The roles of international art fairs in Hong Kong in facilitating the production and consumption of contemporary art in Asia

Author(s):  
Silvia Fok
2014 ◽  
Vol 39 (2) ◽  
pp. 5-9 ◽  
Author(s):  
Pamela Kember ◽  
Chantal Wong ◽  
Claire Hsu ◽  
Hammad Nasar

Asia Art Archive was established in 2000 in Hong Kong to document and secure the multiple recent histories of contemporary art in the region. Built through a systematic programme of research and information gathering, it is widely regarded as one of the world’s leading public collections of primary and secondary source material about contemporary art in Asia, comprising hundreds of thousands of physical and digital items, searchable via its online catalogue. A growing selection of digitised material is now also available in the Collection Online.


Author(s):  
Selina C.F. Ho

This chapter revisits the history of and the forces behind the institutional transformation of art museums in China, including those in Hong Kong after 1997. It maintains that art museums in China have undergone various localization processes in response to the dynamic internal and external challenges throughout the history of the country. This chapter offers a historical and contextual background for understanding the multiple forces that have been influencing the regulation, production, and consumption of art museums in China. Against the diverse and contested backgrounds in contemporary societies, it re-emphasizes the need for an empirical strategy for studying the cultural actors in different museum contexts.


Author(s):  
Robert Gottlieb ◽  
Simon Ng

During the past four decades Los Angeles and Hong Kong have come to play a critical role in the flow of goods, people, and capital; in the changes in production and consumption; and in the urban environmental issues that have taken root as a result of the changes they have experienced. The book evaluates the issues associated with those changes, including how LA and Hong Kong have become connected to China and its key urban regions such as Shenzhen and Guangzhou in the Pearl River Delta. Los Angeles, Hong Kong, and several of China’s mega-cities have become global in their activities and reach through their financial, political and economic roles as well as the cultural, environmental, and demographic shifts that have taken place. The book documents the history and protracted nature of six urban environmental issues in Los Angeles, Hong Kong, and China. These include ports and freight traffic (or goods movement), air quality, water supply and water quality, the food environment, transportation, and open and public space. It identifies contrasting development patterns, important similarities, and comparative trends and strategies. The book further analyzes how urban environmental issues have risen to the top of the policy agendas in Los Angeles, Hong Kong, and China, where and how changes are being explored and where change is possible, and where and how such changes have been blocked or undermined.


Author(s):  
Julian Stallabrass

‘New world order’ examines globalized art production and consumption. Just as business executives circled the earth in search of new markets, so a breed of nomadic global curators began to do the same, shuttling from one biennial or transnational art event to another. At first, the filtering of local material through the art system produced homogeneity. The contemporary art produced by the shock of exposure to neoliberal economic forces, in Russia and Scandinavia and the contemporary art from communist governments, China and Cuba, are important parts of the new world order. As other powers emerged to challenge the US, and as neoliberalism fell into disrepair, new worlds were revealed.


2016 ◽  
Vol 1 (4) ◽  
pp. 422-434 ◽  
Author(s):  
Anthony Fung ◽  
Boris Pun

The discourse and cultural identity of Hong Kong media have long been of academic concern. Hong Kong media and the consumption of cultural products often reveal the process of local cultural identification formation and discourse practices. Based on the textual analysis of a local comic, Teddy Boy, this article attempts to explore and examine the discursive culture and nature of Hong Kong identity. Based on du Gay et al.’s concept of the circuit of culture, this article explores how the local discourse is formed and legitimized in the process of textual production and consumption by the representation of an idealized cultural hero. In the conclusion, we argue for a connection between local and global identity formations.


2021 ◽  
Vol 8 (1) ◽  
pp. 33-48 ◽  
Author(s):  
Junting Huang

Since the 1970s, hundreds of thousands of migrant domestic workers from the Philippines have moved to Hong Kong. As they filled the city’s growing demand for care work, they also altered the city’s art practice and cultural landscape. In this article, I propose to consider a double meaning of ‘domesticity’ – in both the language of motherhood and motherland – as a productive framework to investigate the migratory experience of Filipina domestic workers. Focusing on Cedric Maridet’s Filipina Heterotopia and Xyza Cruz Bacani’s We Are Like Air, I examine how ‘domesticity’ has become particularly pertinent to understanding the ‘border’ through the movement of bodies and the global transferral of care labour.


2020 ◽  

As the cinematic experience becomes subsumed into ubiquitous technologies of seeing, contemporary artworks lift the cinematic from the immateriality of the film screen, separating it into its physical components within the gallery space. How do film theorists read these reformulations of the cinematic medium and their critique of what it is and has been? Theorizing Cinema through Contemporary Art: Expanding Cinema considers artworks that incorporate, restage, and re-present cinema's configurations of space, experience, presence/absence, production and consumption, technology, myth, perception, event, and temporality, thereby addressing the creation, appraisal, and evolution of film theory as channeled through contemporary art. Taking film theory as a blueprint for the moving image, and juxtaposing it with artworks that render cinema as a material object, this book unfolds a complex relationship between a theory and a practice that have often been seen as virtually incompatible, heightening our understanding of each and, more pertinently, their interactions.


2016 ◽  
Vol 34 (4) ◽  
pp. 89-113 ◽  
Author(s):  
Monica Sassatelli

Biennials – periodic, independent and international exhibitions surveying trends in visual art – have with startling speed become key nodes in linking production, distribution and consumption of contemporary art. Cultural production and consumption have been typically separated in research, neglecting phenomena, like biennials, sitting in between. Biennials have become, however, key sites of both the production of art’s discourse and where that discourse translates into practices of display and contexts of appreciation. They are, this article argues, key sites of art’s symbolic production. Symbolic production is what makes a work, an artist, or even a genre visible and relevant, providing its sense in a system of classifications and, in an exhibition like a biennial, literally giving it a place in the scene. This article proposes a cultural analysis of biennials, focusing on the Venice Biennale, founded in 1895 and the first of the genre, through which we can trace biennials’ rise and transformations.


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