Of Kowloon's Uncrowned Kings and True Recluses

condition condition

topia is its identity identity is its

Johnson Chang’s Chang’s Johnson [email protected] Kong- heterotopic -

mail: mail: - zung zung - E

century China century - (Tsinghua University Art Museum) Hong

2007) While the specificity of Hong Hong of specificity the While Tsong graffiti 1930), –1930),

– 1 ” Lan Hertel Lan of Hong Kong can can Hong Kong of political landscape landscape political specificity, and its and its specificity, provide significant significant provide

- - -

government protests protests government - “The significance of Hong Kong art from the the from art Kong Hong of significance “The zung Johnson Chang). Chang). zung Johnson - time all of which lie at the the at lie which of ––all topia anti - Shao

choi (1921 radition of “Exile Poetics” Poetics” “Exile of radition - collective imagination over imagination collective the the condition, defying any fixed fixed any defying condition, and

- poet Chen Botao (1855 Botao Chen poet  - Kong art lies in its intrinsically intrinsically its in lies art Kong essentialist and definitions fixed defy to seeming as the exception. Hong Kong can be defined as both periphery and periphery both as defined be can Kong Hong Kong art or,Hong in and enclave; center, interstice and curator critic words: of twentieth perspective This crucial year of 2019, which which 2019, of year crucial This

ongoing geographical, and geographical, - outsiders operating on the margins of of margins the on operating outsiders heterotopic , of Hong Kong’s art landscape; moreover, moreover, landscape; art Kong’s Hong of , of — historical, historical, and further, literati and further, -

topia loyalists of the Qing dynasty, migrant destination for destination migrant of dynasty, Qing the loyalists cases such as the ones introduced ones the as such cases - or cultural, and and cultural, - yimin — 1930) to Tsang Tsou1930) to Tsang –– kings” as “uncrowned –

argued that that argued is ng art lies in its intrinsically intrinsically its in lies art ng status he place he century China is its identity as the exception” (Tsong exception” as the identity its is China century - 2007), the “King of Kowloon,” known for his once ubiquitous street street ubiquitous once his for known Kowloon,” of “King the –2007), yet to find resolve, provides all the more impetus for the present essay to place place to essay present the for impetus more the all provides resolve, find to yet

ble modern history of Hong Kong Kong Hong of history ble modern these artists’ artists’ these (1921

dynasty poetry. It It poetry. dynasty - of cultural consciousness, national identity, and territorial claim territorial and identity, national consciousness, cultural of

choi choi Whether as political exile for for exile political as Whether -

proclaimed “True Recluse of Kowloon,” who founded a loyalist t loyalist a founded who Kowloon,” of Recluse “True proclaimed - The remarka of resistance. language their and case, discussed of the very heart

as global trade port, migrant destination, colonized colonized destination, port, as global migrant trade has Region Special Administrative territory, and artistic of forms complex engendered continually cross of geopolitical, production

Introduction abstract Of Kowloon’s Uncrowned Kings and True Recluses: Kings Uncrowned Of Kowloon’s Commemoration, Trace, and Erasure, and theShaping of a

from Chen Botao (1855 Chinese Mainlanders seeking work, or global hub for cultural exchanges cultural for hub global or work, seeking Mainlanders Chinese related issues related based on Song based on or topia collage, larger the assembling in fragments discursive precisely is it that upon them. recognition rightful bestowed gradually has ––that society through voiced unrest social of situation a critical in Kong Hong sees scale of unprecedented emphasis on the particularity of Hong Kong’s historically grown space historically Hong of Kong’s particularity on the emphasis the self the be defined as both periphery and center; moreover: “The significance of Hong Kong art from the the from art Kong Hong of significance “The moreover: center; and periphery both as be defined of twentieth perspective on focusing on, century twentieth early the from active artists local of lens the through Kong Hong of Tsang Tsou While the specificity of Hong Ko Hong of specificity the While of sense distinct a is discourse art within recurrence overarching an narrative, essentialist or definition the in identity Kong Hong shaped has that consciousness a time; and place art the explores essay this backdrop, this Against time. Kong; Hong of spaces public the marking calligraphy translingual relevance. T relevance. translingual

ART RESEARCH SPECIAL ISSUE vol.1 Of Kowloons Uncrowned Kings and True Recluses: Commemoration, Trace, and Erasure, and the ShapingHong-Kong-topia of a from Chen Botao (1855–1930) to Tsang Tsou-choi (1921–2007)

’ 24 ART RESEARCH SPECIAL ISSUE vol.1 Of Kowloon’s Uncrowned Kings and True Recluses: Commemoration, Trace, and Erasure, and the ShapingHong-Kong-topia of a from Chen Botao (1855–1930) to Tsang Tsou-choi (1921–2007) 25

- - - - -

the - 97. 97. – Hong to -

. , , kingness Frogtopia calligraphy calligraphy proclaimed proclaimed - 153)

, p.

royal terminology royal terminology graffiti ver, as true ver, topic” nature of Hong of Hong nature topic” - Spalding 2013 mentioned artists as “kings” “kings” as artists mentioned ; or, continually active in active continually ; or, given their peripheral peripheral their given ( - 4

ventions, performances, and performances, ventions, ) for humorous and critical, ) critical, for and humorous

wai choi inscribingutilitybox a with his - - ), known as the self known ), – , Kowloon Bay, Hong Kong, 1996 Kong, Hong Bay, Kowloon , , chosen to represent Hong Kong at at Kong Hong represent , chosen to 蛙王 5 centrics” - graffiti , 1947 first century, contemporary Kwok Kwok Man century, first contemporary . These artists’ . These status of artists’ ltaneously “reigning kingdoms” of kingdoms” art; “reigning ltaneously Tsang Tsou -

called “eccentric” artists as kings claiming as kings claiming artists “eccentric” called topia The incidental yet notable common common notable yet The incidental centered spaces; moreo spaces; centered - - 郭孟浩 Figure 2. calligraphy PhotographLau Kin by for his once ubiquitous street for his street once ubiquitous both Kong Hong of spaces public the marking 2) (fig. overt and hidden the twenty the 54th Venice Biennale in 2011. 2011. in Biennale Venice the 54th of the designation above “Frog King” ( “Frog King” Hongkorucopia socially engaging inter engaging socially as such installations multimedia ho ( can serve as a perspective lens: on the one hand, to to hand, one on the lens: perspective as a can serve to the “hetero draw attention (part their through as illustrated discourse Kong art way) simu that, of sorts microcosms disparate seemingly the on precisely ground common share however, greater scaping of a shared, basis of their Kong the chosen expressed through the crystallizes aliases, respective their in carried sees which discourse, art of contexts larger territorial these so- Kong’s Hong among positions their individual multi word “ex situatedness on the historical and geographical geographical and historical on the situatedness

- – ),

first first - 95), 95), – , 1905 水彩王 Hong Kong Kong Hong aims to map to map aims ( abyrinth of abyrinth

2 陳福善 inspired by the inspired

, 1905 陳福善,

. specific work work has specific - ]) 2007), the “King of “King 2007), the , no. AC1977.0008, – ] space and time: a consciousness a consciousness time: and twentieth century, painter century, twentieth -

online [ ) who became ) known widely who became , 1921 and fantasy portraits like his 1970s his fantasy like portraits - - , 1970s,, ink and watercolor on paper, August 2019 23, August [ alleys; likewise, as insular idyll of idyll insular as likewise, alleys; - 曾灶財九龍皇帝 Luis Chan (Chen Fushan

not least inspired by the magic of Hong Hong of magic the by inspired —notleast Against this backdrop, Against this essay this backdrop, choi ( choi ; further, active in the latter half of the twentieth twentieth of the half latter the in active further, ; 3 e, for example, in the in example, for e, Museum of Art Dragon Boat Festival 69 x 135 cm, Hong Kong Museum of Art of Art Hong Museum Kong cm, 69 x 135 https://www.lcsd.gov.hk/CE/Museum/Arts/en_US/web/ma/ collection08a.html Figure 1. 1995), designated “King of Watercolor” of( Watercolor” “King designated 1995), geography and natural scenery of Hong Kong (fig. (fig. Kong ofHong scenery natural and geography 1) Fantasy Island Landscape series Landscape Island Fantasy known for surrealist

narratives, a red line running through discourse a red narratives, art running is line through place of sense a distinct

century through the first decade of the 2000s, Tsang Tsang 2000s, of the decade first the through century Tsou- Kowloon Kowloon ” ( significantly shaped Hong Kong identity and art and art Kong identity Hong shaped significantly twenty and twentieth the throughout discourse out art geographical fragments of a larger Hong of a larger fragments geographical outart local individual by addressing Kong landscape time whose artists that has shaped Hong Kong identity and its and its identity Kong Hong that has shaped artists of imagination in the collective historicity misty peaks and rural fishing villages. villages. fishing rural peaks and misty over times over harbor, romantic as topography Kong’s eclectic skyline, l and panoramic glittering back steaming ntury. Of idiosyncratic nature, the individualistic individualistic the nature, Of idiosyncratic century. gained have artists by these formulated hallmarks collective the in both status, iconic of something internationally. and Kong people of the Hong mind that readily representatives to Sparking come mind ar pioneer Luis Chan (Chen Fushan Fushan (Chen Chan Luis pioneer l l - – Hong Hong Kong - witness , 1855

Hong 陳伯陶 ( ficant in Tsang’s Tsang’s in ficant this author this author saw Tsang

ceremonies took place on place took ceremonies

…

 e repeatedly for 40 years, to be be to 40 years, for repeatedly e choi’s Work and Workings as and Workings Work choi’s - rather to be discussed is the event of the of the event the is be discussed to rather on the day that the antique Rolls Royce Royce Rolls the antique that day on the

whose official official whose 8 following this introduction, the reader following this shall introduction, to happened he incident an recounts

…

 of the last governor departed for the final time time final the for departed governor last of the His taking residence, governor’s the from past his family and Patten Chris Excellency all white pure painted been had walls that along the route, Tsou Choi, 76 years old at the time, the most the most time, the at old years 76 Tsou Choi, artist Kong, in graffiti Hong who calls famous about hobble Kowloon,” of “King the himself in hand towards bucket paint brush with and a he as demand, to governor Kong’s last Hong had don recognized of as Kowloon and the Emperor to his in which, of his land return the demand Without stolen. had Crown British the view, In his Hongessay “Art and Kong or Culture: 9 , whose name constitutes part of this essay’s essay’s of this part constitutes name whose , is discussed as to its meaning as “Place of Exile, Exile, of “Place as meaning its to as discussed is

and History of Commemoration, Trace, and Erasure.” Erasure.” and Trace, and History of Commemoration, Botao Chen to connection the Here, on June 30, 1997, the day of the Handover: Handover: of the day the 30, 1997, on June Tsang Tsou 1930) critica a is conclusion in Offered elucidated. is title, Kong of Hong Place “Uncrowned on the reflection in ArtChinese History.” Handover as historically signi historically as Handover context: as Workings and “Work his with acquainted become of phenomenon the which upon Artist”; topia June 30 and July 1, 1997. How far this anniversary 30 June 1, far July 1997. and How this anniversary be left to be celebrated occasion felicitous presents a to ponder; Artist Henry, Gérard Memory,” a Collective of the Creation Française Alliance the of Director Deputy Kong, of China,

- ink. ink. - Stone center, that is, that is, -

and choi, the the choi, ” - grounded grounded off As it were, were, As it

The initially initially The le’s Republic Republic le’s 7

words, therein therein words, 7, upon whose 7, upon whose brush

6 clusive, commemoration, commemoration, ” - ex specific historical historical specific “ - environments through through environments - Tsou —Tsang in the following, this essay this following, the in , , urban whose case is carved out more more out is carved case whose in (art) history, a further aspect aspect further a history, (art) in

— is now expanded and contemplated contemplated is now and expanded therein, likewise, signifying forms of forms signifying likewise, therein,

history, time, and place. time, history, . . kings

called Hong Kong Handover, a.k.a. the Hong the Handover, a.k.a. Kong Hong called While While the above three artists here an provide In line with related ideas of ideas related with In line - of inscribing of inscribing inclusive (art) historical discourse; therein therein discourse; historical (art) inclusive specific commemoration, and collective cultural cultural and collective commemoration, specific - so -

depth. The choice of Tsang’s subject is subject Tsang’s of choice The depth. -

uncrowned context introductory margins of “Greater China’s” China’s” of “Greater margins

written words, written from a different perspective, shifting focus onto the the onto focus shifting perspective, a different from act pursued theme this date coincided with the twentieth anniversary of anniversary twentieth with the this date coincided the non as status their towards pointing centers on one representative King of Kowloon in site Kong Return, denoting the transfer of sovereignty sovereignty of transfer the denoting Kong Return, to the Peop Kingdom the United from in several reasons: for one, in the author’s personal personal author’s in the one, for reasons: in several Chinese of histories in the specialization academic thereby inkand art, and contemporary calligraphy the on based practice working Tsang’s in interest the Chinese word written traditional and a be considered can study this significantly, More of landscape theme of the discussion continued broader a in inscription cultural and inscription inscribing of act the context, specific a in and, sense; written through environments natural of site forms signifying commemoration, trace, and erasure, as investigated investigated as erasure, and trace, commemoration, Landscape: the “Texturing essay in the Engraving Traditions in China as Human Human China as in Traditions Engraving Nature. and Self of Refinement awareness for awareness erasure and trace, subject work as chosen Tsang’s for accounting workshop, the of date historical was the matter 1, 201 July 30 and June on undertaken is built. this essay presentation paper

’ 26 ART RESEARCH SPECIAL ISSUE vol.1 Of Kowloon’s Uncrowned Kings and True Recluses: Commemoration, Trace, and Erasure, and the ShapingHong-Kong-topia of a from Chen Botao (1855–1930) to Tsang Tsou-choi (1921–2007) 27

- ) and ) and graffiti indeed, indeed, 島 ––

. 35)

九龍半 , 1998, ink on ink 1998, , Among Tsang’s Tsang’s Among , p. , presumably the , presumably

is arguably the is arguably 16 –– ) borrowing from the from borrowing ) as well as an area he he area an as well as Ink Record 新中國

) Spalding 2013 家譜 ( choi,

- most prominent story prominent most 新界

in the urban spaces of Kowloon and Kowloonof and spaces in the urban

15 Tsang Tsou

company, and later for the most part of his his of part most the for later and company, 1921 in Liantang, Guangdong Province, Province, 1921 in Guangdong Liantang,

. and the recording of his relatives’ names, names, relatives’ of his recording and the 3

on,” and stating a hereditary territorial claim territorial hereditary a stating on,” and canvas, 152.5 x 152.5 cm Figure life as a garbage collector. Around 1956, in his mid in 1956, Around collector. garbage a as life thirties, Tsang began undertaking calligraphy calligraphy undertaking began Tsang thirties, interventions Hong Kong Island, purporting to be the “King of of be the “King to purporting Island, Hong Kong Kowlo on of land the Hong Kong. Born in in and, eleven age at of school out dropped Tsang in Kong Hong to fled War, Civil Chinese the of face and uncle an with first lived he where 1930s, the late building of a laborer a as then farmer, a as worked materials Mainland), and occasionally, England too, had had too, England occasionally, and Mainland), rightfully thus were and ancestors, his to belonged historical tradition of a generational numbering numbering generational a of tradition historical system, 3); in fig. (exemplified holdings land and marriages, Kong Hong thatthe claim Tsang’s supporting ( Peninsula of Kowloon the regions designated “New China” ( China” “New designated inscribed texts, the texts, inscribed New Territories ( New Territories meticulous documentation of his “family tree,” or tree,” of his “family documentation meticulous genealogy” ( “family Tsang’s lifelong obsession lifelong Tsang’s

– to 11

choi, - 13

the King of the King of king caught in caught king - script characters script - ong, or the Creation of or the Creation ong, Here, Here, ofthe citation

o folk hero” (David (David hero” o folk 14

h regular 10 le and rationale of Hong Kong, of Hong and rationale le “Hong K “Hong sia in what was otherwise a day day a otherwise was in what sia to “a wandering beggar wandering to “a

a doubt, it was the most poetic gesture gesture poetic most was the it doubt, a British the of moments last the marking in A Empire rain. of pouring The scene described by Henry, which we can we can Henry, by which described scene The The reception and construction of and construction reception The 1950s up until Tsang’s death in 2007, the year year the 2007, in death Tsang’s until up 1950s - amounting to an approximate 55,000 texts 55,000 texts to approximate an ––amounting marked the urban landscape of Hong Kong over the the urban marked landscape only imagine since it is not otherwise documented, documented, is notsince it otherwise only imagine retell to be able will a Hongkonger many one that is and experience personal own her his or from Tsou of Tsang since the omnipresence memory, internationally renowned art critics is not suggest to art critics renowned internationally serves, it persona; Tsang’s of an idolization it attention the extraordinary to illustrate moreover, inextricably as considerable time, over received has related the to both loca of this city. vision heterotopic Tsang’s and to a Collective Memory.” Memory.” a Collective – the in beginning century, a half around of course mid to in contribution his essay published Henry that what he designated traced figure be further can public Kowloon’s variously have voicesthat critical the art through “from ranging in terms person his described t crackpot mysterious Spalding),

moreover, the presence of his calligraphic his calligraphic of presence the moreover, of the corner street every nearly on left inscriptions city unadorned and robust idiosyncratic an in rendered of writing squaris style “probably the most unique and outstanding creative outstanding unique and most the “probably to the has King contributed ever that Hong mind Hanru). world” (Hou the latest zeitgeist” (Hans Ulrich Obrist), Ulrich (Hans zeitgeist” the latest his

il around around il rationale Up unt

painting ofpainting his - inherent to inherent his 25

ect, and the natural natural ect, and the After the demise of demise the After The Street Calligraphy The Street Calligraphy , indicating the element element the indicating , sparking public debates public debates sparking a Hong Kong landmark a Hong Kong landmark

and its positive reception reception positive its and

me, Tsang continued his continued Tsang me, 24 –– , Indeed, it was 1997, the very was 1997, the it Indeed, specificity specificity

: Place of Exile, and History extraordinary reception of Tsang of Tsang reception extraordinary - henceforth often targeting the often targeting henceforth

ists, fashion designers, and graphic graphic and designers, fashion ists, time - topia

- and further, the promotion of his work work his of promotion the further, and 27

and ). Chinese state authority. state Chinese 26 -

Kong - As noted, the the As noted, 當代書法 this time, Tsang’s ubiquitous inscriptions had beenhad inscriptions ubiquitous Tsang’s this time, Hong Kong by the negatively viewed mostly public of vandalization a madman’s as population the artistic evolving from initially Then, property. for Tsang’s attention increased active community, registered, be work could Hong as a symbol of the Hong Kong locale was channeled channeled was locale Kong Hong the of symbol as a Tsang’s years, final his In media. the through with works collaborative also saw output productive including creatives, Kong Hong various art photography designers; only came about during the last decade of his life, his life, of decade last the during about came only 2007. 1997 to from marked that Handover, Kong Hong year of the exhibition first solo Tsang’s Kowloon of King of the under the designation “contemporary calligraphy” calligraphy” under “contemporary the designation ( skyscraper that had become a new symbol of the of the a new symbol hadbecome that skyscraper Mainland vicinity of the Bank of China Tower rising up over up over rising Tower of China Bank the of vicinity Offices the Government about Tsang’s status as an artist. artist. as an status about Tsang’s regi colonial the British writing, protest of Commemoration, Trace, and Erasure Hong his to related inextricably as be seen must respectively, Kong locale, city of vision the heterotopic of place workings: prone to weather, negl to weather, prone workings: deterioration of surfaces over time, but also due to to due also but time, over of surfaces deterioration over and removal the willful Tsang’s authorities, by the local writing vandalistic and anticipated that structures transient works were

17 prior to prior to minded’ minded’ -

not only not only 18 –– the 1990s the 1990s (with ly: his poetics of ly: never too close, close, too never etic calligraphic calligraphic etic offered a living living a offered 19 the authoritarian text text the authoritarian

Formally, he likewise he likewise Formally,

20 trative power sites. Due to Due to sites. power trative usurped “acute sense of topography of of topography sense “acute a powerful signifier of powerful the signifier ––a

22 Tsang’s subversive practice, which which practice, subversive Tsang’s ink - example, near the Central Government near Government Central the example,

At the same time, Tsang’s script defied defied script Tsang’s time, same At the privilege birthright. his of administering privilege and

21 , mainstream recognition for Tsang’s work for Tsang’s recognition , mainstream Possessing an an Possessing Though Though 23 the canonical calligraphy tradition calligraphy the canonical aesthetically, butsemantical also aesthetically, historical art ‘lofty’ typical to the not cater did text ‘high found in conventionally commentary Obrist, by noted as Rather, discourse. literati Chinese and serious irreverent, enigmatic, poetic, “Tsang’s have messages humorous for half Kowloon in change and life on commentary […]”. a century power,” as observed by David Clarke, by David observed as power,” appropriated the traditional Chinese writing medium medium writing Chinese traditional the appropriated - of brush made use of the surfaces of street pavements, pavements, of street of the surfaces use made gained had vehicles, walls, and building lampposts, before long reputation infamous at least to back dating features newspaper local 1970)

his; further demanding that the government owe him him owe government that the demanding further his; tax for the

of an imperial genealogy. imperial of an yet always close enough to establish a spatial spatial a establish to enough close always yet and the margins landmarking connection, thereby demons these of borders Kong, Hong in of graffiti scarcity the relative Tsang’s own resulted in a high degree of visibility through Moreover, space. public the in and efficacy Tsang rhetoric, verbal and matter subject his adopted indeed, appropriated, 1997, Tsang had planted his illegal inscriptions in in inscriptions illegal his planted had Tsang 1997, crown British of the representative places significant for authority: Victoria the Queen by or in Admiralty, Complex Central in Park Victoria in statue Chinese scripted word, whose effective dimension dimension effective whose word, Chinese scripted aesth interlocks historically cultural a as serving functions, social with traditions and politics of instrument regulative and technique society.

’ 28 ART RESEARCH SPECIAL ISSUE vol.1 Of Kowloon’s Uncrowned Kings and True Recluses: Commemoration, Trace, and Erasure, and the ShapingHong-Kong-topia of a from Chen Botao (1855–1930) to Tsang Tsou-choi (1921–2007) 29

- - yimin Puyi’s Puyi’s

Poetry

official Chen Chen official - 1930), 1930), –

dynasty poetry. A A poetry. dynasty

, 1930s, ink on gold ink 1930s, , 30 Among the incurred incurred the Among , 1855 , 1279) and became an became and 1279)

6). 29 – Chinese emperor Chinese last last 陳伯陶 , figs. 5

. Script Calligraphy - 336) 67) personal mentors fled fled mentors to Hong 67) personal , p. Chen Botao ( 九龍真逸

5 – (1906

sprinkledHong paper, 130 x 31.5 cm, Kong of Museum Art (Chang 2012 Figure Couplet in Regular who found refuge in Hong Kong and were able to were Kong Hong and in refuge who found in form poetics” of “exile tradition loyalist a assert based on Song- of societies literary was literati the pioneer representative of one Botao, the who as 溥儀 flow of migrants from the Mainland were Qing Qing were the Mainland from of migrants flow Kong, later calling himself “The True Recluse of Recluse True “The himself calling later Kong, ( Kowloon”

– (1127 dynasty Song Southern post Chinese in the of reference point important imperial era following 1911. era following imperial

- as of

黃 Hong

back to the back to

as has as has been

28 arks estruction (fig. 4). 4). (fig. estruction , a.k.a. Stanley Wong one that h that one

. (detail), photographed by cian; - 12) 又一山人 hia 11– . p e the erasures undertaken by the undertaken e the erasures graffiti , p Deteriorated wall inscribed with Tsang’s currencies, values, human relations.” human values, currencies, content of their texts unveiled their unveiled texts their of content

: indicating, also, Hong Hong : also, Kong, indicating, and “A Protest Against Forgetting,” “A Against Forgetting,” Protest , b. 1960), 2007, Kennedy Town, Hong Kong Hong Town, Kennedy 2007, 1960), b. ,

As Ackbar Abbas has explained, Hong As has Hong Abbas Kong, Ackbar explained, of a culture is also historic, and while ancient “The sense disappearance: and transience the temporary is very strong... The city is not is The city verystrong... is the temporary of transit... as a space a place so much everything hoc; ad provisional, is everything floats fitsperfectly chosen medium […] Tsang’s […]. of transience this culture topia Elucidated here is something that can be be that can is something here Elucidated - Spalding 2013 炳培 ( anothermountainman ( Figure 4. calligraphy discussed by Ko discussed C subsumed under a larger narrative of the the of narrative larger a under subsumed Kong “as significance specific its Kowloon in particularly history,” in Chinese ofplace a exile

phrased by Obrist, who further elucidates: further who by Obrist, phrased While the While family obscure of an or traces records, as meaning dissolved form of presence their physical history,the memory in moreover, tangible, to remain with time, in Tsang Often, photography). in documented (or overwrot turn embraced their own decay and d and own decay their embraced authorities

35 ) on the on the ) in 1279, 1279, in

calligraphy he calligraphy

宋王臺 graffiti

Tsang, sure enough, did enough, sure Tsang,

ne the terraces of fallen fallen of terraces ne the

that Tsang’s inscriptions inscriptions Tsang’s that

32 34 erected erected as a tablet memorial mentioned preceding article article preceding mentioned - - as noted by Ko. Here, it appears in appears it Here, by Ko. as noted

As evident from the from evident As Wong Toi Memorial Park west of the ofwest Park the Memorial Toi Wong

33 g

ription is now re now is ription Hills may still outli still may Hills whose be steles may stones worn and places, Time legible. barely just are inscriptions form. blurs detail, effaces over, things covers those to except invisible becomes was’ ‘What that is It it. for look to how know who certain a in world the on look to n dispositio of our weight way which bears full the past. relation the to With the Kai Tak Airport construction in the the in construction Airport Tak Kai the With Despite its elements of transience and transience of elements its Despite

eating a ‘heterotopia’ out of Song history in in history Song of out ‘heterotopia’ a eating not fail to miss the significance of this airport site. of this airport the significance to miss fail not place to (re)quote Stephen Owen, who had been been had who Owen, Stephen (re)quote place to afore my in referenced spaces: ofnatural inscription on cultural 1940s, Sacred Hill was flattened, and the giant stone stone giant the and flattened, was Hill Sacred 1940s, ruin; to left and abandoned was Toi Wong of Sung insc its large rock, thereafter and up into the twentieth twentieth the up into and thereafter rock, large for of commemoration place a as serving century “thus Botao, Chen including literati expatriate local cr Kowloon,” left on a lamppost nearby, lamppost on a left in exile between 1277 and 1279. After the Song Song the After 1279. and 1277 between in exile the Mongols by overthrown was dynasty of the words “Terrace the inscribed residents local (Song Wong Song Emperors” Toi deterioration, when considered comprehensively in comprehensively when considered deterioration, relentlessly its through work, life of a terms likewise work Tsang’s repetition, performed and (self)renewal. of persistence elements contained notes Hanru Hou Indeed, urban Kong’s Hong in remarkably outstood in packaged all were “which sceneries, in Sun airport.

p. 宋

, 香

erected in erected ) Kowloon,” ), respectively, ), respectively, Collected Chang 2012 (

, was nourished by , was nourished by 宋王臺宋臺舊址 ( standing local cultural cultural local standing - tall boulder standing on boulder standing tall in abandoned places; a places; abandoned in - ) above Kowloon Bay, Old Hong Kong Photo/ ( 宋台集) bycompiled Chen 1908) reign, 1905, showing ( –

聖山 meter - ), illustration showing the site of displacement 1934). 1934). named “True Recluse of – -

, http://oldhkphoto.com/sungwongtoi2/ ] ). ] based poetic consciousness for time for time poetic based consciousness

- , 1870 , online Photograph ofBeijing four Mandarins during 宋臺秋唱圖 [ (

Autumn Chants on of the the Terrace Song . riginally a 45 riginally 陳步墀 6 O

. August 23, 2019 23, August 港舊照片 Figure 7. Emperors Buchi ( the Ancient Ruins of of the Terrace the Song Emperors ( 臺舊址) erected in 1916,documented in the Works of the Song Terrace 337) on the farright.Chan Siu Nam Collection Chen Botao,the self Figure Emperor Guangxu’s (1871 [ 1916 (fig. 7): 1916 (fig. 7):

tradition of leaving of tradition leaving traces prime example here being the historic relic of the relic historic being the here example prime ( Emperors Song the of Terrace His Kowloon and or place, rather a long nourished further and

believed to present a memorial to the final residence residence final to the a memorial present to believed of of the last two the Southern Song emperors there lived and Kong Hong to fled had who dynasty top of Sacred Hill ( Hill oftop Sacred the site of its Ancient Ruins Ruins Ancient of its the site

’ 30 ART RESEARCH SPECIAL ISSUE vol.1 Of Kowloon’s Uncrowned Kings and True Recluses: Commemoration, Trace, and Erasure, and the ShapingHong-Kong-topia of a from Chen Botao (1855–1930) to Tsang Tsou-choi (1921–2007) 31 - pe ad, grand grand and in and

Inste

40 why a very a very small

art?” choi the King of the choi - As Frank Vigneron Vigneron As Frank good among which which Hong among art historians and art historians

42 41 in order to establish a valid order to establish in

visions of Hong ––visions worldly”

- 43 a marginalized role, and whose whose and role, marginalized a

proves useful for this inquiry, in in inquiry, this for useful proves places

Following this understanding, it is it understanding, this Following of human society and action: society society and action: society human of his works had a tangible impact on on impact had a tangible works his

nativist” - 39 topia s heterotopic condition of Tsang’s of Tsang’s work condition s heterotopic as a relevant case in point. In the context context the In in point. case relevant a as other -

i.e. “other ––i.e. that of “Chinese art,” of “Chinese art,” has his work shaped the creative landsca creative the shaped work his has

Kong these these Against this background, the aim of the of the aim the background, this Against To be sure, as art historians, in discussing in discussing historians, art as sure, To be actively fulfills actively - f “Greater China,” forms of creative production as as production creative of forms China,” “Greater f Kong Kong to feed serves moreover inclusion historiographical of histories published as standard this narrative, show. go to art Chinese o the counter Tsang like figures by represented by pursued agenda nationalist hegemonic “conservative sharply observes: “[…] the practices of “[…] the practices observes: sharply to be of Hong Kong seem included number artists to this exhaustivity of appearance an provide to only art.” of Chinese history present contribution lay in showing how in showing lay contribution present heterotopic Tsou of Kong Tsang as those such Kowloon, and Chen Botao the True Recluse of of Recluse the True Chen Botao and Kowloon, precisely thi precisely within Hong the that has significance constituted world. Kong art “Is not be must question foremost our case, Tsang’s this so, “Is less even this art?”; historiographers aimed at establishing a a establishing at aimed historiographers narrative what way we must register and ascribe significance to the to the significance ascribe and register we must fact given inquire, and discourse, art critical contemporary reasoning: and context their into rather, Hong Kong (and in reception and production of art of figure As was the thought argued, beyond)? Hong of time place and geographical art out the carving Kong Hong familiar centers centers familiar needs concept of “us” and define a central constitutive constitutive central a define and of “us” concept sub culture, nation, (as are” “we what of notion culture etc.).



the the

, in of Hong of Hong one that

1997. At - e city that is e city , and that

36 owned 38 heterotopia violent manner, [Tsang manner, violent denotes the concept of a concept the denotes - Hou Hanrou further assesses assesses further Hou Hanrou ; therein occupying, rather, the the rather, occupying, ; therein

ative

in a totally non in a totally 37

.  … […] managed to impose his own city map over the the over map own city his impose to managed his of the dots connecting by one official every across spread which calligraphy, urban a represents work Tsang’s corner. street city, of the vision utopian personal of th picture official the overrides powers and economic by political imposed 

This vision was seen and shared by parts of the of the parts by shared seen and was This vision It is hoped that through this essay, attention attention essay, this through that hoped It is tory’ exposes the oppressed the oppressed tory’ collective exposes grander narr grander Kong cultural identity and signifier of the of the and identity signifier Kong cultural locale. Hongkonger first in artistic contexts, then in a wider way, Tsang Tsang way, wider in a then contexts, artistic first in one became of the established symbols most the recounts “historic narrative” Tsang’s that a with coupled existence “urban an of conflicts that his glory,” and past China’s for nostalgia certain “‘his which population, Hong Kong’s of unconsciousness souls, of their crisis deep by the haunted eternally is hegemonic multiple by colonized been having present.”. the and past the in powers post especially Hong population, Kong

commercially designed visual kitsch” visual designed commercially

like artists of status to ambivalent the be drawn can gaining who though of Kowloon, the King of art frameworks certain within recognition of margins onthe remain fact in discourse historical the As history. of art realms uncrowned heterotopic, out pointed by Anton Schweizer, Uncr The Remarks: Concluding History Art Chinese in Kong of Hong Place place that is different from the established and the from established place that is different meaning of “other place,” of place,” meaning “other

. -

– al ). the see Two

- graffiti graffiti ltyof

Fantasy language language June 30 77ff.; and -

Facu within Hong Kong Kong Hong

pp. pp. “Hong Kong, Kong, “Hong Country

- ing to the rich visu 2012:

online journal of The

controlled government - orrowed from orrowedthe Chinese from writings or drawings that 2013. in fact is accurately more

has never been tangiblemore Tsang’s calligraphic

) . The Wairarapa Society (online time cultural insider who has also 348f. -

graffiti

. denoting

, pp. pp. 82.

九龍皇帝 current year 2019 see Hanart TZGallery China Heritage entries collected under . the extradition law that was announced

2013. While Tsang’sWhile 2013. English in depth discussion is not in placehere, I 一國兩制

(2) -

18. 121. graffiti 2007:

p. p. : : . hile than in this translated as the “Emperor of Kowloon.” inscriptions, see the numerous illustrations in Spalding alias is known as “King of Kowloon,”the original wording of Forinstallation see Kwok’s views, officialwebsite, http://www.fotop.net/frogkingkwok/Venice_Bienn ale_2011 (page accessed August 23,2019). See Hertel 2017 See note Hong Kong’s precarious status increasingly questionable One Systems ( As an in refer to the people’s ongoing protests of unprecedented scale initiated by to bepassed by theBeijing Wairarapa Society for New Sinology, which, as is ever, at the forefront of dedicated coverage; the related The Best China,” Forfurther examples and a rich chronological documentation of Henry An eminent long been denoted as “Hong Kong’s Quiet Observer,” see Dewolf (online) in cooperation with theArt Research Centerof July 1, 2017. Forfurther examples, see underthe Sceneries Forillustrations, I refer again Chang 2012: documentation of Tsang’s calligraphic inscriptions in Spalding Ritsumeikan University and the UniversityRitsumeikan and InterculturalStudies, Kobe University, Ibid. Ibid Ibid. W have been scribbled,scratched, or painted illicitly onwall a orother surfaceoften within public view, commonlyare associated with the ofmaterials spray paint and pens marker in contemporary urban culture, Tsang’s

5) 6) 7) 8) 10) 4) 11) 9) 3) 12) 13) 14) 15)

- - 44 time - and -

of cultural cultural of government government locales and and locales who, though though who, -

of Hong Kong Kong of Hong ––

at the international

anti

ho - yet to find yet resolve, topia ounds of their very status status very of their ounds with their their with can be collaged and and be collaged ––can ongoing uation of social unrest and and unrest uationof social vide significant references references significant vide thus also considerable in also considerable thus Operating on the culturally on the culturally Operating ”:l Remainder p. 19. –– story into which “Hong Kong” Kong” “Hong which into story of the established art world, world, art established the of or, for that matter, “Chinese “Chinese matter, that for ––or,

“The Ful depth pro depth

- of art hi art of

Based on my paperBased onpresented my joint workshop “Landscapes in Art,Theory, and Practice across Media,Time, and Place,” hosted by the History Art Institute ofUniversität Freie Berlin Chang of creative production, enabling a more more a enabling production, of creative chosen designation as uncrowned kings. kings. as uncrowned designation chosen

2) Notes 1) topia Indeed, this crucial year of 2019, which sees sees which 2019, of year crucial this Indeed,

ch lie at the very heart of the above of the heart very the at ––all of whilie ch

eccentric outsiders eccentric

provides all the more impetus for the present essay essay present the for impetus more the all provides of Hong particularity on the emphasis to place space grown historically Kong’s

Hong Kong in a critical sit critical a in Kong Hong art.” through voiced precarity contemporary examples like those of Tsang, of Chan, those Tsang, like examples contemporary gradually, only recognition wider gained and Kwok on gr extent to some indeed, as their here inclusive more welcome history of art the field May aesthetics, positions, respective the of discussions connected and practices rationales understanding critical and perception differentiated of Kong “Hong art” not discussed in discussed not Kowloon, or, likewise, the King of Watercolor Luis Luis Watercolor King of the or, likewise, Kowloon, Man Kwok King Frog and Chan,

specificity, and its related issues related its and specificity, protests scale of unprecedented hybrid peripheries hybrid is variously embedded. embedded. is variously as further cases in point in cases as further larger of a terms in considered art of and times places, spaces, specific its including ofthe in terms moreover, reception; and production larger consciousness, national identity, and territorial territorial and identity, national consciousness, claim investigated cases, and their language of resistance. of language their and cases, investigated

’ 32 ART RESEARCH SPECIAL ISSUE vol.1 Of Kowloon’s Uncrowned Kings and True Recluses: Commemoration, Trace, and Erasure, and the ShapingHong-Kong-topia of a from Chen Botao (1855–1930) to Tsang Tsou-choi (1921–2007) 33

93.

and ibid.:

n 1999 n 1999 erview of based art inscribing curated by -

182. 182.

zung Johnson p. -

47. 351, where Chen is 177; , curated by Hans p. Vigneron 2017: p. 2017: Vigneron p.

336– 186. Following Tsang’s see ) may be referenced) as a may

, the residents of the isl

rticularly the section “Art Zone of Urgency pp. pp.

180–



185. xhibition, further exhibitions , curated by Tsong

5. 117. 16. pp. pp.

赤鱲角

468, note 51. p. p. p.

17.

al and thedestruction of their Z.O.U.

p. .

28. ibid.:

Cities on the Move p. depth discussion of Chen the and loyalist 2013: - 2016. answer: when asked in a rare int p. 1986:

November 2, 2003). 2, November 75. Hou Hanru, held at the 50th Venice Biennale (April 14– As seen in the caption of a 1998 advertising campaign forthe Hong KongArts Centre, reproduced Ulrich Obrist and Hou Hanru, touring various venues betweeninternationally 1997 and 1999; Power of the Word Chang,touring Taiwan and theUSA betwee and 2002, and Spalding See Ko theBank in ofTower the background, China p. Cf. Clarke 2001: 1997 first soloe included tradition of “Exile Poetics,” I refer to Ko 2016; furtherto Chang 2012: discussed the “Historical among Masters as Pioneers.” Ko 2016: Owen For an in Cf. Ko 2016: As documented by Fung Lohon,see the photograph reproduced in Spalding 2013: On the note of airports and the theme of local collective memory Chek Lap Kok ( furtherexample, who when they were displaced to make spacefor Hong Kong InternationalAirport in 1991behind left inscriptions calligraphic on their abandonedvoicing homes, protest against their forced remov community, cf. Clarke 2001: Spalding 2013: Ibid.: p. 123. Ibid.: p. 124. Schweizer 2017. 1997 whetherhe saw himself as an artist, Tsang replied,“If you think it’s art, then it’s art.” Cf. Spalding 2013: On this matter, seeOn this pa matter, History from the Mainland: the Marginalisation of To which Tsang,incidentally, has providedhis own simple Kong Hong from borrowed term A historian Frank Vigneron,

27) 28) 29) 26) 31) 32) 30) 33) 34) 35) 36) 37) 38) 39) 42) 40) 41)

f 筆 pp. with choi,

- ink ( ink Tsang’s 97, of a of 97, a - aesthetic ibid.: May 17,

- 178. – – ) with one held at the

graffiti p. and - that ld provide ample

choi is discussed ibid.: - (April 24 明報晚報 (

2005. omenon, see e.g. Kraus

Tsou

powerhe has so publicly

nese calligraphy, following ; Yen wai, Agfa Gallery, 181. Here, Clarke speaks of

- 207. 180. 4. d,the Hong Kong Government, p. 1986 p.

176. p. 176–

242. 242. wai’s photograph of 1996 photograph wai’s not the focus of the present article. It -

ibid.: pp. pp. 236– an imperial claim, by mimicking the

the front pageof theJuly 12, 1970 issueof

Despite thepresent author’s specialization 2001: p. inscribing a utilitybox near VictoriaPark on

pp. Iitalicize the commonplace term “graffiti” ibid.: Ming Pao Evening News 42. ). 26– in theart history of Chi the incentives outlined above,a formal typicallyused in Tsang’s contextattention to draw to its originary andmeaning multiple interpretations, and inasmuch as “graffiti” only represent certain aspects of Tsang’s work. and theFupublic Estate Shan housingin complex KowloonTsang where lived.For an analysis and elucidation ofinscribed Tsang’s texts, see Tsang’s records also referenced contemporary individuals, institutions,such and places, as the Queen of Englan The art and life of Tsang comprehensively in Spalding2013. For Tsang’s biographical and timeline exhibition history,see ibid.: and stylistic analysis of Tsang’s idiosyncratic brushwork is out pointed be however, may, calligraphy scripts and styles wou material for a study of historiographicalart value, as had been elucidated through therudimentary analysis undertaken in the paperpresented at the 2017 workshop. Clarke 墨 As documented Clarke, by see his photograph o Tsang September 24, 1996, reproduced 1991; Ledderose calligraphictradition based brush on Cf. reproduced Spalding 2013: ofon the articles known earliest Tsang Tsou rhetoric of those whose contested.” Ibid: Tsang’s “language of resistance,” through which Tsang “articulated his sense of powerlessness by making Goethe Institut, Hong Kong 1997). CuratedLau Kin by See e.g. the For discussionsFor this of phen utilitybox bearing Tsang’s calligraphy See Lau Kin

17) 16) 18) 19) 20) 22) 24) 23) 21) 25)

. ), pp. , vol. , vol. online (

Aesthetic (accessed Berkeley:

Routledge

470.

dern Politics “Hong Kong, “Hong Kong,

2013. . .

Orientations 448– china/ ” The Experience of - . . London:

117. pp. pp.

. best - Freie Universität Berlin, 50 , vol. 28, no. 4 (2017), 4 (2017), no. 28, vol. , China Heritage pp. 92– pp. 35– presented at the Sixth Forum , Bologna/Hong Kong: Kong: Bologna/Hong ” . Harvard University Press, 1986. pp. pp.

Special Issue onSociety, Art, and Calligraphy and Power in Chinese Calligraphy: Its Social Function paper

“ Remembrances:

Journal for Cultural Research “Constructing ‘OtherSpaces’ in Edo King of Kowloon: The Art of Tsang

Journal of Chinese Literature and “‘Ink Art’ as Strategy forHong Kong ” Brushes with Power: Mo and .

” “Song in History Kowloon and Loyalist . .

17, 2017. 17, ping. - – , vol. 3, no. 2 (2016), 2 no. (2016), 3, vol. ,

Lothar. choi Frank. David. , Anton. - cian. - 31. Stephen. Yueh Richard.

and the Chinese Art of Calligraphy University of California 1991 Press, Ritsumeikan University Classical Poetry: Chen Botao,Sung Wong Toi, and ChantsAutumn on the Terrace of the Song Emperors Culture 21– Dimension 10 no. (1986), 17, the Past in Classical Chinese Literature Cambridge (MA): Period Japan,” of Asian History, East Art June 16 Tsou Damiani/Vermilion Collections, Art The Best China http://chinaheritage.net/the 2019). 23, August Curzon, 2005. Contemporary Society Chinese 21, no. 1 (2017), Contemporary China Institutions

Kraus, Ko, Chia Ledderose, Owen, Schweizer Spalding, The Wairarapa Society forNew Sinology Vigneron,

Yen,

. - ” – n

. - Eye: Eye: 陳福 China Stone . /

8 , 2012. , graffiti (online), (online), (online). ” – hong-

––Tsang’s 19. kowloon - - – eet Ritsumeikan International

day ” Feola - henry l Remainder: Art

- Hong Kong Kong Hong the have been tolerated : pp. Milan: 2012 Skira, - . of

Nature. - (2007), pp. 79 RADII Duke University Press 2012

(accessed August 22, “The Ful would would seen and documented by

(accessed August 22,2019). Kong Art: Culture and Hong Kong Eye: Hong Kong Hong Eye: Kong Hong as The World of Luis Chan Chang

––and therein yet significant in

centricity. I thank Peter ” , - .” “Hong Kong’s Quiet Observer Durham: ng as “eccentric” art beijing/ Texturing the Landscape: e.g. - .

Hong (ed.). in

- . observer/ , vol. 2 no. vol. 70, , Contemporary Art -

“Artand Culture: Hong Kong orthe

based writer Josh Feolaon August 26, zung [Johnson] (ed.). . Hong. Kong: Hanart TZ Gallery 111. Indeed noteworthy, while Tsang’s hereTsang’s reproduced inscriptions (8). - - [Johnson], zung Lan. “

- - “Photo of Kowloon theDay: King Bootleg

quiet

––in theiroriginal contexts as str . - bootleg : - Josh under no circumstances , Institute of Languageand Culture Studies, Studies in and Culture, Language 2019). Engraving Traditions in China as Huma ofRefinement Self and 善的世界 king Perspectives Creation of a Collective Memory, in Beijing kongs https://zolimacitymag.com/gerard https://radiichina.com/photo Contemporary Art Decolonization Books, 2001 Zolima Citymag Hong Kong Hong Hong Kongin Art” Vigneron’svery highly timely, criticalinformative article (2017). Ibid. works 2017, w Shanghai reemerge adorning thewalls of an upscale noodle joint in Beijing Sanlitun,see – in the public spaces of Mainland posethey China, no problem when depraved of their original context and meaning, from Hong Kong. Hong from calligraphy hereaptly feeds the dichotomous notion of centricity/ex Sommerfeld fordrawing my attention to this source. Fulfilling thetrivialized, flattened function of decorative tapestry its very meani See note

Hanart TZ Gallery Hertel, Shao Henry, Gérard. Feola Dewolf, Christopher. 43) Clarke, David. Chang Tsong Chang, Tsong Works Cited 44)

’ 34