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Exhibition details

Opening / Event Date:
11 June, 2020
10:00 am - 6:00 pm
Closing / End Date:
11 October, 2020
Event Category:
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10 Chancery Lane Gallery presents a group exhibition of photographs “The Stillness Within” by 8 artists including anothermountainman x Shuho, Cang Xin, Huang Rui, Gerry Li, Fiona Pardington, RongRong & inri, Manit Sriwanichpoom and John Thomson.


About anothermountainman x Shuho
Graduated from Hong Kong Technical Teachers’ College (Design & Technology), anothermountainman (Stanley Wong) is a renowned designer and creative artist. Wong started his career in the advertising industry and worked for many international advertising companies. In May 2012, Wong was also awarded the Hong Kong Arts Development Awards 2011/ Award for Best Artist (Visual Arts). Wong gained international awareness with his ‘red, white and blue’ artwork collection, representing the ‘positive spirit of Hong Kong. In recent years, anothermountainman had incorporated his studies of Buddhism into the artworks as his personal mission to spread dharma for the hope of world equality and harmony.

In 2010, Wong first met florist master Shuho, who gave a show of ikebana at Hong Kong University Art Museum. Inspired by the concept of “to exist is to treasure and respect”, Wong invited Shuho to do a collaboration of “reborn-ikebana”, a project to alter the traditional practice by starting with withered branches and dead flowers for her ikebana while Wong would take photos for the process. They agreed to do the photo shooting on 19/20 March 2011. However, Tōhoku (Fukushima) earthquake and tsunami happened on March 11th. They corresponded through email, in the midst of lamenting for the nation’s sufferings. They deeply believed that reborn-ikebana is a tribute to japan for their unwavering spirit. They arrived at ginkakuji temple in Kyoto on March 29. After drinking tea, chanting, and walking through the garden, they got the inner peace and purification to start their project. Shuho’s “reborn-ikebana” was developed in seven phases from withering and dying to rebirth and growth. It is a cycle of life.


About Cang Xin
Cang Xin was born in 1967 in Baotou, Inner Mongolia. Cang is a Beijing-based performance and conceptual artist. He entered the Tianjin Academy of Music in 1986 and began to paint in 1991. In 1993, he moved to Beijing’s “East Village”, where he began a series of performances such as the Trampling Faces, the Communication series, and the Identity Exchange series. His participating exhibitions include: “World Theater: China and Art after 1989 (2019)” at the Guggenheim Museum in New York, and “Turning Point-Contemporary Photography from China (2019)” at the National Gallery of Victoria in Melbourne.

Cang Xin believes that his art inherits the spirit of “shaman” beliefs. His performance allows him to experience the world through his bodily senses. To him, art is a way of life that sits easily with his self-conception as a modern-day shaman, heir to the mysticism of nature tradition of his native Mongolia. In 2002, when Cang Xin traveled to the suburbs of Daqing in Inner Mongolia. He saw the endless green grassy plains, and decided to use his body to experience and communicate with nature. “I call it “Man and Sky As One.” This concept stems from traditional Chinese philosophy together with “Shamanism” of the nomadic people in northern China. Shamanism is a religious practice that involves a practitioner, a shaman, who is believed to interact with a spirit world through altered states of consciousness, such as trance. The goal of this is usually to direct these spirits or spiritual energies into the physical world, for healing and for human survival. “In addition to these concepts, I have added mathematical structures to my creation to showcase my interpretation of life, universe, plants, and original matter.” Cang Xin said.


About Huang Rui
Huang Rui is one of China’s most highly regarded artists and one of the pivotal protagonists of the first non-conformist art groups to emerge from China in 1979. The Stars (Xing Xing 星星) Art Group, established in the late 70s following the end of the Cultural Revolution, used art to promote social ideologies and initiated some of the first free art expressions in the Post-Mao era. His works have been exhibited and/or collected by The Guggenheim Museum, USA, The Centre Georges Pompidou Paris, The Samsung Museum, Korea, The Louisiana Museum, Denmark, M+ Museum of Visual Culture, Hong Kong, The Fukuoka Museum, Japan, among many others.

Huang Rui moved to Japan in 1984 until 2001 where he experimented on many forms of art including performance, installation, photography and abstract expressionist paintings in oil as well as ink. His photographic series done in the 1990s in Japan was triggered by the Great Hanshin Earthquake in 1995. Huang Rui’s explains that, “photography is a medium to restore the essence. The transformation of such essence must evolve from a cultural idea into physicality.” Huang Ru’s Japan years allowed him the freedom to experience art as a means of transcendence. He explains, “I was so eager to create a ‘Tao’ beyond the world of photography known for most people.” His works free your mind to touch the spirit that animates them.


About Gerry Li
Gerry Li is a photographer, filmmaker, and musician. Graduated from Hong Kong Baptist University, he has directed a romance sci-fi short film Ideal Lover (2019), composed O.S.T. Stay In Memory (2019), and produced the photographic series Tracing (2018) and Exploration (2018). In addition, Li works as a sound supervisor for many short films.

Gerry uses his photographs to explore the theme of light and present, which contains energy and vitality while comes from nature and social surroundings. He hopes his works can enlighten other people who are in darkness.


About Fiona Pardington
Fiona Pardington is a New Zealand photographer of Māori (Ngāi Tahu, Kati Mamoe and Ngāti Kahungunu) and Scottish (Clan Cameron of Erracht) descent, who is highly regarded internationally and nationally because of her inventive formats, unpredictable techniques and extremely varied range of thematic exploration. Her fields of investigation have been psychoanalysis, medicine, voyeurism, memory and the body, the history of the photographic image and the nature of the relationship between the photographer and subject, particularly as it relates to sexual difference, through the ambiguities of a simultaneous solicitation and resistance. She is best known as a specialist in ‘pure’ or analogue photographic darkroom technique, most notably hand printing and toning. Pardington in 2016 was named a Knight (Chevalier) in the Order of Arts and Letters (Chevalier de l’ordre des Arts et des Lettres) by the French Prime Minister. Pardington is the first New Zealand visual artist to receive this honor.

Pardington photographs the life casts made by nineteenth century Frenchman Pierre-Marie Alexandre Dumoutier, moulded from the features of Indigenous people of the Pacific region. These casts were linked to the nineteenth century discourse of phrenology, a now discredited belief that intellect and personality could be read from the features of the skull. Under the systems of this pseudo-science, many non-European people were framed as inferior due to their facial and cranial differences. Through photography, Pardington revisits these casts and the ideology that motivated their creation. By photographing the casts she attempts to overlay a new and dignifying narrative to their original subjects.


About RongRong & inri
RongRong (China) and inri (Japan) have been working together since 2000. Their works reflect the intimate world that they have created together, while pushing the boundaries of traditional black-and-white darkroom techniques. Their past critically acclaimed series of works, such as Mt. Fuji, In Nature, and Liulitun, focus on the beauty of the human body in nature and the urban environment. In 2007, RongRong & inri established the Three Shadows Photography Art Centre in the Caochangdi art district of Beijing, the premier platform for international communication. They also started the annual Three Shadows Photography Award to discover and encourage China’s most promising photographers. RongRong and inri’s recent work brings attention to the beauty and value of new beginnings in their shared life and surroundings, especially amidst a rapidly changing world.

During the 2012, RongRong & inri went to Echigo-Tsumari in Japan to attend the Art Triennial. They transformed the gymnasium of a closed elementary school in the mountains into their venue to exhibit these outstanding photographs. They printed the images upon a light, diaphanous fabric that is reminiscent of local, traditional textiles-which they then suspended from the ceiling and allowed to naturally drape downward. The characters within the story merge with their surrounding landscape and the entire landscape seems to float in the space between passion and peace. If we say that this work is about memory, that would be an oversimplification. It is much more physiologic, imagery which seems to reach out to the long, distant place.


About Manit Sriwanichpoom
Manit Sriwanichpoom (b.1961) is a contemporary Thai artist who has widely exhibited across the globe. The artist is well-known for his pink man series which criticizes consumerism and the loss of values; many of his photographs are impregnated with a political and /or social element. Manit is actually not on an observer but also very implicated in the cultural and contemporary art scene in Thailand and Bangkok, fighting to see BACC get off the found and being a member of the Contemporary Art Bureau of Thailand. He’s passionate about photography and has his own gallery, Kathamandu Photo Gallery, in Bangkok where he curates exhibitions, conducts research and showcases photographs of his own but also many other artists.

Manit Sriwanichpoom did a photographic series of monks in 2009. “Held up at a red light one day while driving past religious icon shops around the Giant Swing in Bangkok, I noticed two life-sized statues of monks. The sight made my skin crawl. They were like living flesh. As if these revered monks had risen from the dead to sit there by the road, to demonstrate their meditation prowess to passers-by. These resin miniature humans had been made so life-like by their thai craftmen, they rivaled Madame Tussaud’s famous wax figures of celebrities.

Yet one more step by Thai Buddhist commerce in its manufacture of « sacred icons », deftly copying and appropriating the Western celebrity cult for the Thai ecclesiastical world an its attendant amulet business.

No one knows when the worship of sacred icons of individual Buddhist masters began. In ancient days we worshipped Buddha statues as a symbol of our great teacher and his teachings. The Buddha statue represents a concept rather than an indiviual. Worship of Masters emphasizes specific people and their reputed magical powers for worldly blessings, in direct contradiction to the Buddha’s message of self reliance and to focus only on the teaching itself. The more advanced the marketing and production techniques, the more intricate and fantastical their products, it seems to me, the further we travel from Buddha. Our vision becomes blurry, nothing is clear, including when we look to these holy masters,” says, Manit Sriwanichpoom.


About John Thomson
John Thomson was born in Edinburgh in 1837. In 1862, he made his first journey to the Far East where he set up a photographic studio. However, he soon realized that there were far more interesting subjects for his art outside the studio and began to travel extensively throughout the local countryside, photographing people as they were, at work or at rest in their own environment. It is Thomson’s empathy that was to dominate his work until his death in 1921. Whether his subject was a beggar or a king, he attempted to capture the individual behind the veneer of social status, thus reflecting his own very deep social values and personal identity.

He set up studio in Hong Kong and began to make plans for an enormous circuit of the Chinese mainland. In his first year in Hong Kong, Thomson set about earning a living  and issued numerous albums of his photographs, depicting scenes in and around Hong Kong ,which today represent his most fascinating work. The collection is printed from the original glass-plate negatives in the possession of the Wellcome Trust in London.


About Gallery, 10 Chancery Lane Gallery
Since 2001, 10 Chancery Lane Gallery is one of Asia’s leading art galleries. With exhibitions that explore both emerging and historically important movements in art in the Asia-Pacific. The gallery continuously keeps its finger on the pulse of contemporary art from the region. 10 Chancery Lane Gallery aims to deliver exhibitions that take time, research and have an impact on the art in the region, as well as promoting contemporary art from Asia internationally.

Founder and Director Katie de Tilly arrived in Hong Kong in 1994 when Chinese and contemporary art from most of Asia was yet to come into international focus. With a particular interest in the deep historical, social and cultural context of Hong Kong and China and the development in Asia of its contemporary art scenes, she founded 10 Chancery Lane Gallery in 2001.10 Chancery Lane Gallery is dedicated to the development of young artists and organizes “HKForeword” since 2012 giving Hong Kong art graduates their first gallery exhibition. Katie de Tilly is the 2019 recipient of the “Woman of Influence in Arts and Culture” awarded by the American Chamber of Commerce. She was a founding member and former co-President of the Hong Kong Art Gallery Association (HKAGA), is on the Program Advisory Committee (PAC) of RMIT University School of Art /Hong Kong Art School. She is a Founding Patron of the West Kowloon Cultural District’s M+ Museum of Visual Culture. And she is heading the HK Artists Residency Abroad Funding Scheme (ARAFS) of the Hong Kong Art Gallery Association to help local artists enrich their art exposure and education. She was formerly a board member of the Tate Modern Asia Pacific Acquisitions Committee (Tate-APAC)


For press enquiries and to arrange interviews, please contact Ellen Zhuang on [email protected] or +852 2810 0065.

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