The Burning Edge: Making Space, Activating Form 13/1
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Creative Arts Space in Hong Kong: Three Tales Through the Lens of Cultural Capital
c Creative Arts Space in Hong Kong: Three Tales through the lens of Cultural Capital Hoi Ling Anne CHAN (0000-0002-8356-8069) A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy In Faculty of Architecture, Building and Planning University of Melbourne February 2019 [Intended to leave blank] i Abstract The fact that culture and creativity are often instrumentalised in urban regeneration and/or development points to a pragmatic relationship between culture and the city. Hong Kong, like many post-colonial and post-industrial cities, faced challenges in economic restructuring and in the search of a new identity. Thus, culture came to the centre of the stage in the formulation of development strategies and started to accumulate cultural assets. The accumulation of cultural assets led to the emergence of various forms of cultural assets such as cultural district, infrastructure, projects in order to achieve various aims. However, most of the existing research focused on large-scale flagship projects from an economic or strategic perspective. A holistic understanding of those cultural projects is limited in the literature especially for the small-scale cultural projects. This research examines how the creative arts spaces interact with the host city, Hong Kong through the lens of cultural capital. Three creative arts spaces with different management models are chosen as case studies. Data were collected through field investigation and key informant interviews as well as from secondary sources such as archives and media. The data collected are analysed by executing thematic analysis procedures. The findings reveal that creative arts spaces are different from large-scale flagship projects in their relations to cities. -
以藝術之名in the Name of Art
香港當代藝術展 ─ ─ Hong Kong Contemporary Art Exhibition 以藝術之名In the Name of Art 2015/8/15 - 10/11 展覽場地 Exhibition Venue 台北當代藝術館 Museum Of Contemporary Art, Taipei 聯合籌辦 Joint Organisers 策展 Curatorial Concept 香港藝術館 Hong Kong Museum of Art 台北當代藝術館指導單位 Supervisor of MOCA Taipei 構思這個展覽時,我們知道台灣觀眾或會問:何 謂香港當代藝術?香港當代藝術與我有何關係?要三言兩語 前言 說明白,當然並不可能,想企圖以一個展覽完整表述,更是異想天開。 不過,我們可以借此機會對香港藝術作焦點演繹,讓對香港藝術感到陌生的 觀眾,留下一個鮮活的「香港印象」,並且從中發現到一點點自己。 香港藝術一直遊走於東與西、古與今、新與舊、本土與國際不同場域,有一種 強烈的「中間性」。藝術家很多時候在微小的日常事物之中,微觀生活經驗, 所以香港藝術也帶着濃烈的「日常性」。不少當代香港藝術作品更卸下傳統 純藝術的皮相,游離在藝術與非藝術,似與不似之間,以藝術之名提出一種 生活探問,一種倡議行為,甚或一種社會行動。這種「似是而非」的特性反 映了香港當代藝術的走向。這種重視過程及群眾參與多於製成品、竭力把藝 術還原於生活、以藝術介入社會的「作品」,其實是「反博物館」、「反展覽」 的,所以我們希望展覽只作為一個引子,引發觀眾的好奇,從而對藝術和生 活重新思考。 「以藝術之名─香港當代藝術展」展出八位藝術家的十三組裝置作品,希望 它們人性化、平實、內斂、感性、具親和力的性格能感染您,與藝術家們一同 思考和提問,藉此促進港台兩地的交流,掀起更豐富的討論。 是次展覽得以玉成,有賴台北當代藝術館於展覽籌備期間的全力協助。台北當 代藝術館是一所具有前瞻文化視野的美術館,一直致力與不同地域的藝術家、 策展人、藝術教育者交流合作,是香港藝術接觸台灣觀眾的最佳平台,能夠有 機會合作,是我館榮幸。除了參展的八位藝術家外,我亦衷心感謝參與各項配 套講座、教育推廣活動的其他四十多位台港藝文界學者朋友們,與我們一起 「以藝術之名」打開港台兩地的話匣子。 譚美兒 香港藝術館總館長 2 While curating this exhibition, we wondered if a Taiwanese audience might ask: What is Hong Kong contemporary art? How does it relate to us? Certainly, a question with Introductionno simple answer; it is also a question that no curator could comprehensively answer within a single exhibition. But it is possible to take this exhibition as an opportunity to offer new visitors a vivid impression, a focused interpretation of Hong Kong art, and perhaps a chance to rediscover themselves. Hong Kong art has been associated with a strong intermediate nature, oscillating between East and West, now and then, old and new, local and international. Worldly, with its artists often creating from minute daily experiences and objects; many works abandon the presentation of pure art, vacillating between art and non-art. Such ambiguity becomes the core feature of Hong Kong contemporary art, which often asks questions, provokes actions and advocates social engagement in the name of art. -
The Artist-Initiated Model of Fotan Open Studios Man Ching-Ying Phoebe Associate Professor of the School of Creative Media, City University of Hong Kong
Strategies for Event Organizing in Art Communities: The Artist-Initiated Model of Fotan Open Studios Man Ching-ying Phoebe Associate Professor of the School of Creative Media, City University of Hong Kong. Translator: Lee Wan-ling Mary In 2001, art teachers and students from The Chinese University of Hong Kong organized open studios events, leading to a rise of artistic activities in industrial buildings. Many artists moved into Fotan, forming a local art community. At the time of writing this essay, Fotan Open Studios has taken place for 19 years. It can be considered a long-lived artist-initiated event in Hong Kong. This essay discusses how in recent years the event organization model of Open Studios has continued to bring artists in the district together to promote art, forming an art community. Intermittently I have participated in the event ten times since 2009 but have never been an organizer. I attempt to explore the topic from an intimate yet distanced perspective, with the help of documents, research, interviews and participant observation, etc. The map and catalogues of open studio activities of different years. (Photography by Phoebe Man) The Origin of the Open Studios Event Hong Kong’s industries relocation to the Mainland and the financial crisis in 1997 triggered economic recession. The rent of industrial buildings was relatively low. Subsequent to two fire incidents at the Fine Arts Department of The Chinese University of Hong Kong, studio space for students was reduced. 1Some students would want to continue making art after graduation. As a result, more and more students set up their studios into the industrial buildings in the nearby Fotan area. -
Negation and Aspect: a Comparative Study of Mandarin and Cantonese Varieties
Negation and Aspect: A comparative study of Mandarin and Cantonese varieties Chit Yu Lam Section of Theoretical and Applied Linguistics Hughes Hall University of Cambridge This dissertation is submitted for the degree of Doctor of Philosophy September 2018 Negation and Aspect: A comparative study of Mandarin and Cantonese varieties Chit Yu LAM This dissertation examines the interaction between standard negation and aspect in Chinese under two conditions: bare negation showing negation-situation type compatibility, and negation with overt aspectual marKing. The comparative study of Beijing Mandarin, Taiwan Mandarin, Hong Kong Cantonese, and the previously unstudied Gaozhou Cantonese demonstrates that the aspectual sensitivity of negation is governed by more general structural properties than idiosyncratic aspectual selection requirements of the negators. In negative declaratives without aspectual marKing (bare negatives), Chapter 2 shows that where a variety has more than one standard negator, the distribution of the negators mostly creates systematic semantic contrast instead of any grammaticality consequence: Mandarin méiyǒu, Hong Kong Cantonese mou5 and Gaozhou Cantonese mau5 consistently offer a situation non-existent reading, while Mandarin bù and Hong Kong Cantonese m4 always involve a modality reading (habitual or volitional). Based on the relative distribution of negation and different types of adverbs, Chapter 4 suggests that all standard negators in the four Chinese varieties are generated in the outermost specifier of vP. The uniformity in negator position challenges previous accounts that méiyǒu and mou5 are higher in Asp, and urges a rethinKing of the nature of these negators. Following Croft’s (1991) Negative-Existential Cycle and supported by corpus data from Taiwan Mandarin, the chapter demonstrates that méiyǒu, mou5 and mau5 are standard negators developed from the negative existential predicate (non-existence of entities) and have now extended their function to verbal negation (non- existence of situations). -
'Understanding Hong Kong Art Through Hong Kong Culture'
‘Understanding Hong Kong Art through Hong Kong Culture’ Frank Vigneron ‘Understanding Hong Kong Art through Hong Kong Culture’ Abstract Frank Vigneron 1 - Hong Kong and the Pearl River Delta a – Hong Kong society and its language The historical conditions of colonization and migrations which created the territory's community have led to the establishment of a unique community, clearly different from the ethnic Chinese communities of the Mainland. The relationship of that community with the traditional base of Chinese national culture and colonial culture have shaped a type of local traditions profoundly influenced by the languages used in the territory. b – Larger regional context Hong Kong should not be considered as unrelated to the wider context of its surrounding region in terms of economic and cultural development. The influence of the region is particularly clear in the development of the Hong Kong urban context. Considerations on how to understand the concept of local culture with examples taken from Hong Kong. c – Larger global context Considerations on the differences and similarities between local and national culture and its relationships with the concept of art. Hong Kong art is often connected with the popular aspects of cultural creation in the SAR. Always threatened to be engulfed by globalization, local cultures can still benefit profoundly from that movement. Hong Kong has been at forefront of using the benefits of globalization for already a long time. 2 – An old stereotype concerning the arts in Hong Kong a – ‘East’ and ‘West’ in Hong Kong: an old stereotype Criticism of the concepts of 'East' and 'West' and how it has been applied in the context of Hong Kong art and the arts of the Pearl River Delta. -
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. -
Pictures of Hong Kong 123
Views on a Former Periphery: Hong Kong in the Contemporary Art World Lara van Meeteren | 5835585 Master Thesis Art History (Contemporary Art) University of Amsterdam Faculty of Humanities Supervisor: mw. dr. Marga van Mechelen Second Examiner: mw. dr. Esther Peeren Hong Kong | July 2017 2 Contents ABBREVIATIONS 5 SUMMARY 7 INTRODUCTION 11 CHAPTER 1 | ART FIELDS IN FLUX 15 1.1 Global Art beyond Centre-Periphery? 17 1.2 Stories that the West Tells about Itself 19 1.3 Debunking Universality 23 1.4 Colliding Art Fields 27 1.5 The Social Role of Art 31 1.6 Art after Structural Integration 33 CHAPTER 2 | ARTS OF THE STATE 37 2.1 A Society of Traders and Migrants (1842-1960) 38 2.2 Building the Cultural Desert (1960-1997) 39 2.3 Asia’s Basic City (1997 – now) 46 2.4 Conclusion 53 CHAPTER 3 | HEUNG GEUNG YAN 57 3.1 Hong Kong Modernism 58 3.2 Towards the Handover 65 3.3 Enter the International Art World 73 3.4 Conclusion 80 CHAPTER 4 | ART AFTER AUTONOMY 83 4.1 Chen Tianzhuo, WAWADOLL IS XMAS DATA (2014) 84 4.2 Antony Gormley, Event Horizon (2015) 92 4.3 Add Oil Team, Our 60-second friendship begins now (2016) 97 4.4 Conclusion 105 CONCLUSION 107 REFERENCES 111 IMAGES 119 PICTURES OF HONG KONG 123 3 Abbreviations ADC Arts Development Council CHC Cultural Heritage Commission HKADC Hong Kong Arts Development Council HKD Hong Kong Dollar ICC International Commerce Centre KAF K11 Art Foundation LCSD Leisure and Cultural Services Department PMQ Police Married Quarters SAR Special Administrative Region TST Tsim Sha Tsui USD United States Dollar WKCDA West Kowloon Cultural District Authority YBA Young British Artists Remark on Names Hong Kong is officially a bilingual territory, and English and Cantonese are official languages of equal status.