Lying deep within the urban metropolis of Hong Kong, Happy Valley is one of the most iconic racecourses in the world. It is also the chief source of inspiration for a new body of work by American artist Marcel Dzama. Jockeys ride through waves and cathedrals, Chinese symbols pulled from racing paraphernalia adorn the edges of paper, and bats swoop, hunting for prey. Dzama''s distinct visions of the racetrack come alive through a series of large-scale paintings and drawings, transposing imagery from his prolific oeuvre into this adrenaline-filled sporting arena. His new works reflect on the culture of horseracing and how the track has become not only a symbol of sport, but also of commerce, class, and wealth. This publication includes a conversation between Dzama and Laila Pedro. Published on the occasion of his solo exhibition at David Zwirner, Hong Kong, in 2019, Marcel Dzama: Crossing the Line is available in both English only and bilingual English/traditional Chinese editions.

Autorentext

The work of Marcel Dzama (b. 1974, Winnipeg) is characterized by an immediately recognizable visual language that draws from a diverse range of references and artistic influences, including Dada and Marcel Duchamp. While he has become known for his prolific drawings with their distinctive palette of muted colors, in recent years, the artist has expanded his practice to encompass sculpture, painting, film, and dioramas.

Laila Pedro is an editor, writer, scholar, and translator born in Havana and based in New York. She serves as editorial director of The Shed and was previously the managed editor at The Brooklyn Rail and Hyperallergic. Her writing has appeared in The Brooklyn Rail, The Feminist Wire, Hyperallergic, Idiom, The Miami Rail, and n+1, among other publications. Pedro is currently at work on a book about the artistic and literary connections between Cuba, France, and the Francophone Caribbean.