reviews

羅玉梅: 維多利亞之東 | Law Yuk-mui: Victoria East by Morgan Wong 

Published on art forum.com.cn (18-5-2017)

展覽秉承羅玉梅處理史料時一貫的冷靜態度,一層一層從歷史宏觀中發掘出不同的細微線索。串聯不同事件的主線不單只有時間,更有一種對消逝的不安。若“最後的海岸”是在掌控一條物理上的線,那麼整個展覽羅玉梅則是為時間線訂下不同的註腳 – 地緣政治的消失,殖民歷史的殘存,以及社會發展的今昔。

 

Law Yuk-mui by Yang YEUNG

First published in issue 118 (Jan 2016) of a.m.post, Hong Kong.
原文刊於《a.m.post》118期,2016年1月。

 

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“Law’s objects are Woolf’s “characters”. They neither speak nor show, but they are poemed for being “well put together”. To borrow from Bringhurst again, to poem is to make sing or resonate. Law’s solitary ecology of objects does that, too. In the making, the artist’s body must have hopped between them – those kindred spirits of hers – so that she could conceal herself, displace those after-the-fact gestures of art, show this act of concealment, and get lost in the vastness of everything else.”

Six female artists search for Hong Kong’s disappearing history and memory  by Charlotte CHANG

Published on Art Radar Contemporary art trends and news from Asia and beyond (30-10-2015)

Law Yuk Mui’s work The Yellow Portrait (2014), a black and white photograph featuring herself in a field of snow with an umbrella, is a “footnote” to the Occupy Movement in 2014. Late last year, Law travelled to Japan with her yellow umbrella to test out photographer Eikoh Hosoe’s idea that yellow produces a higher contrast than white in a monochrome world. She found in her experiment that yellow did not come out brighter; and in an unrelated misfortune, she lost 17 photos in the series when her film broke. These broken films and lost images are presented together with the portrait in which the yellow umbrella does not stand out, as if to suggest that failed attempts at something elusive could also be powerful symbols of resistance.

On Junk Bay, King Lam Est., The Plant (1990) is a mixed-media work about Junk Bay, the former name of the artist’s home Tseung Kwan O, and the plant life that thrives there. Although Junk Bay was reclaimed, plants – some even tropical species from overseas – have taken root around the old King Lam housing estate. By presenting real plant samples and cyanotypes of different species found on the estate, Law comments poetically and in a timely way on the increasingly threatened co-existence between humans and nature in a city where century-old trees could be cut down without warning.

Law Yuk Mui: Disabled Novel  by Frank VIGNERON

First published in PAROLES Mai / Juin 2011 Nº 228
原文刊於《東西譚》2011年5-6

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「羅玉梅很明顯屬於我們通常稱為〝觀念派〞的藝術家。她的碩士論文的主題,選擇的是仔細研究當代的造型藝術家如何既以書作為創造媒材又作為表現內容,創作了同一主題的系列作品。在她的論文裡,羅玉梅沒有停留在對當代造型藝術如何以書作為媒材進行創作的精采描述,她還清楚地闡明了自己的藝術實踐,為讀者提供了在當代藝術展覽中經常缺乏的一種東西:即造型藝術家所作的思考,她既為自己作品難以理解的視覺空間作了澄清,事實上亦為作品增加了一維輔助空間。」