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Under these circumstances, “Tailwhip” seems to be a rare, disappearing opportunity to consider the archives of someone whose career – and now retrospective – connects these different spaces on a single timeline. The tragically allegorical presence of the ever-looming, ever-completing, and ever-becoming M+ has only intensified since in the National Security Law came into effect in Hong Kong last July, as practitioners have been departing or resigning from positions of power, projects are getting defunded, and having a point of view feels increasingly pre-emptively guilty. Jaime Chu: In “Tailwhip”, anti-white-cube Empty Gallery’s recent archival exhibition Xper.Xr’s output from the past three decades, the artist dedicates a 2021 reproduction of a mixed media painting – made from acrylic, Chinese ink, cement, mortar, and fake teeth originally exhibited during a noise show at the now-defunct Quart Society, one of the first artist-run independent spaces in Hong Kong, which opened in 1990 – to the soon-opening M+ Museum.
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The show, which collects documentation, artefacts, and ephemera from throughout Xper.Xr’s nearly thirty years of activity in the industrial noise music and anti-art realms, is a rare window into Hong Kong's poorly-documented underground scene – colourful and full of petty spats that reflect the unruly energy of Xper.Xr’s multifaceted practice.
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On the occasion of Xper.Xr’s exhibition “Tailwhip” at Hong Kong’s Empty Gallery, Jaime Chu, phoning in on a video call, joined curator and researcher Michelle Wong on a walkthrough.