Ivy Ma

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Ivy Ma
Ivy Ma.jpg
Native name
馬瓊珠
Born1973
Hong Kong
NationalityChinese
EducationUniversity of Leeds, UK
Royal Melbourne Institute of Technology (RMIT) / The Art School, Hong Kong Arts Centre
Known forMixed media
AwardsHong Kong Contemporary Art Award
2012 Young Artists Award
Websiteivyma.net
Ivy Ma
Traditional Chinese馬瓊珠
Simplified Chinese马琼珠

Ivy Ma (Ma King Chu; Chinese: 馬瓊珠; born 1973) is a Hong Kong visual artist specializing in mixed media works. Her works were featured in the Hong Kong Art Biennial in 2005[1] and the Hong Kong Contemporary Art Awards in 2012.[2] She was the winner of the Young Artist Award category of the 2012 Hong Kong Contemporary Art Awards.[3] She was one of the fifteen artists included in the online Artshare exhibition entitled Resistance dedicated to Hong Kong artists, curated by art writer Caroline Ha Thuc.[4] Recipients of the FCO Chevening University of Leeds Scholarship from the Hong Kong Arts Development Council and the Lee Hysan Foundation Fellowship from the Asian Cultural Council, she participated in various artist-in-residence programs and international artist workshops in Bangladesh, Finland, Åland, and the USA from 2005 to 2009. Her works are in the collection of the Hong Kong Heritage Museum[5] and is part of the Hong Kong Legislative Council Complex Art Acquisition Project commissioned by the Hong Kong Legislative Council Commission.[6]

Education and Career[edit]

Ivy Ma was born in Hong Kong in 1973. Her academic training was originally in information science. She received a BA in Information Systems from the City University of Hong Kong in 1996. After working as a programmer and software engineer for some years, she began to study painting in 1999 at the Royal Melbourne Institute of Technology (RMIT) / The Art School, Hong Kong Arts Centre in Hong Kong and earned a BFA (Painting) in 2001.[7] She was awarded a scholarship by the Hong Kong Arts Development Council to study for one year at the University of Leeds in the United Kingdom, where she obtained a MA in Feminist Theory and Practice in Visual Art in 2002.[8]

She served as the Project Coordinator / Manager of 1a space, Hong Kong from 2003 to 2005.[7] She was the curator of the exhibitions If Hong Kong, A Woman / Traveller and Schema: a Traveller's approach at 1a space and the Artist Commune in Hong Kong in 2005, two exhibitions which are part of the Bilateral Cultural Exchange Project organized by University of Leeds and 1a space, Hong Kong, showcasing artworks by eight female artists from Hong Kong.[9] She curated the exhibition In Details at agnès b.’s LIBRAIRE GALERIE, Hong Kong in 2010, in which she is also one of the participating artist.[10]

She taught at the HKICC Lee Shau Kee School of Creativity in Hong Kong from 2006 to 2007.[11] She was a part-time lecturer at the Hong Kong Art School from 2004 to 2016, and has assumed the position of full-time Lecturer since September 2016.[12] She is course instructor of Associate Degree of Arts in Visual Arts at the Academy of Visual Arts (AVA), Hong Kong Baptist University since 2015.[13]

Selected Works and Exhibitions[edit]

2001 to 2003: Transmigration of Materials[edit]

Room of Memories (2001)

Initially working in the media of painting and sculpture during her study at the Royal Melbourne Institute of Technology, Ivy Ma already shown her interest in exploring the marginality of different media and materials in her early works[14] by using everyday materials like hairpins, thread, wood, cotton, dolls,[7] fresh meat,[15] and candies.[16] She called the process "transmigration of materials".[17]

Remember How to Draw (2002)

Shown in the group exhibition entitled Wo-Man at the Old Ladies House in Macau in 2001,[18] Room of Memories (2001) is an installation work consisted of a giant thought bubble composed of hundreds of old-fashioned women's hairpins suspended above a broken chair in a comic-strip narrative.[19]

Remember How to Throb (2002) is an installation consisting of three works presented in the Graduation Exhibition at the University of Leeds where Ma studied with a scholarship by the Hong Kong Arts Development Council.[20] In Remember How to Play (2002), domestic objects such as soft toys, cushions, hair were inserted inside foam and were dotted throughout the exhibition space. Combining video projection and wire, Remember How to Draw (2002) showed the artist’s impulsive reactions to her childhood experience of drawing with fingers.[3]

2003 to 2009: On-Site Works and Overseas Residencies[edit]

While Room of Memories (2001) already touches on memory and history of a site, Far Away, So Close (2003) installed at the Kadoorie Farm Botanic Garden in Hong Kong in the exhibition entitled Dream Garden was one of Ma's earliest site-specific works. She collected trees collapsed during the typhoon. The tree trunks were sawn into columns and mirrors were attached to the cross-section of the trunks. Images of the sky and other trees were reflected at various angles.[21]

Far Away, So Close (2003), Kadoorie Farm Botanic Garden, Hong Kong

From 2005 to 2009, Ivy Ma participated in a series of artist residencies and workshops in Bangladesh, Europe and the USA. Several on-site works were realized during this period.

As in Remember How to Play and Remember How to Draw (2002), childhood memories plays an important part in A Fairy Tale (2005), a work made during the residency at the Britto International Artists’ Workshop at the Nikera Kori Center in Bangladesh.[22] The work includes a fabricated scaled down version of a merry-go around, and candies in silk handkerchief. As mentioned in the artist's notes, "It is about children’s dreams, runs in the air of the playground then settles down in a room…a solitude. It is also about a person watching children play in a playground (as in the lyrics of the Rolling Stones song As Tears Go By), from morning to noon...This was indeed a group work and included the owner of the playground…the blacksmith who made the playground ride, his helper and the children I met in the village who gave me inspiration in thinking about the play in one’s childhood."[23] Collaborated with Abdullah Syed (Pakistan), another participant in the workshop, Always land (2005) is an on-site work using net made with plastic thread and falling leaves.[24]

Perception of Phenomenal Soundlessness (2006)

Perception of Phenomenal Soundlessness (2006) is an on-site work produced outdoors during her residency at the Cable Factory in Helsinki, Finland. Performative acts were carried out while Ma wandered n the frosty landscape. She dragged an empty suitcase with broken wheels to the lakeside, filled it with her own curled up, unclothed body and photographed herself; she gathered tree sticks from grave land and rearranged them on the ice; and she stuffed ice into a man-shaped cloth doll and hanged it on a tree. Images and documentation of the work were presented in the exhibition entitled Stained, the eclipsed pattern at Uma-g Gallery, Hong Kong in 2006.[25]

The Wayward Cloud (2006)

The Wayward Cloud (2006) follows a similar methodology. Originally an on-site work created when Ma lived in Wan Chai on the Hong Kong Island, It is about the view seen looks back at the seer, an idea already explored in Far Away, So Close (2003). In the artist's word, "I loved to look from my window and see many old buildings. Then I wanted to search for the view that looked back at my home, so I went to the opposite building, and asked the owner if I could pay her a little bit for permission to got to the top and see back to my home."[26] A photograph depicting a naked figure holding a cotton wool cloud on a rooftop and another photograph of the rooftop without the figure taken at the scene were included in the exhibition Perhaps, Solitude at the studio of the late Jerry Kwan, teacher of Ivy Ma[27] in Fotan in 2007.

In Another Land (2008) is an installation piece created during her residency at the Headlands Center for the Arts in San Francisco, using pebbles collected from Rodeo Beach nearby and cotton thread from a closed-down factory in Oakland.[28]

2010 to 2015: Found Images and Drawing-Interventions[edit]

Numbers Standing Still (2012), Installation view at the Hong Kong Museum of Art

Starting in 2010 Ivy Ma began focusing on found images, both stills taken from specific films and photographs found in history museums, for an ongoing series of what she calls "drawing-interventions" where she actively erases and draws into and over the existing image.[8] In the exhibitions In Details (2010) at agnès b.’s LIBRAIRE GALERIE, Hong Kong, Gazes (2011) at Gallery EXIT, Hong Kong, and Still Lifes and Waves (2011) at the Hong Kong Film Archive, Ma presented cinematic drawings created by magnifying and printing out film stills of objects, plants and fragments of the mise-en-scène in classic films such as Yasujiro Ozu's Tokyo Story and A Story of Floating Weeds, Yoshimitsu Morita's And Then, Fei Mu's Spring in a small town. Then she draws directly on the prints in various subtle ways.[29]

Yasujiro Ozu, Tokyo Story, Flower and Plant (2011)

In the exhibition Numbers Standing Still (2012) at Gallery EXIT, Hong Kong,[30] the source materials are historical images instead of film stills. Re-photographing images of tragedies such as the aftermath of the Hiroshima bombing in Walking Towards (2012), the occupation of Nanjing by Japanese soldiers in Hand 001 / 002 / 003 (2012), and the mass killing by the Khmer Rouge in Cambodia in Cambodia/Tuol sleng Genocide Museum/Numbers Standing Still (2012), she erased large portion of the images and then overlapped them with pigments.[19]

Last Year (2015)

Ma shifted her focus to people in the exhibition Someone (2014) at the Goethe-Gallery and Black Box Studio, Hong Kong. Source materials range from people in the artist's family photographs, to strangers in found photographs and antique photographs, to faces and bodies of people in historical images of war and disaster.[31]

Yasujiro Ozu, Tokyo Story, Slippers (2011)

Works presented in the exhibition Last Year (2015) at Gallery EXIT, Hong Kong represents an important development in Ma's drawing-interventions which she has been developed for the past 5 years. It is the first time Ma has taken current events as the subject. "I am trying to see how a present moment will very soon be a past moment and understand what this means...I'm always fascinated by the distance between the present and the past, as well as how history is archived and presented to us in the now," Ma talked about the works in an interview with the South China Morning Post.[32] As the title suggests, the series includes 40 black and white mixed-media portraits based on images of protesters Ma taken with a smartphone during the Occupy protest in Hong Kong in 2014.[33]

Full list of Exhibitions[8][edit]

Solo Exhibitions[edit]

2018

  • As Time Folds, Art and Culture Outreach, Hong Kong[34]

2015

  • Last Year, Gallery EXIT, Hong Kong[35]

2014

  • Someone, Goethe-Gallery and Black Box Studio, Hong Kong[31]

2012

  • Numbers Standing Still, Gallery Exit, Hong Kong

2011

  • Still Lifes and Waves, Artists in the Neighbourhood Scheme V, Hong Kong Film Archive and Commercial Press Book Shop, Hong Kong[36]
  • Gazes, Gallery Exit, Hong Kong

2010

  • Hardly Entered, Already Gone, YY9 Gallery, Hong Kong

2009

  • Deer Running, Gifu Municipal Culture Center, Gifu, Japan
  • Domestic Nature, Brandt Gallery, Cleveland, USA[37]

2007

  • Perhaps, Solitude, Loft 21, Fotanian Studio Open 2007, Hong Kong

2001

  • Nothing At All, The Art School Learning Centre Gallery, Hong Kong

Group Exhibitions[edit]

2018

  • Social Transformation, Pao Galleries, Hong Kong Arts Centre, Hong Kong[38]
  • Collections of Tom, Debbie and Harry, JC Contemporary, Tai Kwun, Hong Kong[39]
  • The Crossing, Gallery EXIT, Hong Kong[40]
  • What Has Been, Will Be Lost Until We Find It, Karin Weber Gallery, Hong Kong[41]

2017

  • Ink Asia Art Fair 2017, The Hong Kong Convention and Exhibition Centre, Hong Kong[42]
  • Deep Silence – Hong Kong Art School Alumni Network Exhibition 2017, Pao Galleries, Hong Kong Arts Centre, Hong Kong[43]
  • (An)other-Half: Being a Wife/Mother and the Practices of the Self, Osage Gallery, Hong Kong[44]
  • ArtTravellers Exhibition Series I: Decoding Exotic Lands, Art Promotion Office, Hong Kong[45]

2016

  • Islands’ Narrative: Literature X Visual Art, 1a space, Hong Kong[46]
  • as the leaves fall,Grey and Green Ping Pong Collaboration Art Project, 1a space, Hong Kong[46]
  • Art Basel HK 2016, The Hong Kong Convention and Exhibition Centre, Hong Kong

2015

  • Recollections, Mur Nomade, Hong Kong[47]
  • Ceramic Show by Non-ceramic Artists, 1a space, Cattle Depot Artist Village, Hong Kong[48]
  • Painting On and On 6: Gaze of Sins, Koo Ming Kown Gallery, Hong Kong Baptist University, Hong Kong

2014

  • Resistance, Online Exhibition on Artshare[4]

2013

  • Art Basel HK 2013, The Hong Kong Convention and Exhibition Centre, Hong Kong
  • Hong Kong Contemporary Art Awards 2012, Hong Kong Museum of Art, Hong Kong
  • Painting On and On 4: Intertextuality, Lingnan University, Hong Kong
  • Transformation & 8th Anniversary Show, YY9 Gallery, Hong Kong[49]

2012

  • Running on the Sidelines – Hong Kong New Media Art Exhibition, Soka Art Center, Taipei, Taiwan
  • The Chronicle of Disappearance, Gallery EXIT, Hong Kong
  • 樓住生活, Blue House, Wan Chai, Hong Kong[50]
  • Post-Straight: Contemporary Hong Kong Photography, Hong Kong Heritage Museum, Hong Kong
  • Why Do Trees Grow Till the End?, Gallery EXIT - SOUTHSITE, Hong Kong

2011

  • Rediscover Photography, China Pingyao International Photography Festival 2011, Pingyao, China

2010

  • Exhibiting Experiments. Experimenting Exhibitions, Wrong Place, JCCAC, Hong Kong
  • City Flâneur: Social Documentary Photography, Hong Kong Heritage Museum, Hong Kong
  • In Details, agnès b.’s LIBRAIRE GALERIE, Hong Kong
  • Memory Clothed Here – A Performance, Woofer Ten, Shanghai Street Art Space, Hong Kong

2009

  • Intersection, Pao Gallery, Hong Kong Arts Centre, Hong Kong
  • Imaging Hong Kong, Hong Kong Central Library / Edge Gallery, Hong Kong

2008

  • Women’s Work, Osage Gallery, Hong Kong
  • Art Container Project, West Kowloon Cultural District, Hong Kong

2007

  • The Preview of New West Kowloon Exhibition Venue, C&G Artpartment, Hong Kong
  • October Contemporary 2007, 1a space, Cattle Depot Artist Village, Hong Kong
  • A Separate Domain, Hui Gallery, The Chinese University of Hong Kong, Hong Kong
  • STABLE- the balance of power, Para/Site (part of Fotanian 2007 Open studios), Hong Kong

2006

  • Between the Observer and the Observed, Lianzhou International Photo Festival, Lianzhou, China
  • Second Skin, 3 Boxes, Hong Kong
  • Media Art Show, Vasl International Artists’ Collective, Pakistan
  • 2005 Hong Kong Art Biennial Exhibition, Hong Kong Museum of Art, Hong Kong
  • Stained, the eclipsed pattern, Uma-g Gallery, Hong Kong

2005

  • Pre-Work, Hong Kong Arts Center, Hong Kong[51]
  • Curiosities, Para/Site, Hong Kong[52]
  • Re:wanchi, HKAIR International Artists’ Workshop, Hong Kong
  • Britto International Artists’ Workshop, NikeraKori Center, Nungola, Bora, Bangladesh
  • Cattle - Can All the Tenants Laugh Efficiently, Artist Commune, Hong Kong[53]

2004

  • Dream Garden, Kadoorie Farm and Botanic Garden, Hong Kong

2003

  • Meat, 1a space, Cattle Depot Artists Village, Hong Kong

2002

  • Articulation, University of Leeds, United Kingdom

2001

  • Wo-Man, Female Artists Installation, Old Ladies House, Macau
  • Girls’ Thing, Fringe Club, Hong Kong

2000

  • BAFA 2000 Exhibition, Faculty Gallery, RMIT, Melbourne, Australia

International Artist Workshops / Artist-in-Residence[edit]

2008–2009

  • Location One, New York City, USA

2008

  • The Headlands Center for the Arts, San Francisco, USA

2007

  • The Åland Archipelago Guest Artist Residence, Kökar, Åland

2006

  • HIAP (Helsinki International Artist Program), Cable Factory, Helsinki, Finland

2005

  • HKAIR (International Artists’ Workshop), Hong Kong
  • Britto International Artists’ Workshop, Nikera Kori Center, Nungola, Bora, Bangladesh

Awards[edit]

2012

  • Hong Kong Contemporary Art Award, Young Artists Award, Hong Kong Museum of Art

2007

  • Lee Hysan Foundation Fellowship, Asian Cultural Council

2001–2002

  • Hong Kong Arts Development Council – FCO Chevening University of Leeds Scholarship

Publications[edit]

Ivy Ma: This Room Is Not Still | Selected Works, 2000-2012[54]

References[edit]

  1. ^ "Ivy Ma Biography – Ivy Ma on artnet". www.artnet.com. Retrieved 2018-03-20.
  2. ^ Hong Kong contemporary art awards. Hong Kong (China). Leisure and Cultural Services Department., Hong Kong Museum of Art., 香港 (中國). 康樂及文化事務署., 香港藝術館. [Hong Kong]. ISBN 9789622152373. OCLC 866871885.
  3. ^ a b Tam, Isabella. "Ivy Ma: Winner Of 2013 Hong Kong Young Artist Award". Culture Trip. Retrieved 2018-03-12.
  4. ^ a b "The continuous reinvention of Hong Kong art – Caroline Ha Thuc book review | Art Radar". artradarjournal.com. Retrieved 2018-03-20.
  5. ^ Ivy Ma : this room is not still, selected works, 2000-2012. Hong Kong: Gallery EXIT, MCCM Creations. 2012. pp. 68–69. ISBN 9789881521705. OCLC 798239314.
  6. ^ Ivy Ma : this room is not still, selected works, 2000-2012. Hong Kong: Gallery EXIT, MCCM Creations. 2012. pp. 144–147. ISBN 9789881521705. OCLC 798239314.
  7. ^ a b c Hacklin, Saara (2007). Butterfly Dreaming, or the Other Way around / Perhaps, Solitude. Hong Kong.
  8. ^ a b c "CV, Official Website of Ivy Ma". Retrieved 20 March 2018.
  9. ^ Ma, Ivy (2005). From the Curator, 'If Hong Kong, A Woman / Traveller' and 'Schema: a Traveller's approach'. Hong Kong: 1a space.
  10. ^ In Details. Hong Kong: 1a space. 2010.
  11. ^ "Location One » Ivy Ma (Hong Kong)". www.location1.org. Retrieved 2018-03-12.
  12. ^ "Hong Kong Art School".
  13. ^ "Associate Degree - Academy of Visual Arts". Academy of Visual Arts. Retrieved 2018-03-21.
  14. ^ Leung, Po Shan (2012). A Nomad's Homesickness: A Short Analysis of the Work of Ivy Ma / Ivy Ma : this room is not still, selected works, 2000-2012. Hong Kong: Gallery EXIT, MCCM Creations. p. 84. ISBN 9789881521705. OCLC 798239314.
  15. ^ "Flesh Celebration". ivyma.net. Retrieved 2018-03-21.
  16. ^ "Self Portriat, Negetive Space of my Teeth". ivyma.net. Retrieved 2018-03-21.
  17. ^ "Archive (by material, 2001-2006)". ivyma.net. Retrieved 2018-03-21.
  18. ^ "Feminist exhibition catalogues, List by n.paradoxa : international feminist art journal (ISSN: 1461_0434), KT press". www.ktpress.co.uk. Retrieved 2018-03-21.
  19. ^ a b LaBelle, Charles (2012). Ivy Ma / Ivy Ma : this room is not still, selected works, 2000-2012. Hong Kong: Gallery EXIT, MCCM Creations. pp. 226–229. ISBN 9789881521705. OCLC 798239314.
  20. ^ Ivy Ma : this room is not still, selected works, 2000-2012. Hong Kong: Gallery EXIT, MCCM Creations. 2012. pp. 26–35. ISBN 9789881521705. OCLC 798239314.
  21. ^ Rowley, Alison (2012). Ivy Ma: Towards a Practice of Dis-appearance / Ivy Ma : this room is not still, selected works, 2000-2012. Hong Kong: Gallery EXIT, MCCM Creations. p. 57. ISBN 9789881521705. OCLC 798239314.
  22. ^ User, Super. "Britto International Artists' Workshop 2005 - Britto Arts Trust". www.brittoartstrust.org. Retrieved 2018-03-21.
  23. ^ "A Fairy Tale". ivyma.net. Retrieved 2018-03-21.
  24. ^ Ma, Ivy (2005). Transmigration of Materials. Hong Kong. pp. 21–23.
  25. ^ "Perception of Phenomenal Soundlessness". ivyma.net. Retrieved 2018-03-21.
  26. ^ Rowley, Alison (2012). Ivy Ma : this room is not still, selected works, 2000-2012. Hong Kong: Gallery EXIT, MCCM Creations. pp. 56–57. ISBN 9789881521705. OCLC 798239314.
  27. ^ Ivy Ma : this room is not still, selected works, 2000-2012. Hong Kong: Gallery EXIT, MCCM Creations. 2012. p. 89. ISBN 9789881521705. OCLC 798239314.
  28. ^ "In Another Land". ivyma.net. Retrieved 2018-03-21.
  29. ^ Leung, Po shan (2012). Ivy Ma : this room is not still, selected works, 2000-2012. Hong Kong: Gallery EXIT, MCCM Creations. p. 89. ISBN 9789881521705. OCLC 798239314.
  30. ^ "Painting On and On 1". GALLERY EXIT 安全口. Retrieved 2018-03-21.
  31. ^ a b "Ivy MA: Someone". GALLERY EXIT 安全口. Retrieved 2018-03-21.
  32. ^ "Ivy Ma gives portraits of Occupy protesters historical context". South China Morning Post. Retrieved 2018-03-25.
  33. ^ "Ivy Ma manipulates history in Hong Kong – in pictures | Art Radar". artradarjournal.com. Retrieved 2018-03-25.
  34. ^ "艺鵠 ACO". 艺鵠 ACO. Retrieved 2018-05-25.
  35. ^ "Ivy Ma gives portraits of Occupy protesters historical context". South China Morning Post. Retrieved 2018-03-12.
  36. ^ "Works by Ivy Ma on display tomorrow (with photos)". www.info.gov.hk. Retrieved 2018-03-20.
  37. ^ "Domestic Nature". Ivy Ma Official Website. Retrieved 21 March 2018.
  38. ^ "e-catalogue, Social Transformation".
  39. ^ "Collections of Tom, Debbie and Harry | Tai Kwun". Retrieved 2018-10-03.
  40. ^ "The Crossing". GALLERY EXIT 安全口. Retrieved 2018-03-22.
  41. ^ "What Has Been, Will Be Lost Until We Find It - Karin Weber Gallery". Karin Weber Gallery. Retrieved 2018-03-21.
  42. ^ "Hong Kong Art School @ Ink Asia 2017". Hong Kong Art School.
  43. ^ "Deep Silence - Hong Kong Art School Alumni Network Exhibition 2017". www.hkas.edu.hk. Retrieved 2018-03-21.
  44. ^ "(An)other-Half - Hong Kong | My Art Guides". myartguides.com. Retrieved 2018-03-21.
  45. ^ "#ArtTravellers Exhibition Series I: Decoding Exotic Lands". www.lcsd.gov.hk. Retrieved 2018-03-21.
  46. ^ a b "2016 Exhibitions, 1a space". 1aspace. Retrieved 2018-03-21.
  47. ^ "Recollections | Mur Nomade". murnomade.com. Retrieved 2018-03-21.
  48. ^ "Asia Week Hong Kong". Asia Week Hong Kong. Retrieved 2018-03-12.
  49. ^ "Dispelling dailyness: Hong Kong mixed media artist Ivy Ma – profile | Art Radar". artradarjournal.com. Retrieved 2018-03-26.
  50. ^ "Ivy Ma Biography" (PDF). Mur Nomade.
  51. ^ Wong, Wing-zi Cheryl (30 December 2005). "Viewpoint: Prework". HK Magazine.
  52. ^ "Curiosities: post-art from the edge –installation exhibition - Para Site". www.para-site.org.hk. Retrieved 2018-03-20.
  53. ^ "Local Artist Exhibition Programme: Cattle - Can All the Tenants Laugh Efficiently". Asia Art Archive. Retrieved 2018-03-22.
  54. ^ Ivy Ma: This Room Is Not Still | Selected Works, 2000-2012. Hong Kong: Gallery EXIT, MCCM Creations. 2012. ISBN 9789881521705.

External links[edit]