MICHAEL CHEUNG

PEOPLE

“Unfortunately, a platform for a pop art is not ready yet in Hong Kong. This is why I chose Tokyo as the first place to present my ‘Boom series’. Tokyo is the place where people naturaly enjoy and sometimes accept the pop art as a part of their daily lives regardless of the generations. I could feel their respect to artists there as well.”

I am sure that Michael Cheung said so when he held his first exhibition at “Speak for Gallery” in Daikanyama, Tokyo in last November. “Of course, I can see many signs of enjoying of arts in Hong Kong, too. I want to believe potentialities of these signs and hope my works will be accepted there.”


Four months later, his hope speedily came true. Followed by the exhibition in Japan, he was invited by Colette in January 2003 and he made a debut in Paris with a los of high praise. Afterwards, Hong Kong’s culture magazine “Milk Magazine” paid an attention to him. As the third exhibition of its’ inregular series project “Milk Gallery”, Boom Hong Kong Triumphal Exhibition was held (Polaroid Exhibition and Glyph Exhibition were held at Milk Gallery before).

“The reason why I added a bit of functional parts (works turn to a chair or a side table by adjusting a part of them) to Boom art works is that I wanted works to have an effect that gives people familiarity like they feel “I want to touch it”. I have a deep understanding about how people accept works through my experiences in an advertisement and a design field. However, I wanted to avoid creating works that people just will be surprised and looking at them as ‘art works’ “. As he thought so, visitors to the exhibition in Tokyo totally understood Boom as the art pieces. However, here I have to point up that they understood Boom as a creative work with a lot of various potentialities that can joint with diverse fields rather than just an art.

On the other hands, people understood these works made with fiberglass as a new type of functional “product” at Colette in Paris. As a result, Boom, which were displayed at a showcase on the first floor not at a gallery, found many buyers on the first day and it was a big surprise for Michael.

“I didn’t want people just to look at my works at the exhibition in Hong Kong”. This is his comment after gaining experiences in overseas and these experiences brought him a stable position of his works. “Now, I think I understand the meaning of creating Boom in Hong Kong very much. A material I chose, fiberglass is generally considered difficult to use to make art works and products in terms of costs and techniques. But we could find a solution for that problem by bringing it to China. We have got a background called China, which have still-unknown potentialities and by receiving benefit from the country, I might be able to take works forward that I gave up to create before. I do hope to give that bravery to youngsters who want to be succeeded in art from the bottom of my heart.”

“NO Peace NO Boom Exhibition” was held from the 7th to the 9th of March. Although it was run in a very short term, many Hong Kong young people came and ask Michael questions.

Michael presented wood and fiberglass mixed works=products in this exhibition. It is named “NO China NO Boom” and it will be created as a series work. He used to heave a sigh about the fact that there was no place that accepts his works in Hong Kong. However, he stopped to heave and started to reclaim a pop art field and encouraging youngsters by continuing to create works.

Boom series is now permanently displayed at an interior & gallery “Livi”, which supports art scene of Hong Kong’s young creators, at Wan Chai after the exhibition.

No peace No Boom Exhibition
by Michael Cheung
Date: 7th – 9th March 2003
Place: Milk Gallery
Address: 120, Percival Street, Causeway Bay, Hong Kong

Livi
11 st. Francis Street, Wanchai, Hong Kong

Boom / Institute of Matter
2/F, 33 Yiu Wa Street, Causeway Bay, Hong Kong
www.instituteofmatter.com

Text: Taka Nakanishi
Translation: Sachiko Kurashina
Photo: Henry and Kim

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