Controversial Art Taken Down at M+

Comparison of Leung's photo with Wang's work

Still jet lagged and haven't thought of a new blog yet so we will continue on here!

Two disappointing things have happened recently that demonstrate the ongoing deteriorating situation in Hong Kong.

Vidler's firm stops operations on June 3 this year

First is that well known law firm Vidler & Co which handled many human rights cases as well as the 2019 protests, will cease operations from June 3. The announcement was made by the Law Society of Hong Kong, notifying its members of the firm's imminent closure after 19 years.

Senior partner Michael Vidler has not commented publicly about the announcement.

The firm has represented such activists as Joshua Wong Chi-fung, and worked on cases like Indonesian journalist Veby Mega Indah, who lost an eye after a police projectile allegedly hit her on September 29, 2019. While Vidler & Co filed an application in the High Court in December that year to reveal the identity of the shooter, Vidler told Ming Pao in February the following year that the firm did not represent her anymore.

Vidler represented Veby Mega Indah in 2019

Another case the firm worked on was a woman who was allegedly raped in the Tsuen Wan Police Station. Then police chief Chris Tang Ping-keung claimed the case was an attempt to "mislead the police", alleging the claim was not consistent with the video evidence.

Legal representatives of Vidler & Co hit back, claiming Tang was trying to "publicly discredit" the woman.  

The firm is also known for being involved in LGBTQ cases.

Interesting to note Vidler & Co will be closing the day before the 33rd anniversary of June 4... coincidence?

Also along the same vein, contemporary art museum M+ has reopened, months after the fifth wave began in late December. The new head of M+, Bernard Chan toured the museum on April 21 and notably three works were replaced that were related to Tiananmen.

Wang Guangyi's portrait of Mao

One is Wang Xingwei's New Beijing, painted in 2001 showing two injured penguins on the back of a makeshift tricycle flatbed. It is a riff off of photographer Leung Heung-shing's photograph of a man trying to cycle as fast as he can to take two victims to the hospital.

Another piece is Wang Guangyi's Mao Zedong: Red Grid No. 2 (1989), showing a painted portrait of the Great Helmsman, though with a red grid painted on top as if the leader is in a cage.

Finally, Zhou Tie-hai's Press Conference III (1996) refers to the Cold War. These works are now probably stuck in the museum's gulag, never to be seen in person again, though they can be found online on the M+ website.

M+ response?

"It has always been M+'s plan to rotate over 200 artworks in the first year after its opening," a statement read. "Nine out of over 200 have been rotated before reopening, in particular those which are in greater need for conservation."

Controversial artist Ai Weiwei's work Whitewash, featuring old jars that have been repainted is still there, though the black and white photograph of him giving the middle finger to the Gate of Heavenly Peace across from Tiananmen Square is not available...

This Ai Weiwei photo is not shown at M+

In any event, we can't help but be amused that pro-Beijing stalwarts who are staunchly behind chief executive candidate John Lee Ka-chiu, are angry that their star nominee cannot post his campaign videos on the YouTube video-sharing platform because the company needs to comply with US sanctions against him.

Lee called the sanctions "unreasonable",  a "bullying act" and a means to "exert pressure to make him have hesitations" regarding the upcoming election.

"Any country's official should strive for the best to defend their country's national security," he said. "Their unreasonable act will just strengthen my belief that what I am doing is right."

We hope Lee knows what he is doing because he is also getting a lot of ridicule for the copywriting on his campaign materials. A social media group has criticised the choice of words and grammar in Chinese and English, pointing them out much like a teacher does with a nasty red pen.

Perhaps even more entertaining is that Lee's campaign team actually follow many of these correction suggestions.

All for the greater good, right?

The Real Vincent van Gogh

Vincent van Gogh died at the age of 37 in 1890

Last night my friend took me to see a play called Vincent at the Hong Kong Arts Centre.

We didn't know much about it except that it was written by actor Leonard Nimoy, famously known for playing Spock on Star Trek. Apparently Nimoy had a life-long fascination of the Dutch artist Vincent van Gogh. Not only did Nimoy write the play, he also performed it. 

He liked to paint scenes of everyday people

Vincent is based on more than 500 letters between van Gogh and his brother Theo, who were known to be very close. Theo owned an art gallery and was the one who financially kept his older brother afloat.

It turns out this is a one-man play was performed by Adam Harris, who I later found out during the intermission that he's a veterinarian by day! And this is not his first production! He previously performed Educating Rita, The Unknown Soldier, and Underneath the Lintel.

Harris is explosive from the start, with lots of energy to sustain the two-hour production. 

He plays Theo, who gathers us, his audience, as his friends to give his own personal memorial for Vincent who had recently succumbed to a gunshot wound in his chest. Theo says he was too distraught during the funeral to say anything but now seems prepared to speak, with several letters to help him paint a fuller picture of his brother.

There are some interesting details about van Gogh's life: He was hoping to become a minister and did preach in really poor parishes. Theo recounts that one time there was a terrible fire in a mine and one of the miners was left for dead but Vincent nursed him back to health.

A bandage around his head after cutting off his ear

And then he was socially awkward, falling in love with a cousin who was a widow, making the family mortified and terrified, as van Gogh could be emotional and stubborn.

He later fell for a "woman on the streets", who had two children and another on the way. Again his parents were hardly pleased and Theo had to financially look after all those mouths. Van Gogh finally left her.

Eventually he turned to painting but he was self-conscious and didn't want Theo to sell his pieces yet. He was emotionally fragile and doctors diagnosed him as being epileptic and was sent to recover in Arles, France.

That is where he became prolific in his paintings, and Theo reports Vincent would paint one or maybe even two canvases a day. We are then shown on a large screen a slide show of his works, some of which are famous, like The Starry Night, Sunflowers and Irises, and a few I have never seen before.

He then has an encounter with fellow artist Paul Gaugin, who Theo despises, because the meeting resulted in Vincent cutting his ear off and gifting it to a prostitute. His depression got worse and it is believed that contributed to him going into the fields to paint and shooting himself in the chest.

The Starry Night was shown during the play

Theo recalls in detail what they talked about before Vincent died, their childhood memories and asking for forgiveness for having his younger brother supporting him this whole time.

In the post script, Theo was so overcome by his brother's death that he too died less than a year later. Eventually Theo's remains were buried next to Vincent.

Harris as Theo is quite intense, with bursts of emotion that are explosive and thoughtful. He also sometimes plays Vincent, with darker lighting to illustrate this. He also reads Vincent's letters in his voice.

When Harris walked off stage to signal the intermission, we the audience had no idea what was happening until a female voice said there would be a 10-minute intermission!

My friend's friends who also went all said it was an intense play!

He was diagnosed as epileptic and depressed

Apparently Harris likes to do these one-man plays, perhaps making it easier for him to control the situation and not having to depend too much on others.

At the very end a woman came up on stage and sang Starry Starry Night which was a nice (and less emotional) finish.

Learned a lot more about van Gogh and glad to see this performance!

Vincent by Leonard Nimoy

Hong Kong Arts Centre McAulay Studio

November 18-20, 2021

Gov't Defends Culling Wild Boars

The wild boars were lured down with bread by the authorities

Animal rights groups are up in arms after the Agriculture, Fisheries and Conservation Department captured and killed seven wild boars in Wong Chuk Hang.

In plain sight of the media, the AFCD lured the wild pigs with bread -- which the government has repeatedly told the public not to feed them -- and then tranquilized them with dart guns.

Seven wild boars were culled 

It seems the AFCD is now taking drastic action after a wild boar knocked down an auxiliary policeman before biting him in the leg and then the animal plunged 10 stories to its death in a residential car park in Tin Hau last Wednesday.

There had been numerous complaints from the public for the authorities to do something about the wild boars, capture them and take them to remote areas, instead of ignoring the problem and worse having ignorant people feeding the animals as if they were pets. The number of sightings involving wild boars rose from 225 in 2011 to 1,002 last year.

When criticized for using food to lure the wild boars down, Simon Chan Kin-fung, the department's assistant director for conservation said on a radio show: "Even if we did not use food to attract them down from the hill yesterday, they would still come [to urban areas]."

Perhaps what made the optics even worse was that several of the boars had young ones with them when they were "compassionately" put down.

Police officer bit in leg by boar

"Some other parts of the world have been using the hunting method. We are using a very humane way to put down the wild boars, with dart guns and medicine injection. We will continue to use food to capture the wild boars in the city area," Chan said.

Last week the department announced that wild boars in urban areas would be "regularly captured for humane dispatch with a view to reducing their number and nuisance"... in other words cull them.

The previous strategy was to capture them, neuter them so they would not be able to breed and then relocate them to a remote area. 

About 20 staff were involved in capturing and euthanising the seven animals, which weighed between 50k to 170kg.

Chan said the department only targeted wild pigs that were frequently found in urban areas, not the ones in rural places.

However, the Society for the Prevention of Cruelty to Animals condemned the AFCD for its actions, accusing officials of ignoring suggestions on how to manage the problem.

"The SPCA reiterates that a non-lethal approach to wildlife management is always preferred, and is against the idea of hunting boars, as this has proved to be problematic on several fronts," it said.

The boars had young ones with them last night

Roni Wong Ho-yin, a Hong Kong Wild Boar Concern Group committee member who witnessed the operation, described the use of food to capture the animals as "despicable and bloody".

He said the bait could attract animals that humans were not regularly feeding.

"The department has been educating people not to feed the wild boars," he said. "But they are doing something self-contradictory. This could change the behaviour of some wild boars which are not used to being fed by humans."

Others felt the public must be educated not to feed the animals because it gives them an unnatural food source that encourages them to reproduce. 

So if they are, then it seems they are reproducing at a much faster rate than the AFCD can neuter them, or the authorities are not capturing enough of them to really make an impact on the population numbers.

An artistic impression of the wild boar cull...

In any event, while there was a lot of outrage online, one artist took to his blank page and created a riff off of artist Wang Xingwei's riff off of the Tiananmen Square massacre picture of people riding bicycles and taking two penguins that were shot in the chest.

Instead a Hong Kong artist showed boars riding a bicycle with a wooden board behind, carrying another wounded boar, one in the foreground wearing a yellow helmet and tears dripping from its eye.

Even wild pigs have feelings too...

M+ Finally but Cautiously Opens

M+ is designed by Herzog & de Meuron, at least HK$760M

A few days ago M+ finally opened on Friday, though with cautious fanfare.

First some impressive stats. The Museum of visual culture is designed like an upside down T, nearly twice the size of the Tate Modern with 17,000 square metres (183,000 sq ft) of space in which to display 1,500 works from its 6,413 pieces. M+ cost at least HK$760 million to build, and several years behind schedule, which resulted in bad timing.

Before M+ opened its doors, the national security law was implemented, coupled with numerous pro-democracy activists thrown in jail, a liberal newspaper shut down, and the city's electoral system completely revamped so that only "patriots" can run. As a result the contemporary art museum is treading on dangerous territory.

Tang said the art must comply with the law

Art is supposed to be an extension of freedom of expression... is it not?

"We will uphold and encourage the freedom of artistic expression and creativity. But on the other hand, our dedicated curatorial team will ensure the exhibitions comply with the law, including the Basic Law, the national security law, and all other laws in Hong Kong. The opening of M+ does not mean artistic expression is above the law. It is not," said West Kowloon Cultural District chairman Henry Tang Ying-yen.

So yes, by all means be expressive with art -- as long as it complies with the law.

Passive aggressive with legal characteristics.

Ai's Whitewash is displayed prominently

In March, pro-Beijing lawmaker Eunice Yung Hoi-yan tried to score patriotic brownie points by accusing the M+ collection of spreading "hatred" against China, using the example of Ai Weiwei's photograph of him raising his middle finger at Tiananmen Square.

However, did she realize that Ai also has a series of photographs called Studies of Perspectives, pointing his middle finger at other government buildings and famous landmarks around the world too, including the Eiffel Tower, Hong Kong island, St Mark's Square, the Sydney Opera House, and the White House?

Nevertheless, M+ removed Ai's photograph from its online archive, citing a legal review, though his other work called Whitewash (1995-2000) is on show, featuring 126 ancient jars neatly arranged some painted in white, as if to whitewash history.

Wang's painting refers to Tiananmen Square

And then there is a reference to June 4, 1989 with Wang Xinwei's New Beijing. It's a painting of a photograph reminiscent of a man pushing his bicycle with a makeshift board that should be carrying two bloodied people but instead there is a pair of penguins wounded in the chest.

It's also interesting it has featured the works of local artist Kacey Wong, including photographs and sculpture, including his floating apartment idea as a way to tackle Hong Kong's housing crisis. Wong recently went into self-imposed exile to Taiwan, worried about continuing to live in Hong Kong. He wrote on Twitter how cool it was to be able to see his work in the museum through smartphone technology.

Wong's floating home is on show at M+

Many people I know have already had a preview of M+, posting pictures all over social media so I feel like I've already seen half the museum already. But of course it's not the same as being there and interacting with the art in person which I hope to do soon.

But the hopes that M+ was going to display art that couldn't be in China are dashed. Going forward it's going to be a perilous journey for the museum when it comes to art and politics,
whether it likes it or not.

HKU May Remove Tiananmen Sculpture

The Pillar of Shame stands at Haking Wong Podium at HKU

The University of Hong Kong is reportedly planning to remove the Pillar of Shame, the sculpture that commemorates those who died on June 4, 1989 in Beijing.

Danish artist Jens Galschiot created the 8-metre-tall sculpture, which reminds people of the horrific event which must never recur. The sculpture features 50 torn and twisted bodies that symbolize the degradation,  devaluation and lack of respect of the individual. 

Artist Galschiot created four of these sculptures

There are four Pillar of Shame sculptures, the others are in Italy, Mexico and Brazil.

In 1997, the Pillar of Shame was gifted to the Alliance in Support for Democratic Patriotic Movements of China, which is now disbanded, and most recently its assets frozen by the national security police department.

The alliance and its core members are also charged with inciting subversion.  

It was the HKU students who fought with university leadership to have the statue on campus, and it was subsequently displayed in other universities including Chinese University of Hong Kong, Hong Kong Baptist University, Hong Kong Polytechnic University, and Hong Kong University of Science and Technology.

So perhaps it's not surprising university management may be taking advantage of the alliance's disbandment and legal issues to possibly remove the sculpture, though it claims it has reviewed risk management measures and facility usage on campus from time to time, but refused to comment on this possible move.

The sculpture is a reminder of June 4, 1989

"The University... will not respond to speculative reports," its spokesman said.

If the sculpture is removed, it will be another win for Beijing to scrub away another memory of June 4 from Hong Kong.

Zen Moment with Lui Shou-kwan

Lui's Zen Painting (1971) with lively strokes

 

After looking at the disturbing art work at the Surrealism exhibit as documented in my previous post, my friend and I were relieved to see the perfect counterpoint on the same floor -- "When Form Matters: Following the Path of Lui Shou-kwan to Zen Painting".

Lui (1919-1975) was born in Guangzhou, and his father Lui Canming was also a painter. Lui junior studied economics at Guangzhou University then moved to Hong Kong in 1948. His day job was an inspector for the Hongkong and Yaumatei Ferry Company until 1966.

Lui could paint traditional Chinese paintings

But Lui was very involved in art and could paint traditional style paintings as evident in a few works shown in the exhibition (After Ni Zan's Riverside pavilion by mountains is an example), but he was also keen to experiment with ink and composition, which resulted in him being a leading figure in the New Ink Art Movement in Hong Kong.

This resulted in his Zen painting series, creating a new style of painting that was refreshing, minimalist, and encapsulated aesthetics of East and West through modulating his brush and ink.

And his Zen paintings really are fantastic works of abstraction created with powerful brushstrokes that are deliberate with texture and depth. They are minimalist in composition, but bring up many possibilities of the meanings behind them.

Tablet shows how Shek O, Hong Kong was painted

However, I do prefer his not so abstract paintings of Hong Kong. There's a horizontal landscape painting called Shek O, Hong Kong (1964), depicting the district as a quaint small village by the water that looks frothy and white in contrast to the dark hills in the background. 

Lui also painted scenes of places like Rennie's Mill, Kowloon typhoon shelter, and Kellet Island. These works show life a generation ago that seems nostalgic and slow, and feature lots of water that surrounds Hong Kong.

I also enjoyed looking at Cliffs of Ali Shan, Taiwan (1971), an ink painting that almost looks like a black and white photograph. Does the far right show a waterfall? Or where the cliff disappears into the water? It's hard to tell, but Lui seems to paint it as a beautiful idyllic place to take in the scenery.

Cliffs of Ali Shan, Taiwan painted in 1971

One irritating thing about the exhibition is its use of technology to make the art seem cool when it already is cool. 

In some of the works, visitors are invited to use a special tablet to scan the painting and it will automatically pretend to paint the work for you. How is this interesting or make the work more comprehensible?

At the end of the exhibition, visitors are invited to scan a QR code for Lui's abstract butterfly to fly around on the smartphone screen. How does this enhance the viewer's visit to the show? Not at all except it is a sad gimmick. Lui did not paint the work to have more than one butterfly flying around!

The museum seems to rely too much on computer animation to make the shows more interesting when it should be up to the curators and how they present the works to make it worthwhile to see the shows. Children's attention spans may be short, but animating paintings is not going to inspire them.

Computer animation is an unwelcome gimmick

When Form Matters: Following the Path of Lui Shou-kwan to Zen Painting

Until April 10

Hong Kong Museum of Art

10 Salisbury Road

Tsim Sha Tsui

 

 

 

Surrealism Provokes with Arresting Images

Wolf Table shows the animal snarling at its tail

 

Yesterday my friend and I finally made it to "Mythologies: Surrealism and Beyond  -- Masterpieces from Centre Pompidou" at the Hong Kong Museum of Art. I say finally because two weeks ago we went on a Thursday and were surprised to find it is closed on Thursdays! 

In any event we were excited to see the exhibition, but we were soon in for a shock as surrealism explored the subconscious, repressed feelings, mythical animals and a lot of violence against women.

Max Ernst's sculpture with bull fight

The movement was founded in 1924 by French poet Andre Breton when he published the Surrealism Manifesto in Paris, which became the important centre of the movement. From there it spread all over the world, not only in literature, but also in visual arts, film, photography, as well as political thought, philosophy and social theory.

To set the scene of surrealism, the exhibition began with pictures of Paris by night, followed by other themes, such as chimera [fire-breathing monster], minotaur [half man, half bull], and acephale [headless].

One painting by Salvador Dali is in the show, called William Tell painted in 1930. Instead of the Swiss story of the father who risks his son's life by shooting the apple on his head with an arrow, he substitutes his father for castrating the artist, as he had castigated Dali for having an affair with a married woman.

There are a few sculptures in the exhibition, and they are all quite scary. One called Wolf Table by Victor Brauner features a wolf snarling at its own tail, but its body is a wooden table. It's quite jarring, to look at, the wolf or is it a fox? trapped in time looking fierce, and even the back legs of the table look similar to hind legs.

One work by Pablo Picasso is shown -- the debut cover of a magazine called Minotaure. The style of the drawing is very much Picasso, and thankfully the minotaur looks relatively happy, though it is holding a dagger in its right hand looking back at the viewer. 

Magritte's The Rape is disturbing

Another is an etching of a minotaur holding a champagne glass with a man as they enjoy the presence of naked women throwing themselves at them. Is it any wonder it is titled Bacchanal Scene with the Minotaur?

Spaniard Joan Miro also only has a painting shown here, The Bull Fight which is considered a seminal work featuring a textured background and an abstract representation of the bull.

Max Ernst's The King Playing with the Queen features the top half of a bull in an abstract sense, playing with large chess pieces. It was an interesting juxtaposition with a black and white film of a bull fight in Spain.

Rene Magritte was a famous for his painting of a man in a bowler hat with an apple covering his face. But at this show we have the disturbing image of what looks like a woman's face, but instead is her torso. Is it meant to look pleasant with its pastel palette? But the painting is called The Rape. It refers to his mother's suicide when he was 14 years old and he witnessed her body pulled out of the river, her nightgown covering her face, revealing her naked body.

Giacometti's Woman with Her Throat Cut

Another violent image is Alberto Giacometti's Woman with Her Throat Cut, a bronze sculpture of a woman with her legs spread out as she is being brutally murdered. It looks like the perpetrator could be a crustacean or an insect. It just looks disturbing all the same.

Interestingly there is one Jackson Pollock painting that isn't his abstract drip paintings, called The Moon-Woman Cuts the Circle. Earlier in his career the American artist was influenced by Miro and Picasso and was inspired by the idea of using the the unconscious as the source of art.

While it's interesting to see these works, particularly in a strange time like now during the pandemic, the vast majority of the art focus on violence against women. Are these really repressed feelings or was this a group of artists trying to outdo the other with more shocking images?

The show left us quite disturbed, but maybe that was the point as well? Hopefully the surrealism movement will not come back again in a big way. Much of what is going on in the real world is already too hard to comprehend...

Pollack's earlier surrealist painting

Mythologies: Surrealism and Beyond -- Masterpieces from Centre Pompidou

Until September 15

Hong Kong Museum of Art

10 Salisbury Road

Tsim Sha Tsui 

The Exodus Continues

This is a common and sad scene at the airport these days

This morning there was news of not another arrest, but of more people and groups leaving Hong Kong.

One well known columnist, editor, author and businessman, Steve Vines wrote an email to friends and ex-colleagues that he had left for the UK, as it had become unsafe for him to continue living in the city.

"The white terror sweeping through Hong Kong is far from over and the near-term prospects of things getting better are simply non-existent," he wrote.

Vines revealed he had already arrived in the UK

"Hong Kong is now in a very dark place as the Chinese dictatorship has slashed and burned its way through the tattered remains of the One Country, Two Systems concept."

Last month public broadcaster RTHK axed his show, "The Pulse", and in April he was dropped as a regular contributor to an RTHK morning radio show. Several months ago he also stopped writing regular columns for the South China Morning Post.

Vines left Hong Kong after living here for 35 years with a "heavy heart and a mixture of enormous regret and relief". He was the founding editor and publisher of three newspapers and magazines, including the long ago defunct Eastern Express.

What made Vines leave was apparently a warning he received through a third party from pro-Beijing figures in the city.

"[The person] said quite aggressively... 'you better watch your step, we're coming for you'."

Another well known person is artist Kacey Wong, who revealed on social media that he had settled in Taiwan where he could enjoy "100 percent freedom".

Wong was known for his protest performance art

"When you received this letter, I have already left. Leaving is not easy, staying is also difficult. 

"We have known each other for 51 years, I will not forget you. Let's treasure each other, goodbye Hong Kong," he wrote on Facebook. 

"We'll meet again. Don't know where, don't know when," he sang a rendition of the song by Vera Lynn that was popular during World War II.

Wong, 51, an architecture graduate from Cornell University, was a fixture at the annual July 1 protests. Along the route he did performance art, like playing the accordion in a cage, a giant menacing cardboard robot, and riding in a giant pink army tank.

He is also known for his art that is social commentary, particularly around the housing wealth gap and thinking of creative (and absurd) ways people have to put a roof over their heads.

Then it's not just individuals leaving, but even a news organization.

Digital news outlet Initium Media published a letter to its readers today explaining it will move its operations to Singapore. 

Digital news outlet said it will move to Singapore

Initium's executive director, Susie Wu said, "the road to freedom" had become more and more difficult over the past six years since the outlet's launch, with the world becoming more divided, and Hong Kong's global press freedom ranking plummeting.

She said the media organization will make use of online and decentralized methods to produce content, and continue to provide in-depth reporting on Greater China and global developments.

"Do not despair in hardships, do not give up exploring and changing, because the heart is free, and the values you and I believe in will not be easily broken," Wu told readers.

The news outlet started in 2015 and provides in-depth news, opinion and lifestyle to 60,000 readers in more than 200 countries and regions.

But now Initium needs to implement its plan B and like people emigrating to other countries, the news organization is following suit...

Walking on the Colourful Side

Colourful ribbons shimmering in the wind

My walk along the harbourfront has become more interesting.

Today we saw a lot of new additions, some of which make us question where our taxpayer dollars are going.

Near the PLA dock in Central is a cordoned off space called Design District HK and there is a giant undulating net tied with 18,000 colourful ribbons. It looks like a rainbow-coloured rectangular carpet waving in the breeze.

Swings anchored to the ground

It happened to be the first day today of the event, and we had to use our LeaveHomeSafe app and take our temperature before going into the space free of charge. Inside there are a number of large green (fake grass) circles on the ground, presumably for social distancing.

It was nice to lie under this art installation called River of Light by artist Patrick Shearn, but after a few minutes of admiring it and taking pictures, then what? We walked back to the entrance nearby and they politely told us we had to walk to the far end of the grounds to exit. 

With no signage saying so it was annoying to have to walk all the way to the end.

Nevertheless we continued on our way eastward and saw the water barriers were removed just past the Wan Chai Star Ferry pier. The area near the pier is covered in fake pink roses, and it's pathetic to see this cheesy floral theme is still used and now with some seating in pink complete with flamingos, or decorated with more fake flowers.

In the distance we saw some rubber tire swings (with fake pink grass) seating and thought we could have some fun on it. But when we sat on them, they didn't move! The rubber tire swings were anchored at the bottom with chains.

Why? WHY?

The letters "V" and "H" for Victoria Harbour

Why can't we swing on these swings?! The authorities are probably terrified someone is going to get hurt.

That was really infuriating.

And to complete the area, there was a "V" and "H" to denote "Victoria Harbour" that people could pose with. Whoohoo.

When we finally arrived at the Wan Chai Harbourfront Promenade, there were what looked like giant bendy straws at the end. When we went around them, they made different percussion sounds like synthesizer bells or xylophone which was interesting. 

It's called Sky Castle designed by Australian multimedia design studio Eness in collaboration with Hattrick Creative.  

So we ran around and around these giant archways where senors triggered them to release sounds and would probably make more "music" if more people went around them.

Giant tubes that make sounds! Great for kids

Perhaps the Hong Kong government realizes people need some things to keep them occupied, and this public art will get them out and about discovering the harbourfront. It also helps that there are giant green arrows on the ground pointing to where people should go...

However at the same time each of the sections have wildly different design elements that aren't very consistent or cohesive. It seems no thought was put to having a consistent theme and each section was determined by a singular group or individual. 

This does not work well. The High Line in New York works so well because the overall look is very consistent, even though the plantings may be different. The benches are quite similar or site specific, but still keep with the same kind of minimalist design. 

Instead on the Hong Kong waterfront it's a hodgepodge of different things for different people, which is understandable to a degree, but they vary so much in terms of their overall look that it's hard to believe they are all connected by one path.

But really, can something be done about those swings?

Thai-American Artist on Hong Kong

Rirkrit Tiranvaija's latest work at Art Basel

Art Basel has come and gone in Hong Kong, and it was good to have it finally held after it was cancelled last year because of the pandemic, albeit in a hybrid format with some physical booths showing art work set up at the Hong Kong Convention and Exhibition Centre, while galleries from overseas had online viewing rooms.

Admittedly I did not go to this year's fair, but did go on the website to look at some of the works on show.

One artist whose work I continue to follow is Thai-American artist Rirkrit Tiravanija. A few years ago he did a piece in 2016 titled "Freedom Cannot Be Simulated", the words written in black and red on the Hong Kong English-language newspaper, the South China Morning Post.

Under the blue vinyl is a message on newsprint

He has done this on a few other newspapers around the world. Tiravanija requests a specific back-dated copy of the newspaper and then paints a slogan on it.

Other slogans he has painted include "Same But Not Equal", "Fear Eats The Soul", and "The Days Of This Society is Numbered".

One of his latest works on show by the gallery neugerriemschneider in Berlin. Named "untitled 2018 (this revolution will not be televised, South China Morning Post, July 2, 2014).

It features a blue vinyl cloth, and when the viewer lifts it up, the newspaper is revealed to have the words "This Revolution Will Not Be Televised" in large white letters. 

Based on the July 1, 2014 protest march coverage

What was happening at that time? On June 10, 2014, the State Council in Beijing issued a white paper called "The Practice of the 'One Country, Two Systems' Policy in the Hong Kong Special Administrative Region.

It claimed "comprehensive jurisdiction" over the city, saying: "The high degree of autonomy of the HKSAR is not full autonomy, nor a centralized power. It is the power to run local affairs as authorized by the central leadership".

This was the first Hongkongers had heard of this, having believed China would not interfere with Hong Kong affairs for 50 years until 2047, but now it looked like Beijing would have more of a say on how the city would be governed.

That led to a massive march on the annual July 1 protest, with organizers claiming over 500,000 people came out to show their discontent. Reports about the protest march, which included some 500 arrests, were covered in the newspaper the following day, and that is the edition Tiravanija has chosen to paint "This Revolution Will Not Be Televised".

Tiravanija's 2016 piece using the SCMP

On September 26, 2014, the streets were occupied in what was later known as the Umbrella Revolution or Umbrella Movement that paralyzed parts of Hong Kong for 79 days.

That later led to Tiravanija making "Freedom Cannot Be Simulated", using pages from the South China Morning Post from September 26-30, 2014.

To have an internationally known artist capture these moments happening in Hong Kong is fascinating, and proves the world is watching... 

Does HK Still have Artistic Freedom?

M+ in West Kowloon is completed, and will open end of 2021

 

Hong Kong's premier contemporary art museum, M+ is finally completed. Last week the media were taken around to have a look and one big question was now that the national security law has been implemented, will that affect what is shown at M+?

The museum's director, Suhanya Raffel, said there would be "no problem" in showing dissident artist Ai Weiwei's works and other pieces included in the M+ permanent collection, because their inclusion was based on research developed from "historical facts".

M+ director Raffel says collection "no problem"

"We have always had a robust curator-led approach to everything we do and that is underpinned by research and academic rigour," she said. "Like any global museum, it is our role to present art in a relevant and appropriate manner and stimulate debate, knowledge and pleasure. A city can only be a welcoming arts hub if it offers an open environment for artists and for different views."

Raffel may have to re-think her words after Eunice Yung Hoi-yan from the New People's Party raised concerns on Wednesday that Ai's work may violate the national security law by "spreading hatred against China".

She cited the example of a black and white picture of Ai holding up his middle finger in Tiananmen Square.

"If you point your middle finger towards Tiananmen Square, it means you want to show your anger against it, or you want to subvert the government with your artwork," she told RTHK.

Yung wonders if Ai's works are subversive

Chief Executive Carrie Lam Cheng Yuet-ngor said the government will protect freedom of expression, but added she was confident the museum's curators would be capable of distinguishing works that constituted artistic expression from those endangering national security.

Of the 33 galleries in M+, 12 will be dedicated to the 1,000-piece collection of contemporary Chinese art from Swiss businessman Uli Sigg. Some of the pieces were shown in an exhibition in 2016 and some of those works would definitely not be shown in mainland China.

These include the above mentioned Ai piece called A Study Perspective: Tian'anmen, and photojournalist Liu Heung-shing's picture of the June 4 crackdown where a tricycle cart driver peddling two men with gunshot wounds to hospital.

Today Ai hit back at Yung's suggestion that his work was subversive.

Is this photograph subversive or is it art?

"All artworks, if they are of value, raise questions and challenges. Challenging authority is one of the core values of art," he told RTHK.

"If she thinks artworks are just ornaments, then I'd say she doesn't understand art," Ai said.

He added if his works cannot be exhibited in the museum, this would be a signal that Hong Kong is moving further away from universal values and is becoming part of authoritarianism.

This puts M+ curators in a tough spot -- will they stand their ground in the name of artistic freedom?

 

Joan Cornella's My Life is Pointless

Cornella's art is laced with black humour

 

This year has been... a write-off to say the least. The inability to get together with friends and family, to travel, having to wear masks all the time, working from home, and dealing with social-distancing measures have all taken a toll on all of us.

Which is why we all need a laugh, and artist Joan Cornella has a sarcastic, and often black humour in his work.

This work sums up 2020 for me

The 39-year-old artist from Barcelona is holding his third solo exhibition called My Life is Pointless in Hong Kong, at Sotheby's no less in Pacific Place in Admiralty. 

To ensure social-distancing measures were in place, visitors had to book a time slot to visit the gallery -- and yet they were all filled up before the exhibition started, and there are even wait lists! With the help of a publicist involved in promoting the show, I got a Friday morning time slot -- and only five or six other people were there at the same time.

Before entering we had to fill out health declaration forms, including recording our temperature, and use hand sanitizer.

Young Hongkongers seem to love Cornella's biting observations about modern life that he captures with surreal, often disturbing images.

The last time his show was here, he had some Hong Kong-inspired elements, such as how people need to multitask to survive, and how people's living spaces are so tiny that he questions why people would pay mortgages for them.

A Hong Kong-related piece?

This time the images are more general, but still satirical. As the introduction explains, his characters all share a generic blank smile and a bright cheery colour palette akin to 1950s advertising or airline safety pamphlets. 

Cornella pokes fun at horrible topics, such as cannibalism, infanticide, murder, suicide and amputation. 

"In m comics, characters are like plastic and always have a big smile even though horrible things happen to them constantly. Everything is exaggerated, although certain behaviours can relate to real life," he says.

Perhaps one piece that sums up 2020 with a woman smiling and says: "Today is a good day to feel more boredom and pain!"

Another is a cut out of a man who is smiling and his T-shirt says "free hugs" but he himself has no arms.

You get the idea.

Perhaps the only Hong Kong-related piece is a man in a suit holding up a picketing sign that reads: "Stop demonstrating" when he himself is.

Point a CCTV camera at yourself

Cornella has also created pieces of a man holding a selfie stick with a gun attached to it, pointing at his smiling face. Another version has a CCTV camera attached to the selfie stick, in case he wanted to record his every move -- which many influencers do!

If you are keen on any of Cornella's work in this exhibition, they are available for immediate purchase... someone is desperate to make a sale. We didn't dare ask the prices, but wondered who buys his work when they define the moment right now. Do they stand the test of time?

The gallery is spacious, though we had to feel for the security guards who had to listen to strange music playing all day that sounded very unsettling.

Nevertheless, we just enjoyed seeing these crazy art pieces to give us a bit of levity in such an annus horribilis to the nth degree.

My Life is Pointless by Joan Cornella

Sotheby's Hong Kong Gallery

5/F, One Pacific Place

Admiralty

December 15, 2020-January 29, 2021