13%

funded

US$1,477

raised of US$10,897 flexible goal

68 days

to go

Launched: 9 Feb 2018

Funding ends: 3 May 2018

Crowd-funding for photo book “Faces of Hong Kong – 1990s  by Ducky Tse Chi Tak

"Chi Tak has never claimed to be an artist or wanted to be a social-movement journalist, he simply records moments that touch his heart. He is merely a commoner, just like the subjects of his photos – not desirous or calculating. His works reflected the authentic and most down-to-earth aspects of Hong Kong before the handover...”Leung Foo

 

Crowd-funding Target: HK$85,000

This is the lowest fundraising amount to cover the cost of producing and printing quality photo book. The Book will be printed in better quality if higher fund is raised.

Dimensions: 330mm(W) x 230mm(H)

Printing: Duotone and hard cover

Print Run: 500copies

Expected Publication Date: July 2018

Printing Location: Hong Kong

Collection of Photo book:

(1) In person: Heritage Tea House – JCCAC L01-06, No. 30 Pak Tin Street, Shek Kip Mei, Kowloon, Hong Kong

(2) By post: $50

Entitlements for the below amount of donations: 

(1)  HK$280 - A copy of “Faces of Hong Kong – 1990s ”

(2)  HK$580 - A copy of “Faces of Hong Kong – 1990s ” + A Framed Limited Edition Archival Autographed Photo by Ducky Chi Tak(S)

(3)  HK$980 - A copy of “Faces of Hong Kong – 1990s ” + A Framed  Limited Edition Archival Autographed Photo by Ducky Chi Tak(L)

*S : 12.5x17.5cm ; Ed01-108 ;  5mm window frame

  L :20x25.5 cm ; Ed01-54; 5mm window frame

 

Contact details:

Email:[email protected]

Whatsapp: Ducky 5383 9609

 

Exhibition Details:

至德個展一部曲《萬念·叢生》

Ducky Chi Tak Solo Exhibition “ All That . Matters” Part 1

開幕時間:2018年1月27日下午4時

開幕地點:九龍石硤尾白田街 30號賽馬會創意藝術中心 L0 藝廊

展覽日期:2018年1月27日至2月14日

展覽時間:星期一至五 – 下午1時正至晚上8時30分

星期六及日 – 上午11時正至晚上8時30分

地點:賽馬會創意藝術中心 L0 藝廊(石硤尾港鐵站C出口)

 

About the Exhibition -  ‘All That. Matters’ 

All That. Matters’ is the first of a two-part solo exhibition by Ducky Tse Chi-Tak, showcasing his photography from the ‘Hong Kong Faces’ series created in the 1990s. These are his important works, for they mark the beginning of his creative journey. Ducky has always regretted that this series has never yet been exhibited in full. As such, his journey comes to fruition today with part one of his exhibition on the identity of Hong Kong people. His subsequent twenty-year creative journey has brought Ducky’s work to another milestone, culminating in part two of his solo exhibition ‘All That. Doesn’t’, to be showcased at the Central Library beginning 14 April, 2018.

 

 Why is ‘Hong Kong Faces’ important? - 亞米 AMI

Why is ‘Hong Kong Faces’ important? Ducky shared that the thoughts behind each face are different at every given moment. Within one second, a person would experience sixteen thousand trillion times of the birth and cessation of thoughts. Through the numerous shots taken spanning his two-part exhibition, he reckoned that innumerable thoughts had risen and fallen in their subjects’ minds. He said that thoughts birth ideas, and if an idea is good, everything will turn out fine. He did not understand this concept during his youth and therefore spoiled many things. Nevertheless he believed that various situations from the past were meant to be life lessons for the soul. In his three-decade long creative path, he recalled that different thoughts steered different periods. Through these many different thoughts, his creative process became a self-cultivating practice, leading him to become a better person.

Most of the works from ‘Hong Kong Faces’ were shot before 1997. Amid the transition, most mainstream media treated Hong Kong people’s identity as the same as Hong Kong’s political identity. Undoubtedly, Hong Kong images in that period were saturated with political elements, because mainstream media were playing their role in documenting history. In Ducky Tse’s ‘Hong Kong Faces’ series however, the transitioning Hong Kong was seemingly not the focus. Through his photographs, one can make out the “reappearance” of Hong Kong people’s identities separated from politics.

When renowned scholar Leo Ou-fan Lee first saw Ducky’s ‘Hong Kong Faces’ series after 1997, he discovered another kind of ‘disappearance’, and described it as the displacement of relationships between different people and spaces. Hong Kong scholar Ackbar Abbas believed that Hong Kong’s culture and Hong Kong people’s identity were constructed from the discourse of ‘disappearance’. The fact that Hong Kong’s culture was defined between ‘Eastern’ and ‘Western’ paradigms has caused it to be constantly disappeared.

 In the ‘Hong Kong Faces’ series, Ducky made the disappeared Hong Kong identity reappear. Objects such as Ericsson model 337, pay phones at the MTR station, and Chips sneakers, juxtaposing with the poses of subjects in different spaces, arouse viewer’s love-hate emotions towards Hong Kong in the pre-1997 era. The works inspire those once-embraced but now long-forgotten thoughts in us. Ducky refers it as ‘impermanence’. When he navigated among people to create his work, he walked into many births and cessations, searching for the sparks of souls in between. Through his work, the identity of Hong Kong people in the 1990s (particularly the grassroots) that are otherwise difficult to sort out, is seen.  

The soul of an artwork is perhaps like an arrow. It touches your body when you are unaware and bonds with you. It stings to awaken a consciousness that has fallen asleep for a long time.

<Links to the media coverage>

回顧九七前後眾生相 謝至德:萬念叢生是必經階段

https://thestandnews.com/art/%E5%9B%9E%E9%A1%A7%E4%B9%9D%E4%B8%83%E5%89%8D%E5%BE%8C%E7%9C%BE%E7%94%9F%E7%9B%B8-%E8%AC%9D%E8%87%B3%E5%BE%B7-%E8%90%AC%E5%BF%B5%E5%8F%A2%E7%94%9F%E6%98%AF%E5%BF%85%E7%B6%93%E9%9A%8E%E6%AE%B5/#.WnCIafuetaM.facebook

 藝術有時攝影展覽謝至德的「叢生」與「歸寂」

https://www.youtube.com/watch?v=SxGFSdfOHhY

【文化籽】本土紀實攝影師 道盡回歸前眾生相

https://hk.lifestyle.appledaily.com/lifestyle/special/daily/article/20180120/20279685

 

***