Former Central School Envisioning Days

The Central School started operation at Gough Street in 1862. Having received an earlier education in Hawaii, Dr. Sun Yat Sen studied in the Central School from 1884 to 1886 when he was 18. As a student, he also attended the stone-laying ceremony for the new school building on Hollywood Road in 1884. After the School was relocated to the new site, it was renamed as Victoria College and Queen’s College in 1889 and 1894 respectively. During the WWII, the school buildings were severely destroyed. They were demolished in 1948 and were rebuilt into quarters for married police offers since 1951 till 2000 while the Queen’s College was relocated to the present site on Causeway Road in 1950.





The original site of the Government Central School (44 Gough Street) and the original site of the Queen’s College (Aberdeen Street) are two checkpoints (No. 5 and No. 9) along Dr Sun Yat-Sen Historical Trail. People can only read their stories on the display boards outside of the School buildings, which are not open to public in normal days. I was always curious about the inside before.

http://www.heritage.gov.hk/tc/conserve/quarterssite.htm
http://www.lcsd.gov.hk/CE/Museum/sysm/download/leaflet_en_07.pdf

Fortunately, the Former Central School Envisioning Days come on 21, 22, 28/2/2009 & 1/3/2009. The Former Hollywood Road Police Quarters is transformed into Hollywood Road ART Quarters. The quarters are made up of a higher block and a lower block with 3 platforms around. Kitchens on each floor are located in the common corridor, and people eat outside of their living rooms. Also, they have to share communal toilets and baths. The modern design of the quarters is not as magnificent as the Former Queen’s College, and the buildings are now shabby. However, the place is still charming as it is just full of stories and memories. Can you imagine a wonderful picture that some families are busy preparing dinner and some families are sitting around the dining table and enjoying the happy moment after a busy day? The quarters are then filled up with the smell of food and laughter.





Exhibits spread out in the two blocks where individual artists and art students are using the ground floor of the lower block and 14 participating galleries are grouped on the first floor of the upper block. Most of the installations are perfectly tuned to the old buildings and home environment. The theme of the artworks is interestingly related to home, school, old days, experiences, memories, vanishment, banishment, punishment, crime and prison, life and death, future…There are a lot of findings and fun in the tour.


Searching for the Missing:
Breeze
Video Installation
Choi Yan Chi


Be A Good Man/ Husband, Be A Good Woman/ Wife
Installation
Mok Yat San and Man Fung Yi


To begin with, there isn’t any matter
Paper / cotton fabric
anothermountainman


A Plague
Junk Wood Installation
Wong Tin Yan


Room in the sky
Installation
Kum Chi Keung


Towards a Brighter Future through the Valley of Darkness
Stickers, photographs, and waxed clothings
Kacey Wong


I’m not a curator, art loan from:
Luk Ching, Yvonne Cheng, Shirley Lee,
Lee Lee, Leo Wong, Elsa Wong, Boy Yiu
Installation
Lam Laam Jaffa


What are they watching?

Video show in the living room (provided by Jaffa Lam):
http://www.youtube.com/watch?v=aFW5q3bLgzo

Video show of the whole installation (provided by Jaffa Lam):
http://www.youtube.com/watch?v=tAUTcSD3WOY

Art Beatus Gallery:




1. Scar 02, 51 x 50cm
2. Scar 04, 50 x 54cm
3. Scar 07, 64 x 50cm
4. Scar 05, 64 x 50cm
5. Scar 01, 64 x 50cm
6. Scar 06, 64 x 50cm
7. Scar 08, 64 x 50cm
2008, plastic fabric, wire, ink drawing
Chan So Yee Pauline

The artist gives life to her drawings by using plastic fabric and wire effectively. Man’s inner physical situation and inner life are exposed to us thoroughly. What makes us feel happy, excited and nervous, hurt, painful and sick? Do we have enough supports? The bones are suffering from pressure; the blood vessels are dilating and constricting, and our skin is recording our everyday experiences. Dare you see yourself deeply?

Koru Contemporary Art:

Planet of the Bees, w 50 x h 50 x d 9cm
2003, carved, cast, laminated, glass
Bohumil Elias


Glass element with 8 Meduse, w 400mm x h 300mm x d 80mm
Glass element with 2 Cannocchie V, w 160mm x h 230mm x d 80mm
Glass element with 2 Squids, h 300mm
Alfred Barbini


Infinity #1, h 41 x w 136 x d 30cm
New Zealand demolition Kauri
Pigment stain / Oil & wax
Rick Swain

MOST:

Ghost College:
猛鬼學堂
2009, 混合媒界
譚逹強


改變用途Trasformazione
表演裝置記錄
劉中行


Trash to Treasure no. 3 – triangle
紙雕塑
陳美軒

Today, the Former Hollywood Road Police Quarters are being preserved because over 2,000 pieces of historical relics were found at the Site during the archaeological investigations between December 2005 and July 2007. The government intends to revitalize the Site as an attraction for local and overseas visitors, aligning the promotion of other heritage spots along Central and Western Heritage Trail – the Sheung Wan Route. As usual, economic benefits maybe its major concern, but I do hope the government will conform to what it mentioned, “…to provide quality city open space in the area. Due regard will be given to the preservation of the historical relics within and around the Site, the manifestation of its heritage value and original atmosphere.” Let’s wait and see!

Art Spaces in Hong Kong

Related discussions carry on everywhere throughout the month after an article about the ‘failure’ of running JCCAC by Ming Pao was released on Feb 2. The two forums I attended on Feb 13 and Feb 20 were organized by ADC & Ming Pao and C & G Artpartment respectively. Whether the forum was named “Roles of Artists’ Village in Hong Kong” by ADC or “The Alternative Art Spaces in the Hong Kong contemporary art's development;” whether the group size was large (over 100 people) or small (around 30 people), I saw people, especially the younger generation, sighing out their helplessness in finding ideal art spaces and their concerns for the art development in Hong Kong. I believe that people gather not simply because of the widespread discontent with that questionable report by Ming Pao, but mostly because of their urge for bringing public as well as the government’s attention to the real situation and difficulties that the Hong Kong artists are facing today. Who will take the blame for the false impression made on Hong Kong artist villages? Is the reporter of Ming Pao, the Hong Kong government, or someone else?

The reporter is just one of the general public who do not understand the art world. People working in the art field should therefore stand out and speak the truth. How about the Hong Kong government? It is certain that the aids given by the government for so-called non-profit-making projects are always limited. Otherwise, there is no wonder that the government will intervene in all aspects of the projects it subsidized. In either way, cries of discontent will rise all round. Before the government, by chance, putting forward a constructive policy for local art development, what can others do? On one hand, some people should keep lobbying the government; on the other hand, would art workers unite to do more for the good of their career development? It is definitely a long way to get everyone understanding the importance of art to the whole of cultural life.

As recorded, before the establishment of Hong Kong City Hall in 1962, there was nearly no well-found and fixed venue for art exhibitions, and hotel function rooms and churches became the common places for artists’ choices. Afterwards, Hong Kong Arts Center and Hong Kong Fringe Club were built in 1977 and 1984 respectively. With increasing needs for the flexibility in dealing with different forms of exhibition, artists started to set up art exhibitions and art spaces in the community by themselves. For examples, some returned artists made use of an antique house at No. 15 Kennedy Road as an exhibition and performance venue for their experimental art activity called 「外圍」 in October 1987. Besides, the Quart Society formed in 1990 was regarded as the first autonomous art space in Hong Kong for art exhibitions, performances, and gatherings. Open studios were also organized by some artists in 1993 and 1994. As most of the artists resided in their studios, people got chances to know their living as well. Subsequently, the formation of Para/Site Art Space (1996), Artist Commune (1997), Most (1998), and 1a Space (1998) contributed to the diversification of art development in Hong Kong. In 1998, the first artist village in Hong Kong was born. More than 30 art groups, artists, designers, photographers, and architects clustered in the former government warehouse in Oil Street, North Point because of its very low rental rate. When the government decided to retrieve the old warehouse after the lease expired at the end of 1999, the Oil Street Community started negotiations and succeeded in acquiring the former Cattle Depot in Tokwawan, Kowloon as a replacement. In 2001, Cattle Depot Artist Village was established, and it was home to 20 artists and art groups. Entering into the 21 century, we could find different art spaces / artist villages set up in different sites like Fotanian (2000), Foo Tak Building Studios (2003), and Jockey Club Creative Arts Centre (2008); whilst, some artists would station at other industrial buildings in Kwun Tong, Kwai Chung, Tsuen Wan, or Chaiwan.

When conceiving the idea of artist village in Hong Kong, other than the government and the public’s concerns of economic benefits, artists also have different expectations. Some artists prefer a space for working without disturbance while others welcome visitors. According to individual needs, some artists choose to reside at the art spaces / art villages which will only open on special occasions while others prefer an open area where they do not mind people watching them when working. Taking JCCAC as an example, it is expected to develop one-stop services in a place where embraces the following elements: 1. art spaces for working; 2. an art community full of variety which encourages interaction among tenants and visiting people; 3. exhibition / performance venues; 4. joint forces of commercial galleries; 5. promotional and commercial activities for art sales; 6. art shops / stylish cafés. All these settings aim at a win-win situation that brings art development as well as economic benefits to the community.

People commented that it might be too idealistic to accomplish the purpose desired. For my point of view, it seems to be a tight squeeze to get all proposed elements in a building. Is it feasible to expand the design to the whole community of Shek Kip Mei? While leaving private art spaces and exhibition and performance venues in the building for the resident artists, the government may bring in other art facilities like commercial galleries, art shops, stylish F&B outlets, and public art in the community at the same time. Through art education, people can change their concepts toward art and culture. Through participation, people may find the joy of art in life. Arousing people’s attention to the changes of the community and having their involvement in art activities are significant of art development. To transform an old district to an art community, neither setting up an artist village in the community nor letting people see artists working in their studios can do. Artist village is definitely not a zoo but a working place for artists. It can also act as a motivity for art promotion in the community. Would art workers unite to do more for the good of the community? Perhaps studio open days, outdoor exhibitions / performances, outreach art programmes, and talks / forums can enhance interaction between artists and the community.

For artists who rent the government properties for their art spaces, they have to fulfill the terms of their obligation. At the same time, for artists who run their own studios in the private sectors, they possibly suffer high rental according to the market price. Although there is limited sponsorship from the government, art workers always find their ways to survive. I am delighted to see different art spaces / artist villages in different forms spreading out in many places in Hong Kong.

------------------------------------
Roles of Artists' Village in Hong Kong
Date: 13 February 2009 (Friday)
Time: 3:00pm - 5:00pm
Venue: Hong Kong Arts Development Council
Moderator: Mr. Louis Yu, Chief Executive of HKADC
Speaker: Mr. Mathias Woo, Executive Director of Zuni Icosahedron
Dr. Ho Siu Kee, Academic Head of Hong Kong Art School
Mr. Jeff Leung, Independent Art Curator
-----------------------------------------------------------------------------
The Alternative Art Spaces in the Hong Kong contemporary art's development
Date: 20 February 2009 (Friday)
Time: 6:30pm – 8:00pm
Venue: C & G Artpartment
Host: Tse Yin Mo
Guests: Mr. Oscar Ho, Ms. Choi Yan Chi
----------------------------------------

References:
梁展峰: 我看香港「藝術邨」 (2008-03-12)
http://www.inmediahk.net/node/309897

梁展峰: 轉載：概述十年藝術展覽主要場地的更替 (2009-01-21)
http://www.inmediahk.net/node/1002062

梁寶: 藝術家要求《明報》道歉 (2009-02-04)
http://www.inmediahk.net/node/1002160

梁寶: 文化創意空間研究計劃調查結果摘要 (2009-02-12)
http://www.inmediahk.net/node/1002236

梁寶: 轉載：《明報》今日續談石硤尾藝術村 (2009-02-16)
http://www.inmediahk.net/node/1002271

City Art Square 3

I found the information of the talk on City Art Square accidentally when surfing the web. Professor Kurt Chan’s presentation was detailed and rewarding. I am impressed by the effort and contribution the organizer had made to this public art project. Did it gain publicity through mass media when the Square officially launched on 22 July 2009, which was close to the opening of Beijing Olympic Games 2008? After six months passed, is there a general awareness of Hong Kong people that a fabulous collection of artworks is sited at the Square? Are people familiar with the artworks other than the artists’ names, the titles and materials of those 19 art pieces? I doubt it. The people whom I asked all denied having seen these installations before. http://www.lcsd.gov.hk/CE/Museum/Apo/b5/programmes20090108_5.html

Why Public Art? As quoted from the Art Promotion Office (LCSD), “The public artworks…reflecting the characteristics of the locality and meeting the aspirations of the people there. Not only will they help to embellish the environment, but more importantly, enhance the quality of life of the local communities through proactive interaction between people and the works of art, and the artists.”

To certain extent, the project is a success. With the collection of 19 masterpieces of public art, the square seems bustling with life and excitement than it has ever been. The involvement of well-known local, mainland, and international artists from different background like sculptor, fashion designer, graphic designer, architectural designer, architect, and conceptual artist into the project does provide a good opportunity for experience sharing and also adding variety of the exhibits. Sculptures which are made up of durable materials usually dominate public art; however, it is great to see that artworks from galleries or museums are now available to be displayed outdoors. While some pieces call attention to the pavement, some pieces tower into the sky. Also, as some pieces function as chairs, more people are willing to stay and rest in the Square for social gathering, other than sitting on the stairway in front of the Shatin Town Hall.

In order to reflect the characteristics of the locality and celebrate the equestrian events of the Olympic Games held in Shatin, the organizer is intent on inviting all participating artists to feature the cultural life of Shatin and including some local artists in the neighborhood. Bauhinias and windmills, horses, and Olympic logo are found as the subject matters of some works. In Tom Thiel’s work “Gelebtes Holz (Lived Wood)”, I wish the wood was collected in Hong Kong to represent the memories of the local people.

Furthermore, with fully support from Sun Hung Kai Properties Charitable Fund and the government, the organizer is autonomous to select participating artists, to buy fabulous art pieces from overseas, to generate many new elements in the project and allow trials to transform the concepts and ideas into creative public art. The curators must have made an arduous effort to liaise with different parties like artist, architect, contractor, and the government.

At the same time, what are the aspirations of people? Do they participate well in the event? City Art Square is initiated and implemented by a group of elite, for which a top-down approach is used. A large number of masterpieces of notable artists are stuffed in the Square as an outdoor museum. It is said that a city with public art is a city that thinks and feels. AOP’s purpose is to “enhance the quality of life of the local communities through proactive interaction between people and the works of art, and the artists.” For me, after receiving more background information about the project from Professor Chan, I feel familiar with the art pieces and appreciate their set-up for lightening people’s heart. Yet, what do these artworks mean to the whole neighborhood? How well do they merge into people’s life? Is it just a wishful thinking of the elite to promote art or is it just an event coping with the Olympic Games 2008? It is meaningless if people do not know about public art but just regard some art pieces as additional park benches in the square or obstacles to block their way. When we are not familiar with something, we certainly not let it be a part of our life. How can we interact with the artworks and the artists then?

Public art affirms an educational environment. The Square does provide people with a learning platform to know public art. It is important for the art facilitators to grasp the time to arouse public attention and interest in art appreciation. The promotion works may include more information about each art piece on site and on web, project publication, guided tours, seminars, school talks, and sessions of “meeting with the artist”. Not only the government, but also people especially those from Shatin district can help in this long-term promotion. It is significant if Shatin residents can introduce others about their life and special events in Shatin. Moreover, the more people learn about art, the more they handle the art pieces with care. Will people draw on the white wall of Xu Bing’s work? Will people write something on the sculpture “Wirl”? Who knows! Education is definitely a way to reduce the possibility.

Besides, is it a “tight squeeze” to have 19 art pieces in one place? Will there be public art in all places of Hong Kong? Even a few pieces for one place are expected. Unlike other art promotion, we rely on the government to take careful consideration in town planning. We also reply on big business for its sponsorship. No matter how we define the project of City Art Square a success or a failure, but I do hope it will call more attention and be a good reference for further development of public art in Hong Kong. Also, its pace should have to be speeded up.

For other information of Public Art Walking (Kwai Tsing Theatre, Tsing Yi Municipal Services Building, Tai Po Central Town Square, and Yat Tung Estate of Tung Chung), please visit APO’s website at http://www.lcsd.gov.hk/CE/Museum/Apo/en/pa.html

Next time when you go to New Town Plaza, please remember to visit this remarkable outdoor museum and look up for “Zenith”. It is revealed that the project costs around nine thousand million dollars.

Red Horse asks, "Where will I go?"

Welcome to my new home. (9 April 2009)

City Art Square 2

Peony Blossom, Natural Granite
Vivienne Tam (United States America)

Fashion Designer Vivienne Tam features a Chinese peony mosaic across the plaza, which help leading people to the zone of City Art Square.



Slice Chair, Aluminium
Mathias Bengtsson (Denmark)

The organizer buys this elegant sculpture which was acquired by museums for the art square. However, it is now under maintenance as certain technical issues have to be solved when installing it in the outer place.

http://www.bengtssondesign.com/slice_chair_aluminium.html



City Landscape, Stainless Steel
Danny Lee (Hong Kong)

Creatively, Denny Lee uses a starting motor cycle to symbolize a running horse. A new scene of this art piece merging with the brushwood is also expecting after the grass grows.



Bauhinia Arc, Paint and Aluminium
Nina Jobs (Sweden)

Nina Jobs is a Swedish industrial designer with a background in graphic design. She also works for IKEA. After she visited the Che Kung Temple in Shatin, she takes bauhinias and windmills to line the footbridge at the Square. She has come to Hong Kong for three times for setting up her work.



A One and a Two, Stainless Steel
Zhang Yi (China)

Zhang Yi comes out this simple form of three linear horses after exchanging views with the organizer for several times. He is so enthusiastic about the project that he does not care for his honorarium but an artwork perfectly matching the theme and the style of City Art Square.



Cubic, Glass, Steel and Concrete
Michael Yen (Hong Kong)

With the idea of creating a mobile museum, the exhibits in these three cubes will be changed every two years. During daytime the cubes are skylighted while spotlights are used at night. Fine artworks, other than sculptures, are now available to be exhibited outdoors. Also, the organizer is intent on involving artists from the Shatin district in the project, and Mok Yat San, a teaching staff of CUHK, Man Fung Yee, and Sara Tse all come from Fotanian.



Minute Emotions, Stainless Steel
Man Fung Yi and Mok Yat San (Hong Kong)

The forms of this art piece represent feminine and masculine sides gracefully. A minute touch is yet provoking more emotions and longings.



Gelebtes Holz (Lived Wood), Wood
Tom Thiel (Germany)

The wood comes from abandoned houses and furniture from different communities in German, and each piece carries different stories and memories. Tom Thiel transforms them into new appliances. However, these wooden sculptures as a whole do not represent an individual experience but a history of many people. Interestingly, when he sets up his work in the cube, he also puts some personal stuff like a bear, a book and a pen so as to personalize his creation.



Collecting Flowers - Dress (no. 240-252) , Porcelain
Sara Tse (Hong Kong)

It is amazing how Sara Tse packs and sets up her fragile works for the exhibition. These fabulous pieces are made of used clothes which are dipped in Porcelain slips and then go through the process of firing. Even the threadbare parts of the clothes can be clearly seen.



Night Watch, Glass and LED
WOKmedia (United Kingdom)

Julie Mathias and Wolfgang Kaeppner use water and LED lights as the medium for their creation. Many pairs of crystal balls which look similar to animal eyes are setting in two water tanks, eyeballing the spectators. Do these creatures also feel annoyed or curious about the passers-by and the happenings there? With the technique of an ancient Chinese art of inside painting, the image is reverse-painted inside a hollowed crystal ball through a small opening.

http://www.wokmedia.com/?cat=2



Dancing Landscape, Stainless Steel
Danny Lee (Hong Kong)

Playing with the logo of Beijing Olympic logo “Dancing Beijing,” Danny Lee creates his icy-look sculpture as a sign of this theme park as well as a sculpture in this art square, with approval from International Olympic Committee.



Miracle Horse, Steel
Freeman Lau (Hong Kong)

Freeman Lau, famous Hong Kong designer, creates this patterned horse in the form of a chair. He prefers the horse facing the road so that it can attract people’s attention when driving in and also helps to welcome people to the Square.



The Red Box, Automobile Painted on Metal
Barrie Ho (Hong Kong)

Erected in front of the bus stops, this red box by well-known Hong Kong architectural designer Barrie Ho is regarded as an entrance to the Square. Through different windows, people with different sitting postures make up different scenes. People are all welcome to walk through or rest inside or outside the box.



Red Horse, Painted Stainless Steel
Joaquin G. Palencia (Philippines)

It is told that Joaquin G. Palencia draws up his idea in messy lines which comes as quite a surprise to the organizer. Can this organic form be produced at last? This beautiful art piece is sitting right there in the Square today. It originally contains two parts- the main body to be placed outside the shopping plaza while the smaller part to be put inside, of which gives a conceptual meaning of extension. However, the idea is finally banned by the fire safety ordinance that the inner part must be removed from the plaza, and the outer one is also required to be relocated later.

Vortex, Stainless Steel
James Law (Hong Kong)

Vortex is the largest sculpture in City Art Square. James Law drafts his idea, and other workmen help to finish the work. He depicts water being sucked up into the giant pipe and spouting over the ground. At night, these spouts of water lighten the stairway of the shopping plaza. Again, people are free to sit on its pieces.