DOCSLIB.ORG

Review of the Future Strategy in Promoting Hong Kong Visual Arts Overseas

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Review of the Future Strategy in Promoting Hong Kong Visual Arts Overseas Consolidating Hong Kong’s Experience of Participating in the Venice Biennale - Review of the Future Strategy in Promoting Hong Kong Visual Arts Overseas Report Commissioned by Hong Kong Arts Development Council and Prepared by Tobias Berger and Elaine W. Ng (Jan 2016) Consolidating Hong Kong’s Experience of Participating in the Venice Biennale - Review of the Future Strategy in Promoting Hong Kong Visual Arts Overseas EXECUTIVE SUMMARY Background 1.1.1. Founded in 1895, the Venice Biennale is one of the most prestigious art events held every two years, which is widely anticipated by the entirety of the international art world. During the 56th edition of the Venice Biennale in 2015, the curated show organized by artistic director Okwui Enwezor included 136 artists from 53 countries. Outside of the curated section, there were more than 90 national pavilions mainly in the Giardini and Arsenale as well as 44 of collateral events mounting exhibitions around the city. During the 2015 edition of the Venice Biennale, 500,000 people had Reviewof the Future Strategy in PromotingHong Kong VisualOverseasArts - visited the festival and over 8,000 accredited journalists covered the prestigious event. 1.1.2. Furthermore, the Venice Biennale is the only major arts event that allows individual nations or regions to organise their own exhibitions by their own appointed curators. It is the only reputable, international arts event that Hong Kong may select and present its own artists to the world. 1.1.3. The Hong Kong Arts Development Council (HKADC) is the public body responsible for the selection of the curator and the execution and delivery of the presentation at the Venice Biennale since its inaugural participation in 2001. The HKADC has been involved in all aspects of the Hong Kong exhibition from 2001-2011. With the 2013 edition, HKADC began working jointly with the West Kowloon Cultural District Authority (WKCDA) in sharing the responsibilities of delivering the project. Both presentations in 2013 and 2015 were curated by museum staff from M+, WKCDA. 1.1.4. The 2001 debut of Hong Kong at Venice under the banner “Hong Kong, China,” reflected the recognition by China of Hong Kong’s Special Administrative Region (HKSAR) status under the “One Country, Two Systems” framework and freedom to pursue its own arts and cultural aspirations, activities and programmes. The initiative had the following participation objectives: To promote creativity and develop international perspective among local artists through arts exchange; ConsolidatingHong Kong’s Experienceof Participating in the Venice Biennale 1 To create a favourable environment conducive to the long-term development of visual arts in Hong Kong. To establish Hong Kong’s image as an arts and cultural city 1.1.5. In the 2013 exhibition catalogue, a message from the co-Commissioners Wong Ying- wai (Chairman, HKADC) and Lo Chung-wing (Chairman, Museum Committee, WKCDA) stated a joint objective to “combine the strengths of the two organizations [HKADC and M+, WKCDA]” to “showcase the best of Hong Kong art to the world.” 1.1.6 It marked the first partnership, including the sharing of resources, between the two organizations: HKADC and M+, WKCDA. The partnership was extended to the 2015 edition, with M+, WKCDA proposing a list of artists to the HKADC Venice Biennale Working Group and together they confirmed the finalist. 1.1.7 Hong Kong has participated in the Venice Biennale for eight editions, it is therefore the purpose of this research to conduct a full evaluation on the impact and delivery of Hong Kong’s participation at the Venice Biennale from 2001 to 2015, as well as to make recommendations to formulating future strategy to promote Hong Kong visual artists overseas. 1.1.8 In 2015, a review of the Hong Kong’s experience participating in the Venice Biennale invited by the HKADC was undertaken by Tobias Berger and Elaine W. Ng (now referred to as the “evaluators”) to evaluate the impact of the project from 2001-2015. Reviewof the Future Strategy in PromotingHong Kong VisualOverseasArts - 1.1.9 The evaluators of this study have a very wide knowledge of the Venice Biennale and have visited numerous international group exhibitions and have published and participated on talks about the subject of contemporary art in both the regional and international context. 1.1.10 Both evaluators have been actively involved in the Hong Kong exhibition at the Venice Biennale over the years; Ng was assistant to curator in the first Hong Kong participation in 2001 and Berger was a curator in the fifth participation in 2009. They have therefore refrained to fill out the interview questions and their opinions are not reflected in the statistics of the “participating artists/ curators.” Furthermore, Ng has visited Venice numerous times and has seen all Hong Kong presentations beginning with 2001. Berger has seen all of the Hong Kong presentations since “Navigating the Dot” in 2003. Berger also worked at M+ during the Lee Kit presentation “You (you)” in 2013 and in the beginning stages of the 2015 presentation with Tsang Kin-wah. 1.1.11 Berger is currently the Head of Arts of Tai Kwun, which will open to the public in 2017. Ng is Editor and Publisher of ArtAsiaPacific, Asia’s leading art publication now in its 23rd year, and has published numerous articles about the Venice Biennial as well as other major art exhibitions in and about Asia. ConsolidatingHong Kong’s Experienceof Participating in the Venice Biennale 2 Structure and Research Method 1.1.12. The report will provide the following: 1. Evaluate Hong Kong’s past participation in the Venice Biennale through both factual summaries and conducting surveys with three consultation groups; 2. A comparative analysis of other countries’ models; 3. Explore future direction of Hong Kong’s participation in the Venice Biennale; and 4. Suggest other strategies to promote Hong Kong visual artists overseas. 1.1.13. The evaluation has used the following quantitative and qualitative methods: Review of administrative data and documentation provided by the HKADC and other similar national arts councils Assessor reports analysis collected during all the biennales Hong Kong has participated in since 2001 Onsite questionnaire conducted at the Hong Kong exhibition at the Venice Biennale in 2015 Surveys or interviews with key stakeholders in the local arts community, artists and curators who have participated in the Hong Kong exhibition at the Venice Biennale as well as international arts experts 1.1.14. The evaluators offer suggestions for the future direction of both participating in the Reviewof the Future Strategy in PromotingHong Kong VisualOverseasArts Venice Biennale and promoting Hong Kong artists overseas based on the research and - feedback consolidated from surveys/interviews, and assess the impact of previous Hong Kong presentations at the Venice Biennale. History of Hong Kong Exhibitions in the Venice Biennale 1.1.15. Hong Kong first exhibited at the Venice Biennale in 2001 with “Magic at Street Level,” a group exhibition featuring the work of Ho Siu Kee, Leung Chi-wo and Ellen Pau, curated by Tsong-zung Chang. In 2003, Para/Site Art Space organised “Navigating the Dot,” with an artist collective consisting of 11 artists. In 2005, independent curator Sabrina Fung curated “Investigation of a Journey to the West,” with artists Kurt Chan Yuk Keung and Stanley Wong (aka anothermountainman). In 2007, independent curator Norman Jackson Ford curated “Star Fairy,” with artists Hiram To, Amy Cheung and Map Office. In 2009, Para/Site Art Space executive director Tobias Berger curated the first solo presentation of Tozer Pak Sheung Chuen with the title “Making (Perfect) World.” In 2011, “Frogtopia ‧ Hongkornucopia” was a solo presentation of Frog King (Kwok Mang Ho), co-curated by Fringe Club director Benny Chia together with Wong Shun-kit and Tsang Tak-ping. In 2013, M+ director Lars Nittve and assistant curator Yung Ma, curated “You(you),” featuring a solo exhibition of Lee Kit. In 2015, M+ chief curator Doryun Chong and curator Stella Fong, curated “Tsang Kin-wah: The Infinite Nothing, Hong Kong in Venice.” ConsolidatingHong Kong’s Experienceof Participating in the Venice Biennale 3 1.1.16. Attendance at the Hong Kong exhibition increased with the change in venue to the current location, near the Arsenale entrance, which is one of the two main venues of the curated exhibition of the Venice Biennale. Total Attendance Figures for the Hong Kong exhibition at Venice Biennale (2001-2015) Year Recorded visitors Location 2001 32,200 Ex. Musicanti, San Apollonia 2003 51,800 Near the Arsenale 2005 22,800 Fondaco Marcello, San Marco 2007 81,500 Near the Arsenale 2009 130,000 Near the Arsenale 2011 72,400 Near the Arsenale 2013 58,500 Near the Arsenale 2015 82,282 Near the Arsenale 1.1.17. From 2001-2011, the average budget for producing the Hong Kong exhibition at the Reviewof the Future Strategy in PromotingHong Kong VisualOverseasArts - Venice Biennale was HKD 3-3.5 million. In 2013 and 2015, the budget increased dramatically with the support of M+, WKCDA. Key Findings From Three Survey Groups: 1.1.18. The questionnaire was sent to the following three survey groups: Curators and artists who have participated in the Hong Kong exhibitions at the Venice Biennale since 2001 (23 responses received); Local art sector, working across various art occupations including gallery owners, artists, university professors, media and design (28 responses received); International art experts comprising collectors, museum directors, curators, art writers and art fair professionals (18 responses received). 1.1.19. It was unanimous among all consultation groups surveyed that the location of the current Hong Kong site is a major asset and it must be secured for the long term because of its direct proximity to one of the two main entrances of the Venice Biennale.
Load more

Recommended publications
  • Convergence of the Practices of Documentary and Contemporary Art in Hong Kong: Autoethnographic Works of Tang Kwok Hin and Law Yuk Mui
    REPORT CONVERGENCE OF THE PRACTICES OF DOCUMENTARY AND CONTEMPORARY ART IN HONG KONG: AUTOETHNOGRAPHIC WORKS OF TANG KWOK HIN AND LAW YUK MUI Hoi Shan Anson Mak, Hong Kong Baptist University ABSTRACT This article is part of a research project funded by the University Grants Committee, Hong Kong. The project title is ‘Convergence of Documentary Practices in Contemporary Arts in Hong Kong’. We collected 230 artworks from 31 artists/artist groups for textual analysis. Twelve artists were selected for a focus study and interviews. Eleven short edited interviews with English subtitles, together with information on the artworks and artists, are freely available online to anyone, especially researchers and teachers, interested in using the materials for their own projects. There are also artworks (with artists’ permission) that go with artists interview, hence audience can better comprehend when artists referring to their artworks. URL: https://docuarthk.wixsite.com/research/artists-n-z Among many findings, autoethnography is shown to anchor an interesting point of intersection across disciplines. This article explores autoethnography, originally applied as a qualitative research method, echoes with the practices in reflexive documentary and the ways being used by contemporary visual artists in Hong Kong. This writing examines autoethnographic artworks by Tang Kwok Hin and Law Yuk Mui regarding notion of homes and relational autoethnographic subjectivities. KEYWORDS Autoethnography, Home, Hong Kong Contemporary Arts, Experimental Ethnography BIO Anson Mak is a researcher-artists, specialized in moving image and sound. She currently works as Associate Professor in Academy of Visual Arts in Hong Kong Baptist University, Hong Kong. She is especially interested in experimental ethnography and manipulation of super 8 film in the digital era.
    [Show full text]
  • 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.
    [Show full text]
  • RT& Essays on ART from a Hong Kong
    RT& Essays on ART FRom a HonG KonG PeRspecTIve David Clarke .. Hong Kong University Press * ,~ *- 1.f ~ )!.[ ~ ~\I' Hong Kong University Press 139 Pokfulam Road, Hong Kong © Hong Kong University Press 1996 ISBN 962 209 415 5 All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without permission in writing from the publisher. Cover illustration: Entrance to the exhibition of works by Zhang Hongtu, Hong Kong University of Science and Technology, May 1996 Printed in Hong Kong by United League Graphic & Printing Co. Ltd. ontents Illustrations Vlt Introduction Xl Section I. Art and Its Contexts 1 1. Site-Specificity in Recent Art 3 2. Monologues Without Words; Museum Displays as Art Historical 12 Narratives 3. Museums, Artists, Audiences 19 4. Private Art in a Public Place 24 5. 'In Search of Art'; Looking Back With the Future in Mind 28 6. Engaging Tradition 33 7. Photography, Art, Life 37 Section II. Arts Policy Issues 45 8. The Culture of Democracy; Looking at Art in Hong Kong 47 9. The Arts Policy Review Report: Some Responses 52 10. Submission to the Legislative Council's Panel on Recreation and 55 Culture Concerning the Proposed Arts Development Council 11. Research and the Nurturing of Public Understanding of Art 58 Section III. Hong Kong Art 63 12. Between East and West: Negotiations With Tradition and Modernity 65 "in Hong Kong Art 13. The Sculpture of Antonio Mak 85 14. The Art of Yank Wong 105 15.
    [Show full text]
  • Annual Report 1999/2000
    Contents 2 Chairman’s Foreword Annual Review 4 List of Council Members 8 Council Structure 10 Secretary-General’s Report 15 Year at a Glance Committees’ Reports 16 Artform Board 18 Resource Management Board 20 Strategic Development Board 22 Grants Committee 24 Planning and Development Committee 26 Arts Education Committee 28 Drama Committee 30 Film and Media Arts Committee 32 Literary Arts Committee 34 Music and Dance Committee 36 Visual Arts Committee 38 Xiqu Committee Mode of Operation 40 Members and Examiners of Arts Committees Jolans Fun g — Exhibit fro m Nice Label 50 Code of Conduct 52 Corporate Communications 53 Sponsorship 54 Report of the Council 56 Auditors’ Report 57 Income and Expenditure Account 58 Balance Sheet 59 Cash Flow Statement 60 Statement of Recognised Gains and Losses 61 Notes to the Accounts 65 Secretariat Structure 66 Members’ Attendance at Council, Boards and Committee Meetings 70 Grants List Hong Kong Arts Development Council Annual Report 1999/2000 1 April 1999 — 31 March 2000 The Hong Kong Arts Development Council (ADC) was formally established by the Government in June 1995 to plan, promote and support the broad development of the arts, including the literary, performing, visual and film arts. The ADC is a highly focused policy development and funding agency, providing grants to arts organisations and artists. The ADC also develops and improves the participation and education in, and the knowledge, practice, appreciation, accessibility and informed criticism of the arts, with a view to improving quality of life for the whole community. The ADC lays great emphasis on the role played by arts education in achieving these aims.
    [Show full text]
  • A Feasibility Study on Setting up a Visual Arts Academy in Hong Kong
    August 2002 A Feasibility Study on Setting up a Visual Arts Academy in Hong Kong Final Report Research Team Grace Kao Principal Lecturer Academic Leader Department of Design Hong Kong Institute of Vocational Education (IVE) Leslie Lu Associate Professor Director of Graduate Studies Department of Architecture The University of Hong Kong Harold Mok Associate Professor Department of Fine Arts The Chinese University of Hong Kong Consultant Dr. Mayching Kao Dean and Chair Professor School of Arts and Social Sciences The Open University of Hong Kong Copyright © 2002 by Grace Kao and Leslie Lu Acknowledgment The research team gratefully acknowledges the Hong Kong Arts Development Council for its financial assistance that made this project possible, the 8 advisors, local and overseas artists, designers, educators, and representatives of educational institutions and organizations for their enthusiasm, valuable time and opinions; (Kelly Kao) and Jeffrey Aranita for their initial participation. ABBREVIATIONS Government-funded Institutions CityU City University of Hong Kong CUHK The Chinese University of Hong Kong HKAPA The Hong Kong Academy of Performing Arts HKBU Hong Kong Baptist University HKIEd The Hong Kong Institute of Education HKU The University of Hong Kong IVE The Hong Kong Institute of Vocational Education LU Lingnan University OUHK The Open University of Hong Kong PolyU The Hong Kong Polytechnic University VTC Vocational Training Council Self-financed Providers HKAC Hong Kong Arts Center LiPACE Li Ka Shing Institute of Professional and
    [Show full text]
  • Community Murals Serve As a Meeting Zone of Art Tourism in Hong Kong
    Community Murals Serve as a Meeting Zone of Art Tourism in Hong Kong Kong Ho, Shanghai Jiao Tong University, China Martie Geiger-Ho, University of Brunei Darussalam, Brunei The Asian Conference on Arts & Humanities 2018 Official Conference Proceedings Abstract As a teaching muralist for almost two decades, Prof. Kong Ho explores his community mural experience in Hong Kong in the perspective of art tourism and cultural reinvention. Ho intents to apply his recent conducted mural tour experience for the Whittier College in Hong Kong as a case study to offer a first-hand understanding of the impact of community murals in art tourism and cultural development in Hong Kong. The concept of community murals was a relatively new art form in Hong Kong during the late 90’s while Ho just founded the Hong Kong Mural Society in June 1997. Only a few community murals created in Hong Kong during that time. The public estate and school mural projects launched by HKMS from 1997 to 2001 exemplify community-based art practices in Hong Kong. The 1.5- day mural tour for Whittier College set an example of the value of art and culture, which serves as a meeting zone of art tourism in Hong Kong. The mural tour has visited 7 estate and school murals, completed from 1998 to 2007, in Hong Kong. This paper explores how these almost 20 year-old community murals reinvent their art and cultural values in term of current innovative art tourism in Hong Kong. Ho's insights into community art and the meaning of cultural and creative industry are unique because he presents them as academic research through his practical experience.
    [Show full text]
  • A RECORD of an ONGOING PROJECT of PERFORMANCE and ARCHIVE Entitled the FRAGILE EGGS: TESTIMONY of the HONG KONG PROTESTS with a COROLLARY STATEMENT by Mandy Wong
    A RECORD OF AN ONGOING PROJECT OF PERFORMANCE AND ARCHIVE entitled THE FRAGILE EGGS: TESTIMONY OF THE HONG KONG PROTESTS with a COROLLARY STATEMENT by Mandy Wong ©2020 Mandy Wong A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts School of Art Pratt Institute May 2020 A RECORD OF AN ONGOING PROJECT OF PERFORMANCE AND ARCHIVE entitled THE FRAGILE EGGS: TESTIMONY OF THE HONG KONG PROTESTS with a COROLLARY STATEMENT by Mandy Wong Received and approved: Major Professor Name: Ann Messner Advisor for Corollary Statement Name: Jen Mazza Department Chair Name: Jane South 1 To the protesters in Hong Kong, for whom I wish to be hands and feet; to the people who are seeing these words, I apologize for my attempt and failure to be objective, that the work takes off from my stance, fear, and belief. I apologize for being in a distant safe place while claiming myself fraternal. I apologize for not expecting a victory, yet pushing the crowds to continue and to escalate. I apologize for my ignorance of the meaning of autonomy, democracy, and freedom that I am fighting for. I apologize for enjoying a privilege to ensure my safety, at the same time having a desire to suffer. I apologize that during the protests I incurred no physical wounds, that I was not beaten, arrested, raped, or forced to commit apparent suicide, and that I received no personal threat. I apologize for the fact that I am mentally and physically inferior to fully grasp your pain.
    [Show full text]
  • The Histories of Hong Kong: Nation Formation and a Third Identity in the Territory
    Revista de Lenguas ModeRnas, N° 19, 2013 / 649-667 / ISSN: 1659-1933 The Histories of Hong Kong: Nation Formation and a Third Identity in the Territory Lai Sai acón chan Instituto Confucio Universidad de Costa Rica Abstract This article explores the history of Hong Kong from a multidisciplinary per- spective in order to explain nation formation and identity formulation pro- cesses triggered by the Handover. The pattern recurs through diverse cultural productions released during key moments prior to 1997 as can be observed in articles of my own like “Los efectos (pos)traumáticos del retorno de Hong Kong a la madre patria en 1997” and “Timothy Mo’s An Insular Possession”. Key words: history, nation formation, Hong Kong, postcolonialism, the Handover Resumen El presente artículo aborda la historia de Hong Kong desde cuatro perspec- tivas disciplinarias distintas-- cine, literatura, arte plástico y arquitectura- -con el fin de facilitar la comprensión de los procesos de formación de la nación y la identidad que se dan en el territorio a raíz de su devolución a China. Estos se pueden apreciar como un patrón que se repite a lo largo de diversas manifestaciones culturales en momentos claves previos a 1997, tal y como se aprecia en artículos de mi autoría como “Los efectos (pos)trau- máticos del retorno de Hong Kong a la madre patria en 1997” y “Timothy Mo’s An Insular Possession”. Palabras claves: historia, formación de nación, Hong Kong, poscolonialis- mo, la Devolución de 1997 The history of Hong Kong was never a serious topic for academic research, and there was no need for a colonial government to take that seriously either.
    [Show full text]
  • Hong Kong As a World City: Assessing Its Attractiveness to Global Talent
    Hong Kong as a World City: Assessing its Attractiveness to Global Talent Christine Loh Kee Foong August 2005 Hong Kong as a ‘World City’: Assessing its Attractiveness to Global Talent Christine Loh and Kee Foong August 2005 Civic Exchange Civic Exchange is a non-profit organisation that helps to improve policy and decision- making through research and analysis. Room 701, Hoseinee House, 69 Wyndham Street, Central, Hong Kong Tel: (+852) 2893 0213 Fax: (+852) 3105 9713 URL: www.civic-exchange.org Disclaimer The views expressed in this report are those of the authors and do not necessarily represent the opinions of Civic Exchange. ii Hong Kong as a ‘World City’: Assessing its Attractiveness to Global Talent I. Introduction The world economy today operates on a high degree of integration. Trade, investments and diffusion of technologies are now global. A growing proportion of the world’s workforce depends on faraway markets, sources of capital and know-how. At the same time, the world’s best human resource talent is becoming increasingly mobile. One of the great competitiveness battles among economies is over creative talent. Since competitiveness and creativity go hand in hand, a sign of a city’s attractiveness is the extent of flow of people wanting to visit and relocate to it. For much of the last century, Hong Kong received a tremendous flow of people from mainland China who left to escape war, civil war, revolution, poverty and to look for better opportunity.1 The flow continued until the last couple of years when the rate appears to be slowing substantially.
    [Show full text]