Monday, September 24, 2007
Session 1 / Pamela Kember
Pamela Kember
(Lecturer Art History & Theory Hong Kong Art School)
(香港藝術學院藝術史及理論講師)
Residual Spaces - Marking Stories; Visual Art from Hong Kong
My title relates to Hong Kong, on multiple levels, as it is firstly plays on the word ‘reside’ and ‘dual’, to denote a city that has existed and lies between two or more histories- Colonial and Chinese. It also begins with a question, raised by Simon Leung, now living and teaching at the University of California, Irvine, “ How, for example, does an artist born and raised in Hong Kong, which for more than a decade was the site of Vietnamese refugee camps, renegotiate his [her] subjectivity from being Asian to being Other? I am interested to talk about such issues in order to reconsider Hong Kong's current art scene in relation to its past.
For as far back as Vasari’s ‘Lives of the Artists’, to Gombrich’s ‘The Story of Art’, questions have been raised as to: When does art begin? Who gets included? Are the stories true? Have such questions been raised in respect of art from Hong Kong, for if not, how can we suggest if these are still relevant points to debate, or can we suggest what kind of renegotiations there are for an ‘authentic dialogue’ with stories about Hong Kong's art ? Dialogues that do not merely re-present such structures, as, post colonialist theory, or 'identity crisis', but really engage with Hong Kong as a place, that Paul Chan, (born here, now based in New York,) sees its citizens as being, ‘the first post modern subjects, split between two or more languages, and passports people 'that form a strange amalgamation of Eastern and Western'. Yet we might also see those artists who were either born here and studied abroad, to those who have subsequently returned and who are attempting to either 'de-link' themselves, as he suggests, from both their colonial past, and Chinese cultural heritage, to inhabit a new residing/ dual space - cut off from, or separate to the presiding status quo. Because, as much as there are difficulties of writing about the visible marks in painting and drawing, art historian, James Elkin's suggests that for any critic or historian, there are problems with writing, or more precisely theorizing about hidden histories in art. Also for those interested in issues of ‘historical authenticity’ how might we choose to relate to the many histories still to emerge on Hong Kong's visual art, and who is writing the story so far?
(Lecturer Art History & Theory Hong Kong Art School)
(香港藝術學院藝術史及理論講師)
Residual Spaces - Marking Stories; Visual Art from Hong Kong
My title relates to Hong Kong, on multiple levels, as it is firstly plays on the word ‘reside’ and ‘dual’, to denote a city that has existed and lies between two or more histories- Colonial and Chinese. It also begins with a question, raised by Simon Leung, now living and teaching at the University of California, Irvine, “ How, for example, does an artist born and raised in Hong Kong, which for more than a decade was the site of Vietnamese refugee camps, renegotiate his [her] subjectivity from being Asian to being Other? I am interested to talk about such issues in order to reconsider Hong Kong's current art scene in relation to its past.
For as far back as Vasari’s ‘Lives of the Artists’, to Gombrich’s ‘The Story of Art’, questions have been raised as to: When does art begin? Who gets included? Are the stories true? Have such questions been raised in respect of art from Hong Kong, for if not, how can we suggest if these are still relevant points to debate, or can we suggest what kind of renegotiations there are for an ‘authentic dialogue’ with stories about Hong Kong's art ? Dialogues that do not merely re-present such structures, as, post colonialist theory, or 'identity crisis', but really engage with Hong Kong as a place, that Paul Chan, (born here, now based in New York,) sees its citizens as being, ‘the first post modern subjects, split between two or more languages, and passports people 'that form a strange amalgamation of Eastern and Western'. Yet we might also see those artists who were either born here and studied abroad, to those who have subsequently returned and who are attempting to either 'de-link' themselves, as he suggests, from both their colonial past, and Chinese cultural heritage, to inhabit a new residing/ dual space - cut off from, or separate to the presiding status quo. Because, as much as there are difficulties of writing about the visible marks in painting and drawing, art historian, James Elkin's suggests that for any critic or historian, there are problems with writing, or more precisely theorizing about hidden histories in art. Also for those interested in issues of ‘historical authenticity’ how might we choose to relate to the many histories still to emerge on Hong Kong's visual art, and who is writing the story so far?
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