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DECEMBER 2005 WINTER ISSUE Special Feature on Hong Kong By
DECEMBER 2005 WINTER ISSUE INSIDE Special Feature on Hong Kong by Tobias Berger, John Millichap, Lee Weng Choy, Eliza Patten, Norman Ford, Sean Chen Monumentality and Anti—Monumentality in Gu Wenda’s Forest of Stone Steles-A Retranslation and Rewriting of Tang Poetry Zhang Dali: The Face of China A Visual Koan: Xu Bing's Dynamic Desktop Interviews with Oscar Ho, Uli Sigg, Xu Bing About the Chinese Presentation at the 2005 Yokohama Triennale US$12.00 NT$350.00 US$10.00 NT$350.00 Art & Collection Editor’s Note Contributors Hong Kong SAR: Special Art Region Tobias Berger p. 16 The Problem with Politics: An Interview with Oscar Ho John Millichap Tomorrow’s Local Library: The Asia Art Archive in Context Lee Weng Choy 24 Report on “Re: Wanchai—Hong Kong International Artists’ Workshop” Eliza Patten Do “(Hong Kong) Chinese” Artists Dream of Electric Sheep? p. 29 Norman Ford When Art Clashes in the Public Sphere— Pan Xing Lei’s Strike of Freedom Knocking on the Door of Democracy in Hong Kong Shieh-wen Chen Monumentality and Anti-Monumentality in Gu Wenda’s Forest of Stone Steles—A Retranslation and Rewriting of Tang Poetry Wu Hung From Glittering “Stars” to Shining El Dorado, or, the p. 54 “adequate attitude of art would be that with closed eyes and clenched teeth” Martina Köppel-Yang Zhang Dali: The Face of China Patricia Eichenbaum Karetzky Collecting Elsewhere: An Interview with Uli Sigg Biljana Ciric A Dialogue on Contemporary Chinese Art: The One-Day Workshop “Meaning, Image, and Word” Tsao Hsingyuan p. -
Hong Kong's Endgame and the Rule of Law (Ii): the Battle Over "The People" and the Business Community in the Transition to Chinese Rule
HONG KONG'S ENDGAME AND THE RULE OF LAW (II): THE BATTLE OVER "THE PEOPLE" AND THE BUSINESS COMMUNITY IN THE TRANSITION TO CHINESE RULE JACQUES DELISLE* & KEVIN P. LANE- 1. INTRODUCTION Transitional Hong Kong's endgame formally came to a close with the territory's reversion to Chinese rule on July 1, 1997. How- ever, a legal and institutional order and a "rule of law" for Chi- nese-ruled Hong Kong remain works in progress. They will surely bear the mark of the conflicts that dominated the final years pre- ceding Hong Kong's legal transition from British colony to Chinese Special Administrative Region ("S.A.R."). Those endgame conflicts reflected a struggle among adherents to rival conceptions of a rule of law and a set of laws and institutions that would be adequate and acceptable for Hong Kong. They unfolded in large part through battles over the attitudes and allegiance of "the Hong Kong people" and Hong Kong's business community. Hong Kong's Endgame and the Rule of Law (I): The Struggle over Institutions and Values in the Transition to Chinese Rule ("Endgame I") focused on the first aspect of this story. It examined the political struggle among members of two coherent, but not monolithic, camps, each bound together by a distinct vision of law and sover- t Special Series Reprint: Originally printed in 18 U. Pa. J. Int'l Econ. L. 811 (1997). Assistant Professor, University of Pennsylvania Law School. This Article is the second part of a two-part series. The first part appeared as Hong Kong's End- game and the Rule of Law (I): The Struggle over Institutions and Values in the Transition to Chinese Rule, 18 U. -
Item for Finance Committee
For discussion FCR(2013-14)23 on 21 June 2013 ITEM FOR FINANCE COMMITTEE HEAD 95 – LEISURE AND CULTURAL SERVICES DEPARTMENT New Subhead “Acquiring and Commissioning Artworks by Local Artists” New Item “Acquiring and Commissioning Artworks by Local Artists” Members are invited to approve a new commitment of $50 million under a new subhead to be created under Head 95 Leisure and Cultural Services Department for acquiring and commissioning artworks by local artists. PROBLEM To foster the development of visual arts and nurture local artistic talent in the field, we need to provide additional funding for acquiring and commissioning more artworks by local artists. PROPOSAL 2. The Director of Leisure and Cultural Services (DLCS), with the support of the Secretary for Home Affairs (SHA), proposes to create a new commitment of $50 million for the Leisure and Cultural Services Department (LCSD) to acquire and commission artworks by local artists. JUSTIFICATION 3. It is the Government’s cultural policy to develop Hong Kong into an international cultural metropolis. To achieve this policy objective, LCSD has been making continued efforts in nurturing artistic talent. To strengthen the development of visual arts and groom local artists in the area of visual arts, we consider it important to provide artists with opportunities to showcase their artworks on a frequent and continual basis. One of the most effective means is to acquire their /artworks ….. FCR(2013-14)23 Page 2 artworks and display them in our public museums, and commission their artworks for public arts projects. This could help promote their profile and build their audience, which provides a solid basis for their development in the arts sector. -
Reddening Or Reckoning?
Reddening or Reckoning? An Essay on China’s Shadow on Hong Kong Media 22 Years after Handover from British Rule Stuart Lau Journalist Fellow 2018 Reuters Institute for the Study of Journalism University of Oxford August 2019 CONTENTS 1. Preface 2 2. From top to bottom: the downfall of a TV station 4 3. Money, Power, Media 10 4. “Political correctness”: New normal for media 20 5. From the Big Brother: “We are watching you” 23 6. Way forward - Is objective journalism still what Hong Kong needs? 27 1 Preface Hong Kong journalists have always stood on the front line of reporting China, a country that exercises an authoritarian system of government but is nonetheless on track to global economic prominence. The often-overlooked role of Hong Kong journalists, though, has gained international attention in summer 2019, when weeks of citywide protests has viralled into the largest-scale public opposition movement ever in the city’s 22-year history as a postcolonial political entity under Chinese sovereignty, forcing the Hong Kong government into accepting defeat over the hugely controversial extradition bill. While much can be said about the admirable professionalism of Hong Kong’s frontline journalists including reporters, photojournalists and video journalists, most of whom not having received the level of warzone-like training required amid the police’s unprecedentedly massive use of potentially lethal weapons, this essay seeks to examine something less visible and less discussed by international media and academia: the extent to which China influences Hong Kong’s media organisations, either directly or indirectly. The issue is important on three levels. -
LC Paper No. CB(2)802/12-13(05)
LC Paper No. CB(2)802/12-13(05) For information on 22 March 2013 Legislative Council Panel on Home Affairs Measures to Enhance Public Museum Services Purpose This paper updates Members on the progress made to enhance the services of public museums under the Leisure and Cultural Services Department (LCSD). Progress Made on Enhancement of Public Museum Services 2. There are 14 public museums1 being managed by LCSD. Since 2010, LCSD has set eight new directions for museum development with the aim of delivering museum services with greater transparency, accountability, efficiency and creativity so as to meet the changing aspirations of the community. 3. With the expert advice given by museum advisors and the concerted efforts of museum staff, many of the programmes organised by the museums in the past few years have received overwhelming response, as evident from the record breaking attendance of 5.8 million visitors and 1.17 million people taking part in the education and extension programmes organised by the museums in 2012. The new directions set for the museums and the progress made in the past three years (2010-2012) are summarised in the ensuing paragraphs. (a) Enhancing Public Accountability and Transparency (i) Museum Advisory Panels 4. To enhance public accountability and involvement in the management of museums, three Museum Advisory Panels (MAPs) for the Art, History and Science 1 The 14 museums are Hong Kong Museum of Art, Hong Kong Museum of History, Hong Kong Heritage Museum, Hong Kong Science Museum, Hong Kong Space Museum, Flagstaff House Museum of Tea Ware, Dr Sun Yat-sen Museum, Hong Kong Museum of Coastal Defence, Fireboat Alexander Grantham Exhibition Gallery, Lei Cheng Uk Han Tomb Museum, Law Uk Folk Museum, Sam Tung Uk Museum, Hong Kong Railway Museum and Sheung Yiu Folk Museum. -
UNIVERZITA PALACKÉHO V OLOMOUCI Filozofická Fakulta Katedra Asijských Studií
UNIVERZITA PALACKÉHO V OLOMOUCI Filozofická fakulta Katedra asijských studií MAGISTERSKÁ DIPLOMOVÁ PRÁCE Specifika čínského lexika na internetových diskuzích Specifics of chinese internet discussions lexicon OLOMOUC 2011 Michal Sikora vedoucí diplomové práce: Mgr. Ondřej Kučera 1 2 Prohlašuji, že jsem diplomovou práci vypracoval samostatně a uvedl veškeré použité prameny a literaturu. Olomouc, 12. srpna 2011 3 Rád bych poděkoval vedoucímu mé práce Mgr. Ondřeji Kučerovi za cenné rady a připomínky při zpracování tématu. 4 OBSAH 1. EDIČNÍ POZNÁMKA...........................................................................................6 2. ÚVOD....................................................................................................................7 3. MATERIÁLY A METODY....................................................................................8 4. INTERNETOVÁ NEOLOGIE..............................................................................10 4.1. TERMINOLOGIE...................................................................................10 4.2. PŘÍMÉ VÝPŮJČKY Z ANGLIČTINY..................................................20 4.3. PŘÍMÉ VÝPŮJČKY Z JAPONŠTINY..................................................23 4.4. NOVÉ IDIOMY, NOVÁ 成语 CHÉNGYŬ..........................................25 4.5. INTERNETOVÉ MEMY........................................................................33 5. SPECIFICKÉ METODY ZÁPISU ČÍNŠTINY NA INTERNETU.......................44 5.1. VYUŽITÍ HOMOFONIE ZNAKŮ.........................................................45 -
Proposed Museum Expert Advisers for 2006/07
Museum Expert Advisers (1 April 2020 to 31 March 2022) Museum expert advisers are appointed by the Director of Leisure and Culture Services for a period of two years to provide professional advice to the museums of the Leisure and Cultural Services Department on matters pertaining to the promotion of art, history, science and film, in particular the acquisition of collection items. Advisers specialising in the field of art and history are as follows: (Names are listed in alphabetical order) Art Name Professional Background Hong Kong Art The late Mr Gaylord Co-founder and first Chairman, Hong Kong Visual Arts CHAN, MBE, BBS Society (1974) Co-founder, Culture Corner Art Academy (1989) Co-founder, Artmatch Group (1995) Prof CHAN Yuk Adjunct Professor, Department of Fine Arts, The Chinese Keung University of Hong Kong Prof CHANG Ping Architect Hung, Wallace Chairman, 1a space Associate Professor, Department of Architecture, The University of Hong Kong Prof David CLARKE Honorary Professor, Department of Fine Arts, The University of Hong Kong Dr Anissa FUNG Former Associate Professor, The Education University of Hong Kong Ceramic Artist Products Design and Development Consultant Mr FUNG Ho Yin Visiting Lecturer, School of Design, Hong Kong Polytechnic University Chairman, Hong Kong Open Printshop Mr FUNG Hon Kee, Programme Leader/ Lecturer, Postgraduate Diploma in Joseph Photography, HKU School of Professional and Continuing Education Honorary Advisor and Founding Member, Hong Kong Photographic Culture Association - Name Professional -
Annual Report 2012/13
12/13 年 報 ANNUAL RE PORT 香港藝術發展局 HONG KONG ARTS DEVELOPMENT COUNCIL 1995 Established in 1995, the Hong Kong To achieve the three major goals of Arts Development Council (ADC) is a fostering the development of arts groups, statutory body set up by the Government raising the level of artistic standards and to support the broad development of the exploring development opportunities arts in Hong Kong. Its major roles include for artists, the following development grant allocation, policy and planning, strategies are formulated: advocacy, promotion and development, · Supporting promising artists and arts and programme planning. groups for artistic pursuits · Promoting arts administration to improve The ADC is to plan, promote and support the management of arts groups the broad development of the arts including · Focusing on the arts environment and literary arts, performing arts, visual arts as proposing policy recommendations well as flm and media arts in Hong Kong. · Enhancing public participation and Aiming to foster a thriving arts environment exploring arts space and enhancing the quality of life of the · Fostering strategic partnerships and public, the ADC is also committed to bringing arts resources together facilitating community-wide participation in the arts and arts education, encouraging arts criticism, raising the standard of arts administration and strengthening the work on policy research. 12/13 年報 ANNUAL REPORT P 02 | 03 03 Major Work Highlight 51 Council Structure & Members -
Book 1-Content/Prologue
Screen Structures: Overview of Media Art Development in Hong Kong In less than a decade, Hong Kong’s political economy has moved rapidly from an attitude of “positive non-intervention”, a common practice under the former British colonial rule, to the proactive role taken up by the SAR Screen Structures: government since the 1997 handover of Kong targeting the development of information Overview of technologies and tourism. Although the economic returns and technological Hongprogress Media Art Development from this restructuring far outweighof any concerns over cultural development, it has nevertheless brought about rapid social in Hong Kong transformation in the city’s urban landscape and had a significant impact on cultural production. Educational institutionsUniversity as well as the arts and cultural sector quickly responded by putting greater emphasis on multimedia projects, Alice Ming-wai Jim especially given the new funding opportunities. ChineseIn the last five years, the number of local electronic art festivals and exhibitions, The multimedia performances, and related activities has increased dramatically, culminating in the Arts, recent high visibility of media art in Hong Kong. Indeed, despite a recent study reporting in 2000 Fine the “alarming underdevelopment” of electronic arts in the region, there is emerging a definite of amalgamation of practices that can be increasingly described as Hong Kong media art.1 The following essay outlines the interrelationships between these practices and important shifts in means of distribution, instruction and exhibition. Department Not unlike its counterpart in mainland China, media art in Hong Kong has undergone a fast-forward development in the span of less than two decades, with its practitioners grappling with media aesthetics and politics Copyright which artists in Europe and North America have been exploring since the early sixties. -
The Harmonization of Hong Kong and PRC Law Tahrih V
Loyola University Chicago Law Journal Volume 30 Article 3 Issue 4 Summer 1999 1999 Mixing River Water and Well Water: The Harmonization of Hong Kong and PRC Law Tahrih V. Lee Harvard University Follow this and additional works at: http://lawecommons.luc.edu/luclj Part of the Law Commons Recommended Citation Tahrih V. Lee, Mixing River Water and Well Water: The Harmonization of Hong Kong and PRC Law, 30 Loy. U. Chi. L. J. 627 (1999). Available at: http://lawecommons.luc.edu/luclj/vol30/iss4/3 This Article is brought to you for free and open access by LAW eCommons. It has been accepted for inclusion in Loyola University Chicago Law Journal by an authorized administrator of LAW eCommons. For more information, please contact [email protected]. Mixing River Water and Well Water: The Harmonization of Hong Kong and PRC Law The 1998 Wing Tat Lee Lecture* Tahirih V. Lee** The Chinese language is rich with pithy yet evocative sayings. Their terseness makes them easy to remember, fun to use, and relatively safe when the intended meaning contradicts official discourse. One such saying, which enjoys a great deal of popularity in Hong Kong, is he soi bat fan hah soi. Roughly translated, this means, "River water does not mix with well water." The saying's underlying meaning cannot be found in dictionaries or official sources. According to rumor, however, river water represents Guangdong' natives and well water refers to Hong Kong natives. A likely reason for the saying's popularity in Hong Kong is its emphasis on the gulf between Hong Kong locals and the inhabitants of mainland China. -
Toward a Theory of Emotive Performance: with Lessons from How Politicians Do Anger∗
Toward a Theory of Emotive Performance: With Lessons from How Politicians Do Anger∗ KWAI HANG NG University of California, San Diego JEFFREY L. KIDDER Northern Illinois University This article treats the public display of emotion as social performance. The con- cept of “emotive performance” is developed to highlight the overlooked quality of performativity in the social use of emotion. We argue that emotive performance is reflexive, cultural, and communicative. As an active social act, emotive perfor- mance draws from the cultural repertoire of interpretative frameworks and dominant narratives. We illustrate the utility of the concept by analyzing two episodes of unrehearsed emotive performances by two well-known politicians, Bill Clinton and Jiang Zemin. The two cases demonstrate how emotion can be analyzed as a domain in which culturally specific narratives and rhetorics are used to advance the situa- tional agenda of actors. The concept opens up a more expansive research agenda for sociology. It pushes sociologists to pay greater attention to people’s experiences, interpretations, and deployments of emotions in social life. Emotion is often regarded, even among sociologists, as the quintessential outlier phenomenon. It is considered too abrupt, unpredictable, and instinctual to have connections with our otherwise disciplined lives. This is so despite the works of social psychologists and anthropologists who have long argued that emotions suffuse all aspects of social life. As a result, while sociologists have a very good understanding of how our normal routines reproduce society and how we manage emotion to maintain a state of normalcy, we know much less about how individuals and society interact in emotionally charged moments that are outside of “ordinary” experience. -
This Article Is Written As Part of the New Hall Art Collection Asia
Eliza Gluckman and Phoebe Wong The Parallax of Generations and Genders: Women in Art, the Hong Kong Case his article is written as part of the New Hall Art Collection Asia Art Initiative, “Women in Art: Hong Kong,” a research project Tcommissioned in collaboration with the Asia Art Archive, Hong Kong, in 2017. The New Hall Art Collection currently boasts over five hundred works, housed at Murray Edwards College of the University of Cambridge, England, and is the largest collection of artworks by women in Europe. Founded in 1954 as New Hall, Murray Edwards College was created to increase educational opportunities for women, and it continues to advocate for equality. Murray Edwards College and the University have a long established relationship with Hong Kong and the development of this project went hand in hand with relationships old and new, leading to the addition of new works in the collection by artists from Hong Kong. In 1992, commentators who were invited to the launch of the New Hall Art Collection wrestled with the deceptively simple but contested term “women artists.” Feminist art historian Griselda Pollock suggested in her published address, “We can read the works for clues about the full complexity and possibility of what it might mean to live ‘as women’ under the sign ‘woman,’ ‘black woman,’ ‘lesbian,’ ‘mother,’ ‘artist,’ ‘citizen,’ and so forth. Therein in this collection we will find no consistency, no generality, no common thread.”1 And yet commonalities are discussedboth clichés and factsevery time a platform is opened to talk about "women artists," with recurring questions about women’s representation and visibility in art history, public institutions, and the market.