Duan Jian Yu’s painting, “Art Chicken No. 11”, also reflects on contemporary meanings of prosperity. Using imagery rife with noble and prosperous signification, Yu casts a quirky analysis on the role of traditional domestic farming within modern-day China. Depicting chrysanthemums surrounding a farmer operating on a ceremonial chicken with a pair of scissors, Yu offers a reflection on the changing values of a rapidly-developing society.

Duan Jianyu, Art Chicken No. 11, 2004

The title of Otto Li’s series, “Golden Right Leg”, is translated from the Chinese name ascribed to David Beckham’s legendary limb. While one painting depicts this cut out ‘golden right leg’, the other uses the same silhouette to interpret a roulette table layout. Li’s analysis of this public fetishization reveals the similarities between athletic and religious iconography. The resulting god-like status of Beckham elevates the football/soccer field to a heavenly domain, which is particularly heightened when betting is involved.

Chu Yun, Journey of Life (II)

Chu Yun’s “Journey of Life (II)” offers a neat pile of reprinted posters of a list of wanted criminals issued by the Police Department of Guangdong Province. Free for the taking, these reproductions reflect on the power dynamics between those whom disturb social and moral codes and those who uphold their standards. While facilitating disdain towards the wanted, the posters also emphasize their fetishization into icons of shame and fascination. As each criminal bears a reward of 5000 RMB for one’s capture, the public’s participation in policing is baited with a prize.

Bianca Lei Sio Chong, Faith in fakes – To make your bet!, 2006

Bianca Lei’s installation, “Faith in fakes – To Make your bet!” arranges 38 birdcages around a rotating light, casting whirling shadows on the ceiling, walls, and floor. Referring to the number of slots on a roulette wheel, Lei’s work provides a critical analysis of Macau’s post-colonial gambling ‘revitalization’, recasting gaming concessions as civic self-entrapments while emphasizing their negative impact on the public. At the opening, one young girl took to jumping and dancing amongst the dizzying shadows, to which, at her request, I joined in on. Other viewers were decidedly not as energetic in their response, but enjoyed themselves nonetheless, drinking wine and snacking on M&M’s.

As with the sheer will behind the palm rub appropriated from “God of Gamblers”, believing and gaming both require a leap of faith and risk. The artists’ poignant, playful investigations into these intertwining themes highlight how they specifically underscore the lives of the people of the PRD. Drawing together varied works into a cohesive ensemble, “Octomania” has presented an exhibition that is-wait for it!-a good gamble.

Octomania (On drawing the number eight)
Date: September 7th – October 8th, 2006
Place: Para/Site Art Space
Address: 4 Po Yan Street, Sheung Wan, Hong Kong
Tel: +852 2517 4620
https://www.para-site.org.hk