When Life Meets Art

Whether B-boys or saxophonists, taiko drummers or tango dancers, many artists find their creativity unleashed by one particular life experience. Here, the human figures of sculptors Wong Tin-yan and Lo Wan-ki imaginatively capture those key moments for four local performing artists, at the same time raising the question for viewers: could this happen to me?

Exhibition Part One (by Wong Tin-yan)
Hong Kong Science Park
(Core Building1, Hong Kong Science and Technology Parks, Shatin)
(Thu – Sun)
Hong Kong Cultural Centre
(10 Salisbury Rd Tsim Sha Tsui)
13 - 24.10
(Tue – Sat)
Central Plaza
(18 Harbour Road, Wan Chai)
26.10 - 12.11
(Mon – Thu)

Exhibition Part Two (by Wiki Lo Wan-ki)
D2 place
(9 Cheung Yee Street, Lai Chi Kwok)
30.9 - 6.10
(Wed – Tue)
Hong Kong Central Library Adult Library
(3/FL, 66 Causeway Rd, Causeway Bay)
8 - 27.10
(Originally 8 - 20.10)
10am - 9pm
(except Wed & PH)
Wed: 1pm - 9pm
PH: 10am - 7pm
Jockey Club Creative Arts Centre Central Courtyard
(30 Pak Tin St, Shek Kip Mei)
29.10 - 1.11
(Originally 22 - 30.10)
Thu-Sat: 10am - 10pm
Sun: 10am - 2pm
The Hong Kong Institute of Education CCA Art Gallery
(10 Lo Ping Road, Tai Po)
(Tue – Thu)

Global theatrical innovations from Poland
Theatre of Death
Artist and director Tadeusz Kantor (1915-1990) refused to be guided by texts, placing the emphasis on the visual elements of theatre. Kantor combined radical props and stage design with happenings (different art forms brought together in a live performance) to manifest the absurdity and emptiness of reality. In 1975,Kantor created Dead Class, a controversial play from which he developed the Theatre of Death concept, probing such motifs as death, memory, spiritual transcendence, and the most basic human desires.
Poor Theatre
This form of theatre is derived from the ideas and work of director Jerzy Grotowski (1933-1999). Poor Theatre seeks to distil the essence of the dramatic art form. Grotowski argued that interaction between actors and spectators is the only necessary element in theatre, with lighting, sound effects and set design minimised in his productions. In his view, even the stage could be abandoned. Grotowski also developed training methods that demanded his actors constantly engage in self-exploration, fusing their inner beings into performances.