•  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
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Forthcoming Exhibitions - Diorama Projects

SIMULATED ALTERNATE REALITIES

5 October until 10 November 2010 12.00-8.00pm
Opening reception Friday 8 October 2010 7pm


David Boyce (Hong Kong/New Zealand)
Nick Cheuk (Hong Kong)
Graeme Cooper (Great Britain)
Evangelo Costadimas & Syren Johnstone (Hong Kong/Canada/Australia)
Peter Fraser (Great Britain)
Anthony Lam (Great Britain)
Stephen Lam( Hong Kong/United States)
Noel Manalili (France)
Riddick Douglas Ning (Hong Kong)
Hiram To (Hong Kong/Australia)
Kurt Tong (Great Britain)
Bruce Yonemoto (United States)

Curator: Davina Lee

1a space
Unit 14, Cattle Depot Artist Village
63 Ma Tau Kok Road, To Kwa Wan, Kowloon
Hong Kong


Simulated alternative realities can take many different forms. They can be found everywhere – in the elaborate utopias and dystopias created in books, magazines and films, in our belief or denial in the existence of an afterlife, in our very dreams and aspirations. We create
alternative realities for ourselves each time we imagine the things that might have been, the
half-remembered past, events that never happened but we believe to be true. Simulated
alternate realities make strange and unfamiliar the things that we thought we knew. Dreamworlds, hopes and fantasies, these alternate realities are created as survival strategies for our daily lives.

The simulated alternative realities depicted within this exhibition exploit the problematic dialectic inherent in photography, the fallacy of photographic truth. By its very nature, a photograph will always be someone else’s version of the truth, the word “composition” an abbreviation for the complex process of subjective selection and elimination integral even to so-called “documentary photography”. Whilst we cannot authenticate reality through the photograph, at the core of each simulation is an element of the real, the point from which subjectivity and imagination combine to create a distillation of reality or a declaration of intent. Within these simulated alternate realities, anything is possible.


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