跳至內容

楊陽


藝評


How does freedom sound? – reflections on how artists listen in the pro-democracy movement in Hong Kong
楊陽

Care and political dissent – the story of Hong Kong-based artists Stephanie Sin and Suifong Yim
楊陽

A little clairvoyance in the pandemic, just in case
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perceiving hope in otodate and no so mi – a review of the installations and a performance by Akio Suzuki and Hiromi Miyakita at The Museum of Contemporary Art Tokyo
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Carla Chan’s Black and White
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Listening as a supporting condition for art – a personal essay re-calling Stavanger from Hong Kong
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Kwok-hin Tang: From an Object-based to a Socially Aspired Art Practice
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perceiving magnificence
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South Ho''s Force Majeure and Ching Chin Wai''s Liquefied Sunshine — A Review
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Notes and Extensions on Artist Talk with Xiao Lu at Chancery Lane Gallery, 14 September 2019
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一封致現正/有志從事藝術、受藝啟發的香港人以及與香港同行者的公開信 | An Open Letter to Artists, Aspiring Artists, and the Art-Inspired in and with Hong Kong
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Samson Young’s Instrumentation – a review
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Su-Mei Tse: Nested – a review
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Emergency Kit & Wishing Pool – a review
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Review on Moving Average: Media Art Exhibition by Kenny Wong
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Our Everyday – Our Borders: a review
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more than just a reversal
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Chan Dick: Chai Wan Fire Station
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A Beast, A God and A Line
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Chloë Cheuk
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Chris Evans and Pak Sheung-chuen: Two exhibitions – a review
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Samson Young: SONGS FOR DISASTER RELIEF
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Composing Stories with Fragments of Time: Works by Kurt Chan, Annie Wan, Francis Yu, Luke Ching, Angela Su, Lau Chi Chung, Carmen Ng, and Elva Lai
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Samuel Adam Swope: Updraft, updraft
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In and Out of the Streets: Man Mei-to and Enoch Cheng
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weighing sound in space: Wong Chun-hoi and Alex Yiu
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art and what is missing in the socially-engaged
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we may never know, but it is worth trying
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Biennale, the Biennale
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Wong Chun Hoi
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What Unimaginable Forms
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Law Yuk-mui
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Yip Kai-chun
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Retrospection for the future – Yang Hoi-mei, Szeto Chun-hei, and the Umbrella Movement
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Back to basics: trying for the ‘international’ as good (1) / 還原基本步:如果「國際化」是一種「善」
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Edwin Lo: Sea Wall
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Alfred Ko’s ‘Pond on the roof’
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Fiona Lee in a sound she tries to understand
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Tsang Tsz Yeung’s 'Family Album'
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Two animations from two graduation shows: Jess Lau Ching Wa’s 'The Fading Piece' and Wayne Wong Wing Chun’s 'Koon Tong Chronicle'
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Comments on the ‘Summary of the Evaluation Report on the Venice Art Biennale 2013’
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Sunday Lai’s 1Mbps
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"how close we have come to being rich"*
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Mak Ying-tung’s ‘Almost Empty’
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in time, a conversation
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The truth matters – why questions need to be asked (about HKADC and M+’s collaboration in the 55th Venice Biennale in 2013) 真相攸關 — 為甚麼要就香港藝術發展局與西九文化區視覺文化博物館M+於2013年第55 屆威尼斯雙年展的合作提出問題?
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My Response to Asia Art Archive’s "THE AND: An Expanded Questionnaire on The Contemporary"
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Culture is…
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Nothing but a few longer looks
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When Much More Than Three Books Meet – Serendipity, Possibility
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To curate is to take care of
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Philippe Ramette
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pulse – a review of Hong Kong Anarchitecture Bananas
楊陽

藝術議題


How does freedom sound? – reflections on how artists listen in the pro-democracy movement in Hong Kong
楊陽

Care and political dissent – the story of Hong Kong-based artists Stephanie Sin and Suifong Yim
楊陽

一封致現正/有志從事藝術、受藝啟發的香港人以及與香港同行者的公開信 | An Open Letter to Artists, Aspiring Artists, and the Art-Inspired in and with Hong Kong
楊陽

Samson Young: SONGS FOR DISASTER RELIEF
楊陽

Biennale, the Biennale
楊陽

Retrospection for the future – Yang Hoi-mei, Szeto Chun-hei, and the Umbrella Movement
楊陽

Comments on the ‘Summary of the Evaluation Report on the Venice Art Biennale 2013’
楊陽

The truth matters – why questions need to be asked (about HKADC and M+’s collaboration in the 55th Venice Biennale in 2013) 真相攸關 — 為甚麼要就香港藝術發展局與西九文化區視覺文化博物館M+於2013年第55 屆威尼斯雙年展的合作提出問題?
楊陽

新/另類藝術空間


Our Everyday – Our Borders: a review
楊陽

Chloë Cheuk
楊陽

Samuel Adam Swope: Updraft, updraft
楊陽

In and Out of the Streets: Man Mei-to and Enoch Cheng
楊陽

Alfred Ko’s ‘Pond on the roof’
楊陽

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