Shirley Tse. Playcourt (detail), 2019–2020. Installation view of Shirley Tse: Stakeholders, Hong Kong in Venice, 2019.
Courtesy of M+ and the artist. Photo: Ela Bialkowska, OKNOstudio
The exhibition of work by respected Los Angeles–based Hong Kong artist Shirley Tse follows the widely acclaimed Hong Kong participation in the 58th International Art Exhibition – La Biennale di Venezia. The exhibition is co-presented and co-promoted by M+, at the West Kowloon Cultural District, and the Hong Kong Arts Development Council.
1 July–1 November 2020
M+, at the West Kowloon Cultural District, and the Hong Kong Arts Development Council (HKADC) are pleased to co-present Shirley Tse: Stakes and Holders, an exhibition that renews and responds to Shirley Tse: Stakeholders, Hong Kong in Venice, Hong Kong’s presence at the 58th Venice Biennale, in 2019. The Venice exhibition drew more than 102,000 visitors during its six-month run, and was widely acclaimed by the public and the international media. The exhibition in Hong Kong, held at the M+ Pavilion, includes new configurations of Shirley Tse’s site-responsive installations.
Over the past two decades, the Los Angeles–based Hong Kong artist Shirley Tse has addressed the various meanings and possible interpretations of materials and things. Her sculptural practice has evolved from considering plastics as the prime signifier of globalisation through circulation, standardisation, and industrialisation to examining plastic as an adjective, and the resonance of plasticity, movement, and multiplicity in contemporary society. Shirley Tse: Stakes and Holders comprises two installations: Negotiated Differences and Playcourt. In each work, Tse mediates contrasting materials with processes to reflect on interconnections in a pluralistic world. Using sculpture as a mode of multidimensional thinking, she emphasises negotiation as a fundamental component of living in contemporary societies. The ever-changing social and material landscape of Hong Kong is an enduring source of inspiration for Tse, and the exhibition at the M+ Pavilion, curated by guest curator Christina Li, foregrounds the city’s dynamic relationships and unique conditions of negotiation.
Negotiated Differences is a sprawling, rhizome-like installation of 3D-printed joints and hand-turned wooden forms that stretches across the pavilion’s spaces, drawing attention to aspects of the architectural design. Balusters, handrails, bowling pins, and abstract objects are connected by wooden, metal, and plastic elements, bringing together craft, mechanical, and digital technologies into an integrated whole. For the Hong Kong installation, new wooden components are included that refer to the city’s contemporary material culture. The COVID-19 pandemic prevented the artist and the guest curator from participating in the installation of the work in person. It is installed through extensive conversation between the artist in Los Angeles, the guest curator in Amsterdam, and the M+ curatorial and installation team in Hong Kong. The exercise in improvisation draws out the responsiveness that is at the core of Tse’s approach and amplifies the urgency of negotiation and change in the way we work and live. If the new working and travel conditions permit, the artist and the guest curator will consider the possibility of travelling to Hong Kong at a later point during the exhibition period to carry out a reconfiguration of Negotiated Differences. This potential second reconfiguration embraces the uncertainty of the present moment.
Playcourt comprises sculptural amalgams of equipment and anthropomorphic forms, as well as radio antennas that pick up local non-commercial frequencies. The work emphasises the negotiation between people and space that is a fundamental component of play. This negotiation is at the heart of Stakes and Holders; the exhibition encourages us to connect across differences while exercising our agency as individuals, to recognise with empathy and sensitivity what is at stake and the extent to which we are all stakeholders.
Suhanya Raffel, Museum Director, M+, commented on the significance of Shirley Tse: Stakes and Holders for M+: ‘This exhibition marks the fourth collaboration between M+ and HKADC for Hong Kong’s participation at the Venice Biennale. As with the previous collaborations, we present an exhibition in Hong Kong to allow local audiences to encounter important Hong Kong contemporary artistic practices. I extend my thanks to Shirley Tse and Christina Li for their flexible, responsive collaboration, as we navigate the challenges the COVID-19 pandemic has posed for our ways of working. This unprecedented situation has become an opportunity for us to define new modes of conversation and connection across distances. For M+, this exhibition of work by Shirley Tse is particularly significant, as it is the last exhibition to be held at the M+ Pavilion, before the opening of the M+ building, our permanent home.’
Wilfred Wong, Chairman of HKADC, welcomed another successful collaboration between M+ and HKADC: ‘M+ and HKADC have been collaborating together in participating in the past four editions of the Venice Biennale to showcase the vitality and diversity of our Hong Kong artists to international audiences. We are proud to witness Shirley Tse’s success at the Venice Biennale, and hope that the return exhibition will facilitate Hong Kong audiences to appreciate her work and generate a new source of inspiration.’
Doryun Chong, Deputy Director, Curatorial, and Chief Curator, M+, Consulting Curator of the exhibition, commented on the resonance of Shirley Tse’s work: ‘We are pleased to continue to work with Shirley Tse and Christina Li on this project. Shirley Tse: Stakes and Holders allows audiences in Hong Kong to explore and reflect on individual agency and how collective endeavour can help us understand the world and connect across differences. Now more than ever before, in Hong Kong and around the world, thinking of this kind is crucial.’
Christina Li, Guest Curator of the exhibition, articulated the importance of the Hong Kong presentation in terms of Shirley Tse’s body of work: ‘Shirley Tse has explored the concept of plasticity throughout her career, in a range of contexts. With its presentation in Hong Kong, this exhibition both affirms her place in the landscape of Hong Kong contemporary art and expresses the resonance of her work across contexts, beyond the traditional categories of global and local.’
Shirley Tse added: ‘I am very grateful for the opportunity to present this work in Hong Kong. Situating the installations in a new context allows for new connections and new conversations between the site and the audience. I hope viewers will be inspired to see negotiation, play, and agency in a new light, and curious about various possibilities in our contemporary moment, both in Hong Kong and far beyond.’
To accompany the exhibition, M+ will present a series of events, including an online conversation with the artist, workshops, and a series of thematic and curator-led online tours.
Shirley Tse: Stakes and Holders is curated by Christina Li, Guest Curator; with Doryun Chong, Deputy Director, Curatorial, and Chief Curator, M+, as Consulting Curator, assisted by Olivia Chow, Assistant Curator; and Maggie Yim, Curatorial Assistant.
|Graphic design:||Geoff Han and Julie Peeters|
|Dates:||1 July–1 November 2020|
|Opening hours:||11:00am–6:00pm, Wednesdays to Sundays and on public holidays|
|Location:||M+ Pavilion, Art Park, West Kowloon Cultural District|
The hotel partner of Shirley Tse: Stakes and Holders is Hotel ICON.
Exhibition opening video launch details
|Date:||30 June 2020 (Tuesday)|
Please join the conversation on Twitter (@mplusmuseum), Facebook (https://www.facebook.com/mplusmuseum), and Instagram (@mplusmuseum) with the hashtags #ShirleyTse #Stakesandholders
About Shirley Tse
Hong Kong–born, Los Angeles–based artist Shirley Tse (b.1968) works in the mediums of sculpture, installation, photography, and text. She at once deconstructs the world of synthetic objects that carry paradoxical meanings and constructs models in which differences might come together. To visualise heterogeneity, Tse conflates different scales, fuses the organic with the industrial, moves between the literal and the metaphorical, merges narratives, and collapses the subject and object relationship.
Tse received a Master of Fine Arts degree from Art Center College of Design, Pasadena, California, and a Bachelor of Arts degree from the Chinese University of Hong Kong Department of Fine Arts. Her work has been exhibited at venues including the Pasadena Museum of California Art (2004/2017); Osage, Hong Kong (2010/2011); K11, Hong Kong (2009); Kettle’s Yard, University of Cambridge (2009); the Museum of Modern Fine Art, Minsk (2006); the Herbert F. Johnson Museum of Art, Cornell University (2005); Para Site, Hong Kong (2000/2005); the Kaohsiung Museum of Fine Arts (2003); the Art Gallery of Ontario, Toronto (2002); the Bienal Ceará América, Fortaleza (2002); the Biennale of Sydney (2002); Capp Street Project, San Francisco (2002); the Institute of Contemporary Art, Boston (2002); MoMA PS1, New York (2002); the New Museum, New York (2002); Palazzo dell’Arengo, Rimini (2002); the San Francisco Museum of Modern Art (2001); TENT, Centrum Beeldende Kunst Rotterdam (2001); and Govett-Brewster Art Gallery, New Plymouth, New Zealand (2000). Her work is featured in many articles, catalogues, and other publications including Akademie X: Lessons in Art + Life (2015) and Sculpture Today (2007).
Tse received the John Simon Guggenheim Memorial Foundation Fellowship in 2009 and has been on the faculty at California Institute of the Arts since 2001, where she is the Robert Fitzpatrick Chair in Art.
About Christina Li
Christina Li is a curator and writer working between Hong Kong and Amsterdam. She was the Curator-at-Large at Spring Workshop, Hong Kong, where she served as the Director between 2015 and 2017. At Spring, she curated, among other projects, A Collective Present (2017), Wu Tsang: Duilian (2016), and Wong Wai Yin: Without Trying (2016). Her exhibition Dismantling the Scaffold (2018) was the inaugural exhibition at Tai Kwun Contemporary, Hong Kong. As a writer, she has contributed to publicatons including Artforum, Art Review Asia, LEAP, Parkett, Spike, and Yishu Journal of Contemporary Art. She was the curator of Shirley Tse: Stakeholders, Hong Kong in Venice, Hong Kong’s participation at the 58th Venice Biennale (2019). She was recently named curator of the Pavilion of Finland at the 59th Venice Biennale (2022).
About Doryun Chong
Doryun Chong is the Deputy Director, Curatorial, and Chief Curator of M+, a new museum of visual culture in Hong Kong’s West Kowloon Cultural District. Appointed as the inaugural Chief Curator in 2013, Chong oversees all curatorial activities and programmes, including acquisitions, exhibitions, learning and public programmes, and digital initiatives encompassing the museum’s three main disciplinary areas of design and architecture, moving image, and visual art. Some of the exhibitions he has curated or co-curated at M+ include Mobile M+: Live Art (2015); Tsang Kin-Wah: The Infinite Nothing, Hong Kong in Venice (2015); Samson Young: Songs for Disaster Relief World Tour (2018); and Noguchi for Danh Vo: Counterpoint (2018). Prior to joining M+, Chong worked in various curatorial capacities at the Walker Art Center in Minneapolis (2003–2009) and the Museum of Modern Art, New York (2009–2013).
M+ is a museum dedicated to collecting, exhibiting, and interpreting visual art, design and architecture, moving image, and Hong Kong visual culture of the twentieth and twenty-first centuries. In Hong Kong’s West Kowloon Cultural District, we are building one of the largest museums of modern and contemporary visual culture in the world, with a bold ambition to establish ourselves as one of the world’s leading cultural institutions. Our aim is to create a new kind of museum that reflects our unique time and place, a museum that builds on Hong Kong’s historic balance of the local and the international to define a distinctive and innovative voice for Asia’s twenty-first century.
About the West Kowloon Cultural District
The West Kowloon Cultural District is one of the largest and most ambitious cultural projects in the world. Its vision is to create a vibrant new cultural quarter for Hong Kong on forty hectares of reclaimed land located alongside Victoria Harbour. With a varied mix of theatres, performance spaces, and museums, the West Kowloon Cultural District will produce and host world-class exhibitions, performances, and cultural events, providing twenty-three hectares of public open space, including a two-kilometre waterfront promenade.
About the Hong Kong Arts Development Council
Established in 1995, the Hong Kong Arts Development Council (HKADC) is a statutory body set up by the Government to support and promote the development of 10 major art forms in literary arts, performing arts, visual arts as well as film and media arts in Hong Kong. Its major roles include grant allocation, policy and planning, advocacy, promotion and development, and programme planning. The mission of HKADC is to plan, promote, and support the broad development of the arts including literary arts, performing arts, visual arts as well as film and media arts in Hong Kong. Aiming to foster a thriving arts environment and enhancing the quality of life of the public, HKADC is also committed to facilitating community-wide participation in the arts and arts education, encouraging arts criticism, raising the standard of arts administration, and contributing on policy research.