15INVITATI ONS15YEARS MARYSIA LE WANDOWSKA APR MAY 15

MARYSIA LEWANDOWSKA PROPERTY PROTEST COMMO NS WORKING LEXICON

Artist Marysia Lewandowska, 2014/15 AAA resident contributed Property, Protest, Commons, and the Alternative Economies of Art, a series of public workshops co-organised with curator Esther Lu, and co-presented with Taipei Contemporary Art Center (TCAC). Leading towards Made in Public, a collectively generated project and publication, participants interrogated the relationship between art, property, protest, and the commons in the context of recent cultural and political events in Asia. A third workshop took place at TCAC 18–20 September 2015.

Marysia Lewandowska Property, Protest, Commons and the Alternative Economies of Art April–May 2015

PROPERTY PROTEST COMMONS

Working Lexicon

The Property Protest Commons dossier Addressing recent histories and aims at composing a speculative proposing alternative readings of lexicon, acting as a provisional tool the archive are important steps in useful for rethinking the economies taking possession of intellectual of sharing in the context of current terrain from which many artists have cultural and political events in Asia. been excluded. Institutions often While exposing connections between impose exclusive access and restrict the three distinct terms and tracing knowledge of the analogue past; their less rehearsed trajectories, a we ought to intensify our efforts distributed set of images and texts in supporting distributed networks points to the role translation plays by way of integrating physical and in the exchange. The considerations digital assemblies. All archives of placement and shared use of the threaten to reveal what we are unable folder, together with the design of to anticipate—the sediment of the the pages, introduce ruptures and missing, the hostile shadow of the slippages into experience. unconscious. Continued overleaf As artists are turning to the future, While voicing frustrations connected towards the destinations of art to town planning, museum structure, rather than its origins, it is through as well as freedom of speech, their inventive exploration of local they demonstrate how the careful conditions, where new vocabularies choice of conceptual and practical and common interests emerge. In this tools has been helping with their honesty and self-belief, rather than separate struggles. The examples self-promotion, we can detect their of collaborative efforts, which they bigger project. By gaining public trust narrate, indicate self-empowerment we mobilise our cultural agency. and strong objections to being Critical social movements implicated in the reductive logic emerging in Asia challenge existing of capitalism. From questions of hierarchies at vulnerable sites. ownership related to land as property These, in themselves, are perhaps to forms of participation in debates seen as minor events consolidating around housing, entitlement, access around relatively small communities. to culture, and critique of institutions, But as they accumulate, the power- their singular experiences reverberate reproducing habits get disrupted. We larger cultural shifts. are all jointly responsible for upholding The Umbrella Movement introduced the current system of values, as well an unprecedented sense of civic as for accepting and serving their responsibility. Through solidarity, closed circuits. Art practices, through and by prioritising the importance of exercising their authority present a cultural values, affect, and community chance of decolonising the minds in a context dominated by aspirations and actions inside a multivalent set of of consumption and commerce, it tasks that we collectively perform as instigated a paradigm change. What part of the social imaginary. remains for those who continue to The three recorded conversations access past events through an archive that follow took place in Hong Kong, of images and artefacts, is to test the Guangzhou, and Bangkok. They ability to remember and activate those disclose how the specific moral, legal, traces as part of any current debate. and generational awareness shaped Publishing lies at the root of both the outcomes and conduct of property rights disputes. It has also those involved. Expressed through been a place of contestation and the activism, curatorial practice, or commons. This came at the time when education, what my interlocutors have printed matter became equated with in common is not only an interest in emancipatory practices, and when planning cities, museums, or libraries access to free thought was under- but also a deeper commitment stood as the foundation of freedom. to building a civil society without reproducing existing divisions. 柳思雅 Marysia Lewandowska 產權 PROPERTY 擁有權 OWNERSHIP 約翰 洛克 JOHN LOCKE 熱忱 PASSION

房地產 REAL ESTATE 資產 ASSET 用途 USE

用戶 USERSHIP 價值 VALUE 知識 KNOWLEDGE

饋贈 GIFT 感動 AFFECT 填海 RECLAMATION PROPERTY COMMONS

the concept of a ‘museum’. I need to do something as quickly as possible. I cannot plan anything for longer than five years. I cannot promise anything, in China long-term is impossible.

ML 產權 PROPERTY Even though this is a private enterprise, its operation is still regulated by a five-year plan?

NYC Because I am not involved in the market, I can tell how much has changed since I started working Conversation with 蔡影茜 Nikita here. In 2010 there were not many Yingqian Cai, Curator. Times Museum, museums. Now in 2016, all of these Guangzhou, China. Recorded Jan 2016 newly built private museums are competing with each other. We are all competing for the same kind of 柳思雅 Marysia Lewandowska funding. There are not many sources One of the questions related to we can access. And the so-called property is how what is privately patrons, whatever boards they might owned can be publicly shared? be part of, we are all trying to reach Does private ownership allow the same group of people. Five years more freedom to act than a state ago, there were only a few museums managed institution? How does in every city, like in Shanghai or your programme benefit from its Guangzhou. But now, there are so relationship with the public? How do many and a lot more are on their way. you create the public around what you think is culturally relevant? ML All of these are built and owned 蔡影茜 Nikita Yingqian Cai by private developers. What about I want to create a counter space working with foundations? Maybe they within a private space through the could offer a more sustainable model programme we are developing. I for the future? What are the structures cannot be sure it will be successful that could ensure stability for cultural but I want to try my best for as long institutions in China? as I can mobilise the resources. The space, budget, team, and artists are all NYC resources that we have. So I want to Because most people are seeking work with temporality that’s counter to fast revenue and profits, they expect 4 COMMONS PROTEST to see a return in a short period of directly challenge their expectations time. That’s how I can describe the for an immediate return. What you mentality of contemporary China. are doing is committed to raising This is especially noticeable consciousness, building appreciation amongst the young generation of and critical reflection within the art art professionals. I am very used to community and beyond. Those kind working with people who are outside of intangible values are very difficult of art and curating. Some of them to convert into the values associated are smart, well educated, and with with finance. So, how do you defend international experience. But to be your programme? What are your honest, a lot of them don’t know main arguments? anything about contemporary art. I really cannot say what art means to NYC them but they are investing a lot of The institution I am working for money in it. has protected my programme. Because I know that the funding structure is going to change very soon, we are under pressure to organise a fundraising gala. I cannot 約翰 洛克 think of another way of securing additional funds and to respond to JOHN LOCKE our director’s wishes. I imagine we will gather sufficient support from the art community to achieve this. We have to work closely with the private collectors and sponsors and ML they don’t necessarily share many Does the fact that they don’t know of our values. I also fear they would much about art make them feel like to have more say. Right now, the insecure or uncomfortable? It Times Property doesn’t really control seems that despite this, they are our programme that much, but if we open enough to trust you and your adopt a more complicated funding programme. They see you have structure, that will be the first thing attracted both local and international we might notice. When the third of attention, so you must be doing the budget will be generated from something right. other commercial sources, a lot may But if their main concern is to change. Right now the institution and increase profit, then how does your what we have created together protect programme fit into their business me. And of course we continue, but model? we don’t have sufficient resources I think it’s quite remarkable that you and a corresponding organisational are managing to propose ideas that structure to remain independent. 5 PROPERTY COMMONS

ML ML I would like to hear what you think The Times Museum is located at the about the increasing number of edge of the city rather than right in private museums gaining prominence the centre. Perhaps that gives you an as part of the art ecology, especially advantage to promote and experiment in Shanghai. What can we expect from with different kinds of ideas, practices, them in the long term? and more ephemeral processes.

NYC NYC We, the Times Museum, cannot Because our activities are not situated compete with the huge social impact in the centre, our space can be they have already created and will seen as hostile to spectacle. Even continue to do so. With blockbuster though we try really hard to put up shows, and charging an entrance fee blockbuster shows from time to time, of 150 RMB, people are still lining up the local community is not prepared and they are getting substantial media for their reception. So it’s helping us exposure. And for that reason I am to develop something quite different. not very optimistic. We work hard, and We will continue in this way for sure, even if we could attract big budgets, I unless the founder decides to move would not be interested in developing to a more prominent location in the those types of projects. city centre. But for now, we have to be Three or four years ago, we didn’t honest about our immediate context. have much competition within our I always say, we have to be honest contemporary art scene, you would with the house and the ‘family’ that is more or less do your thing and other hosting us. people would do theirs. But this is a new phenomenon. It’s a wave, and our audience, sponsors, collectors, and all of the peers are expecting us to be part of that game. They will compare what we are doing with the ambition of the rest of the art world, and yet insist that we remain unique, so we 熱忱 PASSION need to stick to our goals but promote them better. That way our approach will stand out more, because we will keep on doing things differently. Our director demonstrates that kind of belief, which for me is amazing. But 房地產 I am not completely convinced or optimistic about that. REAL ESTATE

6 COMMONS PROTEST

擁有權 OWNERSHIP

房地產 REAL ESTATE

7 PROPERTY COMMONS

資產 ASSET

8 COMMONS PROTEST

價值 VALUE

9 PROPERTY COMMONS

用途 USE

用戶 USERSHIP

10 COMMONS PROTEST

用途 USE

饋贈 GIFT

開放訪問 OPEN ACCESS

11 PROPERTY COMMONS

12 COMMONS PROTEST

利潤 PROFIT

經濟 ECONOMY 13 公共 COMMONS 經濟 ECONOMY 共享 SHARING 小熊維尼與蜜糖 WINNIE THE POOH & HONEY

分散式 DISTRIBUTED 利潤 PROFIT 利益 BENEFIT

開放訪問 OPEN ACCESS 團結 SOLIDARITY 集體 COLLECTIVE 大同 COMMONWEALTH

參與 PARTICIPATION 公共物品 PUBLIC GOOD 社區 COMMUNITY COMMONS PROTEST

存檔 ARCHIVE!

分散式 DISTRIBUTED

15 PROPERTY COMMONS

started asking if I’d wanted to do events. So the events evolved from the space as a community base. What I really care about is the 公共 potential expressed by a library—its COMMONS mission, its values—and what they are for. I think the library foregrounds the accessibility and dissemination of knowledge. What we’re doing now is a manifestation of that. I don’t think we’re an art space—I guess showing art is one of our activities. We also work a lot with digital and technology- based organisations that advocate freedom of expression online. I think Conversation with Narawan Kyo we actually have a lot in common with Pathomvat, Director and writer. Internet advocacy groups since they The Reading Room, Bangkok, Thailand. are supporting freedom of speech, Recorded May 2016 accessibility, and free knowledge creation. I feel we have more in Marysia Lewandowska common with these non-profits than Thank you for finding time just before the more traditional art spaces. your event this afternoon. Can you talk about your involvement with The ML Reading Room? Do you think it’s important that you have a physical space, a social space, Narawan Kyo Pathomvat where people you wouldn’t be able I started this space six and a half to meet through their URL gather years ago, simply because I have and embody something that is more been collecting artists’ materials for affective and less predictable? Is that a long time and when I came back to of interest to you? Bangkok, I realised there were not a lot of spaces where these would be NKP available. So I started this space just Yes, absolutely. I have never realised to share the collection with the arts that before actually opening a space community and with my students. I and being here all the time that there’s teach part-time at the art university a lot of, like you say, unexpected stuff. as well, so it just started small. As Something magical can happen here: we continue to function, I find that accidents, coincidences, ruptures, physical spaces have the potential to and so on. Online, things do happen be so many things and create a sort as well, but the thing is that it’s a of community around them. People different sensibility and platform. 16 COMMONS PROTEST

We couldn’t live without our online NKP communities now and social media What is most important for us is to be helps so much with PR. There’s a able to offer this space for people to different accessibility of knowledge discuss, express different opinions, —the grey area between legal and and argue. People need to be able illegal—especially in our part of the not to agree, to have a freedom of world, it’s so difficult and expensive to antagonistic discussion. When you purchase books or printed matter. We encounter another person, then you believe in free access to knowledge. feel some sort of respect. It’s not When a lot of things are becoming like online where you can put people virtual, the other end of the spectrum down so easily because they’re becomes more important. Physical nameless and faceless. space is very important. People crave coming out and meeting other ML people who think similarly. Online is You said that people attracted to one thing, but I feel especially when your space are academics, activists, we are in this kind of situation, really and so on. Where would the more uptight and subject to censorship and independent art scene congregate, monitoring, people feel depressed around what kinds of spaces, can you —they need a space to come out name them? and meet others to experience commonality. NKP Well, as I told you, the younger generation now is more active and progressive because they grew up during more repressive times. I’d say my generation and the one before 共享 SHARING that is more conservative simply because they were part of the status quo for a long time and they weren’t challenged in any way. But people in their teens and twenties were raised ML in this quagmire and violence. So it’s It’s difficult to manufacture affect only natural that they would question online where everything is already more and are active and open, and predetermined by algorithms. But put a lot more effort to get together what might resonate with a plea and self-initiate. It could be around a for wider participation is to look at specific space, it could be collectives, hybridisation of the virtual with the well loosely, we don’t have really good physical. We need to take advantage collectives, and as a group they do of both. exhibitions and events together. I feel positive about the younger generation 17 PROPERTY COMMONS and I can see certain independent least resist the system. small scenes emerging. Assuming the role of arts people —what is the role of people like us in ML all of this? What is the role of books While organising the workshops and knowledge? Somehow, it’s the at AAA I began interrogating what challenge we must take up to remain property and ownership mean in part of the community. What’s our role this part of the world. I looked at the and how can we connect the arts with forms of protest during the Sunflower other things? What are the ways? Can Revolution in Taipei, triggered by the we be more critical? Can we be more free trade agreement with China, and political? Hopefully younger people then I was aware of a real anxiety in the arts are more interested in and the divisions that were created things other than themselves and the around the Umbrella Movement in market. I see the future for myself in Hong Kong. What do you feel is the education, long-term education and impact of property development research. on this new generation which is beginning to question globalisation through setting up alternative, non- institutional, and often ephemeral structures?

NKP When you talk about all these movements, they’re very young movements, lots of them are the student movements. I think that’s a good sign. The younger generation doesn’t want to put up with all these 記錄 things. The fact that they’re young gives DOCUMENT! them a kind of bravery as well. Older generations have families and jobs and feel like they can’t do this and that. I certainly couldn’t do what they can. So, these people are way ahead of us. Sometimes activists or people like us who try to be active citizens 知識 can’t mobilise much. I think it’s a KNOWLEDGE really good thing that there’s solidarity amongst the younger generation who really want to change the system or at 18 COMMONS PROTEST

填海 RECLAMATION

利益 BENEFIT

記錄 DOCUMENT!

知識 KNOWLEDGE

19 PROPERTY COMMONS

發動 MOBILISE!

20 COMMONS PROTEST

發動 MOBILISE! 社區 COMMUNITY

復行數十步，豁然開朗。土地平曠，屋舍 After a dozen steps, it opened into 儼 然 。有 良 田 、美 池 、桑 、竹 之 屬 ；阡 陌 a flood of light. He saw before his 交通，雞犬相聞。其中往來種作，男女衣 eyes a wide, level valley, with houses 著 ，悉 如 外 人 ；黃 髮 垂 髫 ，並 怡 然 自 樂 and fields and farms. There were bamboos and mulberries; farmers 陶淵明, 桃花源記 陶淵明 were working and dogs and chickens were running about. The dresses of the men and women were like those of the outside world, and the old men and children appeared very happy and contented.

Tao Yuanming, The Peach Colony 公共物品 365–427AD

PUBLIC GOOD This piece of writing may be one of the earliest literary depictions of public life. In this paragraph, a group of people left their country and found a place out of ‘nowhere’ to start their utopia-like life. 21 PROPERTY COMMONS

參與 PARTICIPATION

集體 COLLECTIVE

22 COMMONS PROTEST

小熊維尼與蜜糖 WINNIE THE POOH & HONEY

雨傘運動 UMBRELLA

革命 REVOLUTION

23 示威 PROTEST 遊行 DEMONSTRATION 革命 REVOLUTION 改變 CHANGE

異見 DISSENT 雨傘運動 UMBRELLA 抗命 DISOBEDIENCE 反叛 RESISTANCE

起義 UPRISING 存檔 ARCHIVE! 記錄 DOCUMENT! 發動 MOBILISE! COMMONSCOMMONS PROTEST

不平則鳴 WHERE THERE IS INJUSTICE, THERE WILL BE AN OUTCRY.

遊行 DEMONSTRATION

起義 UPRISING

25 PROPERTY COMMONS

反叛 RESISTANCE

團結 SOLIDARITY

26 COMMONS PROTEST

reclamation of Victoria Harbour, which would have turned the harbour into a river. You said it was this image that fueled the imagination of the people 示威 PROTEST and encouraged them to join your campaign.

WCKS I printed 100,000 of these and worked very hard to distribute the plan. I ran out and printed another 100,000. And this map is priceless because you will find at the bottom that it was not made by me, but by the Hong Kong Conversation with 徐嘉慎 Winston Chu Government Planning Department. So Ka Sun, Lawyer and activist. Winston they could not dispute its authenticity. Chu & Co., Hong Kong. Recorded Jan The plan, together with an explanatory 2015 paper, were officially presented on 14, October 1994 to the Town Planning 柳思雅 Marysia Lewandowska Board. And when I saw the plan I What was your motivation to embark almost fell off my chair, and I decided: on a process which led to stopping ‘Right, we have to stop this!’ land reclamation of Victoria Harbour?

徐嘉慎 Winston Chu Ka Sun There are three themes involved in this Save Our Harbour campaign— first and foremost is town planning —proper planning for the future of Hong Kong. The second involves the 異見 DISSENT Rule of Law, and how the Rule of Law can control the direction of the future. Thirdly, it is Chinese culture. For the first time, Hong Kong people can stand up to the government. All three are important. ML ML It’s so hard to visualise what a What struck me during your lecture campaign like this produces in terms at the University College London of material evidence. So it’s very (UCL) when you showed a plan important that you’re keeping all of outlining the impact of continuing the these documents. 27 PROPERTY COMMONS

感動 AFFECT

WCKS you have the public involvement of The importance of the campaign is private individuals—it’s never been that it has never been done in the Far done in China. My biggest enemy East—that a public campaign, started over the years has been the Chinese by a Chinese family—defeated the culture, and this statement— 自掃門 government on a public issue like 前雪休管他人瓦上霜 —which means the harbour and the environment. ‘Just sweep the snow from your own It has never been done before. footpath, don’t bother with the snow Whereas Western people, with your on other routes.’ Chinese culture culture of Roman history and so on, teaches people always to be selfish. 28 COMMONS PROTEST

WCKS The other problem is that right now the government will give indigenous 改變 CHANGE villagers special rights, but only males, no females, which is stupid. It’s feudal. In a small place like In a way, I may be straying [from the Hong Kong, how is it that you have subject] a little bit—Occupy Central separate rights for two different kinds was the outcome of our campaign. of people? It doesn’t make sense. We completely changed the culture And it’s indefinite, and the numbers of Hong Kong. We were the first are growing. It’s got to stop! We’ve local Chinese people to take the got to make the whole of Hong Kong government to court and win. And the same, in terms of land titles and that, perhaps, is more important of an personal rights. The thing to do is to achievement than saving the harbour. repeal the New Territories Ordinance, So, from a family movement it which still acknowledges traditional became a political movement, before rights and practices of indigenous becoming a public movement. villagers. It’s just outdated. But no one wants to touch this bomb. ML That’s an interesting distinction, ML because I suppose the self-belief Finally, can you expand on the generated inside the family was differences between what you see as necessary for it to produce that kind two cultural traditions behind all kinds of public impact and currency. of changes taking place in the city?

WCKS WCKS There are two ways to do something Maybe these three words will help like this: one is through logic, the you to understand: 情理法. Emotional other is through passion. I approached relationships, then reason, then the this logically, as a town planner. But law. This is the basis of Chinese my mother was more convincing; she society. English society, or Western approached it emotionally, through the society, is the opposite. First the law, Chinese culture. She was born here then reason, then relationships. The four generations ago and so she had two cultures are in conflict. a deep attachment. ML ML You talked earlier about personal What are your current concerns qualities, which are necessary while regarding Hong Kong’s urban confronting difficult decisions and development and expansion? planning activities in the public sphere. 29 PROPERTY COMMONS

大同 COMMONWEALTH

30 COMMONS PROTEST

WCKS Don’t let friends influence your proper As a person, you need to answer judgement. Finally, understanding— to five things, and this is the last don’t be too hard-hearted. You must thing I will tell you. This comes as understand people’s weaknesses, my A.E.I.O.U: ‘a’ is for ‘ability,’ ‘e’ for emotions, and be sympathetic. ‘experience,’ ‘i’ for ‘integrity,’ ‘o’ for ‘objectivity,’ and ‘u’ for ‘understanding.’ ML So, remember this, you require Understanding as in compassion? the ability, experience, and therefore the wisdom, integrity—otherwise you WCKS will end up in prison. Many of my Yes, understanding their point of view. friends are in prison, just because Compassion, yes, is a good element they did not toe the line. Objectivity of that. And if you abide by all these is important for a lawyer and any five—I used to teach these to my person who is wise; you must look students—and someone pointed out at things objectively and not get too they’re not limited to the law; they can close, especially with good friends. be applied to anything you do. 31 Image Captions p 1, Lexicon in progress. p 11, bottom: Shanghai and bullets. Bangkok, May Property, Protest, Commons Himalayas Museum (formerly 2016 and the Alternative Economies Shanghai Zendai MoMA), of Art workshop. TCAC, Taipei, founded in 2005 by the Zendai p 20: Diagram of cultural Sep 2015 Group. Relocated in 2012 references, 1986–2015. Ou to the Himalayas Centre, Ning: Bishan Commune. How p 7, top: Chui Tin footpath encompassing the museum, to Start Your Own Utopia, vol permanent closure to facilitate shopping mall, and hotel, 2. OVO press & Antipyrine, conversion from a public road designed by Arata Isozaki. Copenhagen, 2015, p 28. to private access. Tai Wai, Shanghai, Dec 2015 Shatin, NT, HK, Feb 2016 p 21: Caoxi Public Park, Xuhui pp 12–13: iAPM the first night- District, Shanghai, Nov 2014 p 7, bottom: Small shops give time shopping mall in Shanghai way to the construction of a designed by Benoy, opened in p 22: HK Farm. Urban boutique hotel. Hai Ning Rd, 2013 along the HuaiHai Road. agriculture artists’ collective. Shanghai, Oct 2014 With references to traditional Photo display by Michael Leung. Shikumen architecture, the Autumn Harvest Workshop at pp 8–9: Land clearing for boulevard-style terraces on the Spring Workshop, Aberdeen, private housing development. podium façade mimic the tree- HK, Nov 2014 Fo Tan, NT, HK, Mar 2015 lined streets below, adding a pedestrian feel to the upper pp 23, 25: Day one, Umbrella p 10, top: Sifang Art Park floors. Sunken winter gardens Movement student protest, developed by Lu Jun and his provide rest areas for visitors. Chinese University of Hong art collector son Lu Xun in Shanghai, Oct 2014 Kong (CUHK), Shatin, NT, HK, consultation with Arata Isozaki, 22 Sep 2014 including a contemporary art p 15: Cover. Ou Ning: Bishan museum designed by Steven Commune. How to Start Your p 26: Land reclamation. Kwai Holl opened in 2013. Nanjing, Own Utopia, vol 2. A publi- Chung, HK, 1963. Courtesy of Nov 2014 cation tracing references to Hong Kong Public Records anarchist movements collated Office. p 10, bottom: The Shanghai by artist and activist Ou Ning, 21st Century Minsheng Art who co-founded in 2011 a pp 28, 30–31: Aerial views taken Museum (M21) founded by rural commune in Bishan in 1924, 1959, 1973, and 1985 of the China Minsheng Banking Village, Huizhou, Central Victoria Harbour at North Point Corporation (CMBC) located in China. OVO press & Antipyrine, showing progression of land the former French Pavilion of Copenhagen, 2015 reclamation. A circle indicates the 2010 World Expo. Shanghai, the former government May 2016 p 19, top: Doorbell at the warehouse on Oil Street, which entrance to C&G Artpartment, became an active artists’ village p 11, top: Times Museum an art space critically (1998–2000) housing 1a space founded in 2005 by Times addressing the local art gallery and studios. Lasting Property, resulted from the ecology of Hong Kong, for only 14 months, and after 2nd Guangzhou Triennial, established by artists Clara consolidated protests, the site curated by Hou Hanru, Hans Cheung and Gum Cheng in had to be cleared. Its ultimate Ulrich Obrist, and Guo Xiaoyan 2007. Mong Kok, HK, Sep 2014 evacuation is an example of the through the D-Lab. Designed effects land speculation has by Rem Koolhaas in 2009, it p 19, bottom: The Reading had on a local art community. sits on top of a residential Room, Paradise of the Blind Courtesy Asia Art Archive. development. Guangzhou, Feb (2016). Exhibition by Sutthirat 2015 Supaparinya, shredded books Acknowledgements

Acknowledgements are not just Property, Protest, Commons. Working part of a publishing routine. They Lexicon has been informed by place collaboration at the centre and research during a residency at Asia insist on the role it plays in creating Art Archive in Hong Kong and follows conditions necessary to sustain a series of workshops organised cultural networks based on shared together with the Taipei Contemporary authorship by way of circumventing Art Center curator Esther Lu— privilege and courtesy. involving artists, filmmakers, curators, architects, and writers engaged in cultural production and dissemination models based on generosity and sharing. The three sessions of Property, Protest, Commons and the Alternative Economies of Art in Hong Kong as part of 15 Invitations (30 April and 15 May) and Taipei (20 September 2015) represented a collective endeavour to explore modes actively producing the commons. Property, Protest, Commons. Phoebe Wong Working Lexicon. Sampson Wong Wen Yau Marysia Lewandowska Sep 2014–Sep 2015 AAA Project Team Ingrid Chu Lexicon Sessions Participants Claire Hsu, Inviter Ingrid Chu Hammad Nasar Susanna Chung Chantal Wong Claire Hsu Nicole Lai AAA Project Coordinator Kit Long Lam Holly Leung Hammad Nasar Lydia Ngai Special Thanks Vivian Poon Mimi Brown David Smith Nikita Yingqian Cai Chantal Wong Zian Chen Michelle Wong Ingrid Chu Winston Chu Ka Sun Workshop Participants Emily Davis Clara Cheung Luke Gould Ingrid Chu Claire Hsu Huang Chien-Hung Harry Leung Huang I-Chieh Esther Lu Huang Sun-Quan Narawan Kyo Pathomvat Antony Hudek Ritz Wu Brandon LaBelle Yves Yang Yining Isaac Leung Michael Leung Supported By Maria Lind Foundation for Art Initiatives (FfAI) Loser Liberation Zone National Culture and Arts Esther Lu Foundation (NCAF) Pei-Yi Lu Office for Contemporary Art Hammad Nasar Norway (OCA) Emily Pethick Spring Workshop Laurel Ptak Hafiz Rancajale Credits Michelle Wong Copy-edited by Ingrid Chu Editing assistance by Lucia Kim, & Kay Ho Foundation, and The Maloy Lukian, and Grace Tsoi. Hong Kong Arts Development Design by Luke Gould Council. The programme is part of the ADC 20th Anniversary Additional images courtesy Celebration Series. Special of Hong Kong Public Records thanks to Spring Workshop. Office, Government Records Service (pp 26)

Design Hani Charaf, Kemistry Design

ISBN 978-988-13427-6-8 CC BY 3.0 HK Asia Art Archive is an Asia Art Archive marks its 15th independent non-profit year by extending 15 Invitations organisation initiated in 2000 to creative practitioners to in response to the urgent look within and beyond the need to document and make organisation as an archive, a accessible the multiple recent collection of material, a digital histories of art in the region. platform, and a node in a wider With one of the most valuable collective network. 15 Invitations collections of material on art take various sizes, forms, and freely available from its website creative directions—literary, and on-site library, AAA builds polemic, political, sonic, physical, tools and communities to and digital—and function collectively expand knowledge as a series of ‘drop pins’ to through research, residency, and alternatively navigate where AAA educational programmes. originated and where it may be going. AAA’s e-journal Field Notes Asia Art Archive traces the 15 participants as 11/F Hollywood Centre they contribute notes and entries 233 Hollywood Road to document the process. Sheung Wan, Hong Kong Tel +852 2844 1112 15 Invitations for 15 Years [email protected] is supported by the S. H. Ho www.aaa.org.hk Foundation Limited, the C. K. 01 02 03 04

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