1 - 30 October 2016 Opening reception: 1 October 2016, 4-8pm (Artist walkthrough: 5:30pm)
We are pleased to welcome Yogesh Barve for a two-part residency, with the first part from 16 to 30 June 2016, and second part from 20 September to 3 October 2016, followed by an exhibition as a response to the residency, in collaboration with Clark House Initiative artists.
From his first experience of Hong Kong which includes deportation, the vibrant electronic market and night markets of the underprivileged and multicultural Sham Shui Po, artspaces amidst old buildings from the colonial period, funeral homes and mega shopping malls all next to each other, Yogesh Barve attempts to disentangle and decipher systems and histories of a former British colonial city very close to Bombay where he comes from.
‘Yogesh Barve uses deduction to conceptualize an array of objects that narrate and refuse to shed layer. By deducting the layers of utility and turning an object redundant into abstraction he is able to decipher like an archaeologist layers behind the production, history and finally accessibility to the consumption of its utility. Here is where in/equality appears in a measure that is visual and undecipherable at the first glance. Hong Kong is a port, one which promises an avenue into China but also to other nations, it is an entrepot of information, foreign reporters writing on the region are stationed there. Its architecture is utilitarian rather than derived much from an aesthetic of a movement or style, but beneath the walls lie lives of many -- immigration from mainland China, colonization and the crown colonies such as Barve's native India. When one encounters the electronics market, one also deciphers the complex links of trade between Hong Kong and the rest of the world, one that brings in goods from China sending them across to nations who desperately need goods that are made cheaply defying the costs of copyright. Yogesh Barve has always used the architecture of the Indian constitution to critique the inequalities of Indian society, here he looks at the laws of immigration, asylum and deportation from a personal perspective on how visa regimes work, whom do they allow? How do they let in and who lives on as a refugee? Do British era colonial laws allow an island state to work with another system? Demolishing the alphabets of the word “System”, Barve begins an extensive dismantling of the layers that define visual Hong Kong.’ ---- Sumesh Sharma
Yogesh Barve is an artist based in Mumbai, India. Using a range of materials, including found objects, digital technologies, such as his mobile phone camera, and search and game engines, his work examines social and cultural experiences of in/equality, ir/rationality, the un/invited, and the in/outsider. He is a member of Clark House Initiative, a curatorial collaborative and a union of artists based in Bombay.
We sincerely thank Anjali and Gaurav Grover for generously supporting this residency at Things that can happen.
「Yogesh Barve 透過推論，概念化一系列的物件，述說而拒絕增加意義的層次。通過逐層遞減物件的工具性，將其多餘的性質概念化，Yogesh就像一個考古學家般，解讀物件的生產、歷史和最終到達能被消費其工具性之間的各個層次。正是這裡，非／平等顯得視覺的而無法解讀。而香港作為一個港口，不但串通中國內地，更接連其他國家地區，更是一個資訊的入口站，有不少外地媒體停駐。香港的建築多是源於實用性多於本地某時期的美學標準，內裡養育了眾多的生命－－如來自中國內地的新移民、又如Yogesh Barve家鄉的殖民印度的再殖民。當他遇到深水埗的電子市場，他從中解讀出香港和世界各地之間千絲萬縷的商務關係，從中國帶出平價的貨品，再散發到極其需要這類平價貨品的國家，甚至不惜付上侵犯版權的代價。他常借用印度憲法的結構批判印度社會上的不平等，而在香港他則從個人角度審視這城市的入境、庇護及遣返條例，看簽證制度是如何實行。甚麼人以甚麼條件合符入境資格？誰會成為難民？英國殖民時期的法律在一個小島上如何涵接其他制度？透過瓦解『系統』一詞，Barve展開了香港視覺系統各層次上的一次大規模的拆解。」－－Sumesh Sharma
Yogesh Barve 是來自印度孟買的藝術家。他的作品裡常使用各種物件如拾得物、數碼科技如手提電話內置相機、網上搜尋引擎及遊戲等，以探討社會及文化經驗裡的非／平等、非／理性、非／被邀請及圈內／外。他是孟買策展人及藝術家組織Clark House Initiative 的成員。