Month: May 2025

I feel that these are buzz words where all sorts of slithering pseudo-creative types can hide in its ambiguous aura. My preference leans more towards the literal- therefore I refer to myself as a painter. For starters the word ‘art’ is far too short and (as far as I can decipher) is an abbreviation for the word ‘artifact’, is this correct of me to assume? If this is so, then I find myself (in the context of contemporary language) making facts. This is where I begin to confuse myself and also where I feel a sense of overwhelming excitement and amusement, because if the fact that if I am (for lack of a better word) in fact, making art and the produk of my function as a painter is factually unmistakably the literal manifestation of this thing we call ‘art’- I come to the realization that I am in essence a fact maker, which is quite an exciting realization for someone who has been called a ‘dreamer of fantasy and imagination’. I am unique and not quite domestic, and therefore necessary. Facts are wonderful in theory. Theory is disastrous without action. Actions speaks louder than words, and they say a picture speaks a thousand words. This is a show about how I turned the word ‘art’ into ‘fact’. This being the case I imagine being told by people ‘hey- I like your fact’, to which I will reply: ‘thank you’.

BIOGRAPHY
Born in 1979 Anthony Lister is already described as a leading Australian contemporary artist. In 2001, Lister completed a Bachelor of Fine Arts degree at the Queensland College of Art. He helped pioneer the stencil and street art movement in Brisbane before moving to New York in 2003 to work with his mentor, Max Gimblett.

In addition to a strong background in street art he employs a sophisticated, fine art, painterly style. High and low culture clash in the content of his paintings, drawings and installations boorish superheroes, flirtatious ballet dancers, bad-tempered old masters and imperious vamps raucously co-exist at the party rapidly deteriorating inside Anthony Lister’s head.

Consistently exhibiting around the world, Anthony Lister’s last shows in Milan and Los Angeles have turned his focus back to the human form and the female figure, his exhibitions largely consisting of ballet dancers. An interesting counterpoint to the recent Degas show in London, Lister presents a much more grimy, rough-hewn, but surprisingly delicate take on the bodies.

In 2010, Anthony Lister was named as one of Australia’s 50 most collectable artists by Art Collector Magazine. Lister broke his auction record in June 2015 when his 2014 work Supernatural Disorder 4, 2014 sold for $19,636 at Menzies’ sale of Important Australian and International Fine Art, Melbourne.

Above Second was co-founded by May Wong and Jasper Wong. It is an artist-run gallery and studio space existing as a catalyst for the expanding new contemporary art movement exploding forth from the streets, art schools, and design studios from around the world. Located in Sai Ying Pun, a very local part of Hong Kong Island in the Central and Western District, they exhibit a genre of work influenced by illustration, graphic design, graffiti, comic books, pop culture, and street art. They are aware of the growing interest for diversity and options the Hong Kong community craves for contemporary art. Promoting and nurturing the understanding of an alternative subculture, we have a network of local emerging young talent and world artists whose work is rarely exhibited in Asia.

Above Second’s aim is to challenge and captivate the audience with notions of unconventionality and quality. Our Art Residency programs are designed to provide a space for the visiting artists, without any limitations, as a setting to be progressive and innovate. They are encouraged to bring that raw creative energy (usually found on the streets) indoors, transforming our white walls into ingenious installations and departures from reality. Above Second is proud to have collaborated with artists from Japan, Denmark, Italy, Australia, USA, UK, Mexico, China, and locally. Committed to nurturing young and talented artists, they have created a forum for launching their careers. The gallery’s focus on both established and emerging artists creates a dynamic synergy. Younger artists benefit from the mentorship and visibility gained by exhibiting alongside more experienced practitioners, while established artists gain segar perspectives and the opportunity to engage with new talent. This cross-pollination of ideas and styles is a hallmark of Above Second’s approach, contributing to the ever-evolving landscape of contemporary art. They believe that fostering these connections is crucial for the growth and vitality of the art world as a whole.

Ultimately, Above Second’s mission is to be more than just a gallery; it is a catalyst for artistic growth and cultural exchange. Their unwavering support for emerging artists, coupled with their commitment to community building and educational initiatives, makes them a vital force in the world art scene. They are dedicated to discovering and promoting the next generation of artistic talent, ensuring that the world of art remains diverse, innovative, and inspiring for years to come. Their impact is felt not only in the careers they help launch but also in the rich tapestry of art they help create and sharing with the world.

“…our collective obligations towards our environment.”

You wouldn’t think the phrase would need to be said, yet it sounds revolutionary in a consumer-driven, market-driven society. The Swiss duo NEVERCREW are clear in their intentions.

As ever.Nevercrew “Discordant” Above Second Gallery. Hong Kong. 18th March – 22nd April (photo © Jaime Rojo)
The Discordant exhibition is still running at Above Second gallery in Hong Kong and these images we captured there encapsulate the discordance. Nature versus man. Our desire for convenience, our disregard for the gifts the Earth gives, our keseluruhan dependence on it nonetheless.

“Discordant emphasizes the juxtaposition of mechanical and natural elements to portray a world where mankind and nature, economy and environment, are constantly at odds with one another,” they say in the press release. They go on to comment on “the exploitation of natural resources, pollution, and particularly overproduction and mismanagement of waste as ‘a signal of an imbalanced relationship with the natural system.’ ”Nevercrew “Discordant” Above Second Gallery. Hong Kong. 18th March – 22nd April (photo © Jaime Rojo)
The gargantuan garbage bag and the fish, the cloud of broken construction mater floating above the gift of wildlife, the ruthless slicing through mechanically of the whale.

It makes you think things like, “Who the hell do we think we are?” as we contemplate NEVERCREW’s “examination of humankind’s core struggle to strike a balance between the demands of lifestyle, efficiency and our collective obligations towards our environment.” evercrew “Discordant” Above Second Gallery. Hong Kong. NEVERCREW doesn’t offer easy answers, and that’s part of their power. They don’t preach or moralize overtly; instead, they present a visual dialogue, a stark reflection of the choices we’ve made and the path we’re currently on. The title “Discordant” itself speaks volumes, highlighting the disharmony that exists between human activity and the natural world. We are out of tune, operating on a frequency that is incompatible with the rhythms of the planet. Looking at their work, you can almost hear the grating sound of progress clashing with the silence of disappearing species or the roar of machinery drowning out the whisper of the wind. It’s a call to introspection, a challenge to re-evaluate our priorities and consider the legacy we are leaving behind. Are we truly thriving, or are we merely existing at the expense of everything else? The questions linger long after you leave the gallery, echoing in the back of your mind as you navigate a world increasingly shaped by the very forces NEVERCREW so powerfully depicts.

Alec Monopoly’s art is instantly recognisable by his use of the character Rich “Uncle” Pennybags, the Monopoly board game’s suited mascot, as a symbol of capitalist greed. Monopoly uses a cartoonish style to comment on real world problems, fundamentally creating a simplified yet somewhat exaggerated message that is justified in its observation of a broken economic and political system.

The street artist rose to fame during a wave of uncertainty following the recession. The collapse and scandals that followed suit served as further inspiration, with Monopoly treating trusted high-profile individuals such as Bernie Madoff as a modern day ‘Wolf of Wall Street’ and the ultimate symbol of financial collapse. Monopoly also uses characters such as Scrooge McDuck and Richie Rich in his work, which largely serves as a reflection of the faults and flaws in current or former economic frameworks.

Ahead of his Hong Kong debut at Above Second gallery this March, Monopoly tells Hong Kong Tatler about his first impressions of Hong Kong, and his view on the rising popularity of street art:

Hong Kong Tatler: Can you tell us about your work and the idea you want to put across?
Alec Monopoly: I originally started painting the Monopoly Man as graffiti during the financial crisis as a commentary on capitalism, but over time the imagery and themes have evolved into a representation of success, ambition and accomplishment.

HKT: Where do you think the value lies within street art?
AM: There is rawness and realness in street art that I think translates well onto canvas for many artists. It’s a much more in your face subcultural within the arts, and I think people have gravitated towards that.

HKT: Is street art vandalism?
AM: It’s impossible to make a generalisation. Some street art is destructive, while in many other instances street art can elevate and breathe new life into an entire neighborhood or area.

HKT: How do you feel about the rising popularity of street art and the use of graffiti?
AM: I think that it’s amazing to see graffiti and street art evolve and grow up. Artists are finding success and being given the means to break past street art and into contemporary art, and get recognition on a world level. I think it’s also intriguing for collectors to be able to follow street artists closely, where they have been, what they are doing and what their latest tags are.

With a myriad of opportunities for students to participate in learning experiences that develop an world mindset, the ILOS Artists Programme offers a unique platform for aspiring young artists to showcase their work on a world stage.

Now in its second year, the programme has launched its latest Virtual Gallery, themed ‘My Imagination’. This virtual exhibition, made possible through collaborations with Kunstmatrix and Artsonia, features an impressive collection of over 150 artworks from talented students across 60+ ISP schools. A Global Platform for Young Artists
Visitors can explore the exhibition as if stepping into a real-world gallery, with artwork displayed in virtual spaces inspired by three ISP schools:

Lady Elizabeth School (Jávea, Spain)
Lynn Rose Heights School (Ontario, Canada)

Reach British School (Abu Dhabi, UAE)
Using state-of-the-art virtual technology, the exhibition allows viewers to navigate these carefully curated spaces, experiencing student artwork in an immersive and interactive way. Whether browsing from a computer or mobile device, art enthusiasts can engage with creative pieces that reflect diverse perspectives and artistic styles.

Developing Skills and Perspectives Through Art
The ILOS Artists Programme is more than just an exhibition. It provides students with a structured approach to developing their artistic talents, focusing on three key learning objectives:

Knowledge: Exploring different artistic movements and their role in enabling individual and collective expression.
Skills: Using and applying a range of techniques and mediums for self-expression.

Understanding: Developing a deeper awareness of their own thoughts, feelings, and perspectives through artistic projects.
By fostering these elements, the programme helps students build confidence in their creativity while developing skills that support both their academic and personal growth.

Spotlighting Student Talent
To further celebrate student creativity, the programme is running a fortnightly ‘Spotlight’ event on social media, showcasing standout pieces from the Virtual Gallery. Each feature highlights a student artist and shares their work with a wider audience, offering both recognition and inspiration for aspiring creatives.