呈現，它並非單純、無立場的策劃工作。我們將思考所有展覽相關的元素：從概念到展示方式以至場刊編印；從場地以至展覽的形式及功能；從白色牆壁的運用到看似繁瑣的事務如邀請卡發放、開幕日及開放時間的考慮等。我們將隱秘的、多被忽略的策展過程透明化，測試展覽媒介的局限性。

此計劃由四場探討策展概念的展覽實驗所組成。wrongplace成立了一個由藝術愛好者組成的研究小組，成員包括：陳靜昕、方詠甄、何翠芬、李俊峰、梁展峰和丁穎茵。每項展覽實驗乃獨立專案，由不同成員主導及構思，運用同一批由藝術家劉學成、李傑、馬琼珠、鄧國騫、唐偉傑和黃照達所創作並曾展出過的作品，重覆四次於不同實驗中展出。這些作品將於2010年6月至10月期間被重新呈現及改寫，詳情如下：

與此同時，研究小組成員陳靜昕將採取不同的方法介入四場展覽實驗，審視每項研究議題與整體展覽經驗的關係。

是項計劃並非一場只具策展理念的展覽，而是一個探索不同可能性的機會。計劃的實驗性在於它對展覽本身的重視，而非側重於作品與藝術家；它重視展覽的過程，多於展覽的成果，同時期望四項實驗各自展現出不同的形式。我們無意強調每項實驗的策展框架，皆因自我參照只會無形間提升策展人的地位。反之，我們旨在揭示展覽策劃的過程及當中的意義，藉以為藝術家、策展人及觀眾提供更多交流。

Research Cluster

Janet CHAN graduated from The University of Hong Kong, Department of Comparative Literature and Department of Fine Arts in 2002. During her study, Chan worked at various local art and cultural institutions in Hong Kong. She continued her studies at The University of Hong Kong and obtained her Masters degree from the Department of Comparative Literature in 2004. In May 2007, Janet rejoined the Asia Art Archive as Research Coordinator.

Stella FONG joined the Heritage Museum in 1997 after graduating from the Fine Arts Department of The Chinese University of Hong Kong. She completed a graduate diploma in museum studies from the University of Sydney and earned an MA in curating contemporary art from the Royal College of Art in London in 2004. She was a curatorial intern of Liverpool Biennale and has taught at The Art School. In 2007, Fong has been awarded Asian Cultural Council Fellowship to conduct research on curating in USA.

Selina HO received an MA in Art Museum and Gallery Studies with distinction at University of Leicester in 2005 and an MA in Literary and Cultural Studies at The University of Hong Kong in 1998. As an independent curator, she has coordinated a number of contemporary art exhibitions, artists-in-residences and exchange programmes, including “Reality Reverse-Hong Kong artists exchange program in US”, “post-intervention art dialogue program” and “Re-orientation: Heritage x Art x Design”.

LEE Chun Fung graduated from the Department of Fine Arts of The Chinese University of Hong Kong in 2007. He has curated a number of exhibitions including “Hong Kong Anarchitecture Bananas” (2008) and “FENG YU PIAO YAO AI GUO SHI─art response to June 4th 20th anniversary” (2009). Lee is one of the members of the experimental community artspace: Wooferten, and he hosts an art critique programme in the community radio station FM101.

Jeff LEUNG graduated from the Department of Fine Arts of The Chinese University of Hong Kong in 2001 and obtained Professional Certificate in Arts Management, The Art School, Hong Kong Arts Centre in 2003. He has curated numerous shows, including “away” (2006) and “Dwelling” (2009). Leung also works as an art critic. Selected art writings include “Notes on the Phenomenon of Visual Art Exhibition in Hong Kong” (2005). Leung currently works at Hong Kong Arts Centre as project manager.

Vivian TING teaches Art Administration and Curatorship in the Academy of Visual Arts, Hong Kong Baptist University. Graduated from The Chinese University of Hong Kong, she did Museum Studies at the University of Leicester. Ting gained extensive curatorial experiences during her placements at the Museum of East Asian Art in Bath and the Bristol City Museum and Art Gallery where she had been involved in researching Chinese collection and museum collecting policy, curating exhibitions and conducting audience surveys.  

Participating Artists 

Hanison LAU currently works as an artist and the part-time lecturer at The Art School, Hong Kong Arts Centre. Lau received a BA (Fine Arts) from the RMIT University in 2005 and received a MA (Fine Arts) at RMIT in 2007. In 2007, The Hong Kong Art Promotion Office selected him for its “Artists in Neighborhood Scheme II”. Within the same year, he took part in the Artist-in-Residence project in Portland, USA.

LEE Kit pursued his MA (Fine Arts) in the Fine Arts Department, The Chinese University of Hong Kong in 2006. He participated in numerous international exhibitions including “Hands” (Milan, 2010); “Suit-case” (Palermo, 2009); “Some Rooms” (Shanghai, 2009); “Louis Vuitton: A Passion For Creation" exhibition (Hong Kong, 2009); “Friends of the Divided Mind” (London, 2009), etc. Lee has been the Finalists of Sovereign Asian Art Prize 2009-10.

Ivy MA attained her BA (Fine Arts) from Royal Melbourne Institute of Technology (RMIT) / The Art School, Hong Kong Arts Centre in 2001 and the MA Degree in Feminist Theory and Practice in the Visual Art University of Leeds, UK in 2002. She received scholarship from the Hong Kong Arts Development Council in 2001 and has awarded Lee Hysan Foundation Fellowship from Asian Cultural Council to take part in residency program in the United States in 2008-2009.

TANG Kwok Hin received his MA (Fine Arts) from The Chinese University of Hong Kong in 2008 and BA (Fine Arts) in 2006. In parallel with the work as a part-time visual arts teacher at the HKICC Lee Shau Kee School of Creativity, Tang also works as an independent curator and writer. His works have been widely shown in various exhibitions in Hong Kong. Tang was the winner of the Hong Kong Contemporary Art Biennial Awards in 2009.

Damon TONG obtained his BA (Fine Arts) from Royal Melbourne Institute of Technology (RMIT) / The Art School, Hong Kong Arts Centre in 2008 with a major in painting. He served as exhibition co-ordinator for “White Tube” of Hong Kong Art School between 2005 and 2009. On the same year at 2009 he and his friend together established “Rental United”, a collective which focuses on collaborative experimentation. He focuses on connections between segmentation and domestic objects through repetitive arrangement of paintings.

Justin WONG received his BA (Fine Arts) in The Chinese University of Hong Kong in 1996 and his MA (Interactive Digital Media) in London. After graduation, he participated in the Ars Electronica award-winning web project, Last.fm. Upon his return to Hong Kong in 2004, he taught in the School of Creative Media at City University of Hong Kong. In 2007, he started his comic column in Ming Pao Daily. Wong currently teaches at the Academy of Visual Arts in Hong Kong Baptist University.

研究小組：

陳靜昕 畢業於香港大學比較文學系及藝術系，在學期間曾參與多間本地文化機構的研究工作，包括亞洲藝術文獻庫、香港藝術中心藝術學院、香港電影資料館及香港大學亞洲研究中心等。陳氏現於亞洲藝術文獻庫擔任研究統籌工作。

方詠甄 畢業於香港中文大學藝術系，後加入香港文化博物館工作。期間修畢澳洲悉尼大學博物館學文憑課程，2004年獲頒英國皇家藝術學院當代藝術策展學碩士學位，曾於利物浦雙年展實習及擔任香港藝術學院兼任導師。2007年獲亞洲文化協會獎助金赴美交流策展經驗。

何翠芬 先後於2005年及1998年取得英國萊斯特大學藝術博物館學碩士及香港大學文學及文化研究碩士課程。回港後，何氏籌劃不少當代藝術展覽、藝術家駐場及國際藝術家交流計劃，包括：《逆向．現實》、《後介入﹕藝術對談計劃》及《擺渡﹕港文化．港創意藝術展》等。

李俊峰 於2007年畢業於香港中文大學藝術系，其後從事創作、教育及展覽策劃工作。他曾策劃的展覽包括：《香港建築傷憐展》(2008)及《風雨飄搖愛國時》年青藝術家六四展(2009)。李氏現為上海街社區實驗藝術中心「活化廳」成員，亦是社區電台FM101的藝評節目主持。

梁展峰 於2001年畢業於香港中文大學藝術系，2003年修畢於香港藝術中心藝術學院藝術行政專業文憑課程。他曾策劃及統籌多項展覽，包括《斗室》（2009)及《出走》(2006)，曾發表文章包括「展覽之後，繼續展覽─本地視藝展覽文化隨筆」(2005)。梁氏現為香港藝術中心項目經理。

丁穎茵 畢業於香港中文大學歷史系，後赴英修讀博物館學，在學期間曾於布里斯托巿立博物館、巴斯東亞藝術博物館、樸茨茅斯巿立博物館等工作，並參與籌劃多個有關中國藝術的展覽。丁氏現於浸會大學視覺藝術學院，任教藝術行政管理、策展理論等科目。

參與藝術家：

劉學成 2005年取得澳洲皇家墨爾本大學藝術學士學位，2007年完成該校的藝術碩士學位。自2003年起，劉氏積極參與多個聯展。2007年被選為香港藝術推廣辦事署「藝遊鄰里計劃」的藝術家之一。2008年於美國波特蘭參與駐場藝術創作。現為香港藝術學院兼任講師。

李傑 於2006年入讀香港中文大學藝術系藝術碩士課程。作品曾於各地展覽展出，包括：《手》(米蘭，2010)、《手提箱》（巴勒莫，2009) 、《Some Rooms》(上海，2009)、《路易威登：創意情感》（香港，2009)及《Friends of the Divided Mind》(倫敦，2009)等。李氏於2009年入圍傑出亞洲藝術獎之優秀入圍作品。

馬琼珠 於2001年在皇家墨爾砵理工大學及香港藝術學院取得藝術學士學位，同年獲頒香港藝術發展局獎學金，並於2002年於英國列兹大學取得碩士學位。於2005年至06年間分別為香港藝術學院及香港兆基創意書院兼任導師。2007年，馬氏獲亞洲文化協會獎助金赴美實習及考察一年。

鄧國騫分別於2008及06年取得香港中文大學藝術系藝術碩士及文學士。作為混合媒介藝術家同時，鄧氏在兆基創意書院當客席視覺藝術導師，兼作獨立撰稿及策展人。作品曾於香港不同場地展出。2009及05年分別獲香港當代藝術雙年獎優秀獎及夏利豪基金會藝術比賽入圍。

唐偉傑 於2008年畢業於皇家墨爾本理工大學及香港藝術學院合辦之文學學士學位課程。2005至09年擔任香港藝術學院畫廊「白管子」展覽統籌。2009年與友人成立「夾租團」，以合作形式進行各種實驗創作。唐氏專注利用繪畫及覆數陳列探索關於分段與生活物類之間所存在的種種聯繫。 

黃照達 於1996年畢業於香港中文大學藝術系，2002年於倫敦修畢互動數碼媒體碩士課程，曾參與創作於2002年奧地利 Ars Electronica電子藝術節獲獎的網站 Last.fm。2004年回港後於香港城市大學創意媒體學院出任導師。2007年於《明報》連載其漫畫專欄。黃氏現為香港浸會大學視覺藝術院任教。

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