以藝術之名in the Name of Art
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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. -
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. -
The Burning Edge: Making Space, Activating Form 13/1
The Burning Edge: Making space, activating form ጣጜᘄለƻ ႪጓഛӂϸڐჍ௫ 13/1/2012 - 30/4/2012 Contents 目錄 2 Introduction by the Dean of School of Creative Media Bodies in Motion 身體挪移 創意媒體學院院長獻辭 40 Ulf Langheinrich 3 School of Creative Media 創意媒體學院 MOVEMENT Y WAVEFORM A 4 Introduction by the Exhibition Curator 展覽策劃引言 42 Koala Yip 葉彩鳳 Sonographer Phantoms of Cinema 電光魅影 44 Tobias Gremmler 圖途 8 Hector Rodriguez 羅海德 TIMECODE Gestus 46 Tamas Waliczky 10 Linda Chiu-han Lai 黎肖嫻 Sculptures Door Games Window Frames: Near Drama 景框戲門 Landscape 12 Patrick Tam 譚家明 48 Phoebe Man 文晶瑩 13: Flower Calamity 十三之花劫 _ _ ing@CMC 14 Hui Nga Shu, Rita and Yu Ka Ho 許雅舒 余家豪 50 S. Louisa Wei 魏時煜 Luo Feng Shan 羅酆山 Dream Under the Sun 陽光下的夢 15 Ip Yuk-Yiu 葉旭耀 52 Oscar Au 區建忠 Between the Threshold of Good & Evil (No. 2 The Handle-Aware Isolines for Scalable Shape Editing Big Sleep) 基於把手感知等值線的可擴展形狀編輯 18 Leino, Olli Tapio 連藹理 54 Exhibition Floorplan 展覽平面圖 killer.gif 56 Acknowledgements 鳴謝 20 Eddie Leung Hiu Ming 梁曉明 Cycle of Life 生命的週期 Structure, Space, Ecology 結構、空間、生態 24 Leung Chi Wo 梁志和 CC Bureau CC 辦公桌 26 Samson Young 楊嘉輝 Machines for Making Nothing 無為機器 28 Daniel C. Howe and Bill Seaman Engine of Engines 30 Julian Lee 李志超 Transporter 影移 32 Scott Hessels Sustainable Cinema 可持續電影 34 Robert Ellis-Geiger and Phil Shek Ming Fai 石明輝 The Voices of Guizhou 36 Fu Hongbo 傅紅波 Adaptive Partitioning of Urban Facades Introduction by the Dean of School of Creative Media School of Creative Media 創意媒體學院院長獻辭 創意媒體學院 In the Creative Arts, the best teaching is done by 實例是創意藝術教育的最佳方法。邵逸夫創意媒體中心開 The School of Creative Media (SCM) at the City 香港城市大學創意媒體學院( SCM) 融會藝術與科技,是 example.