Hong Kong Arts Policy and Strategy at the Turn of the Century (2000)

Hong Kong Arts Policy and Strategy at the Turn of the Century
(work year 2000)
Six C-type photographs in three pairs, each in size of 30x40 inch

 


Hong Kong Arts Policy and Strategy at the Turn of the Century: Demons #1
《在世紀末的香港藝術政策及策略》鬼魅其一


Hong Kong Arts Policy and Strategy at the Turn of the Century: Demons #2
《在世紀末的香港藝術政策及策略》鬼魅其二


Hong Kong Arts Policy and Strategy at the Turn of the Century: Epitome #1
《在世紀末的香港藝術政策及策略》異象其一


Hong Kong Arts Policy and Strategy at the Turn of the Century: Epitome #2
《在世紀末的香港藝術政策及策略》異象其二

 

This was a series of 6 photographs in three pairs. They were originally produced for an exhibition at the Mizuma Art Gallery in Tokyo, as part of the event MORPHE 2000 (curated by Sabrina Fung). Thereafter, the series was shown at the Hong Kong Art Museum, for an exhibition of recent work from Hong Kong designers (curated by Kan Tai Keung). In 2008, the series was selected for the exhibition "Not about Truth: Chinese Conceptual Photography since the 90s" (curated by FAN Wanjen Anthea). Somehow, in the last moment, the art museum was not able to locate the original photographs (they were found some months after the event). My works were featured in the exhibition catalogue, but were absent from the exhibition. People thought, it was such a conceptual way to talk about the arts policy of Hong Kong.

In 2000, two sets of vintage photograph for "Hong Kong Arts Policy and Strategy at the Turn of the Century" were made. Some years after the work was produced, I decided to conserve only the first two pairs, and removed the third pair entirely from the series. One set of these vintage photographs is currently in the collection of M+ Museum.

 

 


"Hong Kong Arts Policy and Strategy at the Turn of the Century" at Gallery 50 (2015), in the exhibition WALKING SMOKE, vintage work 1989-2000.

 

 

1997年至2008年之間 ,我的創作明顯減少了。其中原因,由於新在異地,除了作為一個畫廊經營者以及一個創作人之間的角色矛盾之外,我在97前很多作品都是和香港主題有著密切關係,到了新的環境,我想靜下沉澱下來,新的創作應當有一個不同的角度。話雖如此,源於甚麼因由,在這段時間,我還是有一些關於香港的創作。2000年,Sabrina Fung 策展了 MORPHE 2000-ASIAN MEME,在東京展覽。《在世紀末的香港藝術政策及策略》便是在這情況下產生。這個作品有三組,兩張為一組。分別是:「鬼魅其一」,「鬼魅其二」;「異象其一」,「異象其二」;「再生其一」,「再生其二」。每張照片為30乘40吋,數碼射印c-type照片,當時造了總共兩版。其中一版作為展覽用途,後來贈與在港一好友。另外一版,如今為M+美術館收藏。這個作品雖然原訂為三組,後來事隔多年,我決定刪掉「再生」的一組,是故M+所藏,實只得其中四張。照片付運往M+之前,在多倫多 GALLERY 50畫廊與其他舊日照片一同展覽過一回。

《在世紀末的香港藝術政策及策略》初展時是在東京的 Mizuma Art Gallery,後來靳埭強先生為香港美術館策劃了一個展覽,這組作品展於其中。2004年樊婉貞在香港策劃了「平凡子民」-九十年代至今華人觀念攝影展,我應約并提供了這組作品。當時我正在加拿大,安排由香港美術館將這組作品轉送到主辦單位。可是,直至展期迫近,香港美術館還未能將該組作品翻出來。《在世紀末的香港藝術政策及策略》在展場留白,恰如一則概念藝術。當然這不是原意,不然,我要是放上一段說明文字,那就是一件上好的概念作品。那組照片,過了幾個月,美術館通知我,照片已經找出了。


《在世紀末的香港藝術政策及策略》創作於「女那禾多」紙本停刊後的一年,也即是在香港的OP攝影畫廊停止運作的相若時間。