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

Review of 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 inthe Venice Biennale

 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. Review of 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 inthe Venice Biennale

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 Review of 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 inthe Venice Biennale

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

Review of 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. As gathered from the 23 artists and curators, it is identified that there were mixed

opinions on whether or not the expectations had been met although 65% of the artists ConsolidatingHong Kong’s Experienceof Participating inthe Venice Biennale and curators felt that the Venice Biennale did help their career in some form. All

respondents, except for the last two participations in 2013 and 2015, considered the

budget inadequate and hoped for more preparation and lead-time in future editions.

Many artists and curators felt that more resources could have been useful to produce better publicity materials while over half considered the PR support not sufficient, although it improved significantly in the last two exhibitions. There were mixed opinions as to the overall success of the opening reception and events. Different respondents had different comments on whether post-Biennial support was adequate or not. More than half considered the Response Exhibition a meaningful event and similarly the educational programmes. Most respondents admitted that there was no ideal solution for the selection mechanism given individual values on open call for proposals and transparent selection process vis-à-vis the importance of a professional selection committee and the support of an institution like M+. As a final note, it was unanimous for the artists and curators to recommend the HKADC to support more participation in international events like the Venice Biennale and to promote artists overseas.

Summary table of the key findings of three survey groups:

Items Three Survey Groups Current venue is a major asset, must be secured for long- A. Location term. Not adequate for the exhibitions of 2001-2011. Only when

M+ contributed a substantial further amount to the Review of the Future Strategy in PromotingHong Kong VisualOverseasArts

B. Budget - exhibitions, the budgets for 2013 and 2015 became adequate.

C. Lead Time More preparation time is needed.

(1) Participating Artists & Curators Most respondents agreed that there was no ideal solution but considered the open call should be resumed while HKADC needs to work together with an institution. A selection panel with experienced art professionals involved was also suggested. D. Selection Process (2) Local Arts Sector of Curator and Artist Most respondents suggested an open call for proposals with more transparency and professionalism in the selection process and panel. (3) International Art Experts Around half of the respondents suggested that either artist or curator should be nominated and handpicked rather than through an open call process. More resources should be allocated; insufficient PR support E. Publicity & PR until last two editions; should focus on international and

regional media coverage rather than local media. ConsolidatingHong Kong’s Experienceof Participating inthe Venice Biennale

F. Opening Mixed opinion; several respondents wished the reception to

reception and be more artists/curator focused with less government events officials and political interests.

G. Response exhibition and More than half considered the response exhibition a educational meaningful event. programmes

H. Is VB a Almost all participating artists and curators would meaningful event recommend VB experience to colleagues and peers and to support? considered a useful and meaningful event for HK. I. Post-biennale Mixed opinion on whether to continue to support artists support after participating in the VB. Unanimous for HKADC to support more participation in international events like VB. Recommendations included J. HKADC’s support more artists / curators to travel overseas for residencies to promote visual and exhibitions, and reciprocal programs to invite artists / artists overseas curators to visit HK and learn more about the local art scene.

From Models of Other Countries:

Review of the Future Strategy in PromotingHong Kong VisualOverseasArts

1.1.20. To make a comparative analysis, we have analysed three national pavilions and two collateral events held at the Venice Biennale. The three national pavilions are Australia, New Zealand and Singapore. The two collateral events are Scotland’s presentation and Taiwan’s presentation. We have chosen these five countries because they are very comparable to Hong Kong. Australia was chosen because it is in the Asia-Pacific region and is supported by the Australia Council for the Arts, however, has strong private support and organized with an institution. New Zealand and Singapore were both chosen because each debuted in Venice in 2001, the same year as Hong Kong, and are of comparable size and ambition. Scotland and Taiwan were selected as both are collateral events, like Hong Kong, and are not recognized as nations with official national pavilions.

1.1.21. From the comparative analysis of other national pavilions and collateral exhibitions, we learned that it is important to have enough lead-time, a substantial budget and professional governmental body as well as a professional curatorial team with international experience. In all studies we learned that a professional and transparent selection process is crucial for a successful outcome.

1.1.22. Through the research of the previous eight Hong Kong collateral exhibitions at the Venice Biennale, it is indisputable that participation at the prestigious event is an unparalleled experience for Hong Kong visual artists and curators. It is an international platform that uniquely allows Hong Kong to determine its own presentation—from the artist to the exhibition to organising institution. The event ConsolidatingHong Kong’s Experienceof Participating inthe Venice Biennale

provides visual artists from Hong Kong a spotlight in an international setting in which

artists from all over the world exhibit side-by-side.

1.1.23. The general consensus is that Hong Kong has successfully organised exhibitions at the Venice Biennale from 2001-2015. The findings are reflected in the local and international surveys. Due to a continuous strategy of organising interesting exhibitions, located in key sites and implementing good external communications and public relations, Hong Kong has managed to become one of the most visible presentations outside of the two main venues of the Venice Biennale: the Giardini and the Arsenale. This is even more remarkable considering that Hong Kong, due to its status as a Special Administrative Region of China, is not an official National Pavilion and only categorized as a Collateral Event, which brings with it certain visibility limitations.

Recommendation

For Hong Kong’s Future Participation in the Venice Biennale:

1.1.24. In summary, based on the research and surveys conducted, we make the following recommendations:

 HKADC’s Role Review of the Future Strategy in PromotingHong Kong VisualOverseasArts

1.1.25. HKADC’s main role should consist of facilitating a transparent selection process and funding the Hong Kong exhibition at the Venice Biennale. However if the HKADC wants to take an active role in the project, then they must assemble a team of credible and experienced professionals who can ensure successful delivery of the project.

 Selection Method

1.1.26. The HKADC has tried different selection methods including: invitations for proposals, open calls and appointing a major arts institution. After analysing the models of different countries and opinions of the three survey groups, it is unanimously agreed that there is no perfect solution. Since the Venice Biennale is such an important international stage to promote Hong Kong artists, this serious task requires both professionalism and a substantial budget to be realised, it is therefore the evaluators’ recommendation to conduct an invite-call for major arts institutions like M+, WKCDA or the Hong Kong Museum of Art (HKMA). If none of the major institutions apply, HKADC should invite medium-sized institutions to the invite-call. These medium- sized institutions should be able to produce the event with curatorial staff that have previous international expertise, and possibly the means to raise additional funds.

 Other Key Findings

1.1.27. The other key findings include taking the single artist approach, securing an adequate budget for the project of a minimum of US$1 million (around HK$7.8 million, ConsolidatingHong Kong’s Experienceof Participating inthe Venice Biennale excluding the expenses of the response exhibition and venue rental), allocating at least

18 month preparation time for the artist and the curatorial team, keeping the present

venue, using a professional international PR agent, hosting an opening reception and

placing an important emphasis on educational programmes and the Response Exhibition.

Other Strategies to Promote Hong Kong Visual Artists Overseas

1.1.28. Analysing the overseas projects that the HKADC has supported in the past, it is obvious that the approach could be improved.

1.1.29. Supporting local artists and art professionals to visit the Venice Biennale preview is one of the initiatives that the HKADC should explore. The HKADC should approach this endeavour as a long-term initiative.

1.1.30. Furthermore, HKADC should invite more overseas curators to visit Hong Kong to learn about the local arts scene and encourage artists to visit other important international exhibitions, especially biennials-type festivals, and participate in residency programmes.

( In case of inconsistency between the English version and the Chinese version,

Review of the Future Strategy in PromotingHong Kong VisualOverseasArts

the English version shall prevail.)

ConsolidatingHong Kong’s Experienceof Participating inthe Venice Biennale