This exhibition describes Hong Kong Cityscape

’When we go sightseeing, we always look on the scene, we just look on from a certain distance but don’t know we are in the midst of it’.

This exhibition is not describing a cityscape in a certain distance, and is not describing that we can’t bear in this the holy distance.  This is the unique scene of Hong Kong from 2019 to 2020.  This scene becomes a memory, we are in the midst of it and become part of the scene.  What we see in the scene is just a representation, covering our daily inside scenery.  The free way of drawing let a layer of cover be poked, the distance of scenery is put near our skin, the warmth becomes four seasons, the wound becomes a river.  An exit for this cityscape is needed and is flown from the daily frame.

The reconstruction of a society brings change, this is a collective reveal and it forms a collective wound.  We are facing the battle of confrontation and it forms a social structure.  “In terms of performance, artwork reveals itself as a wound of the society; the performance is the social enzyme of its autonomy.”

The inspiration of the artwork is from Selected Writings: vol. 4. in “Theses on the Philosophy of History of Walter Benjamin who talked about the paintings of Paul Klee (1879-1940). New angel stands here and now, ahead of the future and facing layers of ruins of the past, waiting for the salvation to come.  Salvation is here and now, standing here and now to review history and fragments of wound.  Waken up by the past and transform the fragmented memory so as to reflect the shining aura.  The artwork reveals Hong Kong’s scene from the viewpoint of new angel, e.g. combines buildings, natural landscape with imagination to detach this familiar structure.  Using the way of flowing abstract to disperse the strangeness in familiarity, signature buildings and symbols.  By destroying the signature and symbols, freedom is restored.  We are looking at Hong Kong and associating with places outside Hong Kong.

[1] 阿多諾著。《美學理理論(上冊)》（台北:美學書房，2000 年）。 第353頁

[2]《新天使》(Angelus Novus). 水彩(Watercolor)31.8X24.2cm, 耶路撒冷的以色列博物館(The Israel Museum, Jerusalem).

[3] 王人英 （2010）班雅明筆下的新天使密碼 《世安美學論叢系列 2008-2013：在現代性的廢墟上》第3頁 https://reurl.cc/m9eGlG