搜尋結果

English Version only 【We are looking for Interns!】 1a space is looking for interns for its Internship Programme 2025/26 ! If you are passionate about art and seeking a flexible internship while you study, this is your opportunity. This is a unique role for current students in arts and culture disciplines to gain hands-on contemporary art exhibition experience. Programme period: mid-November 2025 - late May 2026 If you are interested, please submit your CV to 1arecruit@oneaspace.org.hk (Subject: Application to 1a space Internship Programme 2025/26) by 3 November 2025, 11:00am . Job Description: Actively participating and gaining practical training in cultural management and arts administration by assisting in the preparation, coordination, and implementation of exhibitions and other arts programmes;  Working closely with the team members to support arts education and outreach programmes, including guided tours, art workshops, artist talks, and other special events;  Assisting in the implementation of marketing and programme promotions for the cultural programmes;  Assisting in updating the website and social media platforms;  Assisting with exhibition (de-)installation;  Providing support in the daily operation of the gallery and during gallery events.     Requirements: Currently studying cultural management, cultural studies, art, art education, museum studies, or other related subjects;  Strong interest in working professionally in the contemporary art field;  Good team player with excellent communication skills;  Outgoing, gracious, and obliging with fluency in spoken English and Chinese (Cantonese & Mandarin);  Skills in photography, videography, and Adobe Creative Suite are a plus.

2025年來到第七屆《香港視覺藝術評論培育計劃》，將聚焦於傳統媒體與社交網絡的生態，並以此書寫藝評文字的差異與轉變。我們邀請資深藝評人林三維及魂游擔任導師，十五節的課程涵蓋導論省思、實戰觀展研討及評析，拆解藝評的刻板印象、重塑其多元可能性。 為了鼓勵學員持續書寫藝評，我們繼續於Instagram專頁（@1a_artcritic）及網頁推廣計劃。在2025年11月至2026年4月期間，導師將挑選優秀的學員文章刊載於平台上。我們期望能為學員提供一個持久、自主的藝術文章刊登平台，致力營造香港本地藝術評論生態。 _______________________________________ 工作坊時間表｜共十五節，每節2小時 日期及時間｜ 星期日 上午11:00 - 下午1:00 2025年11月16日、11月23日、12月7日、 星期六 下午3:00 - 下午5:00 2025年12月13日、12月20日、 2026年1月10日、1月17日、1月24日、1月31日、 2月7日、2月14日、2月28日、 3月14日、3月21日、4月11日 地點｜1a空間（個別環節或到訪各大藝文機構場地） 授課語言｜廣東話（部分閱讀材料為英文） 寫作語言｜中文或英文 對象｜有志深造藝評的文化愛好者 費用｜港幣6200（完成所有藝評作業的學員最多可獲港幣 600 學費回贈） 報名截止｜2025年11月3日（星期一）晚上11時59分 報名方法｜填妥報名表格 https://forms.gle/vkqyVTUBQ2idxBVu6 更多詳情：​ https://www.oneaspace.org.hk/hkartcriticism2025-2026

Exhibition Information “If there is a garden, where would I be?” is a captivating visual and spatial art project. It creates a unique “garden” for viewers to stay, explore, and enjoy. This project invites participants to immerse themselves in a space that encourages reflection and interaction. Artists The exhibition features the talented artists AU Hoi Lam and CHANG Hoi Wood. Their innovative approaches to art challenge conventional boundaries. They create environments that stimulate the senses and provoke thought. Venue and Dates Location : 1a space Dates : 24/8 – 28/9/2025 (Closed on Monday) Opening Hours : 12 PM – 6 PM Admission : Free This exhibition is a wonderful opportunity for art lovers and curious minds alike. It allows visitors to experience art in a new way. Support and Acknowledgments This project is supported by the Hong Kong Arts Development Council. The council champions freedom of artistic expression. However, the views and opinions expressed in this project do not reflect the council's stance. Explore the Garden The concept of a garden in this exhibition symbolizes growth and exploration. It encourages viewers to wander through the space, discovering new perspectives. The artists have designed this environment to be both inviting and thought-provoking. Engage with the Artists To learn more about the artists and their work, follow them on Instagram: @changhoiwood @au.hoilam Conclusion In conclusion, “If there is a garden, where would I be?” is more than just an exhibition. It is an invitation to explore the intersection of art and space. Visitors will find themselves immersed in a world of creativity. This project promises to leave a lasting impression on all who attend. The garden metaphor serves as a reminder of the beauty in exploration and the importance of artistic expression. Don't miss the chance to experience this unique exhibition.

Chan Lok Yiu [僅限英文版本] Our species is constantly held spellbound by natural wonders. And it explains the eager flocks of local trippers who visit the outlying islands of the city every few months. As the night wears on, the bumper crowd turns their gaze skyward, yearning to catch the merest glimpse of beaming streaks across the sky. Eliciting the awe in whoever witnesses it, the allure of a meteor shower stems from a sense of uncertainty — there is no guarantee that one can get a sight of shooting stars, and oftentimes the efforts of stargazers are doomed to be in vain.     A few years ago, artist Kevin Ling, after a disenchanting astronomical experience in which his solid hours spent on the beach went futile, decided to create his own meteor shower using two types of objects alone: paper airplanes and sparklers. Composed solely of a long static shot, Meteor  (2017), is a video art capturing the artificial meteor shower. Very often it is precisely the videomaking techniques such as editing, voice-overs, and subtitling which add a narrative to a video. Nevertheless, Meteor  is not a sophisticatedly edited video, but an unembellished record of the artist’s repetitive actions in lieu. Taking the same stretch of time as the actual event, the work is a sheer twenty five minutes of the artist throwing paper planes with sparklers.    Situated at the back of the picture is a line of typical residential buildings. Their beauty is not only rooted in their familiarity with anyone who dwelled in the city for years, but also in their repetition which creates a visual rhythm. At the edge of the frames sit a clump of trees, shrouding a greenish building. With over half of it hidden from the sight of the camera, its rooftop is left particularly visible, and it is the place where the paper planes are thrown. Standing on the rooftop, the artist flies a plane that carries a sparkler on the day the Perseid meteor shower peaks. The bright light emitted by the sparkler climbs into the darkening sky as the plane hovers in the wind. In the blink of an eye, the flight comes to a halt and its soft luminosity dissolves into thin air. The sky recedes into momentary silence within seconds, and it is not until the artist flies another paper plane that the stillness of the night is again pierced by some flying sparks. Despite the similarity in the appearances between paper planes, their voyages are distinctly different due to factors such as wind conditions and the drag each of them experiences, and it is the unpredictability of it that resonates with the random paths of meteors.     There is a tendency that Meteor  is taken at face value due to its simplicity — after all, its name has already dropped a clear hint about what to expect in the video: a plethora of shooting stars. Whereas the work is a passable imitation of an astronomical phenomenon given that it is executed only with highly accessible objects, the building where the artist tosses the paper planes suggests an underlying theme of the work. Perhaps a quick scan of the artist's statement is required for some of the audience to realize what the greenish building in the video is — the main building of Hong Kong Baptist University’s Visual Arts Academy, the place where the artist always stayed while he was a university student. Unlike concrete constructions built from stretch for educational purposes, the campus consists mainly of two historical buildings surviving from the 1930s. Once an essential part of the Royal Air Force station, the site in Kai Tak has long been leased to Hong Kong Baptist University to house its Visual Arts Academy, and the Colonial Neoclassical architecture of the buildings marks a striking difference with the newly constructed structures nearby. There is no surprise for Visual Arts students to be found hammering away at their artworks in the wee hours inside the buildings’ studios. With the copious amount of time spent there, the immense familiarity with the environment constitutes a sense of belonging between the place and the students who constantly linger on the campus. The artist’s special fondness for the place, together with the area in which the campus is situated, is well exemplified by his series of artworks, namely Art Archive: Kai Tak Series (22.331130.114.210124) .   Being one of the eight artworks composing the series, Meteor  does not only relate closely to the heritage campus but also its surroundings. Opposite the campus sat Kai Tak Mansion, a complex consisting of four buildings that accommodated hundreds of grassroots households. The deeply intertwined relationship between the campus and Kai Tak Mansion not only lies behind geographical propinquity but also the entwined histories of both sites. Formerly owned by the Royal Air Force, the land on which the campus and Kai Tak Mansion were sited witnessed a significant slice of history during the colonial period, and the two adjoining sites housed the quarters compound and the dormitory buildings respectively. It is, however, only the former which was able to dodge demolition while the latter underwent a major renovation, hence Kai Tak Mansion.    Standing at the foot of Ping Shan, the Kai Tak campus is isolated from the hustle and bustle of the city. Thanks to the height of the four low-rise buildings standing between the campus and the Kwun Tong Road, students were allowed to take in the rural landscape bathed in warm sunlight. However, it just takes a bus journey on the thoroughfare to realize that Kai Tak Mansion is no longer there to be found, but a building site of a towering edifice is set instead. In fact, Kai Tak Mansion has already been demolished in 2016 and was redeveloped into a high-end residential building despite resistance from tenants who were eventually evicted from their homes. The tragic denouement of the ill-fated mansion is of course, undesirable, but not unpredictable as it is just another common occurrence in the city whose norm is money, and it is always mankind who accounts for the key decisive factor in both conservation and demolitions of buildings.     Kevin Ling was yet to graduate from university at the time Kai Tak Mansion was under threat of demolition. The incident urged him to create artworks that revolve around the demise of the buildings, and thereby an artwork series dedicated solely to the two abutting sites which share common originals. Despite their seemingly distinct fate, a proposal to relocate the academy in 2012 shook the students’ sincere belief that the halcyon days on the heritage campus would never end. It was fortunate that the cooperative efforts of students, staff, and various parties paid off, and the academy could remain on the site for another decade. Still, the incident sows seeds of worry and anxiety in students who have already developed a strong attachment to the campus, and they come to realize that the loss of their campus is in fact within the bounds of possibility.   An alternative perspective is now provided to interpret Meteor  not only as a recreation of a celestial event but also as a lament for the irreversible change in Kai Tak. Although it is by no means possible to notice while watching Meteor , the paper planes are in fact thrown towards the site of Kai Tak Mansion according to the artist’s statement. After a paper plane is thrown, it drifts towards the lot as its glimmer of light continues to fade. Departing from the rooftop of the campus, the bright luminescence on the plane serves as an elegy dedicated to Kai Tak Mansion, the building whose lights had been extinguished, and was ready to be replaced anytime.     In the face of development plans in the neighborhood of the campus, students experienced utter powerlessness arising from cases of forced demolitions where collective resistance is always proven fruitless. The sparks carried by the paper planes is a silent scream of anguish let out by Kevin, alongside students who take issues with the demolition of Kai Tak Mansion and, more importantly, the hierarchical structures that hold the fate of old buildings in their clenched fists. Coupled with a grudge towards institutions that willingly dispossess people of their places, the flickers of flames drifting through the air in Kai Tak have points of resemblance to those seen in different catalysts for change, such as the glow of fire hurled across the sky by young opposition forces who combatted the construction of the new international airport in Japan, the flame belonging to the thousands of candles on the Hviezdoslav Square which later acted as a prelude to the Velvet Revolution, and so on. In Meteor , the full wrath of the artist is converted into the shooting stars, and as the planes spread their wings, the scream of anguish echoes loudly through the motionless night.     Time and again people wish upon a shooting star that carries with itself the inevitability of an ending as it traverses the sky, and they appreciate the last glaze of its beauty before its disappearance. In danger of sinking without traces, every single construction is built to be flattened in the future, with the dormitory buildings and Kai Tak Mansion which shared the same piece of land serving as striking instances. Buildings are never immune to redevelopment plans even if they have proven themselves of great historic value as they are situated in Hong Kong, a city notorious for its toothless heritage policy. Thereby, shooting stars that are doomed to fall and vanish have always been prevalent before our very eyes, and they appear to us as physical places of all sorts — piers, streets, villages, to name but a few. Like the unpredictable trajectory of the manmade shooting stars in Meteor, uncertainty is also firmly embedded in the destiny of every single piece of land, together with the constructions on it. Therefore, it is just possible that the place that we come across every day will only exist in archival materials — if any — in the not-too-distant future.     Resting on the artist’s sensitivity to the physical environment where he was situated, Meteor  is not only a work of art that uses shooting stars as a metaphor for the demise of Kai Tak Mansion but also a piece of art archive that puts forward evidence for the presence of a demolished building.

第二屆「藝術而立」藝術團隊公開招募反應熱烈，恭喜藝術家卓思穎、策展人楊陽及研究員鍾宛芝所組成的藝術團隊獲選為第二屆「藝術而立」團隊。  藝術團隊將會舉行展覽、刊物出版等一系列公眾活動，留意我們的社交平台以獲得更多有關第二屆「藝術而立」活動資訊。  我們再一次感謝各位申請者的支持！

一篇追溯音樂體現的自述 與一個以奇思妙想交織的遊樂場 孫禮賢自小受古典音樂訓練，卻選擇了不同於傳統音樂體制的道路。他更為人熟知的身分是聲音和媒體藝術家、或是劇場製作中的聲音設計師。鄭雅茵擁有跨學科的背景，在學時期因熱衷於舞蹈表演，便與劇場結下不解之緣。 背景迂迴的二人在劇場相遇，自此碰撞出許多新鮮奇特的想法。透過接近十個月研究和探索，二人重新想像聲音、科技與身體的關係和連結，從中尋找這些年來創作中產生那些疑問的答案：觀與演之間的微妙關係；自身與藝術形式之間的連結；又或是在這個人類似乎隨時能被科技取代的時代，作為藝術家以及一個活人，我們還能從甚麼角度看身體。 _______________________________________ 展覽資訊 地點｜1a空間 日期｜ 8 – 16／2／2025 時間｜11 – 7PM（逢周一休息） 免費入場 演出資訊 地點｜1a空間 ​ 節目一：《Stolen Ears; Muffled Bell》及《機動起舞》現場示範 日期及時間｜ 8／2／2025，8pm    9／2／2025，3pm ​​ 節目二：《It's not in the music, but it's in the music, or not.》及《機動起舞》現場示範 日期及時間｜ 15／2／2025，3pm     16／2／2025，3pm 🔗 登記參與，免費入場 登記連結： https://forms.gle/uQH76bBaiXK3vsFv8 演出將以廣東話進行，輔以英語文字稿 觀看演出名額有限，額滿即止 ​ _______________________________________ 藝術家： 《動作的述說》孫禮賢 《機動起舞》鄭雅茵 演出者： “Stolen Ears; Muffled Bell” by 陳偉洛 & 孫禮賢 “It's not in the music, but it's in the music, or not.” by 孫禮賢 《機動起舞》現場示範 by 張嘉怡 ​監製：韓詠衍 燈光設計：賴詠珊 空間設計：陳偉洛 製作經理：李佳琳 攝影：梁瑋暘 錄影：許康年 視覺設計：鄭雅茵 協助：1a空間 & 牛吉地 器材支援：現在音樂 資助：香港藝術發展局 香港藝術發展局支持藝術表達自由，本計劃內容並不反映本局意見。 Instagram: @goin.goin.studio @larry.shuen @ngangangayan

通過連接藝術與日常城市的交流，我們邀請您直接與藝術家及作品互動。帶一張「街招」回家——這不僅是一件藝術品，更是您藝術教育之旅的有形部分。互動元素模仿了撕下或帶走「街招」的行為，在這裡，將成為藝術家與觀眾之間有意義的交流。 不要錯過參與我們這個創新藝術教育實驗的機會。帶走一張「街招」，開啟您的藝術之旅！ _______________________________________ 展覽 資訊 日期｜26 - 30.3.2025 地點｜香港會議展覽中心一樓大堂1a空間展位 _______________________________________ 參展藝術家 陳港虹 黎仲民 劉寶欣 羅文樂 黃淑賢及團隊（黎才進、陳泳遙、簡宏業 ） 胡智健 ​

聲音藝術表演 臨時宙域是一個有關聲音藝術的表演。受星體在太空中相遇啟發，這個組合也是臨時構成的。每個表演成員的樂器，音質與玩法有別，在空間與音域之中找尋可能的「朔望」（並列）。 玩聲可算是一個學習過程。這件作品需要4位表演者根據由占卜和生成藝術所啟發的作曲規則來演奏。通過這件作品，希望在傳統和當代技術的混合下探索即興表演的新形式。準備好樂器，旅程開始！ 觀看演出名額有限，額滿即止。 _______________________________________ 演出資訊 地點｜1a空間 日期｜15.3.2025 時間｜8:00 - 9:30PM 費用｜$150 / 優惠票 $80 ​ _______________________________________ 聲音藝術家： 龢wo4 Brian Chu @brianchu_u Sky Kung @theblacksea555 Liz @2izia 聲音工程師： Jimmy Lo @j.lo_1_0_2_3 Instagram: @cosmictemporary ​ _______________________________________ 藝術家介紹 Photo by: Gideon De Kock 龢wo4 Brian Chu brianchuwo4.bandcamp.com 聲音即興表演者。龢wo4以身體與物件、樂器、噪音回饋及空間互動進行演奏。他的創作靈感來自詩意書寫、田野錄音和日常考察。他通過生活中的聆聽和觀察，以聲音來理解、反思並尋找內心與世界的連結語言。現為香港自發藝術集體「Writing As Method」和「Exit-Entry」成員，樂隊「不平靜水域」鼓手。 Sky Kung theblacksea.space Sky Kung是一位媒體藝術家、音樂製作人與樂器創造者。作為結他手，他透過效果器營造夢幻聲響，並以樂團形式演出；同時，活躍於計畫《the black sea》創作氛圍音樂，專注於磁帶循環、聲景與持續音。此外，Sky亦以個人身份探索聲音藝術，喜歡研究電子元件與程式碼自製樂器，實驗聲音的另類生成方式。 Photo by: Helen Liz (uncle123) uncle12321.mmm.page Liz (uncle123) 2006年出生於香港，現就讀於香港演藝學院。她的興趣是探索人類與電腦之間錯綜複雜的聯繫，將混亂的思緒放到眼前。最近在尋找更有趣的故事。她也是 @sonicofficer 的發起人。

藝術是遊戲，互動遊戲亦是創作交流，1a Carnival以各種創作方式與大家探索藝術、體驗即興遊戲、挑戰感官觸覺，帶您進入一個充滿玩樂的藝術世界！ 1a空間與4組藝術家為大家帶來多款「遊戲」：蔡愷盈 《青蛙手推車》、廖倩彤《小玩意》、凹粒 《準備好先入嚟！》、Mist Gallery（黎仲民、鄧智軒、張喆、橦、Mist）《金斧頭》。 我們更設有1a booth售賣多位藝術家作品，包括版畫、漫畫、插畫、小誌等，選購時有機會抽中展覽限定的藝術家小卡。合作藝術家：陳心翹 、劉志威、梁俏怡、李柏萱、Lonely Kidney、郭芷昀、吳穎琪、 otto.room、尹靖瑤、Ben Wong。1a Carnival期間《入牛棚行個圈》，完成仼務後即可獲得精美小禮物！先到先得，送完即止。

｜△｜一種假意的相像又卻永遠不能再是(虛擬而永恆的不曾存在或曾經存在之物） 「情感幾何」第二階段展覽將於 2024 年 3 月 9 日 至 4 月 14 日進行，屆時歡迎各位親臨 1a 空間觀看展覽。 < 情感幾何 — 所有新事物在它變得更新的一刻就開始腐壞 > 策展人｜張海活 參與藝術家｜張海活、陳家智、史穎怡、王鎮海、陳松力、胡俊偉、葉文恩、易榮進 地點｜1a 空間 牛棚藝術村 14 號 < 第二階段 >   ｜△｜一種假意的相像又卻永遠不能再是(虛擬而永恆的不曾存在或曾經存在之物）  日期｜2024 年 3 月 9 日 至  4 月 14 日  時間｜星期二至星期日 11:00 – 19:00  開幕典禮｜2024 年 3 月 9 日, 15:00 – 19:00  藝術家分享｜2024 年 3 月 9 日, 15:30 – 17:00  策展人導賞｜2024 年 3 月 10 、16 、 17 日, 14:00  我們會在網站上分享更多的資訊，敬請期待！

如果你錯過了或想再次參觀是次展覽，你可以觀看以下虛擬展覽。 現場展覽每30分鐘亮一次燈，持續2分鐘。亮燈和熄燈版本均可供觀賞。 播放音訊以獲得更佳的體驗 熄燈 亮燈

如果你錯過了或想再次參觀是次展覽，你可以觀看以下虛擬展覽：