监制:Diana Wan


    Sugar art is the art of making centrepieces or sculptures entirely with sugar or sugar derivatives. The finished works can be both edible and decorative. Sugar art is said to date back to at least 3,500 BC in Egypt and possibly even further to 4,000 BC in Papua New Guinea when islanders in Papua New Guinea cut sugar cane for its sap. It was highly popular in Europe in Medieval times, and also has a long history in China, We’ve been talking to one man in Cheung Chau who makes sugar art, and he is known as the Sugarman.

    In 2007, two years before she died, former nanny Vivian Maier failed to keep up payments on storage space she had rented in Chicago. The goods she’d stored were auctioned. Three individuals bought some of her possessions, most going to John Maloof. They included 150,000 photographs, negatives, prints, hundreds of rolls of film, home movies, and audio interviews. John Maloof eventually discovered more about her only after reading a notice of her death in March 2009. Maier was born in New York City to an Austrian father and a French mother. She was unknown as a photographer during her lifetime, keeping her work to herself, but the images she had stored soon revealed her to have been a rare artist, specialising in capturing the life she saw on the streets. She sometimes even photographed herself. You can currently see a series of her self-portraits at f22 foto space as part of Le French May Arts Festival.

    “Jazz in the Neighbourhood” is a series of concerts funded by the government’s Venue Partnership Scheme. The organisers aim to promote jazz performances and educational programmes in Tsuen Wan Town Hall over the coming four years. The opening concert is next week, with guitarist Eugene Pao headlining. He is also releasing his first studio album in over 20 years. Joining him right now to tell us more are Clarence Chang and pianist Ted Lo, who’s also having a new solo album.

    联络: wanyt@rthk.hk


    • MOA x Capodimonte:

      MOA x Capodimonte: "The Road to the Baroque", Christopher Ku@Illuminati & in the studio: pianist Jason Wong

      With many Covid travel restrictions remaining in place, taking a summer vacation, or enjoying art outside of Hong Kong, can still be a challenge this year. But if you are a lover of European art, a current exhibition of Baroque and pre-Baroque masters at the Hong Kong Museum of Art may be a breath of fresh air.

      "Painting of Reverberation” is a two-part exhibition by Christopher Ku at Illuminati Fine Art. Ku says he sees his work as being like “reincarnation; it looks back at everything that has happened without any contention”. The first part of the show, the “Reverberation” series, ended on 15th July. Currently on show is the second part, the “Semantic Construction” series, which focuses on the future of painting, keeping the creative process alive, and being innovative.

      Pianist Jason Wong trained under Gabriel Kwok, Head of Keyboard Studies at the Hong Kong Academy for Performing Arts. Awarded a full scholarship, he went on to further his studies at the Royal College of Music in London. As a classical pianist, he has already garnered many international prizes and made his debut at the Weill Recital Hall of Carnegie Hall in New York in 2017. He recently returned to Hong Kong from his studies. A few weeks ago, before Ben Pelletier left for his summer break, he came to our studio.

    • Porcelain artist Lam Duen Shan Ming, “Nothing Like the Taste of Print”@Hanart & in the studio: Saxophonist Timothy Sun

      Porcelain artist Lam Duen Shan Ming, “Nothing Like the Taste of Print”@Hanart & in the studio: Saxophonist Timothy Sun

      Guangzhou painted porcelain or Guangcai is hand-painted glazed porcelain developed by Guangzhou craftsmen in the Qing dynasty. At the time, Guangzhou was the only trading port in China open to other countries, and the porcelain, designed for overseas markets, was designed as an export product that combined elements from Eastern and Western cultures. Its production was once a major export industry, but today there are fewer than a hundred masters remaining in Guangzhou, and less than a handful in Hong Kong. And not many young people are interested in learning the traditional skills.

      On show at Hanart TZ Gallery, the group exhibition “Nothin’ Like the Taste of Print” features 21 emerging Hong Kong printmakers who work with varied techniques that include relief printing, intaglio, and stencil. Organised in collaboration with printmaking studio MarblePrintClay, the exhibition examines the semantic aspects of the term “print” itself, including the activity of printing, and the different creative approaches and techniques adopted.

      Timothy Sun studied saxophone and clarinet at the Guildhall School of Music and Drama. Today he’s well recognised in Hong Kong, Macau and internationally. As a chamber musician, he has performed at the Carnegie Hall, Wigmore Hall and the Barbican Centre. He has also collaborated with dancers, choreographers and multimedia artists. Next month, he is launching his debut solo album of ten new songs composed by local composers and an accompanying concert. He’s here with me now.

    • Theatre group “Rooftop Productions, Caleb Fung@Lumenvisum & in the studio: Windpipe Chinese Music Ensemble

      Theatre group “Rooftop Productions, Caleb Fung@Lumenvisum & in the studio: Windpipe Chinese Music Ensemble

      Rooftops, particularly those in old buildings or Tong Lau have long played an important role in Hong Kong’s culture. In the past they were used for schools, as sites of illicit residential huts, as well as venues to simply hang out, barbeque, or dry laundry. The ubiquity and versatility of Hong Kong’s low-rise rooftops provided the inspiration for two young theatre practitioners to name their own theatre group “Rooftop Productions”.

      Some of Hong Kong’s banyan trees, at over a century old, are older than most of its buildings. Some, planted in masonry walls, have helped to strengthen structures and prevent landslides since the 19th century. Caleb Fung combines traditional and innovative techniques of photography to record some of these so-called stonewall trees, incorporating technology such as photogrammetry and augmented reality. You can see his work at Lumenvisum until the end of this month.

      Founded in 2003, The Windpipe Chinese Music Ensemble focuses on musical genres and the repertoire of the Southern China Cantonese, Chaozhou and Hakka traditions.
      The ensemble performs sizhu music, a term that literally means “silk and bamboo”, and that describes the materials use to make traditional Chinese string and wind instruments in the Jiangnan region. They are with me now to tell us more about an upcoming concert highlighting music from Guangxi and Guangdong through two legendary characters: martial arts master Wong Fei-hung and Guangxi folk singer, Liu Sanjie or “Third Sister Liu”.

    • Chinese seal artist Thomas Kong, photography by Chun Wai@HKU Museum & in the studio: The Young Pro Platform

      Chinese seal artist Thomas Kong, photography by Chun Wai@HKU Museum & in the studio: The Young Pro Platform

      Later in this week’s show, a trio of players from the Hong Kong Academy for the Performing Arts will tell us about a series of unconventional chamber music recitals that’s running from the end of this month to October at the Xiqu Centre Tea House Theatre. But before we head to that Chinese tea house to hear Western chamber music, we’re going to look at a Chinese tradition in the studio of seal artist Thomas Kong. Kong might use traditional seal carving techniques and red ink, or cinnabar paste, in his works, but he also incorporates many contemporary elements and styles.

      Photographer Chun Wai studied at the Ecole superieure dex beaux-arts de Mulhouse in France. He returned to Hong Kong to work in 1993, but during his time in France in the 1980s and 1990s, he took many photographs of the streets and alleys of Paris, including its museums, galleries, and flea markets. He says the experience taught him that as an art, even photography is subject to the effects of time. On show at the University of Hong Kong Museum and Art Gallery until the end of September as part of Le French May Arts Festival, “Adrift in Time” is an exhibition of photographs and images of France that have been stored away for thirty years. Some of the negatives have deteriorated to the point that the original images are no longer recognisable. They have become tangible illustrations of the passing of time.

    • The Works Series 21 #15

      The Works Series 21 #15"Our Living Library” at Oil Street Art Space, William Tong@Dot Dot Dot Gallery & in the studio: guitarist & songwriter Kevin Guffy

      In 2019, the Oil Street Art Space in North Point initiated an expansion project that allowed it to integrate an adjacent open space of over 3,000 square metres with the original premises. The extension, which includes a new two-storey building, is now complete and the art space has launched a series of exhibitions and public engagement activities.

      The sea doesn’t just provide inspiration for musician Olivier Cong, but also for local artist William Tong. It’s the central subject of an exhibition of his work that’s on show until the end of next week at Dot Dot Dot Gallery. Having lived on one of Hong Kong’s outlying islands for five years, Tong likes to create imaginary vessels and buildings out of ocean waste. He says that living on the island inspires him to be more in touch with nature and that picking up materials from ocean waste to create his three dimensional work is like treasure hunt for him. Divided into two parts, the exhibition showcases paintings and sculptures related to the ocean and to human behaviour.

      Ever since he was a child, the guitar has been Kevin Guffy’s go-to instrument. At 21, he hit the road with the vocal group The Inkspots. He’s also performed with – among others - country singer Ferlin Husky, and the blues rock and roll group, The Coasters. Later, he took up song writing and formed his own band. Guffy’s been based in Hong Kong since 2006, where he performs, writes, and teaches. He’s with us right now to tell us more about his musical journey.

    • The opening of Hong Kong Palace Museum, “31 Women”@10 Chancery Lane Gallery & in the studio: jazz band Fair Oaks Group

      The opening of Hong Kong Palace Museum, “31 Women”@10 Chancery Lane Gallery & in the studio: jazz band Fair Oaks Group

      Eight months after the opening of M+ museum in the West Kowloon Cultural District, the public had its first chance to visit the Hong Kong Palace Museum starting this month. With its capital cost provided by a HK$3.5 billion donation from The Hong Kong Jockey Club, the seven-storey museum is to showcase more than 900 items from the Palace Museum in Beijing.

      In 1943, Peggy Guggenheim presented “Exhibition by 31 Women” at her Art of This Century gallery in New York. It was one of the first exhibitions in the United States dedicated entirely to works by women. Until the end of July, “31 Women Artists – Hong Kong” at the 10 Chancery Lane Gallery is following in its footsteps: celebrating 31 local female artists. Curator Caroline Ha Thuc says the show is not intended to be a feminist exhibition, partly because many artists do not want themselves or their work to be classified solely by gender. Instead it’s an acknowledgement of the practices and the vitality of a wide range of work, featuring artists from different generations and diverse backgrounds, working in a variety of contexts and mediums.

      The founding members of the Fair Oaks Trio met in 2013 while studying at the Los Angeles Music Academy. They took their name from the avenue in which the academy is located. Since then, the original trio has expanded to become the Fair Oaks Group, and often collaborated with other musicians. The ensemble aims to “orchestrate ear-delighting and fair” – in the sense of pleasing to the mind - moments for its listeners. They are with us right now to tell us more.

    • Artist Sara Tse, Koak@Perrotin & in the studio: woodwind chamber ensemble, “M-eureka”

      Artist Sara Tse, Koak@Perrotin & in the studio: woodwind chamber ensemble, “M-eureka”

      The process of making porcelain was perfected in China somewhere between 1,200 and 2,000 years ago. It spread through Asia and as far afield as Europe, but was so identified with its place of origin that many English-speaking countries still call the final product “China” to this day. Porcelain is known for its hardness, whiteness, and translucency, and for its mix of durability, malleability, and beauty. For local artist Sarah Tse, these qualities make it ideal for preserving objects, emotions, and memories, and as “a tool for memory”.

      The San Francisco-based artist Koak has a Masters’ degree in Comics from the California College of the Arts. Her works may remind you of that comic influence and also of the work of Henri Matisse and Joan Miró, many focus on the lived experience and feelings of women. Currently on show at Perrotin gallery, “The Driver”, her first solo exhibition in Hong Kong, showcases her recent paintings and sculpture. The works were mostly created during the Covid pandemic, and express a range of emotions, including a sense of isolation and pressure, that many of us can identify with experiencing over the last two years.

      The woodwind chamber ensemble M.eureka! is made up of young professional musicians, all of whom are graduates from the Hong Kong Academy for Performing Arts.
      They say the “M” from M.eureka! stands for music, and it’s combined with the ancient Greek word “eureka”, meaning “I have found it”. The ensemble aims to focus not only on the traditional chamber music repertoire but also on newly arranged orchestral works. Some of its members are with us now.

    • Digital art in HK, Chi Wing-lo@Kwai Fung Salone & in the studio: Sea Island Ferry x MOA

      Digital art in HK, Chi Wing-lo@Kwai Fung Salone & in the studio: Sea Island Ferry x MOA

      The enthusiasm in the art world for non-fungible tokens, or NFTs, continues. According to “The Art Market 2022” report, the value of NFT sales on the Ethereum, Flow and Ronin blockchains grew from US$4.6 million in 2019 to US$11 billion in 2021. The value of cryptocurrency has seen a lot of volatility lately, but the digital database and the technology itself: blockchain in the form of a public ledger, has made major inroads in the art market. It has also brought digital art to the fore, and that has brought new opportunities even for some Hong Kong artists.

      Hong Kong born Lo Chi-wing studied architecture at Harvard University. For decades, with his Italy-based company Dimensione Chi Wing Lo he’s focused predominantly on furniture design. Now based in Athens, Greece, he has also over the years developed a multi-disciplinary practice that includes architecture, interior design, furniture, object design and sculpture. He says he sees his objects and sculptures as “artefacts from an imaginary civilisation”. Many of them are on show until the end of July at Kwai Fong Salone in Tai Kwun in the exhibition: “Angels from Infinity”. Inspired by his childhood growing up in a small fishing village in the Eastern part of Hong Kong, the works, Lo says, represent his “angels”: spiritual companions that have guided and accompanied him since his youth, allowing him to escape from the mundanity of time and his surroundings.

      It’s 60 years since Hong Kong’s City Museum and Art Gallery, later split into the Museum of History and the Hong Kong Museum of Art, opened in City Hall.
      To celebrate that anniversary, the Hong Kong Museum of Art has organised a series of events, including the exhibition “In-between”, that features items from its four core collections. The exhibition also features a collaboration with local musical ensemble Sea Island Ferry.

    • Inclusive art programme,

      Inclusive art programme, "Arts Make SENse", "Emo gym"/"Double vision"@Tai Kwun & in the studio: Carpio Brothers

      We can all get something out of making art. It can be particularly helpful for people with special education needs, helping to boost cognition and learning, communication and interaction, and emotional and mental health. Artist Pak Sheung-chuen has been working as a consultant with social workers and SEN students on a three-year project encouraging them to express themselves through art. Last month, some of the works resulting from that project were on show at the Hong Kong Arts Centre.

      In today’s Arts Diary: two parallel exhibitions at Tai Kwun, “emo gym” and “Double Vision”, both of which focus on our experience and awareness of reality in delicate times. In “emo gym”, seven Hong Kong artists’ explore the effects of the digitalisation of human experiences and relationships, while “Double Vision” features interpretations by 14 international and local artists of the concepts of déjà vu and parallax.

      Music has been part of the Carpio family’s life for generations, and they’ve long been familiar to Hong Kong audiences. Tony Carpio’s family moved here from the Philippines when he was a teenager. His father and uncle were both musicians. Tony himself worked in the jazz genre and with big bands. Other family members such as Teresa and Rita Carpio are known for their contributions to the Cantopop scene. Tony Carpio came to Hong Kong when he was a teenager. His father and uncle were musicians. His dad was not particularly keen on him becoming a musician. He did anyway, fortunately, playing a variety of instruments including the electric and acoustic guitar, piano, bass, tenor banjo and flute. His career has encompassed making music with his big jazz band and smaller ensembles, producing, composing and music education. Chris and Bernard, his sons, are carrying on the family tradition. They are here to tell us about more about their musical heritage.

    • Art Basel HK & Art Central; Para Site@Art Basel & Art Tram Project

      Art Basel HK & Art Central; Para Site@Art Basel & Art Tram Project

      Thanks to the gradual relaxation of social distancing rules and Covid-restrictions in venues, and to the return of Art Basel Hong Kong and Art Central, the city’s art lovers have, in the past couple of weeks, once again had a chance to encounter a wide range of new works from both local and international artists. Although inbound travellers don’t have to spend quite as much time in quarantine as they did over the past two years, Covid-related restrictions still had some effect on both art fairs. Both were scaled down compared to the 2019 editions, partly for logistic reasons and partly because fewer collectors from the mainland and the rest of the world were expected to attend.

      As we saw earlier in the show, there was enthusiastic participation from local galleries, collectors, and artists in both Art Basel Hong Kong and Art Central this year. And their enthusiasm was shared by the public. Tickets sold out fast. Apart from giving galleries the chance to present and sell artworks, both fairs collaborate with art and cultural institutions in organising talks and programmes to highlight individual artists and engage with the public. The two fairs might be over for this year, but there are still many ongoing cultural events, and a lot of home-grown artistic talent, for us to keep an eye on.