Not-for-profit arts organisation HART is delighted to announce the first exhibition resulting from its arts programming - Household Gods. The group exhibition, curated by Ying Kwok, presents the work of four Hong Kong based artists; Nadim Abbas, Shane Aspegren, Tap Chan, and Wu Jiaru, who are each grant-based artists participating in the ongoing sixth session of the HART Social Studio Programme.
Showcasing specially commissioned works that encompass painting, sculpture, site specific installation and sound work, the exhibition originates from a desire to offer new insights into our complicated and currently uncertain world, addressing questions about the relationships between mankind in its most intimate setting, the household, and natural and supernatural phenomenon. Created and presented during a time of change, Household Gods rethinks how art and creativity empower each of us, both in content and form, and will be presented dually through virtual and digital mediums as well in person interaction with the exhibition.
A central part of HART’s programming is the Social Studio that runs from one of the collective’s core venues HART Haus, a 10,000 sqft modern ‘arthouse’ that has transformed a former factory floor in Kennedy Town into a flexible studio and salon space. The upcoming exhibition Household Gods showcases the experimental practices that artists and ‘Hausians’ Abbas, Aspegren, Chan, and Wu have explored during their participation in the Social Studio at HART Haus. Each work is an outcome of the dialogue and mutual understanding generated by the collaborative environment HART Haus fosters, and attempts to harness a visual language to know the unknown, if not rationally then spiritually.
Abbas is developing a series of set pieces that place a new logic on modular domestic furniture to expose the unpredictable nature of image, body and space, while Chan is working on a sculptural installation that questions the psychological and material nature of space as a concept, exploring the blurring of fiction and reality in modern daily life. Aspegren expands his ongoing investigation into the healing qualities of sonic frequencies on the body and brain through a sound piece presented in conjunction with a series of small sculptures created from found organic objects. Building from the concept of anxiety, Wu’s work experiments with social norms to create lasting sculptures constructed by preserved material evidence of her daily household existence.