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Four Discussions with Hong Kong Artists: Leung Chi Wo, Lam Tung Pang, Morgan Wong, and Lee Kit

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Four Discussions with Hong Kong Artists: Leung Chi Wo, Lam Tung Pang, Morgan Wong, and Lee Kit Stephanie Bailey Four Discussions with Hong Kong Artists: Leung Chi Wo, Lam Tung Pang, Morgan Wong, and Lee Kit n 2010, Hong Kong artists Lam Tung Pang, Lee Kit, Leung Chi Wo, and Morgan Wong exhibited their work at No Soul For Sale: A Festival of IIndependents as part of Tate Modern’s tenth anniversary celebrations. The artists were showing with Para/Site, co-founded in 1996 by Leung Chi Wo with Lisa Cheung, Phoebe Man, Patrick Lee, Leung Mee Ping, Tsang Tak Ping, and Sara Wong. One of Hong Kong’s most prominent non-profit art spaces, Para/Site’s mission is to “to establish and maintain a platform for artists and other art practitioners to realize their vision, in relation with their immediate and extended communities, with the aim of nurturing a thoughtful and creative society.” An active artist and assistant professor at City University of Hong Kong, with a B.A. and M.F.A from The Chinese University of Hong Kong, and having participated in numerous residencies worldwide, Leung Chi Wo is widely regarded as one of the driving forces behind Hong Kong’s burgeoning arts scene. In the following discussion, he provides insight into a city that Milton Friedman once hailed as the perfect capitalist society, has undergone a transition from a British colony to a Special Administrative Region of China, and will remain under the joint Basic Law until 2049. As an artist, Leung Chi Wo’s concerns extend beyond Hong Kong’s status as the third largest art market in the world in auction sales and the fact that ART HK has become the Art Basel of Asia. LeunG Chi Wo—Art AnD eXpreSSion Stephanie Bailey: How did Para/Site begin? Leung Chi Wo: In the beginning we needed an exhibition space, so we created Para/Site. After finding the space, we realized we wanted a forum for art, so we organized talks and lectures. Then we were encouraged to move into a curatorial practice, so we produced thematic shows, and when we found a need for a critical perspective, we organized publications. That’s how Para/Site evolved. The whole thing happened because it was something we needed for ourselves. Para/Site is also a reflection of my own character in that I am very adaptive. I respond to the situation and to reality. I’m a kind of pragmatist, not an idealist. Stephanie Bailey: You left Para/Site in 2007. Why? Leung Chi Wo: Para/Site should be independent and have its own life without depending on me or any other founding member. I have met people who founded their space thirty years ago, and they are still the 72 Vol.10 No.3 directors; there are other artist-run spaces that have problems because the founding members cannot let go. I didn’t want that. Stephanie Bailey: How did Para/Site come to participate in No Soul For Sale? Leung Chi Wo, Photojournalist Leung Chi Wo: In Asia there aren’t with Two Cameras, 2010, C-print, 100 x 150 cm. Courtesy many independent spaces still of the artist. running. There was growth in the early 2000s; then lots of them closed down. Before the arrival of the art market, mutual support between artists was important, but then if you received support from commercial galleries or were being presented in international galleries, you had the space to work independently. So the organizations had to move a step forward if they were to keep going, and Para/Site became more of an art centre. I supported this development because we don’t have any good non-collecting or collecting institutions in Hong Kong that take part in this international conversation. Now the issue is to find a bigger, more permanent space, but there is not much space left in the city. Stephanie Bailey: Aside from space limiting the scale Hong Kong artists and curators can work in, how does Hong Kong influence you? Leung Chi Wo, Sara Wong, Leung Chi Wo: I get inspiration Office Lady with a Red Umbrella, 2010, C-print, 100 x from friends and socio-political 150 cm. Courtesy of the artist. conditions—1989, the transitional period of the 1997 handover, the post-economic crisis, the post- birth of the bubble and the market, and the shifts in the art fair from mainland China to Hong Kong. Tian’anmen Square was a climax. Every Hong Konger was politicized by those events. People started organizing themselves or leaving. We all got involved as students, and for most people it was the first time they marched in a demonstration. I think I found myself in the middle of a historical moment. Stephanie Bailey: Hong Kong experienced a kind of mass migration from the 1980s in the run-up to the Handover. An estimated total of one million people emigrated to other countries between 1984 and 1997 with huge numbers of mainland Chinese immigrating into the city. Vol.10 No.3 73 Leung Chi Wo: The first wave was in the mid 1980s, during the Sino-British talks; it was a time we saw a lot of classmates leaving. The second wave was after Tian’anmen Square. Then around ‘95 and ‘96 you saw people coming back. Stephanie Bailey: Post-Handover, Nan Sussman estimated that some 500,000 of those who emigrated have since returned. Why do you think people started to return before the Handover? Leung Chi Wo: The economy was blooming, the property market went crazy, some people could not adjust to their adopted homes or saw more positive coverage of Hong Kong in the news. There are many reasons. It’s part of our history. Stephanie Bailey: How would you compare Hong Kong and mainland Leung Chi Wo, My Name is Victoria, 2010, performance. China in terms of art development? Courtesy of the artist. Leung Chi Wo: Art is part of Chinese cultural history and has had an important position in society for centuries, even during communism and its propaganda. The mid 1980s was the most liberal time. Looking at the 1980s Chinese avant-garde, you can sense the passion—it was genuine. Now art in China is a mass market. Take a company in China that only makes wooden hair combs and is now one of the biggest publicly listed companies—it’s all about concept. This is a big business for 1.4 billion people. In Hong Kong, art has always been a hobby. It’s so different. People here show a very different level of respect, and even until now still think it is something personal. Stephanie Bailey: Could the increasing popularity of Hong Kong as the third largest art market in the world in terms of auction sales and the development of ART HK and the West Kowloon Cultural district affect local art production? 74 Vol.10 No.3 Leung Chi Wo, Sign Read, 2011, 29 sets of school desks, each desk has a digital photograph and engraved texts. Courtesy of the artist. Leung Chi Wo: Hong Kong is an art centre because we are lucky. Geographically it has always been a hub, and what’s happening in and around it makes it interesting. When it comes to our generation, we like to make art; we even like making a living off art. But this is not taken for granted. To work hard is normal. Making art in a very humble way is also normal. Art HK has drawn people who are consuming art. But though commercial galleries provide opportunities for artists to survive, they do not always allow the artists to grow. The West Kowloon Cultural District will not come into existence for some time, so we really need things that create diversity now. You don’t want only blue chip galleries and very small grassroots artist-run spaces; this is not balanced. You want to have different possibilities. That’s how the arts can be more inclusive, and that’s why I want art to be as diverse as possible. Society should allow many different practices. This also applies to politics. Stephanie Bailey: How has Hong Kong changed post-97? Leung Chi Wo: Take “one country two systems.” I imagine Deng Xiao- ping gave fifty years to Hong Kong post-97 because he saw the distance between Hong Kong and Mainland China and believed fifty years was enough time for the two systems to merge. But Hong Kong is becoming more conservative, while mainland China is becoming more liberal. The whole world changed after the Cold War, so what do we mean by Left and Right? Do you think the communist party in China is Left? It’s a market economy—everything is translated in terms supply and demand. Artists are producing for the art market and universities are becoming corporate. That’s pretty scary. There are so many things one has to respect besides making money. Stephanie Bailey: Has this market focus affected censorship? Leung Chi Wo: There is censorship everywhere, and self-censorship is popular amongst people dealing with China. The market in Hong Kong is so small. If you publish a magazine, just take away two rows of possibly controversial text and you can be distributed to 1.4 billion people. But we Vol.10 No.3 75 still have a relative amount of freedom of speech in Hong Kong, and it is a privilege, because at least we can be protected if we stand up against something. In mainland China, there is no protection. I think we have begun to see politics starting from ourselves. This is important because it didn’t happen before.
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