Satellite

Sharon Lee Cheuk Wun & Holly Leung Ho Ham: On borrowed time, the eternal summer

22.10—
20.11.2021
Time
Thu - Sat 2:00pm - 7:00pm
Image Makers
Sharon Lee Cheuk Wun, Holly Leung Ho Ham
About
Sharon LEE obtained her BA in Fine Arts from The Chinese University of Hong Kong and is currently an MFA candidate at the same university. Her photography is an analogue-digital hybrid rooted in material exploration and the re-representation of the absence, disappearance, and loss in history and memory. She has participated in art residencies internationally, including in Hong Kong, Taipei, Vienna, Berlin.

Holly LEUNG holds a Bachelor of Arts from The University of Hong Kong, majoring in Art History. She organises cultural programmes for non-profits and tertiary institutions. In her spare time, she likes listening to personal stories and reading historical fiction.
  • Special Measures
    (1) Any person entering JCCAC must wear a self-provided face mask and
    sanitise their hands. A thermal detector has been installed at L1 Wai Chi Street
    entrance, which is remotely monitored by the Centre security staff, who may request to
    check again any individual’s body temperature if needed.
    (2) Any person who fails to cooperate as requested, or displays fever (forehead temperature
    above 37.5C), fatigue, cough, diarrhea, vomiting or other flu-like symptoms will be
    refused entry or asked to leave JCCAC.
    (3) All persons entering JCCAC must abide by the “Prevention and Control of
    Disease (Prohibition on Group Gathering) Regulation” (Regulation) gazetted by the
    Government, including but not limited to the extension of the “congregation restriction”
    which prohibits groups of more than 4 persons to gather in public, with effective from 24
    February 2021.
    (4) Eating and drinking is not permitted.
    (5) Any person who violates the law will bear legal responsibilities.

Overview



Behind the screen door, a customer with something precious to exchange for some cash. 

Behind the eyeglasses of a retired pawnbroker, fragmented stories about the owners of these collaterals. 

Behind the lens of the toy camera, a child captures treasures she is leaving behind for a better life elsewhere. 

The nameless come and flee, vanishing into the ebb and flow of history. By collaging found images and text, we fabricate and record the missing jigsaw pieces.’

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