O u o f ( S o n

ex

Oi%t <yf C*n\U-xt:

T k . 1!> K

v ly Kortd GxUiUfio*
9 - 1 0

C \ k 4 h - ^

19H7

15 K..

v.dy Kul
\v\.wlui, H ^ V , ICovi

O u t o f C o n te x t
/ \ d o le b ra fio n o f

O u + o fC o rv fe ? < +
y \ C e le b > * a iio n of
A Jew y v
T7n Hcmcj K o n q

3
K

Vid-o /\
*

WAV.

a>
iy.CKi
L

*
YUcmittg

Gpoxy

draiip

0*fixr H.y-K..y HW^

jloslx 4Hl|j

5 usi Krau*l

pi-yc^ wwas

f lo lly l^ r

W i^ o L ^ r
y w ni w <

Kiuln^H

&!

I*ll5f
S.wy Pa 9

JJim SKm
Tommy Wowg I
,^
y nl< Worn, Jjf*
R icU y y.unc,

witK

usn^ed
flw Hong K<w| >\h

0 of C
Context

"U\c 15 K^vwdy Road <SxKibion

1 0 -1 1 O c lo U ? ^

10:00

1 9 8 7

- 6 00 pm

15 Kennedy Road
WnticKoi/ Hoog K<hu5

O n Friday 9 January 1987, at 15 Kennedy Road. Hong

Kong, an experimental arts grouping was formed.
the house - a run-down
with
elegant and unusual proportions; one of Hong K(
Iasi surviving family mansions. Built by the Eu f
and now crumbling towards its probable demol
Some of the artists within the 'Out of Context'
live and work at Kennedy Road and appreciated the
building's potential as an exhibition space.
Through the collaboration of various institutions
individuals interested in the arts, bu! without
Jt any one
particular patronage, an exhibition is being organised
"out of context". Painters, sculptors, photogr
)graphers.
installation, performance and video artists are par
ticipating in this event. They are not exhibiting in an
"id e a l" gallery space; it is not an anonymous site. The
building stimulates - it is full of associations and
atmosphere, yet the space and the colloborative
organisation offer the artists a special freedom to
create and to exhibit their creations.
In a sense, the artists in this exhibition are always
working out of context - displaced in a cultural climate
that is often indifferent to their activities. This also
applies to the public funding bodies where there is a
serious lack of support (which does not have to be
financial) for the visual arts in current policy. Individual
galleries and privately funded organisations like the
Hong Kong Arts Centre are simply unable to fill the gap
and promote contemporary arts as they would wish.
Leading up to the exhibition, a series of meetings are
being held, where the artists and those working in sup
port of the exhibition can come together. Visiting
artists, administrators and writers are welcome to
attend these meetings or to use the grouping as a net
working facility while in Hong Kong. We are also
hoping to invite members of the international arts press
to visit Hong Kong in October.
We are trying not only to encourage local interest, but
also to develop artistic lin ks with the US and Europe to
improve international awareness of the visual arts in
Hong Kong. It is hoped that through The 15 Kennedy
Road Exhibition, opportunities for exhibitions overseas
will be generated.
Tlu* 15 K*n.u-dy K o a d
Fo*

10 Ocfobc*.* 1987

pleast* troMfocI (TKfisliiu* L o lv 1501

K ong. T clepU otu *
101 T elc-x7 ^Y3 ^ h A S X /\L f l X
F a x yN3852-3 -810^*717

1962
Born in Hong Kong
1975
Em igrated to United Slates
Education
1980
Studied Fine Arts at University of
Washington
1981-85
Studied Fine Arts at Central Washington
University
1983
Received first prize in Washington State
Painting Scholarship
E xhib itio n s
1984/85
Asian-American Art Show. W ing Luke
Museum
1987
One-person exhibition. C CD C , Hong
Kong
0 \i

Statement:

/\h s

tiu-

The Age of the Bohemia is over. The artist,

in clu d in g the avant-garde ones, had gained
acceptance in this late-modern world. And
intervention had been reduced to a stultified pattern
of life. Now that the modern city had learned to
dispense its favors to all the w hining parties. What
remains is s iill the practical/spiritual question.
In the backdrop all hopes an d desires seem
dam ned an d unreal. To see a connection between all
these fragments is to walk a tight-rope towards clarity,
or just further confusion.

Born in Hong Kong

Education
1966-78

Norihcote College of Education. Grantham

College of Education and the School of the
Art Institute of Chicago.

O ne Woman E xhib itio n s

i yv
C4\i

1972

American Library, Hong Kong.

1979

Hong Kong Arts Centre.

1985

"An Extension into space" installation

works. Hong Kong Arts Centre.

Group Exhibitions
1976

Fellowship Show, School

Institute of Chicago. U.S.A.

1978

'Work on Paper' School of the Art Institute

of Chicago. U.S.A.
Group Show West Hubbard Gallery,
Chicago. U.S.A.

1984

International Art Exposition 1984

Navy Pier, Chicago

1987

C hoi Yan-Chis Painting 1976-1986 and

works of art in dialogue with poetry and
dance.
University of Hong Kong. Department of

1980

of the

Art

ticipatied in an experimental theatre

forma
presented by Hong Kong Arts Centre

1981

**One Step Images" an experimental

Polaroid photograph exhibition sponsored
by Polaroid Far East Ltd.

1984

Into the 80s - Contemporary Hong Kong

Paintings"
presented by Hong Kong Arts Centre
Beach Project"
an invited project of environmental con
struction at Big Wave Bay by RTHK

1982-86

Stage design for "Parting at River Yi"

Othello"
by Hong Kong Repertory and "Fu" by
Hong Kong Dance Company

Larry Demmg was born on the 26th of May. 1957,

in Danbury. Connecticut. Among his many musical
influences ts the work of the noted American
composer. Charles Ives, who was also born in
Danbury. But that was long ago.
Demmg studied pano. violin an d organ as a boy.
then went on to receive a B.S. in Music and Audio
Technology from Indiana University. H is principal
teachers there were Henryk Kowalski in Violin. John
Eaton in Composition, and Bryan Rulon in Electronic
Music.
Dem ing joined the Hong Kong Philharm onic
Orchestra in 1984. In addition to h is duties as a
mem ber of the P h ils First V iolin Section, h e also
Besides Ives. Demmg's com positional styles may
be traced back to Bach, bluegrass. jazz. rock, pop,
gamelan and African music.

Out of Context w ill include an installation piece on

the theme of population explosion issues mounted by
Epoxy group artists, co ordinated by M ing Fay.
The EPOXY Art G roup was begun by six Chinese
artists who settled in New York. In the process of
adjusting lo this new environment, these artists
formed a support network to discuss the major
changes in their artwork and lives. Discussion le d to
radical experiments based on m ingling diverse Asian
and Western cultural influences. B eginning in 1982,
EPOXY has mounted multi media performances and
installations w hich have actively expressed their
concern with cross-cultural phenomena.
The
m e EPOXY
t r w / s i artists
cm
share the unique position of
com ing from a _ mopolitan Asian city with a
base. As EPOXY members
distinctly C hinese cultural
(
describe it. Hong Kong is a very special an d strange
place... The myths we were brought up with were nol
really
raditional. D onald Duck. Superman. King
Kong an d a ll the Pop heroes and monsters were
there. PLUS things from way back (in Chinese
history). We grew up in a fermented, multicultural

A system thats bigger than the

sum of its parts.

1943 Born in Shanghai. China

Education
196570 Columbus College
( Art & Design. Columbus Ohio,
Kansas C ily Art Institute. Missouri at id University ol
California. Santa Barbara
Solo E xhib itio ns
1969
United States
Stales Cultural Center. Hong
Hon. Kong
Sally Jackson Gallery. Hong Kong
1970
1970
University of California. Santa Bartbara. California
University o! Pittsburgh. Pittsburgh
1972
Quorum
Galleries. Hong Kong
1976
Oe\ Mar Cotlege. Corpus Chnsli. Te
1976
Kmgpttcher Gallery. Pittsburgh. Per
Allan Frumkin Gallery. Chicago Inie
1980
Chicaga
Broadway Windows. New York City
1984
Alisan Fine Arts Ltd . Hong Kong
1985
Kansas City Art Institute Kansas City. Misscxjh
The Hong Kong Institute for Promotion of Chinese Culture. Hong Kong
1986
Selected G roup Exhibitions
1968
Long Beach Museum of Art. California
Annual Southern Caliform
1969
Otis Art Institute, Los Angeles. California "6th Annual Print ExhibitionExpo 70. Hong Kong Pavilhon
Osaka. Japan
Kent State University. Ohio "4th Outdoor Sculpture Annual"
Drawing
San Diego Stale CoJiege. California
"National Sculpture & Dra
James Yu Gallery. New York City: *Sculpture Exhib!ion'
1974
Minnesota Museum of Art. Minnesota: 'Drawing U S A
"
1975
New York State University at Polsdam. New York-Abstractio n
!
Hong Kong Art Centre. Hong Kong -Artists Come Home'
1976
Quorum Galleries. Hong Kong -Eighl Artists"
1978
Alternative Cenier for In ti Arts. New York City
"Ancient Heritage.
William Paterson Colege. New Jersey: "Illusion and Materials"
1979
Heckscher Museum. New York: -A Feast for the Eyes"
1981
Bergen County Museum. New Jersey "Five from the Orient"
1982
Allan S lo ne Gallery. New York City Talents'
Hong Kong Museum
( Art. Hong Kong: 'The Chinese Respc
The Gallery at Hasting-on-Hudson. New York 'Contemporary
1983
iwmg Center. New York City
The Drawing
1984
PPOW Gallery. New
NeA York City"Ind
Robert K idd Gallery. M>chigan
Michigan
New
Taipei Fine Ans Museum. Taiwar
Taiwan 0
1985
allery. New York City
Allan Frumkin Gallery.
Henry Street S Element. New York City Roots to Reality"
A&an Arts Inslit ule. New York City Dream s & Fantasies"
Howa
3allery. Taipei. Taiwan Works on Paper from New York"
ms Museum Missouri: -The KCAIs First Century"
1986
jseum
( An & Science. Paramus. New Jersey Paper s 3rd
thousand Gallery. New York C ily "HarvesT
Cenier. New York City
~Fruit~
Guangzhou. China: 11 Artists frcxn N Y
Taiwan: "A Retrospective Exhibit
on of Contemporai
~LArt C hino s Contemporian
Des Traditions Renoi
illery. New York City: 'Two Person Sculpture Show"
San Francisco In ti Airport. North T
1987
Alternative Museum. New York Cit^ Endangered Species
Henry Street Settlement. New York City 'Out on their Ears"
Mint Museum. Charlode. North Carolina
Ca
~New York New \

S e ll taught artist Organizer and Editor of the art

criticism magazine Art Currents:

1986

Fringe Roof Top Painters Exhibition

Statement
Regardless of the reality, some artists still treat art as
an end-in-itself w hich exists in its own right. But
history shows jusl the opposite: art always finds ils
place in our society. Therefore, if Ducham ps anti-art
theory is only a joke to an artist and history is only a
series of passing phenomena, all protests about the
Daya Bay issue an d Ih e P u b lic Order O rdinance are
of course superfluous.

Robert Fung trained with the Royal Winnipeg Balle!

Professional Programme and a l Simon Fraser Univer
sity. Canada. He danced with the Israel National Opera
Ballet, Prism Dance theatre and Winnipeg Contempor
ary Dancers. Robert joined City Contemporary Dance
Company, in May 1984.

1956

Born in Hong Kong

Education
1979-1983

fli.u-,-K
y, O s c . -

Emma Lake Summer Art Workshop, Emma Lake.

Sask., Canada.
University of Saskatchewan, Saskatoon. SasK..
Canada.
Banff School of Fine Arts, Banff, Alberta, Canada.
M.F.A., University of California, Davis, Calif., U.S.A.

One Man Exhibitions:

1979
1980
1981
1983

1986

Mark's
Gallery.
Saskatoon.
Sask.,
Canada.
E.FA
Exhibition, Gorden Sne
grove
Gallery. University of Saskatchewan.
Saskatoon. Sask., Canada.
Shoestring Galledry, Saskatoon, Sask.,
Canada.
M.F.A.
Exhibition,
Richard
Nelson
Gallery. University of Californai. Davis.
Calif.. U.S.A.
Davis Art Centre. Davis. Calif.. U.S.A.

Group Exhibitions:
1977-1978
1978
1978-1980
1980
1981
1982
1983
1983
1983
1984

Gorden Snelgrove Gallery. University of

Saskatchewan.
Saskatoon,
Sask.,
Canada.
Saint Thomas More College. University of
Saskatchewan.
Saskatoon.
Sask.,
Canada.
S.G.I.O. Juried Exhibition, Centennial
Auditorium. Saskatoon. Sask.. Canada.
Saskatchewan
O pen
Exhibition.
Centennial Audilorium. Saskatoon. Sask.,
Canada.
Walter P h ilip s Gallery, Banff School of
Fine Art, Banff, Alberta, Canada.
N.C.C.A. Juried Exhibition, Open Ring
Gallery. Sacramento, Calif., U.S.A.
North Point Gallery. San Francisco. Calif.,
U.S.A.
Pence Gallery. Davis. Calif.. U.S.A.
C.N. Gorman Museum. University of
California. Davis Calif., U.S.A.
Crocker-Kmgsley Exhibition. Crocker
Museum, Sacramento. Calif.. U.S.A.

1947

Born in Switzerland

Education
Self-taught painter
O ne Woman E x h ib itio n s
1975

Zarvan gallery Tehran

1976

Gallery Elephant, Zurzach, Switzerland

1977

Gallery in Stall, Magden, Switzerland

1980

Gallery Media. Zofingen. Switzerland

1982

Gallery Aujourd'hui, Geneve, Switzerland

1983

Gallery Lenzburg, Switzerland

1984

Gallery Prisma Zuerich, Switzerland

1986

Gallery Zem Specht, Basle

1985

Le Cadre Gallery, Hong Kong

1986

Le Cadre Gallery. Hong Kong

Group exhibitions
1976-84/6 Art centre. Aarau Switzerland
1980

Art centre, Lugano

1981

Biennale Gsmba, Delemont

1982

Gallery Lenzburg, Landart

1985

Biennale Gsmba, Olten

1985

Palazzo Liestal, Art center, New Tendency

1985

1984

Cite des Arts Internationale, Paris

Born in Hong Kong

Education
1972-1976 Ontario College of Art. Toronto, Canada
(Associate of !he Ontario College of Art)
Exhibitions
1975

Group show at the University o l Toronto

1975

One person show - Gallery 76. Toronto

1976

Scholarship show - Gallery 76. Toronto

1976

Group show at Gallery of the Artist

Co-operative Toronto "Cream of
Crop"

the

1977

7 Women show at Toronto - Lakeview

1978

Group show at York - Hollander

Gallery, Montreal

1981

Contemporary Hong Kong Art Biennial

1982

Group show at University of Cincinnati.

Ohio.
U.S.A.

/%

r v

^cr

( 15

| > i

% I

/I

'
^
\p ( f + i f r

e c

IT
If
J^
--"
i
i% - >!
P /
!
M
yi]

k
7

r-

.
>

i
i
l
PCI -ymmLAC^I^^.

oe

w <

r_
w
n

fo
-'

Holly Lee was born in Hong Kong in 1953. After taking

a graphic design course, her interest switched to
photography. She completed several photo essays
w hile still working in a bank. In 1979-she engaged
herself professionally in commercial photography,
specializing in fashion and people-oriented photo
graphy.

f-lolly L e e

Wmgo Lee is a designer-turned-photographer. His

photographic style is greatly influenced by literature. At
present, he is the editor of Oiu Ying Shi Kan, a con
temporary Chinese poetry magazine.

L ee

Photograph by Wingo Lee"

1951

Born in Canton, China.

Education
1971-77

Goldsmith's College, University of London.

Slade School of Art. University of London.

1977-1986 Part-time lecturer at Portsmouth Poly

technic. England; the Chinese University.
Hong Kong, Hong Kong Institute of Visual
Arts and the University of Hong Kong.
Exhibitions
1974

Group
Show
"The
Young
Contemporaries". Camden Art Centre.
London.

1975

Group Show "London Art

Whitechapel Gallery, London.
One
Man
Show,
Caius
Cambridge.

Student".
College.

1978

One Man Show, Hong Kong Arts Centre.

1980

One Man Show, Hong Kong Arts Centre.

1981

Group Show 'Hong Kong Contempor

aries." Canton. China.

1982

Joint Show "A Couple in Clay", Hong

Kong Arts Centre.
One Man Show, Hong Kong Arts Centre.
Group Show "Hong Kong Sculptor
Association" Hong Kong Arts Centre.
Group Show **Towards a fuller life"
Presented by I.C.A.C., Hong Kong.

1986

Group Show, Visual Arts Society

1987

Group Show. Nineteen '97

v
J- o.irl 'iont A !^OcSyn le c lir e
9

1964

Hvvfj Kong Polytechnic 19A0-87

Qcnet Gal.ery Cambr.age. U.K

lQoS^T/Z-JGrrtfccwski Gallery, t.o^don

1975

Mandeer G a lle y . Lonaon.

1980

Bvltsh Cojnci!. Hong Kong

1963

G aierie Le Genre, Pans

1965

Recfe*n Gallery. LondoBradford E x hib tio n of Com e.r j

1966

T a n s Ga'le^y. London.
Bradforc ExhiDition of Contemoorar/ A-t
r
M

1975

Aa.

* W W .

N.eoelung Gallery. Dusseldori. West Germany.

Tane: Gallery-, Munich. West Germany.

1978

Pearl City Exhibilion of Contemporary A^t.

rio n g Kong.
Save the C h Idren Exhibition. City Hall.
Hong Kong.

1979

Contemporary Hong Kong Biennial. City

Halt. Hong Kong.

19S2

Galiery Therese. Hong Kong.

1933

Contemporary Hong Kong Biennial, City

Hall. Hong Kong.

1984

Contemporary Hong Kong Artists. Tsuen

Wan Town Hall. Hong Kong.

1985

Contemporary Hong Kong Biennial, City

Hall, Hong Kong.

F^.n.U.C5- ^ -t.

CJ * \rJ J' x

v , .
'
. - - t '

ftftfl t:.-.
. :
' iy ! *-.r.Gcap - n o t
nc*
6 S S i r : i y as & f.:, . c d : d . ii o u t iiir . ! p / t**cs-.^e w it h in t h e
er.v: ro n v :
n t o f -.t .q
onss i s

cv i-.d .

i t s cr
3^ 2e<- o f . i

cf

, . isiE ^ci- ar/j

!.
i . . o . > -r. : : : _
Sport:-.n6
-.-s dfawit-g -
*irCr rT

t- v*i.S-SiC-C
^O
** d 2 i

.i.-^ic-a :r.v 1
.
;;>.ySi Ci ! and ^ v . . c ?.
r5
& .* 3 riD h 3 b.5* v ^
.
-;
a r . i :*>:

.-fiy
.

.
v f iit n I
^rii* * c c!l;-:-<
'k . if^fe p .^ y i : : *.v#
.
z-f *.r.c*
* c V i . -C ;-!w

: * .

y t ^ y s i c o l preG ^. j
- -
orj
'he- la t e s t - ; > . i :

t -i-i

Is -K iC iy c

v i' . a \ ir ^

-i-r

I W-iZ

i \c- t v s ^ ic n ,
2 -_* ::;* c f v . s : '

c r^ s t.
rss.^

p s j - i p e c t i v i which * : ^ j*hi c.
w.^oic v
.ih the i i r je s V -
.. -.
p re s e n c - s . S
r.r:!1 irei! ft'.s.i'k th& ac L m - s
: t>= c r a v ir . g o r I r
e.v' : THE STUDIO
I hs.ve s p r o p e r t i o r u l ^15^1'&
! z n t h s s i - i i o a n d ! tra n s fe ; - t h e
t h a t I f e i* - e x is t e d i n t h e 1fendst& ps op l o t h e s t v d ic w a il.

iir e s

i fi.cure t i i e i i n e b s e t u p o n t h e w a ii ar.d t o e n d o w s thero I s t a r t t o

b y ii< 3 a tr'.:cV ure . E ic . p a r t i c u la r f r i - iit p r e s e n t s a c i; f s r e i-
t p r c o ie ii o f

RK

B e y o n d d - ^ - ic t in - *.v ... i
i.*---*, w . ih t
y p d in t in g t o *iava a
p r e s s n e * t n a t r = f i e c t i u r ;,
: o f l*
s c n v i' * ry .rsr;t s s I e
* p e r i* n c e
wc.nl
c-r-.s *,>;'h e r i n b a ln - ic e
: t h a t
6 x t s - - - 2 ir,,?.gc- ^o& 3 .-'.'V
L.** 5 i r . t i n t o
th * p la y

c o l o u r ; i? a ? s and vcu*.ii*.

it- .

Sunny Pang studied dance in Hong Kong, Tokyo, and

New York, where he also danced and choreographed
for the Adelphi Dance Theatre.
He has created works for companies in Hong Kong
and in 1983 co-founded the multimedia group Mixed
Visions for a series of performances.
In the same year he was guest choreographer with the
Theatre Ballet-Taipei and was invited by the Taipei C u l
tural Development Committee to attend their choreog
raphy showcase.
In 1984 he presented a solo concert, Life Extension, at
Zuni Icosahedron, a first among local dance artists.
Since
hen, he has been giving regular solo recitals
both locally and abroad.
In 1986, he was invited by the Taipei Cloudgate Dance
Theatre to stage the piece To The Tune of O ing Ping,
and presented a trio programme Swordfishtrombone/
Goldberg Variations at the Hong Kong Academy for
the Performing Arts and at the Taipei Dance Workshop.
Among his most representative choreographies are
such dances as Quasar, Twilight Beings, Kwaidan/
Emaki, and Allegory From A Capital City, w hich were
all created specially for City Contemporary Dance
Company where he is resident choreographer.

Born in 1957. Jim Shum is Hong Kong's best known

experimenta

ilmmaker. Although he s
arted making
super 8 film s in school, Shum became interested in
experimental cinema after reading about them. While
working in quantity surveying. Shum made a series of
short films that took top prizes in consecutive years at
the Hong Kong Independent Short Film Festival in
1979 and 1980. Resigning from his job. Shum helped
to found the avant-garde theatre group Zuni Icosahed
ron in 1981. Soon after, he began composing e lec
tronic music soundtracks for feature films, and making
some of Hong Kong's first video art pieces. He re
of
turned to experimental films
his
cine-poems on Asian cities whil
on
a
number
of
career as a composer and
imber of 16mm
commercial productions. After a number
short films, Shum made h is first feature. Sand in 1986.
He has also short music video, worked as a camera
man on the feature Bejalai (Stephen Teo, Sarawak,
1987) and composed music for both Zuni Icosahedron
and the City Contemporary Dance Company.
Jim Shum's films have been shown exiensiver
1981 in festivals and cinemas in Hong
Edinburgh, London, Berlin, Tokyo, Manila. Turin,
O _ V J have
K
York, Montreal. San Francisco, and
toured West
Germany and Britain. Shum
um and his work have also
least on tel<
been featured and broad(
nd France.
Kong, Britain. Germany ant

Selected Films
Super 8: Flicker (1978), Sweel Dream (1979), Hand
and Falling Object (1979). Suite (1979). Rhythm
(1980), Primary (1980), The Contract (1983), Rocky 73
(1984), Sumimasen (1985), Peking, Beijing (1985).
16mm: Surfside (1984), Hong Kong Topography
(1984). NikkoD (1985) Poolside (1985). Sand (1986).
(1982), ME3 (1982), ME4 (1982). Video
Video: X;
Life Exhibition (1986).
Table (1983) . Cui Jian (1986). Li
Ointment (1987).
Selected Music (for films): Health Warning (Kirk Wong,
1983), Invitation to the Dance (Basil Pao, 1984), An
Amorous Woman of the Tang Dynasty (Eddie Fong,
1985). Yu Da Fu (Eddie Fong, 1986, unreieased).

1955

Born in Hong Kong

Education
197374

National School of Fine Arts. Pans

1975-79

National Superior School of Fine Arts.

Paris.

One Man Exhibitions

y.m l< u

.'

1978

L'ouverlure, Cafe Galerie. Paris

1979

"La Prairie. Centre Culturel de Caen.

Normandy. France

1981

Hong Kong Arts Centre.

1982

"Drawings by Yank Wong",L'Alliance

Francaise, Wan Chai Centre, Hong Kong.

1983

Tsuen Wan Town Hall Hong Kong.

1985

**Abstract Drawings by
Fringe Club. Hong Kong

1986

"Recent Paintings by Yank Wong". Hong

Kong Arts Centre
The Temple
Fringe Club. Hong Kong.

Yank Wong".

Group Exhibitions
1978

*'Painting/Sculptures/Photos", L'ouverture.
Cafe Galerie. Paris
'2 Men Show. Paintings and Photos".
L'ouverlure. Cafe Galerie. Paris

1979

"Exhibition of Silk-Screen Prints",

Salon de la Societe des Beaux-Arts.
"Exhibition of Paintings by Yank Wong and
John Yukawa". L'Atelier Jaune. Paris.

1980

**Panta Show", Hong Kong Arts Centre.

1981

"Selection of Hong Kong Arts". Hong

Kong Arts Centre.
"Contemporary Hong Kong Aft Biennial
Exhibition", Hong Kong Museum of Art.

1982

'Contemporary Hong Kong Artist Inter

national 1982" Department of Fine Arts,
University of Cincinnati. U.S.A.

1983

'Art Fair", The Hong Kong Festival Fringe.

1984

"Into the 80 s-Contemporary Hong Kong

Painting", Hong Kong Arts Centre.

Tommy Wong, one of the founder-members of the City

Contemporary Dance Company, has been its technical
director and resident lighting designer since 1980 and
has designed more than 10 0 pieces of dance for the
company. In addition he has accomplished numerous
lighting- and set-designed works for overseas and
local professional theatre groups. He has conducted
stage-management and lighting-design courses for
City Contemporary Dance Group, the Festival Fringe
and the Education Department of Hong Kong
University.
In 1985-86, he was awarded a British Council scholar
ship to study theatre administration, stage manage
ment and design under the supervision of Mr. Tony
Bond, technical advisor to the National Theatre in
London.
Recent engagements have included the set & lighting
design for The Hong Kong Philharmonic Orchestra's
"Movies & Musicals Extravaganza" and "Christmas
Fantasia" at the Hong Kong Coliseum; lighting design
for the Hong Kong Ballet's '*G ise lle " and MLa Sylphide"; Bestreben Drama Association's "Fate Sym
phony" and the Hong Kong Dance Company's MYue
Fei", which opened the Eleventh Festival of Asian Arts.

1952

Born in Hong Kong

Education
1977-80

Basic Art & Design Course at Hong Kong

University Extra Mural Department

Exhibitions
1982

Hong Kong Arts Centre - Group Exhibition

1982

Hong Kong University "From One to

Other" - One man Exhibition

1984

Gallery Nineteen '97 Hong Kong - One

man Exhibition

1986

Hong Kong Arts Centre - Group Exhibition

"Human Figure Re-examined"