Author: John Batten

Bouie Choi Yuk Kuen 蔡鈺娟

Bouie Choi Yuk Kuen reminded me that we first met when she and fellow Chinese University of Hong Kong fine arts students were invited to use empty units of the former Police Married Quarters in 2008 to show their work before its closure for renovation into PMQ. This was a touching memory; the battle to save the historic PMQ was one of many campaigns to save Central Hong Kong’s heritage buildings in which I was involved. After its closure as residential quarters for the police, the PMQ units were decrepit and had seen no paint or repair for decades: perfect for artists to use and fill with sound, lights, videos and found objects for their installations – or, as Choi did, hang paintings on dusty walls of ripped wallpaper. Hong Kong’s old colonial city also plays an underpinning role in Choi’s recent work, the physical remains of the past under attack. After Choi’s early experiences with the unrenovated PMQ, and later seeing that site and its modernist buildings conserved, she was a community worker for six years for …

Tobe Kan Kiu Sin 簡喬倩

Tobe Kan Kiu Sin graduated from the Hong Kong Art School/RMIT University with a fine arts degree in 2017. It was a fortuitous education: she had previously applied to but was not accepted into Hong Kong’s two other established fine arts undergraduate programmes, at The Chinese University of Hong Kong and Hong Kong Baptist University’s Academy of Visual Arts. Undoubtedly, the art school’s programme was more suitable for her. Kan’s fellow students were not all fresh secondary school graduates, but similar to her: a bit more mature – she was born in 1984 – with some work experience and a thoughtful commitment to the self-financed study of visual art. Initially enrolled in the sculpture stream of the course, she immediately moved to painting, where her mentors included Art School teacher and artist Ivy Ma and alumni artist Carol Lee Mei Kuen, with Lee curating Kan’s first solo exhibition, Peck-eyes Ravens, at the studio of CL3 Architects in 2018. Kan grew up in Hong Kong’s Fanling and Kwun Tong districts and went to a “nice, not competitive” secondary school. Her first …

Crossing Hong Kong’s Harbour

The very first art objects mass-exported from China to buyers in Europe, Asia and the Ottoman Empire were designed-to-order, ceramic and porcelain chinoiserie items, often purely utilitarian: crockery dinner sets, jars and storage urns. In the 18th century worldwide trade expanded due to growing demand, sturdier ships and established trading routes. Canton, as Guangzhou was then known, was China’s only port open for foreign trade, and encouraged by the success of the porcelain trade the earliest China Trade paintings were created there. This established the practice for visiting European traders and military personnel to buy or commission a painting as a souvenir of their visit or an export product. Executed by Chinese artisan painters, China Trade paintings were completed in a western landscape painting style, often naive and using rudimentary perspective. The paintings focused on depicting Canton life, including factories, trading houses, foreign diplomatic quarters, landscape scenes and visiting ships – subjects that appealed to Europeans. The monopoly on British trade with India and China held by the British East India Company for more than two centuries ended in 1834. Direct British …

Ha Bik Chuen 夏碧泉

Ha Bik Chuen’s Archive of Determination For over 50 years, Hong Kong artist Ha Bik Chuen (1925-2009) built a large collection of art exhibition catalogues, art books, magazines, and clippings from newspapers and other printed matter. Often accompanied by his wife or children, Ha also photographed every art exhibition he visited, and his photographic archive comprises hundreds of boxes of prints, contact sheets and negatives. Now known as the Ha Bik Chuen Archive and featuring thousands of individual pieces, it is a historical collection of Hong Kong art and Ha’s resources, a glimpse of past international art trends and a personal record of Hong Kong’s art scene between the 1960s and 2000s. The collection was formerly housed in Ha’s crowded home and its rooftop in Shim Luen Street, To Kwa Wan, where his family kept everything intact after his death, as he wished. It has now been boxed and relocated to a Fo Tan industrial unit where the Asia Art Archive began a three-year project in 2016, funded by the Hong Kong Jockey Club, to …