manu/mldr-zoomed-100char-total-queries-documents

chunk_id stringlengths 3 9	chunk stringlengths 1 100
146_40	Graduation Exhibition at the University of Leeds where Ma studied with a scholarship by the Hong
146_41	Kong Arts Development Council. In Remember How to Play (2002), domestic objects such as soft toys,
146_42	cushions, hair were inserted inside foam and were dotted throughout the exhibition space. Combining
146_43	video projection and wire, Remember How to Draw (2002) showed the artist’s impulsive reactions to
146_44	her childhood experience of drawing with fingers.
146_45	2003 to 2009: On-site works and overseas residencies
146_46	While Room of Memories (2001) already touches on memory and history of a site, Far Away, So Close
146_47	(2003) installed at the Kadoorie Farm Botanic Garden in Hong Kong in the exhibition entitled Dream
146_48	Garden was one of Ma's earliest site-specific works. She collected trees collapsed during the
146_49	typhoon. The tree trunks were sawn into columns and mirrors were attached to the cross-section of
146_50	the trunks. Images of the sky and other trees were reflected at various angles.
146_51	From 2005 to 2009, Ivy Ma participated in a series of artist residencies and workshops in
146_52	Bangladesh, Europe and the USA. Several on-site works were realized during this period.
146_53	As in Remember How to Play and Remember How to Draw (2002), childhood memories plays an important
146_54	part in A Fairy Tale (2005), a work made during the residency at the Britto International Artists’
146_55	Workshop at the Nikera Kori Center in Bangladesh. The work includes a fabricated scaled-down
146_56	version of a merry-go-round, and candies in silk handkerchief. As mentioned in the artist's notes,
146_57	"It is about children’s dreams, runs in the air of the playground then settles down in a room…a
146_58	solitude. It is also about a person watching children play in a playground (as in the lyrics of
146_59	the Rolling Stones song As Tears Go By), from morning to noon...This was indeed a group work and
146_60	included the owner of the playground…the blacksmith who made the playground ride, his helper and
146_61	the children I met in the village who gave me inspiration in thinking about the play in one’s
146_62	childhood." Collaborated with Abdullah Syed (Pakistan), another participant in the workshop, Always
146_63	land (2005) is an on-site work using net made with plastic thread and falling leaves.
146_64	Perception of Phenomenal Soundlessness (2006) is an on-site work produced outdoors during her
146_65	residency at the Cable Factory in Helsinki, Finland. Performative acts were carried out while Ma
146_66	wandered in the frosty landscape. She dragged an empty suitcase with broken wheels to the lakeside,
146_67	filled it with her own curled up, unclothed body and photographed herself; she gathered tree sticks
146_68	from grave land and rearranged them on the ice; and she stuffed ice into a man-shaped cloth doll
146_69	and hanged it on a tree. Images and documentation of the work were presented in the exhibition
146_70	entitled Stained, the eclipsed pattern at Uma-g Gallery, Hong Kong in 2006.
146_71	The Wayward Cloud (2006) follows a similar methodology. Originally an on-site work created when Ma
146_72	lived in Wan Chai on the Hong Kong Island, It is about the view seen looks back at the seer, an
146_73	idea already explored in Far Away, So Close (2003). In the artist's word, "I loved to look from my
146_74	window and see many old buildings. Then I wanted to search for the view that looked back at my
146_75	home, so I went to the opposite building, and asked the owner if I could pay her a little bit for
146_76	permission to got to the top and see back to my home." A photograph depicting a naked figure
146_77	holding a cotton wool cloud on a rooftop and another photograph of the rooftop without the figure
146_78	taken at the scene were included in the exhibition Perhaps, Solitude at the studio of the late
146_79	Jerry Kwan, teacher of Ivy Ma in Fotan in 2007.
146_80	In Another Land (2008) is an installation piece created during her residency at the Headlands
146_81	Center for the Arts in San Francisco, using pebbles collected from Rodeo Beach nearby and cotton
146_82	thread from a closed-down factory in Oakland.
146_83	2010 to 2015: Found images and drawing-interventions
146_84	Starting in 2010 Ivy Ma began focusing on found images, both stills taken from specific films and
146_85	photographs found in history museums, for an ongoing series of what she calls
146_86	"drawing-interventions" where she actively erases and draws into and over the existing image.
146_87	In the exhibitions In Details (2010) at agnès b.’s LIBRAIRE GALERIE, Hong Kong, Gazes (2011) at
146_88	Gallery EXIT, Hong Kong, and Still Lifes and Waves (2011) at the Hong Kong Film Archive, Ma
146_89	presented cinematic drawings created by magnifying and printing out film stills of objects, plants
146_90	and fragments of the mise-en-scène in classic films such as Yasujiro Ozu's Tokyo Story and A Story
146_91	of Floating Weeds, Yoshimitsu Morita's And Then, Fei Mu's Spring in a small town. Then she draws
146_92	directly on the prints in various subtle ways.
146_93	In the exhibition Numbers Standing Still (2012) at Gallery EXIT, Hong Kong, the source materials
146_94	are historical images instead of film stills. Re-photographing images of tragedies such as the
146_95	aftermath of the Hiroshima bombing in Walking Towards (2012), the occupation of Nanjing by Japanese
146_96	soldiers in Hand 001 / 002 / 003 (2012), and the mass killing by the Khmer Rouge in Cambodia in
146_97	Cambodia/Tuol sleng Genocide Museum/Numbers Standing Still (2012), she erased large portion of the
146_98	images and then overlapped them with pigments.
146_99	Ma shifted her focus to people in the exhibition Someone (2014) at the Goethe-Gallery and Black Box
146_100	Studio, Hong Kong. Source materials range from people in the artist's family photographs, to
146_101	strangers in found photographs and antique photographs, to faces and bodies of people in historical
146_102	images of war and disaster.
146_103	Works presented in the exhibition Last Year (2015) at Gallery EXIT, Hong Kong represents an
146_104	important development in Ma's drawing-interventions which she has been developed for the past 5
146_105	years. It is the first time Ma has taken current events as the subject. "I am trying to see how a
146_106	present moment will very soon be a past moment and understand what this means...I'm always
146_107	fascinated by the distance between the present and the past, as well as how history is archived and
146_108	presented to us in the now," Ma talked about the works in an interview with the South China Morning
146_109	Post. As the title suggests, the series includes 40 black and white mixed-media portraits based on
146_110	images of protesters Ma taken with a smartphone during the Occupy protest in Hong Kong in 2014.
146_111	Full list of exhibitions Solo exhibitions 2021 Think of Wind, Touch Gallery, Hong Kong 2020
146_112	Poems, days, death, Lumenvisum, Hong Kong 2018
146_113	As Time Folds, Art and Culture Outreach, Hong Kong
146_114	2015 Last Year, Gallery EXIT, Hong Kong 2014
146_115	Someone, Goethe-Gallery and Black Box Studio, Hong Kong 2012
146_116	Numbers Standing Still, Gallery Exit, Hong Kong 2011
146_117	Still Lifes and Waves, Artists in the Neighbourhood Scheme V, Hong Kong Film Archive and
146_118	Commercial Press Book Shop, Hong Kong
146_119	Gazes, Gallery Exit, Hong Kong 2010 Hardly Entered, Already Gone, YY9 Gallery, Hong Kong 2009
146_120	Deer Running, Gifu Municipal Culture Center, Gifu, Japan
146_121	Domestic Nature, Brandt Gallery, Cleveland, USA 2007
146_122	Perhaps, Solitude, Loft 21, Fotanian Studio Open 2007, Hong Kong 2001
146_123	Nothing At All, The Art School Learning Centre Gallery, Hong Kong
146_124	Group exhibitions 2021 Residual Heat, Axel Vervoordt Gallery, Hong Kong 2020
146_125	Now Showing, Karin Weber Gallery, Hong Kong
146_126	XX: An Exhibition Celebrating the 20th Anniversary of Hong Kong Art School, Pao Galleries, Hong
146_127	Kong Arts Centre, Hong Kong
146_128	Drawing as the Core, Koo Ming Kown Exhibition Gallery, Lee Shau Kee Communication & Visual Arts
146_129	Building, Hong Kong Baptist University, Hong Kong
146_130	The spaces Between the Words Are Almost Infinite, Gallery EXIT, Hong Kong
146_131	2018
146_132	Social Transformation, Pao Galleries, Hong Kong Arts Centre, Hong Kong
146_133	Collections of Tom, Debbie and Harry, JC Contemporary, Tai Kwun, Hong Kong
146_134	The Crossing, Gallery EXIT, Hong Kong
146_135	What Has Been, Will Be Lost Until We Find It, Karin Weber Gallery, Hong Kong 2017
146_136	Ink Asia Art Fair 2017, The Hong Kong Convention and Exhibition Centre, Hong Kong
146_137	Deep Silence – Hong Kong Art School Alumni Network Exhibition 2017, Pao Galleries, Hong Kong Arts
146_138	Centre, Hong Kong
146_139	(An)other-Half: Being a Wife/Mother and the Practices of the Self, Osage Gallery, Hong Kong

146_40

Graduation Exhibition at the University of Leeds where Ma studied with a scholarship by the Hong

146_41

Kong Arts Development Council. In Remember How to Play (2002), domestic objects such as soft toys,

146_42

cushions, hair were inserted inside foam and were dotted throughout the exhibition space. Combining

146_43

video projection and wire, Remember How to Draw (2002) showed the artist’s impulsive reactions to

146_44

her childhood experience of drawing with fingers.

146_45

2003 to 2009: On-site works and overseas residencies

146_46

While Room of Memories (2001) already touches on memory and history of a site, Far Away, So Close

146_47

(2003) installed at the Kadoorie Farm Botanic Garden in Hong Kong in the exhibition entitled Dream

146_48

Garden was one of Ma's earliest site-specific works. She collected trees collapsed during the

146_49

typhoon. The tree trunks were sawn into columns and mirrors were attached to the cross-section of

146_50

the trunks. Images of the sky and other trees were reflected at various angles.

146_51

From 2005 to 2009, Ivy Ma participated in a series of artist residencies and workshops in

146_52

Bangladesh, Europe and the USA. Several on-site works were realized during this period.

146_53

As in Remember How to Play and Remember How to Draw (2002), childhood memories plays an important

146_54

part in A Fairy Tale (2005), a work made during the residency at the Britto International Artists’

146_55

Workshop at the Nikera Kori Center in Bangladesh. The work includes a fabricated scaled-down

146_56

version of a merry-go-round, and candies in silk handkerchief. As mentioned in the artist's notes,

146_57

"It is about children’s dreams, runs in the air of the playground then settles down in a room…a

146_58

solitude. It is also about a person watching children play in a playground (as in the lyrics of

146_59

the Rolling Stones song As Tears Go By), from morning to noon...This was indeed a group work and

146_60

included the owner of the playground…the blacksmith who made the playground ride, his helper and

146_61

the children I met in the village who gave me inspiration in thinking about the play in one’s

146_62

childhood." Collaborated with Abdullah Syed (Pakistan), another participant in the workshop, Always

146_63

land (2005) is an on-site work using net made with plastic thread and falling leaves.

146_64

Perception of Phenomenal Soundlessness (2006) is an on-site work produced outdoors during her

146_65

residency at the Cable Factory in Helsinki, Finland. Performative acts were carried out while Ma

146_66

wandered in the frosty landscape. She dragged an empty suitcase with broken wheels to the lakeside,

146_67

filled it with her own curled up, unclothed body and photographed herself; she gathered tree sticks

146_68

from grave land and rearranged them on the ice; and she stuffed ice into a man-shaped cloth doll

146_69

and hanged it on a tree. Images and documentation of the work were presented in the exhibition

146_70

entitled Stained, the eclipsed pattern at Uma-g Gallery, Hong Kong in 2006.

146_71

The Wayward Cloud (2006) follows a similar methodology. Originally an on-site work created when Ma

146_72

lived in Wan Chai on the Hong Kong Island, It is about the view seen looks back at the seer, an

146_73

idea already explored in Far Away, So Close (2003). In the artist's word, "I loved to look from my

146_74

window and see many old buildings. Then I wanted to search for the view that looked back at my

146_75

home, so I went to the opposite building, and asked the owner if I could pay her a little bit for

146_76

permission to got to the top and see back to my home." A photograph depicting a naked figure

146_77

holding a cotton wool cloud on a rooftop and another photograph of the rooftop without the figure

146_78

taken at the scene were included in the exhibition Perhaps, Solitude at the studio of the late

146_79

Jerry Kwan, teacher of Ivy Ma in Fotan in 2007.

146_80

In Another Land (2008) is an installation piece created during her residency at the Headlands

146_81

Center for the Arts in San Francisco, using pebbles collected from Rodeo Beach nearby and cotton

146_82

thread from a closed-down factory in Oakland.

146_83

2010 to 2015: Found images and drawing-interventions

146_84

Starting in 2010 Ivy Ma began focusing on found images, both stills taken from specific films and

146_85

photographs found in history museums, for an ongoing series of what she calls

146_86

"drawing-interventions" where she actively erases and draws into and over the existing image.

146_87

In the exhibitions In Details (2010) at agnès b.’s LIBRAIRE GALERIE, Hong Kong, Gazes (2011) at

146_88

Gallery EXIT, Hong Kong, and Still Lifes and Waves (2011) at the Hong Kong Film Archive, Ma

146_89

presented cinematic drawings created by magnifying and printing out film stills of objects, plants

146_90

and fragments of the mise-en-scène in classic films such as Yasujiro Ozu's Tokyo Story and A Story

146_91

of Floating Weeds, Yoshimitsu Morita's And Then, Fei Mu's Spring in a small town. Then she draws

146_92

directly on the prints in various subtle ways.

146_93

In the exhibition Numbers Standing Still (2012) at Gallery EXIT, Hong Kong, the source materials

146_94

are historical images instead of film stills. Re-photographing images of tragedies such as the

146_95

aftermath of the Hiroshima bombing in Walking Towards (2012), the occupation of Nanjing by Japanese

146_96

soldiers in Hand 001 / 002 / 003 (2012), and the mass killing by the Khmer Rouge in Cambodia in

146_97

Cambodia/Tuol sleng Genocide Museum/Numbers Standing Still (2012), she erased large portion of the

146_98

images and then overlapped them with pigments.

146_99

Ma shifted her focus to people in the exhibition Someone (2014) at the Goethe-Gallery and Black Box

146_100

Studio, Hong Kong. Source materials range from people in the artist's family photographs, to

146_101

strangers in found photographs and antique photographs, to faces and bodies of people in historical

146_102

images of war and disaster.

146_103

Works presented in the exhibition Last Year (2015) at Gallery EXIT, Hong Kong represents an

146_104

important development in Ma's drawing-interventions which she has been developed for the past 5

146_105

years. It is the first time Ma has taken current events as the subject. "I am trying to see how a

146_106

present moment will very soon be a past moment and understand what this means...I'm always

146_107

fascinated by the distance between the present and the past, as well as how history is archived and

146_108

presented to us in the now," Ma talked about the works in an interview with the South China Morning

146_109

Post. As the title suggests, the series includes 40 black and white mixed-media portraits based on

146_110

images of protesters Ma taken with a smartphone during the Occupy protest in Hong Kong in 2014.

146_111

Full list of exhibitions Solo exhibitions 2021 Think of Wind, Touch Gallery, Hong Kong 2020

146_112

Poems, days, death, Lumenvisum, Hong Kong 2018

146_113

As Time Folds, Art and Culture Outreach, Hong Kong

146_114

2015 Last Year, Gallery EXIT, Hong Kong 2014

146_115

Someone, Goethe-Gallery and Black Box Studio, Hong Kong 2012

146_116

Numbers Standing Still, Gallery Exit, Hong Kong 2011

146_117

Still Lifes and Waves, Artists in the Neighbourhood Scheme V, Hong Kong Film Archive and

146_118

Commercial Press Book Shop, Hong Kong

146_119

Gazes, Gallery Exit, Hong Kong 2010 Hardly Entered, Already Gone, YY9 Gallery, Hong Kong 2009

146_120

Deer Running, Gifu Municipal Culture Center, Gifu, Japan

146_121

Domestic Nature, Brandt Gallery, Cleveland, USA 2007

146_122

Perhaps, Solitude, Loft 21, Fotanian Studio Open 2007, Hong Kong 2001

146_123

Nothing At All, The Art School Learning Centre Gallery, Hong Kong

146_124

Group exhibitions 2021 Residual Heat, Axel Vervoordt Gallery, Hong Kong 2020

146_125

Now Showing, Karin Weber Gallery, Hong Kong

146_126

XX: An Exhibition Celebrating the 20th Anniversary of Hong Kong Art School, Pao Galleries, Hong

146_127

Kong Arts Centre, Hong Kong

146_128

Drawing as the Core, Koo Ming Kown Exhibition Gallery, Lee Shau Kee Communication & Visual Arts

146_129

Building, Hong Kong Baptist University, Hong Kong

146_130

The spaces Between the Words Are Almost Infinite, Gallery EXIT, Hong Kong

146_131

2018

146_132

Social Transformation, Pao Galleries, Hong Kong Arts Centre, Hong Kong

146_133

Collections of Tom, Debbie and Harry, JC Contemporary, Tai Kwun, Hong Kong

146_134

The Crossing, Gallery EXIT, Hong Kong

146_135

What Has Been, Will Be Lost Until We Find It, Karin Weber Gallery, Hong Kong 2017

146_136

Ink Asia Art Fair 2017, The Hong Kong Convention and Exhibition Centre, Hong Kong

146_137

Deep Silence – Hong Kong Art School Alumni Network Exhibition 2017, Pao Galleries, Hong Kong Arts

146_138

Centre, Hong Kong

146_139

(An)other-Half: Being a Wife/Mother and the Practices of the Self, Osage Gallery, Hong Kong