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The Cell

【SAY YEAH x IMPLY : REQUIESCAT DEATH EXHIBITION】


  20th November - 4th December 2020





【寢 REQUIESCAT|死亡展覽】


《寢》展覽由 IMPLY 與死嘢 SAY YEAH攜手合辦,試打破一貫對死亡的禁忌,以互動的展覽形式帶出生而為人必須面對的命題。讓觀展者從「寢室」開始,給自己一個機會,窺探不同人的死亡觀,嘗試與內心展開有關死亡的深度對話。


The Cell 於展覽期間被改造成為「寢室」,設置巨型「雞枕」與「我將如何死去?」留言牆,利用透明筆及紫外光燈「窺視」他人答案進行互動交流。同時更擺設真實殯儀用品與一系列有關死亡的書藉,讓參觀者能夠從而探究死亡,反思生命。死嘢創辦人 William Chan 亦不定時地於展覽現場跟有意的觀展者進行 Pillow Talk,談心說理,談生說死。






REQUIESCAT: Death Exhibition was a collaboration between IMPLY and SAY YEAH, a local death education charity organisation. The interactive exhibition intended to break the taboo and initiate a dialogue of death. From the "Bedroom", viewers can have the chance to peek at others' thanatopses and ruminate on the death of their own.

The Cell was transformed into a "Bedroom", with the centre piece which was an enlarged version of a Cantonese funeral pillow, and an interactive wall for leaving answers to the question "How Would I Die?". With memos and "invisible pens", the visitors could write down their answers, then take a glimpse of others' responses with a UV light torch. There were also a series of books about death and authentic memorial product(s) for viewers to read and reflect upon life and death. The founder of SAY YEAH William Chan was here for viewers who were interested in having a "Pillow Talk" with him. 






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【SEAN MUNDY x IMPLY SELECTED WORKS EXHIBITION】

  3rd - 24th July 2020




【SEAN MUNDY|特選攝影作品展覽】

與Sean Mundy合作的特選
攝影作品展覽是首次由IMPLY策劃及呈獻的展覽。自從去年發佈分享過他的攝影作品,深受他所創造的畫面意識形態吸引,其透過專業後期數碼操作,構建成每幀極具概念性的作品。

經歷自我審視與身份迷思,Sean構建出嚴肅中立,卻緊繃而充滿不確定性的場景。旨在以一種微妙的極簡法來進行破壞創作,挑選與刪減傳統的敘事公式,塑造全憑觀看者主觀聯想的畫面。


以精心構思、拍攝和數碼化處理的圖像,結合了圖象學、象徵及超現實主義的視覺詞彙,呈現出獨立個體的自我狀態與集體系統之間的不和諧。











The exhibition of Canadian photographic artist Sean Mundy was the first exhibition IMPLY had organised and hosted. The ideology from his conceptual imagery photography had captivated us ever since we shared his work last year.

Working through self-doubt and questions of identity, Sean constructs austere, yet neutral and distant scenes of palpable tension and uncertainty. With a subtle, minimal approach he aims to disrupt, select from, and delete classical narrative formulas to form scenarios that are reliant on subjective associations.

With his meticulously constructed, photographed, and digitally manipulated images, he combines visual vocabulary from iconography, symbolism, and surrealism to present moments of dissonance between the individual, separate states of self, and collective systems. Using human form as a stand in for emotion, psychology and physicality, the specific subjects are rendered subservient to the conflicts arising in the works.