Three children in the backseat of a car on their way to school, a brown shag carpet on brown ceramic tiles, wheat stalks in the spring, an exhibition wall, three Michelin tires, three stock pots, one green suitcase, and a yellow frying pan: an exhibition of works by Christopher Williams, on view at the Hong Kong gallery.
Deeply political and historical, Williams’s work addresses the visual and informational structures that define everyday life. Working in a variety of media, including photography, video, and installation, his multifaceted practice incorporates references to multiple sources and precedents, including the artist’s own ever-expanding inventory of imagery and discursive materials.
Many of the works that will be on view in Hong Kong are from a body of work Williams developed in the 2010s that were informed by the artist’s interest in two important Cold War era publications: Ty i Ja (You and I), a Polish magazine created by the Women’s League that focused on domestic life, fashion, and culture, and Lui (Him), a French pinup magazine specializing in female nudes and erotica, which was source material for Guy Debord’s influential 1974 situationist film La Société du Spectacle (Society of the Spectacle)
Epitomizing, while also critically undermining, many discursive binaries within Cold War society—such as supposedly male versus female content, and Eastern soviet versus Western capitalist culture—these seemingly disparate but influential magazines served as source material for Williams, who, over the course of several years, assembled detailed archives devoted to each. Laid out on large tables within his studio, they became a kind of visual play script, which was then adapted to produce these photographic works—some closely recreating his source materials, and others recasting their formats and structures—that reflect on the social conditions of modern life. 
The exhibition in Hong Kong, the artist’s first solo show in Greater China, follows standard pose, at David Zwirner Paris in 2021, and Footwear (Adapted for Use), at the gallery’s 34 East 69th Street location in New York in 2020, and will mark his eleventh solo show with David Zwirner. In spring 2021, Williams’s solo exhibition werbung: adapted for use was on view at Haubrok Foundation, Berlin, and from 2019 to 2020, C/O Berlin presented a solo show titled MODEL: Kochgeschirre, Kinder, Viet Nam (Angepasst zum Benutzen)
Christopher Williams was born in Los Angeles in 1956. Since 2000, his work has been represented by David Zwirner. He has had ten solo exhibitions at the gallery.
Christopher Williams: The Production Line of Happiness marked the artist's first major museum survey, which spanned thirty-five years of work. The exhibition was first on view at The Art Institute of Chicago in 2014, followed by The Museum of Modern Art, New York, and Whitechapel Gallery, London in 2015. Also in 2014, Williams was the first artist to receive the Photography Catalogue of the Year, presented by the Paris Photo–Aperture Foundation PhotoBook Awards, for the two volumes specially designed and published on the occasion of his touring survey, The Production Line of Happiness (exhibition catalogue) and Printed in Germany (artist book).  

Other solo exhibitions include those held at Kestner Gesellschaft, Hanover, Germany (2018); La Triennale di Milano (2017); ETH Zurich, Institute gta, Zürich (2017); Museum Morsbroich, Leverkusen, Germany (2011); Museum Dhondt-Dhaenens, Deurle, Belgium (2011); Staatliche Kunsthalle Baden-Baden, Germany (2010); Bergen Kunsthall, Norway (2010); Kunsthalle Zürich (2007); Museu Serralves, Porto, Portugal (2006); Secession, Vienna (2005); Kunstverein Braunschweig, Germany (2005); Museum Boijmans Van Beuningen, Rotterdam (1997); and Wexner Center for the Arts, Columbus, Ohio (1995).

Museum collections which hold works by the artist include The Art Institute of Chicago; Carnegie Museum of Art, Pittsburgh; Hammer Museum, Los Angeles; Hirshhorn Museum and Sculpture Garden, Washington, DC; Ludwig Museum, Cologne; The Metropolitan Museum of Art, New York; Museum Moderner Kunst Stiftung Ludwig Wien, Vienna; The Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; and the Whitney Museum of American Art, New York. He lives and works in Cologne and Los Angeles.

Christopher Williams
Matt Dulling Spray
CFC Free
- Photographic
- Motion Picture
- TV Studio
Removes Glaring Highlights from Polished Surfaces in Camera
Coats evenly with a very fine spray pattern – it effectively dulls
any polished object to be photographed.
Shake the can well, and whilst spraying, hold not more than
30 cm (12 inches) from the object. The spray sets in about
2 minutes, and further coats may be added if necessary. It
wipes off easily with a soft cloth and all smears can be
removed with a little spirit.
K-Line spray is safe with most materials, but a test should
be made on a scrap surface if in doubt, especially with some
types of plastics.
Pressurised container.
Protect from sunlight and do not expose to temperatures
exceeding 50º C.
Do not pierce or burn even after use.
Do not spray on a naked flame or any incandescent material.
Keep away from sources of ignition – No Smoking.
Keep out of reach of children.
Do not breath spray.
Avoid contact with eyes.
Use only in ventilated areas.
Store at a minimum of 20º C
UN 1950
Extremely Flammable
S W Kenyon
Cranbrook – Kent U.K.
Division of K-Line Photographic Supplies Company
Telephone: 01580 850770
Made in Britain
Registered in the US Patent and Trademark Office
Studio Rhein Verlag, Düsseldorf
August 24, 2014
, 2014
© Christopher Williams. 
Courtesy the artist, David Zwirner, and Galerie Gisela Capitain, Cologne

For all press inquiries, contact
Victoria Kung +852 2119 5900 [email protected]


《R59C 凱斯通浴室門 — 鍍鉻/雨花玻璃》


香港中環皇后大道中80號 H Queen’s 5-6樓


三個坐在汽車後座的孩子正在去往學校的路上、棕色瓷磚上的一塊棕色絨毛地毯、春天裡的麥稈、一面展牆、三個米其林輪胎、三口湯鍋、一隻綠色行李箱和一個黃色煎鍋:這些出自克里斯托弗·威廉姆斯(Christopher Williams)的作品,將呈現於藝術家在卓納畫廊香港空間舉辦的展覽上。

此次即將展出的許多作品都出自威廉姆斯在2010年代發展起來的一組創作,它們深受藝術家對兩本重要的冷戰時期出版物的興趣所啟發:《你和我》(Ty i Ja),這本波蘭雜誌由婦女聯盟創辦,專注於家庭生活、時尚和文化;以及《他》(Lui),一本法國的限制級雜誌,專注於女性裸像和情色內容,並且曾是居伊·德波(Guy Debord)創作於1974年的情境主義電影《景觀社會》(La Société du Spectacle)的素材來源。


此次香港展覽,將是藝術家在大中華地區的首次個展,緊接著威廉姆斯於2021年在卓納畫廊巴黎空間舉辦的《標準姿勢》和2020年在紐約東69街34號畫廊空間舉辦的《鞋子(改造適用)》,此次香港展覽將是藝術家在卓納畫廊的第十一次個展。 2021年春,威廉姆斯的個展《廣告(改造適用)》舉辦於柏林的豪布洛克基金會。 2019到2020年,C/O柏林為藝術家舉辦了題為《模特:炊具、兒童、越南(改造適用)》的個展。

克里斯托弗·威廉姆斯(Christopher Williams)1956年出生於洛杉磯。自2000年起,卓納畫廊開始代理他的作品。他在畫廊已經舉辦了十場個展。


在2019-2020年,C/O柏林為藝術家舉辦了展覽《克里斯托弗·威廉姆斯 - 模特:炊具、兒童、越南(改造適用)》。其他為威廉姆斯舉辦過個展的機構還包括:克斯特納協會,德國漢諾威(2018);米蘭三年展(2017);蘇黎世聯邦理工學院gta機構,蘇黎世(2017);莫斯布羅赫博物館,德國勒沃庫森(2011);鄧特-達恩斯博物館,比利時多爾(2011);巴登-巴登國家藝術館,德國(2010);卑爾根藝術廳,挪威(2010);蘇黎世藝術館(2007);塞拉維斯當代藝術博物館,葡萄牙波爾多(2006);分離派展覽館,維也納(2005);不倫瑞克藝術協會,德國(2005);博伊曼斯范伯寧恩美術館,鹿特丹(1997);以及韋克斯納藝術中心,俄亥俄州哥倫布(1995)。


克里斯托弗·威廉姆斯(Christopher Williams)
- 攝影
- 電影
- 電視演播廳
以非常細膩的噴霧均勻地產生塗層 - 有效地
充分搖勻噴霧罐,在噴塗時,與物體保持不超過30厘米(12 英寸)的距離。
遠離火源放置 - 嚴禁吸煙。
UN 1950
S W Kenyon品牌
電話:01580 850770
杜塞爾多夫Rhein Verlag工作室
© 克里斯托弗·威廉姆斯。


龔凱欣 Victoria Kung +852 2119 5900 [email protected]

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