Jerry HO Chun Yu 何鎮宇
Jerry Ho Chun Yu was born in Hong Kong. He obtained his Master of Fine Art degree and Bachelor of Arts (Fine Art) degree from RMIT University and Hong Kong Art School, with a major in photography, and his graduation project, Intimacy, was shown at Adelaide's Seedling Art Space Gallery as a solo exhibition. He has studied philosophy at Lingnan University and The New Asia Institute of Advanced Chinese Studies, his research focuses are aesthetics and Contemporary Neo-Confucianism.
Ho’s artistic practice focuses on camera-less photography and the relation between photography and other art forms. In 2016 and 2019, he curated two exhibitions, ‘EXPOSURE: Camera-less Photography’ (Comix Home Base, HK), and ‘Existential Dialectic’ (JCCAC, HK), to inquire into these areas.
Recent exhibitions include ‘Long time no see, Victoria’ (Hong Kong Heritage Museum, 2014), HK ID (The Museum of Chinese Australian History, Melbourne, 2013), ‘Post Straight: Contemporary Hong Kong Photography’ (Hong Kong Heritage Museum, 2012) and ‘DIASPORA - Joint exhibition of TANG Ying Chi & HO Chun Yu’ (A. Lift Gallery, Shenzhen, 2011); and he was co-curators of Hong Kong International Photography Festival exhibition, ‘Twin Peaks’ (Hong Kong Heritage Museum, 2014).
Ho’s works are collected by the Hong Kong Heritage Museum.
何鎮宇，香港出生。獲澳洲皇家墨爾本理工大學及香港藝術學院合辦之藝術碩士及藝術文學士學位，主修攝影，其畢業作品《親密 • 關係》獲邀於澳洲阿德萊德Seedling Art Space Gallery以個展形式展出；曾先後於香港嶺南大學及新亞研究所修讀哲學，以美學及當代新儒家為主要研究範圍。
何氏近年的藝術實踐專注於「相機次要」攝影的各種可能性以及攝影與其他藝術媒介間的關係，曾就此分別於二零一六年及二零一九年策展兩個展覽《光至景亡 ── 相機次要攝影》（香港動漫基地）及《存在的跳躍》（賽馬會創意藝術中心）。
From ‘How to take photos’, to ‘Why take photos’ and ‘What is photography’, then back to asking ‘How to take photos’. Asking repeatedly, I teach and learn along the way. Teaching is like this, creation is also like this.
The work title comes from the last sentence of an ancient Chinese poem ”擊壤歌” (Song of Peasants in the Time of Yaou). The political ideal of Chinese culture, was once realizing in Hong Kong, but people called it Political Apathy back then. The symbols used in the artwork are from streetscape of Hong Kong and “Manual of the Mustard Seed Garden”, a printed manual of Chinese painting compiled during the early-Qing Dynasty.