Katharine Meng-Yuan Yi: Healing Brush


Duration: April 13 – June 23, 2019
Opening Reception: April 13, 2019, Saturday at 3pm
Venue: Canton-sardine
Address: 268 Keefer street, #071 at Lower-ground (LG), Vancouver
Gallery hours: Tues-Sat 12-6pm
Curators: Pongsakorn Yananissorn, Steven Dragonn


Canton-sardine is pleased to launch the first solo exhibition of Katharine Meng-yuan Yi, who is a multimedia artist based in Vancouver. This exhibition presents Yi’s recent works made in reflection of her side-job as a commercial portraiture photographer, while in contemplation of the Chinese children’s story, Ma Liang and His Magic Brush.

Yi’s project Healing Brush takes the popular children’s story in mainland China, Ma Liang and His Magic Brush, written by Hong Xuntao in the 1950s, as an entry to contemplate photography and painting’s entanglement to representation. Ma Liang and His Magic Brush tells a story of a once poor boy, bestowed with a magic brush allowing him to turn his drawings into reality. He sets off helping the poor and the unfortunate. Healing Brush too wanders the edges of representation with this same weight. The photographer here, like the painter, wields the brush to recover the ideal, creating an unintentional layer of new imagery. This layer of mark-making surfaces the invisible artistic labour, a labour to make invisible what is deemed imperfect. A fulfillment of a consumer need of a particular “hyperreal” aesthetic standard.

The “Healing Brush”, as appeared in the exhibition title, is the name of a retouching tool from Photoshop utilized to make invisible, to conceal, and to recover the absolutes and the ideals from imperfections and blemishes. The series of works, ranging from photography, video animation, painting and photo-installation, circulates around Yi’s role as a commercial photographer in the industry, acting both as a spectator and fabricator to an aesthetic standard coming to form.

Katharine Meng-Yuan Yi was born in Beijing, China, she is currently based in Vancouver, Canada. Yi’s practice, employing a variety of mediums, investigates and reflects on contemporary societal occurrences, quotidian subjects, and continuously re-examines the role of the artist in a broader social spectrum. As a first generation immigrant/settler, her practice is inextricably attached to the bigger conversation of diaspora and evokes the urgency of the locality and its presentness. Yi received her BFA from the University of British Columbia in 2014.






易夢原出生於中國北京,現居加拿大溫哥華。 她的創作採用多种媒介,以調查和反思當代社會事件、日常主題,並不斷重新審視藝術家在更廣泛的社會範圍中的作用。作為第一代移民/定居者,她的實踐與移居的命題密不可分,並希望喚起當地的緊迫性及其現狀。 易夢原於2014年畢業於不列顛哥倫比亞大學,並獲得學士學位。

Lam Wong: Mind Transition

Lam Wong-展览海报2

Duration: January 12 – April 2 (Held Over), 2019
Opening Reception: January 12, 2019, Saturday at 3pm
Venue: Canton-sardine
Address: 268 Keefer street, #071 at Lower-ground (LG), Vancouver
Curator: Steven Dragonn

Sat. Jan 12 – Opening Reception
Sat. Jan 26 – Artist Talk
Sat. Feb 9 – Art & Tea Party
Sat. Mar 22 – Exhibition Wrap-up Dance Party
Tue. Apr 4 – Last Day of the Show (Held Over)


Canton-sardine is pleased to invite Lam Wong, Vancouver based artist to show his paintings related with his recent thinking on conceptual art. As he described himself “My art practice is a life long journey of spiritual exploration and discoveries. For me, painting is a vehicle for investigating the mind. I am interested in challenging the received notion of perception: how we construct meaning, the working of memory, and how human consciousness relates to the world. I want to create a discourse about the human condition, and make paintings that engage viewers in questioning existence, and finding freedom.”

This time, he is showing his newer series of paintings, which meets Chinese Traditional Buddhism mind set featuring the occidental abstractionism and minimalism. The Transitional 2×4 series was formed with a realization of a single thought – “Everything and every situation happens only once.” Lam explain that all experience is unique, which is a quiet contemplation on time and impermanence. The frame of each painting symbolizes Nowness, and the content (the walking figures inside the frame) depict the movement in time – an expression of Impermanence in all forms and colours. Like an ever-flowing river, the walking figures seem to transition into other frames in a mysterious way. “I like the idea of my paintings having conversations with each other.” Lam says.

Lam Wong was born in 1968, to an artistic family (calligrapher father and pianist mother) in Xiamen, China, grew up in Hong Kong during the 1980s and immigrated to Canada at the age of 19. Lam studied design, art history and painting, both in Alberta and British Columbia. He is currently practicing painting as his main medium. Lam sees art making as an on-going spiritual practice. His main subjects are the perception of reality, the meaning of art, and the relationships between time, memory and space. Lam lives and works in Vancouver since 1998.

Lam’s newer paintings are very often inspired by his older works. The idea of the undercover hidden paintings and the pairing of two paintings on each panel may come from a large diptych called Westcoast (MOA) 2008, which feature two Buddhist monks on the left panel and a same-sex couple on the right. The setting was the Museum of Anthropology at UBC in Vancouver. The aesthetics of this new series, upon revisiting them after completion, feels like a subconscious extension of two of Lam’s earlier paintings titled 1964 The Poignancy of Music, and 1964 The Poignancy of Poetry, set in Mark Rothko’s studio in Soho, NYC which he painted between 2010 to 2012. They are the projected ideal of how painting should be made, and what should be felt.

This exhibition which curated by Steven Dragonn and supported by Shang Foundation for Art, will be open to the public from January 12 to March 23, 2019. An artist talk will be hosted on Jan 26th at 3pm, an Tea & Art gathering on Feburary 16th at 3pm and A Closing music party will be on March 23rd at 3pm during the whole exhibition period.



展览地址:溫哥華 唐人街奇化街268號新華中心地下一層071單元
策 展 人:龍邃洋


這一次,他所展示他新近創作的系列繪畫,揉合了中國傳統佛教思想以及西方的抽象主義和極簡主義。 《Transitional 2×4》系列是基於實施一個單一想法而形成的“一切都祇會發生一次”。王解釋道,所有經驗都是獨一無二的,這是一種對時間和無常的沉思。每幅畫的框架都象徵著“現在”,內容(框架內的行走人物)描繪了時間的運動—— 一種表現各種形式和顏色的無常。就像一條不斷流淌的河流,行走的人物似乎以神秘的方式過渡到其他框架。 “我喜歡我的畫作彼此交談的想法。”王說。

王藝林1968年出生於中國廈門的一個藝術家庭(父親是書法家,母親是鋼琴家),20世紀80年代在香港長大。19歲時移民到加拿大。王藝林曾在艾伯塔省和不列顛哥倫比亞省攻讀設計,藝術史和繪畫。自1998年起在溫哥華生活和工作的他,目前正以繪畫為主要的創作媒介。 他認為藝術創作是一種持續的精神實踐。他專注於探索現實的感知,藝術的意義,以及時間,記憶和空間之間的關係。

王藝林的新作品經常受到他的舊作品的啟發。秘密隱藏的繪畫和每個面板上兩幅畫配對的想法很可能來自他名為《Westcoast(MOA)2008》的大型雙聯畫,左側有兩個佛教僧侶,右邊是同性伴侶,環境則是溫哥華UBC的人類學博物館。這個新系列的美學,在完成後重新審視時,王藝林自己感覺就像他另外兩幅早年繪畫潛意識的延伸:題為《1964年的音樂》和《1964年的詩歌》(這組畫描繪的是紐約蘇豪Mark Rothko的工作室)王繪製於2010年至2012年之間, 這兩幅作品恰如其分地表達了畫(視覺外的感知)是應該如何產生的,以及畫面應所傳達出的。



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He Lixiao: Minor


Minor [ˋmaɪnɚ]
Adj.,f inferior in importance, size, or degree : comparatively unimportant;
Noun, a minor musical interval, scale, key, or mode.

What does the body mean to us? It seems to be an issue we often overlook. Once in a while, only when the body is in severe discomfort, it would suddenly be treated upon seriously. The body seems to be inferior to its subject. The human body, with the perpetual reproduction of modern knowledge and the forming of rational subjects, _has now been reduced to its _physicality, as Michel Foucault points out in his discourse on body politics. The body is the sin of morality, the illusion of truth, and the machine of production, restricting the body to productive labor. The body is only conspicuous when it is labored. That is, the body can only exist as a tool, a machine: either productive or reproductive. It is also what Nietzsche encounters in physicality: the body is always subordinate, inferior, minor, and humble. In philosophy, it is unsightly (Wang Min’an, Philosophy Ethics).

He Lixiao’s recent three performance videos employ his sensitive physical experience to show us how the vulnerable body struggles and resists in the social and political system. He Lixiao is an artist from Guangdong, China, who graduated from the Experimental Art Department of the Guangzhou Academy of Fine Arts in 2015. In the past few years, he has persisted in making performance video with his body as his main subject. I Invited him to show these pieces in Canton-sardine as an encouragement for him to continue his practice.

Naked Venus listening to the music, a single channel performance video, extends his reflection on the limits of the body and physical labor. The artist lifts a heavy stone and tries to play Paul de Senneville’s Ballade pour Adeline with a corner of the stone. The piece, which originally plays for only two and a half minutes long, had taken He 47 minutes to finish. The body in overload dismembers its function as a productive tool. The title of this work is taken from the work Venus with Organist and Cupid by the Renaissance Italian painter Titian (Tiziano Vecellio). My Speech, a two-channel performance video, shows the artist’s contemplations on body ethics in communication.

The relation of the openness of communication counterposed with the intimacy of sexual desire illustrates when power dominates the body, on the one hand, creates rational needs and desires of the body; on the other hand, rouses repressive illicit desires and needs. In Another Chord, a three-channel performance video, the artist exposes physical punishment in mundane renditions of marching song, trinity, and execution, a work stemmed from the reflection of He’s chronic pharyngitis. In body politics, the negligence of body organs and their function is perceived as a physical deficiency.

This exhibition at the same time exhibits He’s series of work “100 Days in Continuation” made between 2014 to 2015 to provide additional comprehension of his practice.

Steven Dragonn
Oct 15,2018 New York



Minor [ˋmaɪnɚ]
adj.形容詞: 不重要的,次要的; 可數名詞:【音】小調。

身體之於我們為何?似乎是我們經常忽視的問題,偶有身體嚴重不適時,才會忽然被重視起來。似乎身體之於“我”者,是一個次要的問題。猶如米切爾·福柯在關於“身體政治”的論述中指出,隨著現代知識的持續再生產與理性主體的形成,人的身體也從“身體”降格為“肉體”。 “身體在道德領域中是罪惡,在真理領域中是錯覺,在生產領域中是機器。這一切都將身體局限於生產性的勞作中,身體只有在勞作時才能醒目地存在,也就是說,身體只能作為一種工具性機器而存在:要么是生產性工具,要么是生殖性工具……正是尼采面臨的身體局面:身體總是從屬的、次等的、輕微的、卑瑣的,在哲學中,它是不堪入目的。”(汪民安《哲學倫理》)


《光著身體聽音樂的維納斯》,單屏行為錄像,延續著他對身體極限,或者是身體勞動極限的反思。作者搬起沉重的石頭,試圖用石頭一角彈奏保羅·塞內維爾的《水邊的阿狄麗娜》,本來一首僅2分半鐘的鋼琴曲,作者花了47分鐘才勉強完成。身體在超荷的情況下,作為生產工具的功能被肢解。本作品題目取自文藝復興時期意大利畫家提香的作品《沉醉在愛與音樂中的維納斯》;《我的演講》,雙屏行為錄像,呈現的是作者對身體倫理在傳播學的思考。把開放的傳播與私密的性慾兩者聯繫起來,以對立的方式來闡述身體所受到權利的支配一方面生產理性的身體慾望和需要,另一方面也以壓抑的方式生產非法的慾望和需要; 《另一種和弦》,三屏行為錄像,作者以進行曲、三位一體、行刑的方式表達肉體懲罰在日常層面的思考。這個作品源於作者長期的咽喉炎發作的反思。身體器官和機能長期受到的忽視在身體政治學中被視作身體的缺失性。