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The Art Museum of The Chinese University of Hong Kong (CUHK) presents the exhibition “Celebrating the Year of the Rat” starting from 13 June 2020, demonstrating the rich meanings of rats in Chinese culture.

2020 is the Year of the Rat in traditional astrology. Belonging to the rodent family, rats are one of the oldest mammals in the world. Chinese literary references to the miniature nibblers are very often negative in nature. Nevertheless, as our close neighbour throughout human history, people also discover inspiration from some of their characteristics. For example, their strong ability to adapt and breed has become an auspicious symbol of prosperity.

This exhibition features over ten artifacts on rats and their relatives such as squirrels and bats from the Art Museum. Dated from as early as the Qing dynasty, the fine selection of exhibits covers a diversity of artworks including high-quality porcelain, ink stone as well as Lingnan paintings.

Design plays a crucial role in society in spheres ranging from industry, business and public policy to organisations, technology and the environment. It influences our communities, behaviours and lifestyles. From 5 November 2020 to 10 January 2021, Design Does* at HKDI Gallery will showcase a series of projects by international designers which seek to address topical issues and future challenges such as sustainability, ethics, connectivity, marginalisation, consumerism and innovation. This interactive exhibition will examine the responsibility inherent in the act of design and the designer’s multiple roles as a provider of solutions, humanist, strategist and agent of change.
The issues raised by each design project are intended to generate dialogue, encourage participation and build knowledge that will enrich the transdisciplinary practice of design.

Could a high wall whisper? Could a thin shadow flow? With the
practice of two-dimensional art mediums, 9 artists have embarked
on a journey of self-discovery, seeking answers to questions from
an intricate maze of unknowns…

All living creatures on the earth have developed a system of coexistence. For many years, human lives have been flourished through different contributions by animals. This is to convey a message of cherishing and saving animals

A Surreal Glimpse at our Planets will showcase a mini-series of
artworks created in 2019. In this exhibition, previous contemporary
artworks by the artist will also be displayed.

Somewhere We Belong is a collaborative effort of five artists from Club Palette. Artists portray their representations which extend beyond physical locations, and provide different perspectives that relating themselves to the world. The collection mainly consists of paintings with styles ranging from realism to abstraction.

Discussions that use works of art as blueprints have long been divorced from materials or tools of production and other foundational elements; instead, they have expanded to encompass chance encounters and feedback that arose as they grew and developed. In the infinite extension of its chain of life, publishing labels serve as intermediate points and not endpoints. Humanity’s interest in the process of spiders making a web has almost completely disappeared, and the arrangement, reorganization, hunting, and counterattacks that take place after the cobwebs form have become the subjects of a new kind of observation. However, artists are not content to have their subjectivities taken as samples to be observed, and with their rackets of cobwebs, they echo society’s voices. The best works that arise out of this back and forth are rackets that have survived countless tests, and in different contexts, the artists’ reactive movements and hitting methods reflect a personal style.

In the course of globalization, a generation of artists has collectively sought out precise coordinates for Chinese contemporary art. Eastern contexts and spiritual signs are instruments of attack that can be used at any time, and whether in China or abroad, Chinese artists existing alone and confronting various challenges in the art world often find this overwhelming. However, the most important thing, an individual life, is overlooked, and so the first group of artists started to explore their inherent foundations, building and weaving their own styles and fashioning a shield of cobwebs.

This shield does not have superficial, traditional Eastern characteristics, nor does it respond to the Western media’s clichés about the unfamiliarity of Chinese culture. Therefore, it uses dynamic coordinates to fight back against the intense provocation of constantly being questioned; it transforms itself into an active element in a relationship network and contributes nodes to this extant yet amorphous network in real time. A sustainable ecosystem that nurtures cobwebs changes its structure in response to constant counterattacks, bringing out the new and providing inspiration and support for a new ecosystem.

In the highly entropic stage at the end of every rapidly-developing process, cobwebs absorb these conflicts with their soft embrace, then present a product in their structural features. It is avant-garde not because it provides clever visual perspectives or displays impressive techniques, but because it is omnipresent in battle, and because it absorbs the things that occasionally control or restrain individual or collective emotion in a space. The act of hitting a ball is just a hypothetical, but it has intrinsic, unique properties that are related to our understanding of the dialogue between artists and viewers. Extending the concept of dialogue to the bodily dimension, the interlocking cycles formed as times change, as history cycles, and as regions shift, as well as the artists’ analysis and organization of their artistic ideas, are condensed into a site that allows for the casual contemplation of ideas. The artists in this exhibition coincidentally chose this “racket of cobwebs” strategy. From accumulating the energy to spinning a web to wielding it freely, this one coherent, smooth movement could highlight the driving forces in the competitive arena of this new era.

Broken Garden is a collaborative installation that combines the practices of artists Amy Maria Tong and Sharu Binnong Sikdar. Through the exploration of deconstruction and reconstruction of daily objects, a surreal garden setting is fabricated. The installation suggests an idea of distorted forms in a dream-like setting, as they sit on a bed of man-made moss. With strips of delicate fabrics draped around the sculptures, they lightly drift in a gentle breeze. Thus, it creates a sense of eeriness in contrast to the fast paced environment of people passing by.