Kitman Yeung

雙棲動物 amphibian . . Streets from Ho Chi Minh, Weimar, Stuttgart, Hanoi, 墾丁，台北

Four fingered faith 2025 . Sculptural installation, rubber gloves, plastic string, hand cream, glue, 2025. 4m × 0.6m × 2m. . Four-Fingered Faith presents a vertical apparatus, a ladder built from mass-produced rubber gloves. This ladder is the physical counterpart to the latex casts of Brace, Brace, this one is inflated and iconic. The work visualizes the authority of the iconic persona. Each glove is animated by the fiction of a persona—the four-fingered cartoon hand, the branded mascot. . Thank you for photos during the exhibition from Peach @peachayo 🫶

母老虎🐅

Thrill

Brace, brace 2025 . installation, customised latex moulds, plastic string, hand cream, glue, 2025. 5m × 3m × 0.5m . It presents a room sized ladder, made from latex gloves of ascending and descending parallels, cast in latex directly from the living hands from the artist and friends. Brace, Brace visualizes the necessary, grounded alternative to the fantasy of untethered flight. It proposes that true agency lies in the deliberate, embodied act of climbing and descending, of maintaining contact with the very structures that connect us to the ground. . Thank you p peach @peachayo for the photos 🫶🫶

Hold the swallow 2025 . PARTICIPATORY PERFORMANCE WITH SCULPTURAL ELEMENTS, GLAZED PORCELAIN. 15 MINUTES. PERFORMANCE SERIES PART OF MARIONETTE (SUSE WEBER) AT GFZK LEIPZIG’S EXHIBITION, SPIELRÄUME. . This performance responds to the gendered imagery within the Marionette installation by introducing a silencing through the ungendered form of eggs. The eggs are rendered in glazed porcelain as direct replicas of the “Chicken Cup in Doucai Painted Enamels” (明成化鬥彩雞缸杯), a Ming dynasty artifact housed in the Taiwan Palace Museum. This work challenges the neutrality of historical artefacts through created tension from appropriating this historically significant object into ovular and testicular forms. Thank you to suse Weber for taking us to Leipzig for this collaboration, and gfzk for giving the class experimental space. Fig 1 configuration with Suse Weber’s Marionette Fig 2 configuration with Emily Thomas @emilythomas2102 Colour photography credits to Carlos santos @c.santosg thank you!

Thank you to the all the support and interest in the people in the /paper city project/ ☀️☀️ super thankful to receive all contributions… the paper city is being expanded by the specific, individual moments from everyone in their journey…the zine is on the way…🫶🫶 . . . Lots of people to thank… ongoing list… to Asia art archive for giving the motivation and collection ideas to push it forward… Sam for the ongoing support… Alex working on the photos… and all contributors.. friends..and family for the generational experiences…

opencall — People in Paper City 2026 ✹ Please read all details carefully before applying✹ I am making a book about cities — the ones that changed you, the ones you passed through, the ones you still carry. Send a photograph, a voice note, or a piece of writing about a city that marked something in your life. How did you come into contact with it? When were you a resident, when were you a tourist? My grandmother visited many cities between the 1990s and 2010 through a health supplement scheme. Her photographs may become the green screen for yours. Formats accepted: 📷 Photographs 🎙 Audio narrative ✍️ Writing While I cannot offer monetary compensation for this project yet, all contributors will: ✦ Be credited in the risography publication ✦ Receive a photographic print by post ✦ Receive a photograph exchange from the artist ✦ Have a chance to be exhibited in Hong Kong, June 2026 This is a collaborative publication — some works may be collaged or placed in conversation with other participants’ images, or with my grandmother’s travel photographs. You choose how far your contribution travels. Nothing is published without your approval. Deadline: 7 May 2026 Exhibition & Publication: June 2026 Part of: Try Zine Residency 2026 @ Asia Art Archive, Hong Kong Open to: International applicants Apply: link in bio https://forms.gle/EX3zAt2n19p3jEUD6 or scan QR code in post Contact: [email protected] ⓄⓅⒺⓃ ⒸⒶⓁⓁ — 紙城中的人 2026 ✹ 申請前務必詳細閱讀所有資訊 ✹ 我正在製作一本關於城市的書——那些改變了你的城市、你曾經路過的城市、你至今仍帶著走的城市。 寄給我一張照片、一段聲音，或一篇文字，關於某座在你生命中留下印記的城市。你是如何與它相遇的？你何時是居民，何時又是旅人？ 我的阿嬤在1990年代至2010年間，隨保健品旅遊團走訪了許多城市。她的照片，或許會成為你所選城市的綠幕背景。 接受投稿格式： 📷 攝影作品 🎙 聲音敘述 ✍️ 文字書寫 所有參與者將： ✦ 於孔版印刷出版物中署名 ✦ 收到藝術家郵寄的攝影印刷品 ✦ 與藝術家進行照片交換 ✦ 有機會於2026年6月在香港展出 本計畫不涉及任何費用。 ༘⋆ 截止日期：2026年5月7日 展覽及出版：2026年6月 計畫：Try Zine 駐留計畫 2026 香港亞洲藝術文獻庫 開放對象：國際申請者 申請方式：個人頁面連結 https://forms.gle/EX3zAt2n19p3jEUD6，或掃描下一張圖片的 QR 碼 聯絡信箱：[email protected] 這是一本共同創作的出版物——部分作品可能與其他參與者的影像，或我阿嬤的旅行照片進行拼貼與對話。你可以選擇自己願意參與的程度，未經你的確認，作品不會出版。 #opencall #artopportunity #asiaartarchive #hk

Crazy how 2 years went by already.. final act of inflating MFA thesis defense Monday, 13 October 2025 15:00 opening 15:30 presentation @Nova Space, Berkaer Straße 11, Weimar This exhibition develops different fictional apparatuses for descent and ascension in an emergency event, within the inhabitation of this outlined air conditions. This thesis investigates how our relationship to air has changed since the 1960s through a reflection on artistic projects. Through a conscious atmospheric manipulation of our habitable conditions, the reality conceived by Peter Sloterdijk and Bruno Latour is that our world is split between those who are capable of no longer being tethered to the earth and those left behind without choice. This work addresses inflatable representations of corporate and military personae, and the aerial embodiment and heightened perspective. Tomorrow, Anil Aydinoglu presents at 13:30 and we will have a break in between. The exhibition opens from 15:00, with the defense taking place at 15:30. Thank you so much to: Assoc. Prof. Suse Weber Dr. Moritz Frischkorn MA Matthew Lloyd and everyone’s support:)))

Wednesday, August 06 and Saturday, August 16, 18:00-21:00 Hrs. // 11m3 is happy to present 'From ground to table', a participatory installation by Groundtable Collective —Gift Lalicha Lalitsasivimol & Kitman Pik Chee Yeung. @groundtableee @giftlalicha @manonseat The exhibition showcases their collaborative cookbook practices and interaction with the modular cooking platform. Through the Kunsthof Niederarnsdorf 2024 residency, Groundtable Collective traced how ingredients can address migrated culinary traditions in former East Germany. As part of the residency outcome, the collective produced the research-based cookbook, from research across local and migrant cuisines, conversation about recipes with neighbouring residents, and collaborations engaged in participatory workshops. 'The cooking machine' is a cooking platform which functions as a mobile food vendor, with modular cooking units that adapts to accommodate different cuisines. 'From ground to table' exhibits their methodology in artistic research through exchanges facilitated by collaborative cookbooks. Both projects worked with cookbooks as the beginning of the documenting familiar recipes and their adapted versions, the cookbook also offers space for the public to interact by contributing their own recipe adaptations and annotated manuscripts. Join us! 11m3 Projektraum: Karl-Liebknecht Str. 16, Weimar Gefördert durch die Kulturstiftung des Freistaats Thüringen @kulturstiftung_thueringen , die Kulturdirektion der Stadt Weimar @kulturdirektion.weimar , und der Kreativfonds von der Bauhaus Uni @bauhaus_uni

Open Tour - Kitman Yeung ——————————————————————————————— [De] Es beginnt mit zwei Augen in China. Die Familie findet Wege, über große Distanzen hinweg zu kommunizieren. Dann verlagern sich die Augen vom Meer aus. Erinnerungen verbinden sich mit Gerüchen, Restaurants und dem Rhythmus des Verkehrs. Landschaften werden zu wirren Wiederkäuen zusammengeworfen, denn die chinesische Stadt, an die ich mich erinnere, befindet sich in einem ständigen Zyklus aus dekonstruierten Rekonstruktionen. Gedichte des chinesischen Dichters Yang Lian begleiten diese Reise der umherirrenden Augen. [Eng] It starts with two eyes in china. The family finds their ways to communicate across long distances. Then the eyes re-allocate from the sea. Memories are drawn between smells, restaurants, and traffic rhythms. Landscapes are tossed into jumbled regurgitations, as the chinese city I recall is in a constant cycle of deconstructed reconstructions. Poetry by the chinese poet, Yang Lian, the drifted eyes accompany this tour.

Verschwinden. Was bleibt? Group exhibition, June-July 2024 with @stockwerkprojectspace . photo credits to stockwerkprojectspace