HOMELAND IN TRANSIT
Through the Clouds
4 JUNE - 22 JULY
Ein Fenster inmitten der Welt
a window in the middle of the world
11 - 25 JULY
Momentum, Kunstquartier Bethanien
The new chapter of Homeland in Transit: 'Through the Clouds' with Hong Kong artists Luke Ching, Lo Lai Lai Natalie and Yim Sui Fong will open on Friday 4 June through 22 July at Ein Fenster inmitten der Welt, a window in the middle of the world, situated in a natural reserve forest area near Stuttgart, with two interfaces: one to the real world, one to the virtual.
Two individual installation pieces by Luke Ching and Yim Sui Fong are planned for the exhibition. Due to the current pandemic situation, the installation date and details at Ein Fenster inmitten der Welt will be available by the end of June. During the exhibition period, the four videos can also be viewed at einfenster.net.
‘Homeland in Transit Through the Clouds’ will be exhibited in parallel at Momentum, Kunstquartier Bethanien in Berlin from 11 to 25 July 2021 with a new edition of the VIDEO TALKS with Lo Lai Lai Natalie, Yim Sui Fong and Angelika Li and also with an online viewing platform at momentumworldwide.org during the exhibition period.
German Press Release by Ein Fenster inmitten der Welt
Curatorial essay with artists' biographies
Murrhardter Zeitung coverage by Petra Neumann dated 8 June 2021
HOMELAND in TRANSIT
Through the Clouds
with Hong Kong artists
Lo Lai Lai Natalie
Yim Sui Song
curated by Angelika Li
a window in the middle of the world
4 June - 22 July 2021
Opening hours: 09-23h
Wolkenhof 14, Murrhardt, Germany
Enquiry: Birgit Krueger, Copa & Sordes
11 – 25 July 2021
Mariannenplatz 2, 10997 Berlin, Germany
Enquiry: Sara Paqu Bresciani
To Hongkongers in Berlin, if you would like to join our project, please bring your punched leaves to our opening at MOMENTUM, Kunstquartier Bethanien on Sunday 11 July from 13-19h.
More info and images can be found here. Please help spread the word!
Through the Clouds
Basel, May 2021
In the short time since the inaugural exhibition of ‘Homeland in Transit’ in 2019, our world has changed dramatically and each word in this title has developed a wider scope of meaning and expanded relevance. In the extraordinary situations of 2020, we set sail along the forces of water – an intrinsic and characteristic element of Hong Kong – through the notions of migration, self-searching and our human resilience to further our expedition.
In 2021, we arrive at Ein Fenster inmitten der Welt, a window in the middle of the world, situated in a natural reserve forest area near Stuttgart, with two interfaces: one to the real world, one to the virtual. The physical location of the exhibition is at a house in Wolkenhof built by Heinrich von Zügel (1850-1941), a founding member of the Munich Secession and pioneer of German Impressionism in 19th century. During that time, Wolkenhof was a meeting place for artists and the name literally means 'Clouds Court' in German.
The environment of Wolkenhof and its name serve as points of departure for this transit through the dynamics of the hydrological cycle: clouds, wind and rain. The boundless nature of clouds has inspired many in the arts across different cultures. Cloud appears in many poets’ work including ‘I Wandered Lonely as a Cloud’ (1798) by English poet William Wordsworth (1770-1850) who personifies himself as a melancholic cloud that aimlessly drifts ‘high o’er vales and hills’. His poem illustrates that we do not realise the significance of the simplest things until they are gone forever. By using daffodils as a metaphor for the voice of Nature, the poet reminds humankind of its restorative power and value. Are the clouds floating in hopes that they will discover fulfillment in life? In a very different context and in his tempestuous style, Chinese poet Xu Zhimo (1897-1831) opens his poem ‘By Chance’ (1926) with ‘I am a cloud in the sky…’, expressing the inevitable nature and qualities of change, unpredictability and impermanence between the cloud and water, I and you, ‘the sea in the darkness’ and ‘the glow that sparked between us as we crossed our paths’. The clouds lightly float in the sky, yet their movements, direction or destination cannot be decided according to its own will, without other forces, such as the wind.
The sense of floatingness and helplessness echoes Hong Kong novelist Xi Xi’s (1937-) ‘The Floating City’ (1986), with René Magritte’s ‘The Castle of the Pyrenees’ (1959) on a big rock suspending in the air above a rough sea as the visual imagery accompanying the opening chapter. The imagery accentuates the feeling of loneliness, isolation, rootlessness and escape: ‘The floating city appeared suddenly before everyone’s eye in the middle of sky like a hydrogen-filled balloon on a clear, bright day many years ago. Rolling clouds swirled by above; waves crashed on the swelling sea below…There had been a violent collision of clouds lighting up the sky with flashes and roars of thunder…Suddenly the floating city had dropped from the clouds and hung in midair.’ The floating city and its people have no control over their destiny, they can only fluctuate as external factors change.
Soon after she received the Cikada Prize in 2019, Xi Xi spoke in an interview with Hong Kong Economic Journal about her recent observation on Hong Kong: ‘the reality now is way more surreal than any fiction.’ From Hong Kong perspectives, how do artists Luke Ching, Yim Sui Fong and Lo Lai Lai Natalie perceive the transformations, if not turbulences? Four video works and two planned installations have been selected for this exhibition. Wordsworth’s allegory might invoke contemplation on the disappearance of things dear to us. Are we going through a test to our resilience in unpredictable environments? Are we staying within the new realities or breaking through? Are we like clouds, going where the wind blows, by chance?
HEIMAT IM WANDEL
further postponed from March 2021 to
5-22 May, 2022
VILLA MEIER SEVERINI
PROGRAMME UPDATES WILL COME IN SPRING 2022.
2019 POSTPONED PROGRAMME:
The inaugural exhibition in 2019 of the curatorial project HOMELAND in TRANSIT channeled narratives of ‘homeland’ from Hong Kong perspectives: borders, boundaries, roots, diaspora, cultural identity, colonial ideologies and beyond. In the new chapter in 2020 with the German title HEIMAT im WANDEL, Martin Brauen and Angelika Li form a curatorial partnership to interweave the different perspectives and experiences of Bern-based Tibetan artist Sonam Dolma Brauen and six Hong Kong artists Hung Fai, Lee Ka Sing, Leung Chi Wo, MAP Office, Lulu Ngie and Wai Pong Yu.
The word ‘homeland’ has complex meanings: a clearly defined place/space, a tradition/culture that you share with others, a common history, belonging to a certain community in which you feel at home - and thus also feelings such as security and trust. It evokes a permanent form on the surface, yet when we dive a little deeper into our memories and emotions, the word urges us to reflect on its shifting nature. The definition of ‘homeland’ fluctuates under socio-political pressures which can lead to alienation and discontent, and potential fragmentations in our societies. Despite many differences, Tibet and Hong Kong share something in common: the sense of homeland of its inhabitants is constantly being questioned and reinterpreted. How do artists perceive these transformations and how do they represent it in their art?
Vernissage: March 19, 6–8pm
Opening performance by Kay Zhang (Saxophone) & Nuriya Khasenova (Flute)
Exhibition: March 20 – April 5, 2020
Asia Society Switzerland Talk & Tour: March 27, 6.30-8.30pm
Finissage: April 5, 6-8pm
Venue: Villa Meier-Severini, Zollikerstrasse 86, 8702 Zollikon, Switzerland
Exhibition organised by Kulturkreis Zollikon