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8/15/2015 - 8/29/2015
ART BROWNIE 2015 (Magic)


5/6/2015 - 5/25/2015
Duos / Trios (Selection of Photo Works from 1989 to 1997)
Holly Lee


2/7/2015 - 2/28/2015
TEN - Photo-based work by 10 artists


8/9/2014 - 8/31/2014
ART BROWNIE Happiness 2014


4/27/2011 - 6/5/2011
found landscape
Sai Kit NG


To our ordinary vision it is not a common practice to embrace a 140 degrees field of vertical view. In an urban enviroment Hong Kong photographer NG Sai Kit searched for images that meet his particular vertical panorama vision. The resulting visuals made up this series of black and white cityscapes. The exhibition is presented by Chinese Contemporary Xchange.

Images and writings on NG Sai Kit's found landscape can be found in this web page:

10/10/2010 - 11/21/2010
Eight Immortals Across The Ocean
HOU Chun-Ming


Chinese Contemporary Xchange (CCX) is pleased to present the exhibition Eight Immortals Across The Ocean by Taiwanese artist Hou Chun-Ming. This exhibition is part of Printopolis, a 4-day symposium with an international focus on contemporary printmaking held in Toronto from October 21 to 24.

Hou Chun-Ming is noted for his large scale woodblock prints. At INDEXG, CCX will exhibit the work Eight Immortals Across The Ocean, which measures 700 cm by 210 cm. Another work on display is Journal by Pillow 1999 (work 2006), a suite of duo-colour prints that consists of 22 work.

Hou's work is stylized by highly private and ritualized characteristics that challenge social taboos. Wheeled in two different directions, one outward and the other inward, Hou uses the same sexually provocative expressions in all of his work. While erotic figures flooding his personal stories, he is non-apologetic in employing obscene images as weapons to criticize social phenomena and current events. The artist once said in an interview, "...there's great power in the repression and escape that sex represents. As the saying goes, 'It's human nature to need food and sex.' Just as you need food every day, sexual energy is something that a person grapples with for a lifetime".

His work, including Eight Stories of Hou, Eight Immortals Across The Ocean and Journal by Pillow are quite biographical, where sexuality, desire and personal emotions mingle with legendary heroes and immortals. His work is also marked by an abundance of writings. These writings, besides the aesthetic aspect "are like charms", as the artist said, "releasing their magic power and leading people into new realms of sensation".

Coined now as one of the four Kings in Taiwan by the contemporary art world, Hou rose to fame in 2007 during an art auction at Christie's (Hong Kong) which took the world by surprise as his work has always been controversial and edgy. Born in Taiwan in 1963, Hou Chun-Ming graduated from the Taipei National University of the Arts. He represented Taiwan in the Venice Biennale in 1995 and his work has been shown and collected in private, Corporation and Museum Collections including Ludwig International Art Forum Hall, Fukuoka Asian Art Museum, Taipei Fine Art Museum, Kaohsiung Fine Art Museum, National Taiwan Art Museum, Dimension Endowment of Art, Wen-shiou Collection Center, Spring Culture Foundation, among others.

More info on Printopolis:

6/23/2010 - 7/11/2010
Naive Melody (this must be the place)
Amy Wong


Home is where I want to be
Pick me up and turn me round
I feel numb - born with a weak heart
I guess I must be having fun…

-The Talking Heads, ‘This Must Be the Place (Naive Melody)’

Chinese Contemporary Xchange is pleased to present the solo exhibition by Amy Wong, ‘Naive Melody (this must be the place)’, showcasing recent work from the artist’s West-end studio in Toronto, whom all the while lives in the East-end of Scarborough. The meditative commute across town resulted in a new series of paintings, drawing inspiration from diverse corners of the city. Using this as a point of departure for broader cultural introspection, Wong’s personal narratives are woven out of the everyday possibilities of images found in our local and global contexts. Everything diamond faceting to Futurism, Pacific Mall handbags to Flemish painting, Caribana to Pablo Picasso, the Pixies, Ukiyo-e, Malaysian Idol’s Michael Jackson, and a job rally in Kyoto, all take equal footing in her work.

The exhibition is conceived as the artist’s version of a love letter to Toronto – rekindling a relationship with a city after ten years of travel, alongside investigations into the characteristics that may define being a Toronto native. By incorporating imagery that resonates with the specifics of the city when imagery today is especially loose and placeless – concepts of desire, belonging, identification, cultural traversing, loneliness and celebration are explored as Wong develops her own symbolism out of the weights of various source material. Having the ‘right’ to sift through diverse cultural detritus, and the struggle for authenticity is seen in Wong’s painterly gesture, both as a question mark and as a form of alliance.

The name of the exhibition is an inversion, derived from the only love song written by the Talking Heads. Large and small-scale paintings are accompanied with an audio ‘mix tape’ installation that will be played on speakers in the gallery. This audio element, furthering the idea of a love letter, and derived from countless hours of music accompanying Wong on the subway and in the studio, relate to the painterly process, moods, and transnational pop influences that feed her joy of painting.

About the artist

Amy Wong (b. Toronto 1981) holds a BFA in studio arts with distinction from Concordia University in Montreal, Quebec. She is one of few Canadians to be accepted to prestigious residency programs De Ateliers in Amsterdam, the Netherlands, and the Chinese European Art Center residency in Xiamen, China. Past solo exhibitions include Everything is Everything, aceartinc. Winnipeg, Manitoba, Work on Wonder, CEAC, Xiamen, China, Have a Heart, De Ateliers, Amsterdam, the Netherlands. Past group exhibitions include Transpulsation: New Asian Canadian Imaginings York University, Toronto, Ontario, World Open Art Festival, Seoul Museum of Art, Seoul, South Korea, The Royal Queens Prize for Painting, Gementemuseum, the Hague, the Netherlands, Rodney Graham Band and the YPF, Centre Fractal in collaboration with Musée d'art Contemporain de Montréal, Montréal, Quebec.

Wong has just returned to Toronto after an independent research period in New York City, where she has been a regular contributor for torontoartpost. The artist would like to acknowledge the support of Toronto Arts Council and Ontario Arts Council for the realization of this project.

4/21/2010 - 5/30/2010
Hong Kong Photography 2010
Anothermountainman, Blues Wong, Bobby Sham, Christopher Cheung, Ducky Tse Chi Tak, Eva Chan, Fanny Cheuk, Ki Wong, Laleeskin, Leon Suen, Matina Cheung, Ng Sai Kit, Norman Ford, Quist Tsang, Siu Ding + Ada Hung, South Ho, Tsang Kim Wa, Vincent Yu, Wai Kit Lam + Ivan Lupi Curated by Evangelo Costadimas, Lau Ching-Ping


It has been thirteen years since Hong Kong's return to China from the United Kingdom in 1997. Indeed the handover overture, which lasted almost two decades (1979-1997), stirred up a tremendous amount of speculation on the future political stability and prosperity of Hong Kong. It awakened and put the identity of majority Hong Kong people in questions. Stimulated by the event, and urged by complex emotions, a period of unprecedented development of artistic expressions emerged.

How are things different today in Hong Kong compared to thirteen years ago? It is a simple question but no easy answer, and we are not attempting to answer that question at all. We conceived the exhibition by showing the perspectives and curatorial directions of two Hong Kong curators: LAU Ching Ping and Evangelo COSTADIMAS.

Lau Ching Ping has been practicing photography for over 20 years. He was one of the founders of Dislocation magazine (Hong Kong 1993-1998), a visual journal that covered almost a decade of contemporary photography of Hong Kong. He has been involved and following the development of Hong Kong photography since the early 90's. His choice of photographers for this exhibition is based largely on a more comprehensive survey of the present photography movement taken place in the city.

Evangelo Costadimas, a Canadian residing in Hong Kong for many years, holds a Master of Fine Arts degree from the Royal Melbourne Institute of Technology as well as professional certification in Art Curatorship from the Hong Kong Art School. He was curator for Visage Gallery (Hong Kong) before turning to a full time curator/photographer.

Lau selected works that cover a wider spectrum of photo activities, while Costadimas focused on voyeurism and exhibitionism, a theme that he keeps an on-going interest. The selection reflects their long involvement in the medium, the place they live in, the air they breathe and the people they know, and most importantly, the history they share.

About twenty photographers are invited for this exhibition. Perhaps these images can give us a glimpse of present day Hong Kong, the development of the city, its people's activity, vitality and, interiority.

2/17/2010 - 3/14/2010
Rumble And Remedy
Wilson Tsang


Chinese Contemporary Xchange is pleased to present "Rumble And Remedy", a painting exhibition by Wilson Tsang.

Based in Hong Kong, Wilson Tsang is a visual artist, graphic designer, song writer and a poet. Throughout the past 10 years and more, he has worked and collaborated with different local artists in various projects and deciplines such as magazines, exhibitions, theatres and concerts.

The exhibition Rumble And Remedy consists of some twenty pieces of small works, two 6x3 ft. canvas paintings and a mini installation of around 12 painted wooden blocks/boxes.

Notes on Rumble And Remedy
Wilson Tsang
Painting is a curious process, non-linear, and a self-refracting journey of sorts. The destination that it leads to varies from time to time, a renewal or reinforcement of feelings and thoughts, a sudden revelation or realization. It takes me to unknowable places, mostly indescribable, a mean for me to explore my own inner self, and a bridge that connects the feasible universe and the subconscious.

In this mini series, I am trying to let out the yet-to-be-formed matters by a series of fragmented imageries and to let them there just as they are: naked and alone. They are without constant message, or carrying any pre-meditated theme, except that all are derived from a very instant (and short) impulse that represent and record certain period of myself. There are familiar and favorable objects through habits and preference, obscure expressions driven from certain dreams (or bad soap operas), or mere words that are formed from shadowy cliff of common logics. While all are parallel, they remain unrelated to the others so that each can be quite independent, and faithless. This is a series made up from irrelevant monologues at the very moment they were born into the sea of amnesia.
All is an illusion, forever transforming, with spontaneous echoes bouncing off temporary boundaries ...
and night is a subjective term when the mind comes alive. 
Your later parade is a warm gun
While her silhouette speaks volume
I paint to see the sky
All too many times
Where am the eye
Half closed
In the long lost shadows
And just to see the world
In a grain of sand

1/6/2010 - 2/17/2010
Hong Kong: Tales of a City (Part II)
Yau Leung, Ngan Chun-Tung, So Hing-keung


Hong Kong: Tales of a City (Part II) continues with photographs of Hong Kong which are drawn from the collection of LEE Ka-sing Gallery. The exhibition consists of a suite of 8x10 black and white photographs by YAU Leung made in the nineties, a selection of 16x20 inch vintage photographs by NGAN Chun-tung (50s' to 70s') and 16x20 inch portfolio of toned photographs by SO Hing-keung that were produced in the mid-nineties.

YAU Leung (1941-1997, Hong Kong) is considered one of the most important photographers in the contemporary photo history of Hong Kong, China. With a career spanning over thirty years, Yau had amassed an overwhelming collection of street scenes and daily life of ordinary people which have become important historical evidence and social documents of the ex-colonial city.

YAU's contemporary NGAN Chun-tung (1927-2005) was another Hong Kong veteran photographer. A pictorial enthusiast, his work was carefully crafted and printed with great skill. On exhibit are his vintage photographs.

SO Hing-keung, born several decades later, chose to document the city with an "inner" eye. This also reflected the changing mode of photography during that time, which largely shifted from "street photography" to personal expressions. This series of collaged images were produced from 95 to 97 - a period of complex feelings on personal identity, social and political changes that he layered, and subtly revealed under his lens.

Both YAU and NGAN's photographs are not for sale. For the price of SO Hing-keung's work, please enquire the front desk.

11/25/2009 - 1/31/2009
Hong Kong: Tales of a City (Part I)
Ringo Tang, Holly Lee, Lau Ching-Ping


The Winter exhibition program in INDEXG begins with photographs of Hong Kong which are drawn from the collection of LEE Ka-sing Gallery. Entitled Hong Kong: Tales of a City, the exhibition is divided in two parts.

Hong Kong: Tales of a city (Part I) features photographic work by Ringo Tang, Holly Lee and Lau Ching-ping, all of whom were very active in the photography scene in Hong Kong during the 90's. Ringo Tang and Holly Lee's work were produced around mid-90s, when both were engaged in alternative photography. It was also a significant period in the history of Hong Kong - a few years before the hand-over from Britain to China in 1997. The works, in a way, were shrouded by sentiments and political uncertainties. In contrast, Lau Ching-ping's work was produced after 1997 and presented a much calmer gaze. Drawn from his series "Thin as air", these images of the city deliver a sense of stillness and remoteness. The full set of "Thin as air" was exhibition in Toronto in 2006. It was reviewed by Gary Michael Dault in Toronto's Globe and Mail.

Ringo Tang and Holly Lee, both worked in the photography industry since the early nineties, witnessed an important period of change when Hong Kong - a British colony since 1842, was to return to China in 1997. Hong Kong was then one of the most prosperous cities of the far east. But the transfer of sovereignty of Capitalist Hong Kong to Communist China had raised a lot of concerns and many people had left Hong Kong for United States, Canada, United Kingdom and any other destination with no communist influence. Ringo Tang's photographs were produced around 1995. He used his lens to capture the city, its sights and sounds, smells and movements, joys and melancholies. Holly Lee's work is drawn from her series of transfer images "Memories of Hong Kong (1994)". Using old postcards, family pictures and sometimes footages from her assignments, she collaged and juxtaposed these images, blending collective memories with personal histories, questioning identities and future government policy. Both work had been shown in VanCouver in 1996.

Hong Kong: Tales of a City (Part II) will continue with photographic work by Yau Leung, Ngan Chun-tung and So Hing Keung from January 6 to February 13, 2010.

5/22/2009 - 6/7/2009
In The Name of Victoria


In The Name of Victoria, a photography and video exhibition by Leung Chi Wo, is part of a project the artist initiated more than twelve years ago. The project revolving around the name Victoria started in 1997, the year the British Colony of Hong Kong was returned to China.

Hong Kong was ceded to Britain in 1842 at the defeat of the First Opium War. It became one of the British colonies under the long and remarkable rule of Queen Victoria, who was then in her early twenties.

Leung described the several projects on Victoria: "In 1997, a small box with a postcard of Victoria Harbour was made in form and concept of a pinhole camera as my contribution to the collaborative project Transaction which was exhibited in both Melbourne and Hong Kong. Its title is From Victoria to Victoria.

Peak of Victoria, a photo sculpture featuring images of the shopping mall at Peak Victoria inside a cracked pyramid, was produced when Hong Kong had just been handed over to the People’s Republic of China, farewell to a colony founded in the time of Queen Victoria.

Ten years later, a new video work titled My name is Victoria has been freshly made to continue the contemplation of this royal name, however in a mix of personal sentiments. Messages from over 40 women named Victoria telling the story about their name, are compiled as a monologue voiced over the mundane scenes shot at my journey walking along Victoria Road from Kennedy Town, the border of Victoria, capital of this former crown colony to Aberdeen where the British landed for the first time."

In-between these works, Leung got a chance to visit the decommissioned Victoria Prison in 2006 and made a series of large format photographs of the empty old goal. He called that series Prison of Victoria.

In The Name of Victoria is part of CONTACT, 2009. Curated by LEE Ka-sing and presented by Chinese Contemporary Xchange. An artist reception will be held on Saturday, May 23, from 2 to 6 pm.

Video: 20 min. 49 sec., 2008

About the artist:

LEUNG Chi Wo is a Hong Kong (China) based photo and installation artist. He was trained in Italy in the early nineties and obtained his MFA at the Chinese University of Hong Kong in 1997. His photographs are exhibited widely in Hong Kong and overseas. He won the First Prize and the award for 'Most Promising Artist' (Sculpture, Modern Art) from the Philippe Charriol Foundation in 1995 and Urban Council Fine Arts Award in 1996. He was also the recipient of an Asian Cultural Council Fellowship in 1997. In 2001, he represented Hong Kong for its first pavillion in Venice Biennale. His recent exhibitions include Busan Biennale, Korea(2006), "Reversing Horizons" in Museum of Contemporary Art, Shanghai(2007), "Lights Out" in Museu da Imagem e do Som, São Paulo(2008) and Guangzhou Triennial, China(2008)

4/21/2009 - 5/17/2009
lan wei (abortive buildings)


"lan wei" (abortive buildings) is a series of photographs by Hong Kong-based artist anothermountainman.

Over ten large scale photographs will be on display in the gallery. 'lan wei' refers to the unfinished buildings in China. As China relaxed the restrictions and reopened her doors to foreign investments in the 1980's, the whole nation was thrust into a craze of buying and selling of almost anything that had a slight hint of profit. Property projects became the most sought-after investments. People poured their lifelong savings into real estate deals, sometimes without having even seen a brick. With corruption prevalent and an overheated economy, problems soon abounded. The bubble finally burst and millions of square meters of land were left unfinished. In 1998, in Hainan alone, a combined floor space of 16.3 million square meters were aborted or left unfinished. This wave of abortive building construction spread across other Asian cities which were also experiencing meteoric economic growth.

"lan wei" literally means 'decaying', 'rotting' while 'wei' is 'the tail', 'the ending'. Therefore, 'lan wei' has in it, more than just 'unfinished'. For some reasons or other, it was just not possible to complete these buildings. There were simply no solutions or closure.

Anothermountainman has been harbouring the concept of shooting abortive building projects in his mind for 5 years. These photos attempt to capture the relics of this mad 'gold rush' and, at the same time, reflect on how, throughout the years, 'lan wei' has manifested itself not only in building projects but also in all aspects of life. Fortunately, on the eve of government actions to clean up the mess, this concept finally became a reality, sparing it from being yet another abortive project.

Born in Hong Kong and best known for his red-white-blue series, Anothermountainman has exhibited internationally and represented Hong Kong in the 51st Venice Biennale (2005). Selected exhibitions include "memoria" (Contemporary Art Museum Kumamoto, Japan 2008); go china (Groninger Museum, The Netherlands 2008); Asian New Wave (ZKM museum, Germany 2007); of things present (Singapore, 2008); Lan Wei/Abortive Buildings (Goethe-Institut, Hong Kong 2008); Future Tense: redwhiteblue (LEE Ka-sing gallery, Toronto 2006); 1st Shenzhen Biennale of Urbanism/ Architecture, (OCAT 2005); the Hong Kong Art Biennial (2003/1999) and Shanghai International Poster Exhibition (Shanghai Art Museum, 1999).

Co-presented by Chinese Contemporary Xchange and LEE Ka-sing gallery.

2/3/2009 - 3/1/2009
Beautiful Men/Umbrella
Du Haibin Curated by XiaoYi Zhu


A solo exhibition Beautiful Men/Umbrella by Chinese film maker/photographer Du Haibin. The exhibition is guest-curated by XiaoYi Zhu for Chinese Contemporary Xchange, Toronto's non-profit organization. Beautiful Men/Umbrella consists of two documentary films of the same names, and photographs created in relation to the themes.

Du Haibin (born Xi'an China 1972) was first educated in photography and then in film. He graduated from the Beijing Film Academy in 2000 and has already produced an impressive body of work. His documentary subjects expose China's disadvantaged, in films such as Along The Railway (2001), Beautiful Men (2005), and most recently Umbrella (2007).

The film Beautiful Men (Ren Mian Tao Hua 人面桃花) depicts the lives of gay men in the city of Chengdu, Southwest China. Presented using the split-screen method, the film examines the lives of three drag dancers on and off stage. Beautiful Men was the Winner of Best Documentary Award at the Pusan International Film Festival 2005. (Video, 98 minutes, color, in Mandarin. English and Chinese subtitles. 2005)

"Umbrella (San) is a prosaic documentary anchoring on contemporary rural Chinese society" commented Du Haibin. The five-parts documentary metaphorically links the lives of five core groups that characterized China’s pre-reform society—workers, merchants, students, soldiers and peasants. Examining their living conditions, the documentary tears apart the apparent economic prosperity and exposes the embarrassing reality in today's rural China. In an era of opportunism, restlessness and vanity, "Haibin offers an intensely personal close-up of his subjects and their struggles, observing their daily routines, their moments of weakness, their camaraderie and their isolation." (Deanna Quinones/San Francisco International Film Festival)

Umbrella premiered at the 64th Venice International Film Festival as part of the Horizons Documentary program, and it garnered honorable mention at the 30th Cinéma du Réel Film Festival. (Video, 93 minutes, color, in Mandarin. English and Chinese subtitles. 2007)

Du belongs to the Sixth Generation of Chinese filmmakers characterized as being responsible for recording the lives of ordinary Chinese at this time of great urbanization and economic disparity. Why does he choose to make documentaries? Haibin said, “I remember when I watched Robert J. Flaherty’s Nanook of the North, I was so deeply moved by it. Documentaries give me more freedom than a feature film would. I feel a responsibility to record people’s lives fairly and objectively during these times of change. I’m glad that through my work I can experience different kinds of life. This is important to me, to my life. Every time I re-watch my work it feels like re-reading some very old books. Very special.”

Du Haibin would like to acknowledge the beautiful cinematography by his cameraman Liu Aiguo.

Opening Reception - Saturday, February 07, 2009 - 2-6 pm
Saturday 7, 6 pm to 7:30 pm: premiere video screening: Umbrella

Free video screening on Saturdays:

Feb 14, 5 pm: Beautiful Men (98 minutes)
Feb 21, 5 pm: Umbrella (93 minutes)
Feb 28, 5 pm: Beautiful Men

Both films are in Mandarin, with English and Chinese subtitles.

About the Curator XiaoYi Zhu

XiaoYi Zhu was graduated from Chinese Central Fine Arts Academy with a B.A. in Fine Arts History and Theory. Holds a M.A. in film theory from the Beijing Film Academy (2000). She received her Ph.D degree in Beijing Normal University majoring in Chinese Contemporary film. She works as an independent curator focusing on Chinese contemporary arts and film. She has curated Chinese film screenings in France (Clermont-Ferrand Short Film Festival), Spain (Bilbao Film Festival,), U.K.(London Chinese Film Festival), Canada (Toronto Worldwide Short Film Festival,Alucine Film Festival).She is currently a visiting scholar at Asian Institute at University of Toronto.

7/8/2008 - 7/20/2008
Mao Series
Tommy Li


CHINESE CONTEMPORARY XCHANGE at INDEXG is pleased to announce the exhibition "Mao Series" by renowned Hong Kong designer Tommy Li. It is part of "Connecting Words and Images", an event series organized by the York Centre for Asian Research (YCAR) and York’s Department of Design, from July to August, 2008.

"Mao Series" is based on the Chinese political icon Chairman Mao Zedong. Li is a keen collector and has a large collection of Mao Zedong's statues he gathered over the years. Mao has always been his inspiration, an enigmatic figure, powerful and evil at the same time. Working on sculpture and large scale silk screen prints Li is not apologetic to borrow this most recognizable figure to examine his core theme - consumerism in the contemporary society.

Over the course of his career, Li has garnered close to 500 awards from around the world for his work. A graduate of Hong Kong Polytechnic University’s School of Design, Li is a member of the Alliance Graphique Internationale. His work has been shown in Hong Kong, China, Japan and Belgium.

The opening reception is on Thursday July 10, from 7 to 10 pm at INDEXG. The artist will be present. For full event please check:

7/28/2007 - 7/28/2007
Photography from China
Cao Fei, Du YingNan, Hu JianWen, Huang Xi, Liu LiHong, Tang HaiTao, Wang YiShu, Yan Shi, Yang Fei, Zhang Jin, Zhou XuFan, Wang Zi. Curated by XiaoYi


XiaoYi Zhu is based in Beijing. She was graduated from Chinese Central Fine Arts Academy with a B.A. in Fine Arts History and Theory (1996). She holds a M.A. in film theory from the Beijing Film Academy (2000). She holds a Ph.D in Beijing Normal University majoring in Chinese Contemporary film (2007). XiaoYi Zhu works as an independent curator focusing on Chinese contemporary arts and film. She has curated Chinese film screenings in France (Clermont-Ferrand Short Film Festival), Spain (Bilbao Short Film Festival), U.K.(London Chinese Film Festival), Canada (Toronto Worldwide Short Film Festival), and currently worked with Alucine Film Festival (Toronto) a program of Chinese experimental films which was screened in June 2007.

7/17/2007 - 8/26/2007
China New Photo
Du YingNan, Tang HaiTao, Wang YiShu, Yan Shi, Yang Fei, Zhou XuFan


It has been more than a decade since the introduction of Chinese contemporary photography to Europe, Asia and then North America. "China New Photo" - the work of six photo-based artists who are making the next wave in this art form. From portraiture to landscape, urban phenomenon to the conceptual and constructed images - the work covers a variety of approaches in contemporary photography which began to emerge 10 years ago. This also reflects China's role in the world today, its people fast becoming global citizens, consuming and sharing information that would have been impossible two decades ago.

The six participating photographers are Du YingNan, Tang HaiTao, Wang YiShu, Yan Shi, Yang Fei and Zhou XuFan.

The exhibition is guest-curated by XiaoYi Zhu - a Beijing-based independent curator. The exhibition will also be accompanied by a projection on Chinese Contemporary Photography on July 28 (Saturday), 6:30 pm at INDEXG. The is a re-run projection curated earlier this year by Zhu. Zhu will attend the projection and host a Q & A session after the projection.

Introduction to "China New Photo"
By XiaoYi Zhu

"China New Photo" showcases six photo-based artists hailing from different parts of China. Most of the photographers were born in the 1970’s, and the majority of the works shown in this exhibition were created after 2005. Against the background of contemporary Chinese society, these artists share an inevitable commonality, but it is their individuality that is more visible and more important.

Tang HaiTao is from Henan province. He had been an art teacher before he became a photographer. He likes to shoot spontaneously while roaming the country. "A Calm Blind Sight" seizes those serene and lonely moments when the fast-growing country takes a break.

Yang Fei's and Zhou XuFan's works represent the decorative aesthetic of current Chinese photography. Yang Fei captures inexplicable dreamscapes and displaced memories in a series of oddly beautiful images. Zhou XuFan, born in 1982, is the youngest among the photographers. In compositions reminiscent of traditional Chinese painting, where frail, sad, and sickly classical beauties are juxtaposed with prehistoric dinosaurs and modern fashion, she reconstructs an imaginary old China.

Yan Shi is based in Guangzhou, the southern metropolis in the prosperous Pearl River Delta. His conceptual work has a strong social conscience and visual vibrancy, concerning fundamental themes such as the meaning of life, the conflict between industrial development and environment, and soul-searching amidst social progression.

Also from Guangzhou, Wang YiShu works as a journalist for the hard-hitting newspaper, The Nanfang Weekend. On and between assignments, Wang YiShu shoots widely across China. He always finds the bizarre in the daily life of present-day China, where every minute, the most uncanny sights can quickly become banal.

After a three-year sojourn in England, Du YingNan first did celebrity shoots for China's top fashion magazines, then switched to a major financial paper in Shanghai. "Chinese Kids" took him to a remote mountain village in southern China, where he photographed the schoolchildren who had just survived floods. Saturated with detail and personal attention, these portraits brought fresh meaning to the "head shot" so ubiquitous in contemporary Chinese art.

As China comes under the gaze of the world, these photographs provide much-needed entry-points for observation, and for imagination. A subject as rich and varied as today’s China keeps the photographers alert, and their art alive. Mainstream or marginal, these young artists and their work reflect the diversity, complexity, and potential of contemporary Chinese art.

5/12/2007 - 5/12/2007
Photography from China
Cao Fei, Du YingNan, Maleonn, Hu JianWen, Huang Xi, Liu LiHong, Tang HaiTao, Wang YiShu, Yan Shi, Yang Fei, Zhang Jin, Zhou XuFan, Wang Zi Curated by XiaoYi Zhu


XiaoYi Zhu is based in Beijing. She was graduated from Chinese Central Fine Arts Academy with a B.A. in Fine Arts History and Theory (1996). She holds a M.A. in film theory from the Beijing Film Academy (2000). She is also Ph.D candidate in Beijing Normal University majoring in Chinese Contemporary film (2002-). XiaoYi Zhu works as an independent curator focusing on Chinese contemporary arts and film. She has curated Chinese film screenings in France (Clermont-Ferrand Short Film Festival), Spain (Bilbao Short Film Festival), U.K.(London Chinese Film Festival), Canada (Toronto Worldwide Short Film Festival), and currently works with Alucine Film Festival (Toronto) a program of Chinese experimental films which will be screened in June 2007. Participating photographers: Cao Fei, Du YingNan, Maleonn, Hu JianWen, Huang Xi, Liu LiHong, Tang HaiTao, Wang YiShu, Yan Shi, Yang Fei, Zhang Jin, Zhou XuFan, Wang Zi.

2/10/2007 - 2/10/2007
Pencils, Pixels and Stencils
Bing Lee


New York based artist Bing Lee will give a talk about his work on the on-going project of Pictograms, the transformation of these idiosyncratic icons from paper to canvas, wood, latex, digital images as well as site-specific installations and public art.

2/6/2007 - 3/18/2007
Pencils, Pixels and Stencils
Bing Lee


Bing Lee is known for his pictograms - a diary composed of a series of idiosyncratic pictographic images he began since 1983. The pictorial journal relays his fantasies, memories and social concerns. He composes and transforms these visual vocabularies in his works on paper, canvas, wood, latex, digital images as well as large scales site-specific installations and public art. This iconography “Pictodiary” becomes as his portrayal of work and remains as a daily ongoing project.

Bing Lee was born in 1948 in Guangzhou China, received a B.F.A. from Columbus College of Art and Design, Columbus, Ohio, and studied at Syracuse University in the College of Visual & Performing Arts, Graduate Division, Syracuse, New York. His solo exhibition includes: Hypo Bank, New York, NY (1995); East-West Cultural Center, New York, NY (1994); and Sigma Gallery, New Yor, NY (1997). His extensive group exhibition includes: 759 Running Feet: Wall Drawings in Gwangju at Gwangju Art Museum (2005); P.S. 1 Museum, Long Island City, NY; Asia Society, New York, NY; The New Museum of Contemporary Art, New York, NY; and Korea Calligraphy Biennale, Seoul, Korea. His public art commissions includes: Kowloon Tong Train Station in Hong Kong (2004); PS242, Queens, New York (2000); and Canal Street Subway Station, Arts for Transit, (1993). Bing Lee lives and works in New York.

Bing Lee will attend the artist reception in Toronto. He will also present an artist talk with projection of his work on Saturday, February 10, 6:30 p.m.

2/6/2007 - 2/25/2007
Your Morning Is My Night
Sara Angelucci, Han Xu


Artist statement

Your Morning is My Night is a collaborative photo and video project by Han Xu, a native of Beijing, who has been living in Toronto since 2001, and Sara Angelucci of Toronto. Han and Angelucci began working together in the spring of 2006 with the intention of helping each other to develop their language skills in English (Han) and Mandarin (Angelucci). As artists, their language collaboration soon developed into an artistic collaboration. What became apparent in these language meetings was the desire to not only master pronunciation and vocabulary, but to grasp an understanding of the other’s culture. As Angelucci was preparing for an artist residency in Shanghai for the fall of 2006, they realized they would soon be living concurrently in the other’s native country.

Situated at opposite ends of the world and in opposite time zones (there is a twelve hour difference between Toronto and Shanghai) Han and Angelucci developed the idea of both critically and literally exploring their perspectives as outsiders, taking photographs simultaneously twice daily at 9 a.m. and 9 p.m. The resulting shots are presented in a series of photographic diptychs.

In addition, as food is a central component of cultural expression and can reveal so much about the characteristics of a culture, Your Morning is My Night also features a video diptych depicting each of the duo ordering and eating a meal; Han experiencing all the fixings of a hearty Canadian breakfast, and Angelucci managing her chopsticks and enjoying dinner in a popular Shanganese restaurant.

10/31/2006 - 11/26/2006
Engagements and Estrangements: Video Art from China
Cui Xiuwen, Guo Xiaolu, Han Bing, Hei Yue / Ji Shengli, Ma Yongfeng, Wu Yuren, Zhao Liang Curated by Maya Kovskaya


Chinese Contemporary Xchange is pleased to present new video art from China "Engagements and Estrangements" curated by Maya Kovskaya. Artists presented are: Cui Xiuwen, Guo Xiaolu, Han Bing, Hei Yue / Ji Shengli, Ma Yongfeng, Wu Yuren and Zhao Liang.


Hei Yue Ji Shengli, Buttocks 123. 6 minutes

Zhao Liang, City Scenes. 25 minutes

Guo Xiaolu, Address Unknown. 11 minutes

Han Bing, Love in the Age of Big Construction III. 25 minutes

~ Intermission ~

Cui Xiuwen, Drifting Lantern. 33 minutes

Ma Yongfeng, Beijing Zoological Garden. 27minutes

Wu Yuren, The Sparks Program. 16 minutes

9/6/2006 - 9/24/2006
China Avant-Garde (93-98)
Xing Danwen


Xing Danwen is among one of the most well-known Chinese photographers today. She was born in 1967 in Xi’an, China during the initial years of the Cultural Revolution. In 1988, she moved to Beijing and did her BFA study in the Central Academy of Fine Arts. Her academic training was in oil painting but her enthusiasm in photography grew and this was to become her major direction in the years ahead. Many of the influencial artists in the 90s are her art schoolmates and colleagues back from the student days in Xi'an and Beijing.

After the Tiananmen massacre in 1989, there was political pressure suppressing the art scene. Nonetheless, in the winter of 1989, Beijing held its first exhibition of Chinese contemporary art at the National Gallery. At the exhibition, a public performance of a gun shooting a telephone booth caused a traumatic scandal in the art world in China. It was the first officially recognized happening in China's art history.

The 1990s was the most exciting period for performance and installation art in China. The decade saw the transition of traditional Chinese art to contemporary practices adapting largely international vocabulary. In the early 1990s, many artists who worked as painters suddenly took off their clothes and performing naked in public. Traditional value was challenged and gave way to the birth of the much anticipated avant-garde art form.

Danwen was in the right place at the right time.

In between 1993 to 1998, Danwen documented many performances, installations and portrait of the artists. Some of these events took place in the East Village of Beijing. The series has over 250 photographs and is going to be published by Scalo under the title “Wo Men - a Personal Diary of Chinese Avant-Garde Art in the 1990s”. Some of these photographs were taken by invitation from the artists to document their work, and others were events Danwen photographed for European magazines. These pictures are remarkable in a way that they are the documentation of an exceptional period of time - when Chinese art broke through barriers and traditional burden and marched on an unprecedented scale towards globalism. The movement resulted in worldwide heated pursuance of exhibiting and collecting Chinese contemporary art in museums, festivals and biennales.

In 2002, the OP Print Program issued a special edition of this body of work. It consists of 100 documents, all are 8x10 inches chromogenic prints, and each image is produced in 100 editions. Each print is titled and numbered by Xing with the artist's seal on verso.

8/3/2006 - 9/3/2006
Thin as air
Lau Ching-ping


Chinese Contemporary Xchange is pleased to present its second exhibition "Thin as air", a suite of colour photography by Hong Kong photographer Lau Ching-ping.

"Thin as air" compiles mostly photographs of cityscape. Taken consistently in a vertical format the photographs deliver a sense of stillness and remoteness in contrast to these big and humming cities. Resembling picture postcards in their finest forms, in these images, time stands still and people seems to be in a forward/rewind frame. Lau might have subconsciously played the part of a time traveller passing through and making those touristic glimpses - almost nostalgic footmarks quietly quoting "I was here".

For Lau is fascinated with the proven scientific theory of time travel. He once wrote,"As time travels through exceeding light speed is remotely realistic, being with close contact with light and shadow, photography might be the most elementary steps to exchange heart and soul with time and space."

In the article "Building on Appearance" Matthew Turner wrote about Lau Ching-ping's work,"Lau's composes these panoramas of well-known places with deadpan wit, impersonating the unhurried stance of a Sunday photographer. Time is allowed time to expand at leisure, to draw us in and allow us space to wander in our imagination beyond the frame, so leaving us time to stare at colour, not as an embellishment but as the overt subject of the scene. People, place, time and colour: it has taken a decade for such themes to appear and for Merlin's spell of disappearance to be broke."

In a world that applauds largely to images of the extraordinary and shocking, Lau's photography is unusually fresh and contemplative. It allows one to set back, to meditate and consume the images in slower and reflective paces.

Lau Ching-ping studied design and photography in the Hong Kong Polytechnic University. He has held solo shows and participated in numerous group shows taking place in Hong Kong, Tokyo, Taipei and New York. His most recent exhibition "Hong Kong Four-Cast" - a four-person show is being held in the Guangdong Museum of Art, China. Lau is currently the co-editor of NuNaHeDuo (Dislocation) journal of photography.

6/23/2006 - 7/30/2006
Long March - Shifted The Universe
Yao Jui-chung


Chinese Contemporary Xchange (CCX) is pleased to announce its inauguration on June 23, 2006 and to present "Long March - Shifted The Universe" by noted Taiwanese artist Yao Jui-chung as its inaugural exhibition program. The recently formed CCX is a non-profit organizing committee focusing on art exchange programs between Canada and overseas Chinese communities.

Long March - Shifted The Universe is a project Yao Jui-chung accomplished in 2002 in response to the invitation from the curator Lu Jie of The Long March Foundation. Based in New York, the Foundation was established in 2000 by Lu Jie. The Long March Project was initiated in 1999 and have already been participated by over 150 artists, working in various locations along the Long March routes.

The 25,000-li Long March, known for short as the Long March, was the strategic move of the main force of the Chinese Workers’ and Peasants’ Red Army from their bases in the north and south of the Yangtze River to their base area in northern Shaanxi during the second civil war between the Communists and the Nationalists in China. The Long March lasted two years, from October 1934 to October 1936, and covered a distance of 25,000 li (miles). It was not only a record of the bloody strife between the Chinese Communist Party (CCP) and the Chinese Nationalist Party (Kuomintang, KMT), but it also changed the future of China. The CCP called it the “25,000-li Long March”, while the KMT called it the “25,000-li banishment”.

Yao had photographed ten historical Long March locations and performed in front of the sites. A video projection titled China Town-Dizzy will also be presented with the exhibition.

The artist will present a seminar on his work on Saturday June 24th, 2006, from 3 to 6 pm.