Asia Art Archive collaborates with Guangdong Times Museum as for ‘The Man Who Never Threw Anything Away’, an exhibition that explores how expanding and expansive notions of archives have shaped contemporary artistic practices. It also considers how our material and virtual processes of building relationships and acquiring knowledge have been transformed in the digital age.
Hong Kong-based independent curator Leo Li Chen was appointed as Research Curator to explore, curate, and present materials from the Ha Bik Chuen Archive. An artist primarily known as a sculptor and printmaker, Ha Bik Chuen (1925–2009) amassed an archive informed by his parallel practices: from photographing exhibitions he attended, to collecting materials such as illustrated magazines and artist portraits, and using these to construct book collages. Chen’s research for Guangdong Times Museum is supported through an AAA residency at the Ha Bik Chuen Archive.
AAA Researcher Michelle Wong will also give a talk at the museum on 12 Feb 2017 titled ‘The Sea of Learning is Infinite: Ha Bik Chuen and His Practice’, which considers the role of the archive and the act of archiving as means of self-teaching.
‘The Man Who Never Threw Anything Away’ is the final chapter in the Times Heterotopia Trilogy, a series of projects—including ‘A Museum That Is Not’ (2011) and ‘You Can Only Think About Something If You Think of Something Else’ (2014)—that explore the role an art institution may play in society’s complex and diverse realities, histories, and futures.
The Ha Bik Chuen Archive Project is an ongoing, three-year research project initiated by AAA in 2016. It comprises a continuously growing digital collection of materials, workshops, residencies, and fellowships that catalyse new ideas and knowledge by opening up, activating, and circulating materials from the Ha Bik Chuen Archive.
The Ha Bik Chuen Archive Project (2016–2019) is supported by the Hong Kong Jockey Club.
Recommended Materials and Reading
Andrews, Judith, and Derek Law, Digital Libraries: Policy, Planning and Practice, Ashgate, Aldershot, 2004. REF.ANJ3
Balanguer, Menene Gras, Digital Narratives and Image Technologies, Ministry of Education, Culture and Sports, General Division for the Promotion of the Fine Arts, Casa Asia, Spain, 2012. REF.BMG2
Brouwer, Joke, and Arjen Mulder, eds., Information is Alive: Art and Theory on Archiving and Retrieving Data, V2_Publishing/NAI Publishers, Rotterdam, 2003. REF.BRJ
Cattle Depot Artist Village Results Announcement, Clara & Gum (C & G), 2005.
Chan, Gaylord, ‘Grandpa-Ha; Ha Bik-Chuen’, in Explorer: The Art of Ha Bik-chuen, Artrend Investment, Hong Kong, 2004.
Chan, Yukkeung Kurt, ‘Ha Bik-chuen: A Self-made Artist’, in Hong Kong Visual Arts Yearbook 2009, eds. Chan Laikuen, Chan Yukkeung Kurt, and Carmi Kaman Lam, Department of Fine Arts, The Chinese University of Hong Kong, Hong Kong, 2009.
Ernst, Wolfgan, Digital Memory and the Archive, University of Minnesota Press, Minneapolis, 2013. REF.ERW
From Common to Uncommon: The Legend of Ha Bik-chuen, Hong Kong Museum of Art, Hong Kong, 2011.
香港藝術館，《非常藝術家:夏碧泉傳奇》， 2011。 MON.HBC
‘Ha Bik Chuen: Guided Tour by the Artist’, Asia Art Archive, 2004.
亞洲藝術文獻庫，《夏碧泉： 藝術家導賞》，2004。 CDAAA.000339
Lam, Carmi Kaman, ed., Celebrating 40 Years of Hongkong Art, Hong Kong Visual Arts Society, Hong Kong, 2013.
Shaffner, Ingrid, and Matthias Winzen, Deep Storage: Collecting, Storing, and Archiving in Art, Haus der Kunst, 1998. EXL.USA.DSC
Wong, Wucius, ‘Introduction: The Art of Ha Bik-Chuen’, in Explorer: The Art of Ha Bik-chuen, ed. Lui Fungngar Eddie, Artrend Investment, Hong Kong, 2004.
- Collection Spotlight
- Fri, 6 Jan 2017