{"id":1150,"date":"2020-09-02T14:07:49","date_gmt":"2020-09-02T06:07:49","guid":{"rendered":"https:\/\/learning.hku.hk\/hkarttimeline\/?page_id=1150"},"modified":"2021-09-02T17:50:46","modified_gmt":"2021-09-02T09:50:46","slug":"politicsofspace","status":"publish","type":"page","link":"https:\/\/arthistory.hku.hk\/hkarttimeline\/index.php\/satellitetimelines\/politicsofspace\/","title":{"rendered":"Satellite \u2013 Politics of Space"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-page\" data-elementor-id=\"1150\" class=\"elementor elementor-1150\" data-elementor-settings=\"[]\">\n\t\t\t\t\t\t<div class=\"elementor-inner\">\n\t\t\t\t\t\t\t<div class=\"elementor-section-wrap\">\n\t\t\t\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-156081bf elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"156081bf\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t\t\t<div class=\"elementor-row\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-5339ad9b\" data-id=\"5339ad9b\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-column-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t<div class=\"elementor-widget-wrap\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-3e02b050 elementor-widget elementor-widget-jet-headline\" data-id=\"3e02b050\" data-element_type=\"widget\" data-widget_type=\"jet-headline.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h1 class=\"jet-headline jet-headline--direction-horizontal\"><span class=\"jet-headline__part jet-headline__first\"><span class=\"jet-headline__label\">The Struggle of Spatial Politics<\/span><\/span><span class=\"jet-headline__space\">&nbsp;<\/span><span class=\"jet-headline__part jet-headline__second\"><span class=\"jet-headline__label\">Artist-run Spaces and Pop-up Art Events from the mid-80s onwards<\/span><\/span><\/h1>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-959de52 elementor-widget elementor-widget-html\" data-id=\"959de52\" data-element_type=\"widget\" data-widget_type=\"html.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<iframe loading=\"lazy\" src=\"https:\/\/drive.google.com\/file\/d\/1Z4krn42fNrFf8xzG4jLbrXsAw9qJcrws\/preview\" width=\"720\" height=\"576\" allow=\"autoplay\"><\/iframe>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-3f424afd elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"3f424afd\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t\t\t<div class=\"elementor-row\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-350dd202\" data-id=\"350dd202\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-column-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t<div class=\"elementor-widget-wrap\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-29c14cb7 elementor-widget elementor-widget-html\" data-id=\"29c14cb7\" data-element_type=\"widget\" data-widget_type=\"html.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<iframe loading=\"lazy\" src=\"https:\/\/www.google.com\/maps\/d\/embed?mid=1ga3nzDyLVvaTaoOLzqEicDk90TdvLDgV\" width=\"640\" height=\"600\"><\/iframe>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-3af79406 elementor-widget elementor-widget-spacer\" data-id=\"3af79406\" data-element_type=\"widget\" data-widget_type=\"spacer.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-spacer\">\n\t\t\t<div class=\"elementor-spacer-inner\"><\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-14c134e2 elementor-widget elementor-widget-jet-headline\" data-id=\"14c134e2\" data-element_type=\"widget\" data-widget_type=\"jet-headline.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h1 class=\"jet-headline jet-headline--direction-horizontal\"><span class=\"jet-headline__part jet-headline__first\"><span class=\"jet-headline__label\">Author's Statement<\/span><\/span><span class=\"jet-headline__space\">&nbsp;<\/span><\/h1>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<section class=\"elementor-section elementor-inner-section elementor-element elementor-element-742a1e50 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"742a1e50\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t\t\t<div class=\"elementor-row\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-66 elementor-inner-column elementor-element elementor-element-472a62d1\" data-id=\"472a62d1\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-column-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t<div class=\"elementor-widget-wrap\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-6ea7fee1 elementor-widget elementor-widget-text-editor\" data-id=\"6ea7fee1\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-text-editor elementor-clearfix\">\n\t\t\t\t<p><span style=\"font-weight: 400;\">This satellite illustrates the organic relationship between artist-run spaces (ARS) and pop-up art events (PAE) in Hong Kong from the mid-80s onwards.<sup>[1]<\/sup><\/span><span style=\"font-weight: 400;\"> ARS and PAE overlap one another in terms of their site-specificity, non-permanency, and focus on artists, oftentimes appearing as responses to social events. Hence it would be apt to study the interrelationship between ARS and PAE from an experiential standpoint to shed light on how artists in Hong Kong were thinking about art in relation to space, how they contrived strategies to respond to societal changes. Another goal of this research is to create a spatial experience of ARS and PAE history. To do so, this presentation comprises a video walkthrough of the spatial-temporal distribution of ARS and PAE. This approach does not propose a single narrative that can be inserted inside an Art History canon\u2014something that has yet to claim Hong Kong Art History. Rather, this project researches Hong Kong Art History by organising raw data of events and organisation, then plotting them on a map to study their progression pattern, eventually pinpointing traits of Hong Kong art that are worthy of further discussion.<\/span><\/p><p><a href=\"#_ftnref1\" name=\"_ftn1\"><\/a><\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-33 elementor-inner-column elementor-element elementor-element-5d56b22b\" data-id=\"5d56b22b\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-column-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t<div class=\"elementor-widget-wrap\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-6e0624a6 elementor-widget elementor-widget-jet-accordion\" data-id=\"6e0624a6\" data-element_type=\"widget\" data-widget_type=\"jet-accordion.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"jet-accordion\" data-settings=\"{&quot;collapsible&quot;:false,&quot;ajaxTemplate&quot;:false}\" role=\"tablist\">\n\t\t\t<div class=\"jet-accordion__inner\">\n\t\t\t\t<div class=\"jet-accordion__item jet-toggle jet-toggle-move-up-effect \">\n\t\t\t\t\t\t\t<div id=\"jet-toggle-control-1841\" class=\"jet-toggle__control elementor-menu-anchor\" data-toggle=\"1\" role=\"tab\" aria-controls=\"jet-toggle-content-1841\" aria-expanded=\"false\" data-template-id=\"false\">\n\t\t\t\t\t\t\t\t<div class=\"jet-toggle__label-icon jet-toggle-icon-position-right\"><span class=\"jet-toggle__icon icon-normal jet-tabs-icon\"><i aria-hidden=\"true\" class=\"fas fa-plus\"><\/i><\/span><span class=\"jet-toggle__icon icon-active jet-tabs-icon\"><i aria-hidden=\"true\" class=\"fas fa-minus\"><\/i><\/span><\/div><div class=\"jet-toggle__label-text\">Footnote #1<\/div>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div id=\"jet-toggle-content-1841\" class=\"jet-toggle__content\" data-toggle=\"1\" role=\"tabpanel\" aria-hidden=\"true\" data-template-id=\"false\">\n\t\t\t\t\t\t\t\t<div class=\"jet-toggle__content-inner\"><p><span style=\"font-weight: 400;\">Artist-run spaces (ARS) refers to a spectrum of project spaces that are initiated and centred around the artistic expression of artists. Its definitions are not limited to the spaces that are exclusively maintained by artists.<\/span><\/p><\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-inner-section elementor-element elementor-element-98c69e3 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"98c69e3\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t\t\t<div class=\"elementor-row\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-66 elementor-inner-column elementor-element elementor-element-946a5f4\" data-id=\"946a5f4\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-column-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t<div class=\"elementor-widget-wrap\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-a105895 elementor-widget elementor-widget-text-editor\" data-id=\"a105895\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-text-editor elementor-clearfix\">\n\t\t\t\t<p>Looking at the early history of ARS and PAE in Hong Kong, the two mirrored each other in terms of their position and development. Both ARS and PAE were alternate answers to the \u201cstandard\u201d white-cube art discourse. Owing to institutional limitations such as repetitiveness of the exhibition model and lack of community engagement, artists from the mid-80s were keen to escape from conventional spaces to exhibit their works.<sup>[2]<\/sup> These spaces were categorized then as \u201calternative space\u201d \u2014a somewhat vague umbrella that describes the common ground for self-initiated art activities. Up until the 21st century, ARS in Hong Kong have demonstrated their plurality and individual focus, including but not limited to organizations like Videotage (1986), Quart Society (1990), Para Site (1996), and Museum of Site (1997). Similarly, the pre-2000 PAE addressed the same deficit of experiment opportunities. From the artist-initiated exhibition \u201cOut of Context\u201d (1997) to the \u201cSave the Oil Street\u201d movement in 1999, there is a yearning for independence within the art scene. A wish to be free from an established understanding of art and curatorial rigidity. Such a desire, although in protest at institutional frameworks, are often space-oriented. Space itself was a contested ground that artists and institutions vied for the right to speak and to be seen. Exhibiting seems to be an inextricable component of these PAE, a trait that was common to the institutions.<\/p><p><a href=\"#_ftnref1\" name=\"_ftn1\"><\/a><\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-33 elementor-inner-column elementor-element elementor-element-bf690d1\" data-id=\"bf690d1\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-column-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t<div class=\"elementor-widget-wrap\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-5ca6708 elementor-widget elementor-widget-jet-accordion\" data-id=\"5ca6708\" data-element_type=\"widget\" data-widget_type=\"jet-accordion.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"jet-accordion\" data-settings=\"{&quot;collapsible&quot;:false,&quot;ajaxTemplate&quot;:false}\" role=\"tablist\">\n\t\t\t<div class=\"jet-accordion__inner\">\n\t\t\t\t<div class=\"jet-accordion__item jet-toggle jet-toggle-move-up-effect \">\n\t\t\t\t\t\t\t<div id=\"jet-toggle-control-9711\" class=\"jet-toggle__control elementor-menu-anchor\" data-toggle=\"1\" role=\"tab\" aria-controls=\"jet-toggle-content-9711\" aria-expanded=\"false\" data-template-id=\"false\">\n\t\t\t\t\t\t\t\t<div class=\"jet-toggle__label-icon jet-toggle-icon-position-right\"><span class=\"jet-toggle__icon icon-normal jet-tabs-icon\"><i aria-hidden=\"true\" class=\"fas fa-plus\"><\/i><\/span><span class=\"jet-toggle__icon icon-active jet-tabs-icon\"><i aria-hidden=\"true\" class=\"fas fa-minus\"><\/i><\/span><\/div><div class=\"jet-toggle__label-text\">Footnote #2<\/div>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div id=\"jet-toggle-content-9711\" class=\"jet-toggle__content\" data-toggle=\"1\" role=\"tabpanel\" aria-hidden=\"true\" data-template-id=\"false\">\n\t\t\t\t\t\t\t\t<div class=\"jet-toggle__content-inner\"><p><span style=\"font-weight: 400;\">Leung, Mee Ping. &#8220;\u6881\u7f8e\u840d (\u5275\u59cb\u6210\u54e1) | Leung Mee Ping (Founding Member)&#8221; Para Site September 29, 2020, YouTube video, 14:24, https:\/\/www.youtube.com\/watch?v=lrIDuLrom00.<\/span><\/p><\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-inner-section elementor-element elementor-element-43941f8c elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"43941f8c\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t\t\t<div class=\"elementor-row\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-66 elementor-inner-column elementor-element elementor-element-1e8196d9\" data-id=\"1e8196d9\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-column-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t<div class=\"elementor-widget-wrap\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-5020306 elementor-widget elementor-widget-text-editor\" data-id=\"5020306\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-text-editor elementor-clearfix\">\n\t\t\t\t<p><span style=\"font-weight: 400;\">Gradually we see a rising wave of ARS and PAE emerging since early 2000. Unlike their predecessors, these projects were not mere vehicles for artists to experiment with non-institutional presentation but also projects dedicated to neighbourhood and local micro-politics. Starting from the benchmark of replacing oil street with cattle depot, artist groups have organised protest art events such as the movement against the demolition of Star Ferry Pier in 2006 and that of Queen\u2019s Ferry Pier in 2007. There was an apparent shift of concern from artistic format to the human-land relationship. Artists then were enthusiastic about using art as a guerilla tactic to disrupt a greater social agenda. That agenda was often in tension with public space, collective memory, and emotional attachment to land. The Times Square Incident in 2008 captures how different groups of artists were dedicating their effort to challenge an invisibly rigid understanding of space in a hypercapitalistic society.<sup>[3]<\/sup><\/span><span style=\"font-weight: 400;\"> The struggle between economic development and grassroots interest is further torn apart during the Anti-Hong Kong Express Rail Link Movement, eventually culminating in the Choi Yuen Tsuen Woodstock in 2011, which marked the single largest artistic intervention to a site-specific social issue. In the same year, the Occupy Central movement broke out. Debates around how artists can reclaim agency in the land-political struggle were heated. The format of occupation often predestines artists\u2019 method of participation. Artists functioning as public advocates had grown to be a less favourable path when the society felt misrepresented as a whole. The role of an artist faced a critical need of redefinition.<\/span><\/p><p>\u00a0<\/p><p><a href=\"#_ftnref1\" name=\"_ftn1\"><\/a><\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-33 elementor-inner-column elementor-element elementor-element-9f4f061\" data-id=\"9f4f061\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-column-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t<div class=\"elementor-widget-wrap\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-6209c3cd elementor-widget elementor-widget-jet-accordion\" data-id=\"6209c3cd\" data-element_type=\"widget\" data-widget_type=\"jet-accordion.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"jet-accordion\" data-settings=\"{&quot;collapsible&quot;:false,&quot;ajaxTemplate&quot;:false}\" role=\"tablist\">\n\t\t\t<div class=\"jet-accordion__inner\">\n\t\t\t\t<div class=\"jet-accordion__item jet-toggle jet-toggle-move-up-effect \">\n\t\t\t\t\t\t\t<div id=\"jet-toggle-control-1641\" class=\"jet-toggle__control elementor-menu-anchor\" data-toggle=\"1\" role=\"tab\" aria-controls=\"jet-toggle-content-1641\" aria-expanded=\"false\" data-template-id=\"false\">\n\t\t\t\t\t\t\t\t<div class=\"jet-toggle__label-icon jet-toggle-icon-position-right\"><span class=\"jet-toggle__icon icon-normal jet-tabs-icon\"><i aria-hidden=\"true\" class=\"fas fa-plus\"><\/i><\/span><span class=\"jet-toggle__icon icon-active jet-tabs-icon\"><i aria-hidden=\"true\" class=\"fas fa-minus\"><\/i><\/span><\/div><div class=\"jet-toggle__label-text\">Footnote #3<\/div>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div id=\"jet-toggle-content-1641\" class=\"jet-toggle__content\" data-toggle=\"1\" role=\"tabpanel\" aria-hidden=\"true\" data-template-id=\"false\">\n\t\t\t\t\t\t\t\t<div class=\"jet-toggle__content-inner\"><p><span style=\"font-weight: 400;\">In March 2008, the ownership of the area before the shopping mall was questioned in the Legislative Council. It was revealed that the property management did not allow public usage as the title deed stated. A group of Polytechnic University students protested by placing a sofa with a &#8220;No Sitting&#8221; sign at the square. It sparked off a series of protest art interventions by different artists.<\/span><\/p><\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-inner-section elementor-element elementor-element-b909cdc elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"b909cdc\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t\t\t<div class=\"elementor-row\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-66 elementor-inner-column elementor-element elementor-element-9055073\" data-id=\"9055073\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-column-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t<div class=\"elementor-widget-wrap\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-226b761 elementor-widget elementor-widget-text-editor\" data-id=\"226b761\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-text-editor elementor-clearfix\">\n\t\t\t\t<p style=\"font-size: 14.4px;\">Remnants of Occupy Central reignited in 2014 in the form of the Umbrella movement. Occupation has acquired a new meaning when its duration is extended and happening explosively. In the Mong Kok occupation area, Wooferten launched an improvisational competition about designing cottages used in occupation.<span style=\"font-size: 14.4px;\"><span style=\"position: relative; font-size: 10.8px; line-height: 0; vertical-align: baseline; top: -0.5em;\">[4]<\/span><\/span><span style=\"font-size: 14.4px;\">\u00a0The participatory art project invited the public to reimagine urban land use and its subsequent living style. Through these forms of PAE, artists lend themselves as mediators to a greater socio-political context. These experiences of short-term projects were preserved into long-term usage. Entering the post-umbrella era, Hong Kong art scene saw an abundance of ARS in the residential neighborhood, particularly around the West Kowloon area. Spaces like Things that can happen (2015) and PR\u00c9C\u00c9D\u00c9E (2015) were notable examples of how ARS downsizes and infiltrate to a finer audience base. ARS in Hong Kong were developing in a direction of small to non-scale. This tendency was elevated to a different level in 2019 when the anti-extradition bill movement and Coronavirus pandemic broke out. Both the protest and pandemic lockdown prompted artists to conduct their projects in a fluid manner. This change of visual culture introduced more nuance to the boundary between ARS and PAE, rendering our previous understanding of space obsolete. It remains a curious subject of how the \u201cnew normal\u201d would hold the future configuration of ARS and PAE in Hong Kong.<\/span><\/p><p>\u00a0<\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-33 elementor-inner-column elementor-element elementor-element-91890e4\" data-id=\"91890e4\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-column-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t<div class=\"elementor-widget-wrap\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-17662f4 elementor-widget elementor-widget-jet-accordion\" data-id=\"17662f4\" data-element_type=\"widget\" data-widget_type=\"jet-accordion.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"jet-accordion\" data-settings=\"{&quot;collapsible&quot;:false,&quot;ajaxTemplate&quot;:false}\" role=\"tablist\">\n\t\t\t<div class=\"jet-accordion__inner\">\n\t\t\t\t<div class=\"jet-accordion__item jet-toggle jet-toggle-move-up-effect \">\n\t\t\t\t\t\t\t<div id=\"jet-toggle-control-2451\" class=\"jet-toggle__control elementor-menu-anchor\" data-toggle=\"1\" role=\"tab\" aria-controls=\"jet-toggle-content-2451\" aria-expanded=\"false\" data-template-id=\"false\">\n\t\t\t\t\t\t\t\t<div class=\"jet-toggle__label-icon jet-toggle-icon-position-right\"><span class=\"jet-toggle__icon icon-normal jet-tabs-icon\"><i aria-hidden=\"true\" class=\"fas fa-plus\"><\/i><\/span><span class=\"jet-toggle__icon icon-active jet-tabs-icon\"><i aria-hidden=\"true\" class=\"fas fa-minus\"><\/i><\/span><\/div><div class=\"jet-toggle__label-text\">Footnote #4<\/div>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div id=\"jet-toggle-content-2451\" class=\"jet-toggle__content\" data-toggle=\"1\" role=\"tabpanel\" aria-hidden=\"true\" data-template-id=\"false\">\n\t\t\t\t\t\t\t\t<div class=\"jet-toggle__content-inner\"><p><span style=\"font-weight: 400;\">Artist Vangi Fong organized the competition in the name of Wooferten. See Woofer Ten, &#8220;\u62fe\u5fb7\u597d\uff01\u8d85\u7d1a\u4f54\u9818\u5c0f\u5c4b\u8a2d\u8a08\u5927\u8cfd\uff01(\u66a8\u5e74\u8f15\u4eba\u4e0a\u8eca\u8a08\u5283) [Good Collect! Super Occupation Cottage Design Competition (and young people house ownership program)].&#8221; Accessed August 16, 2020. <\/span><a href=\"https:\/\/www.facebook.com\/media\/set\/?set=a.10152542601343089.1073741840.137694588088&amp;type=3\"><span style=\"font-weight: 400;\">https:\/\/www.facebook.com\/media\/set\/?set=a.10152542601343089.1073741840.137694588088&amp;type=3<\/span><\/a><span style=\"font-weight: 400;\"> for more information.<\/span><\/p><\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-inner-section elementor-element elementor-element-48375cf5 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"48375cf5\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t\t\t<div class=\"elementor-row\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-inner-column elementor-element elementor-element-25fd02ed\" data-id=\"25fd02ed\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-column-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t<div class=\"elementor-widget-wrap\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-6710f25d elementor-widget elementor-widget-text-editor\" data-id=\"6710f25d\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-text-editor elementor-clearfix\">\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<div class=\"elementor-element elementor-element-4fccb609 elementor-widget elementor-widget-jet-accordion\" data-id=\"4fccb609\" data-element_type=\"widget\" data-widget_type=\"jet-accordion.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"jet-accordion\" data-settings=\"{&quot;collapsible&quot;:false,&quot;ajaxTemplate&quot;:false}\" role=\"tablist\">\n\t\t\t<div class=\"jet-accordion__inner\">\n\t\t\t\t<div class=\"jet-accordion__item jet-toggle jet-toggle-move-up-effect \">\n\t\t\t\t\t\t\t<div id=\"jet-toggle-control-1331\" class=\"jet-toggle__control elementor-menu-anchor\" data-toggle=\"1\" role=\"tab\" aria-controls=\"jet-toggle-content-1331\" aria-expanded=\"false\" data-template-id=\"false\">\n\t\t\t\t\t\t\t\t<div class=\"jet-toggle__label-icon jet-toggle-icon-position-left\"><span class=\"jet-toggle__icon icon-normal jet-tabs-icon\"><i aria-hidden=\"true\" class=\"fas fa-plus\"><\/i><\/span><span class=\"jet-toggle__icon icon-active jet-tabs-icon\"><i aria-hidden=\"true\" class=\"fas fa-minus\"><\/i><\/span><\/div><div class=\"jet-toggle__label-text\">Bibliography<\/div>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div id=\"jet-toggle-content-1331\" class=\"jet-toggle__content\" data-toggle=\"1\" role=\"tabpanel\" aria-hidden=\"true\" data-template-id=\"false\">\n\t\t\t\t\t\t\t\t<div class=\"jet-toggle__content-inner\"><p>Cartier, Carolyn. \u201cPower Plays: Alternative Performance Art and Urban Space in the Political Life of the City\u201d, <em>Hong Kong Culture: Word and Image<\/em>, 2010, Hong Kong University Press.<br \/><br \/>Chan, Alan. \u201cPerformance Art History of Hong Kong: Moments between the 1960s to Today from Asia Art Archive\u2019s Collection.\u201d Asia Art Archive, February 19, 2020. <a href=\"https:\/\/aaa.org.hk\/en\/resources\/for-educators\/mini-courses\/performance-art-history-of-hong-kong-moments-between-the-1960s-to-today-from-asia-art-archives-collection\">https:\/\/aaa.org.hk\/en\/resources\/for-educators\/mini-courses\/performance-art-history-of-hong-kong-moments-between-the-1960s-to-today-from-asia-art-archives-collection<\/a>.<br \/><br \/>Choi, Sin Yi. \u201c\u85dd\u8853\u7a7a\u9593\u7684\u524d\u4e16\u4eca\u751f \u88ab\u6d88\u5931\u7684\u6cb9\u8857\u85dd\u8853\u6751\uff08\u4e0a\uff09[The Before and After of Art Spaces: the Disappeared Oil Street Art Village]\u201d Ming Pao Weekly, June 20, 2017. <a href=\"https:\/\/www.mpweekly.com\/culture\/%e5%9b%9e%e6%ad%b8%e4%ba%8c%e5%8d%81%e5%b9%b4-%e6%b2%b9%e8%a1%97-39160\">https:\/\/www.mpweekly.com\/culture\/%e5%9b%9e%e6%ad%b8%e4%ba%8c%e5%8d%81%e5%b9%b4-%e6%b2%b9%e8%a1%97-39160<\/a>.<br \/><br \/>Davis, Becky. \u201cSpace: The final frontier for Hong Kong\u2019s artists?\u201d Art Radar, August 16, 2013. <a href=\"https:\/\/artradarjournal.com\/2013\/08\/16\/space-the-final-frontier-for-hong-kongs-artists\/\">https:\/\/artradarjournal.com\/2013\/08\/16\/space-the-final-frontier-for-hong-kongs-artists\/<\/a>.<br \/><br \/>Doran, Valerie C. \u201cViewed from a Train: Glimpses of the Artist as Hong Kong Citizen.\u201d Asia Art Archive, March 1, 2011. <a href=\"https:\/\/aaa.org.hk\/en\/ideas\/ideas\/viewed-from-a-train-glimpses-of-the-artist-as-hong-kong-citizen\">https:\/\/aaa.org.hk\/en\/ideas\/ideas\/viewed-from-a-train-glimpses-of-the-artist-as-hong-kong-citizen<\/a>.<br \/><br \/>Ga, Yan and Lai Wan Ting. \u201c\u827e\u672a\u672a\u300c\u88ab\u5931\u8e2a\u300d\u4e8b\u4ef6\uff1a\u672c\u5730\u85dd\u5708\u7684\u56de\u97ff [Ai Wei Wei\u2019s Disappearance: Response from Local Art Circle].\u201d 2011\u5e74\u9999\u6e2f\u8996\u89ba\u85dd\u8853\u5e74\u9451 [2011 Hong Kong Visual Arts Yearbook]. Accessed August 16, 2020. <a href=\"http:\/\/hkvisualartsyearbook.org\/lib\/img\/cuhkvayb\/pdf\/2011_PI_AIweiwei_CHI.pdf\">http:\/\/hkvisualartsyearbook.org\/lib\/img\/cuhkvayb\/pdf\/2011_PI_AIweiwei_CHI.pdf<\/a>.<br \/><br \/>Hong Kong Arts Development Council Research Department. \u201c\u4e94\u5341\u5e74\u6587\u5316\u7d00\u4e8b:\u9999\u6e2f\u6587\u5316\u884c\u653f\u8207\u6587\u5316\u653f\u7b56(1950-2000) [Cultural Almanac in 50 Years: Hong Kong\u2019s Art Administration and Cultural Policy (1950-2000)].\u201d 2001. <a href=\"https:\/\/www.hkadc.org.hk\/media\/files\/research_and_report\/Capolicies%20(1950-2000)%202001\/200101_capolicies_1950-2000_TC.pdf\">https:\/\/www.hkadc.org.hk\/media\/files\/research_and_report\/Capolicies%20(1950-2000)%202001\/200101_capolicies_1950-2000_TC.pdf<\/a>.<br \/><br \/>Janice. \u201c\u6b77\u53f2\u8207\u7576\u4e0b-\u66fe\u5fb7\u5e73\u5eff\u5e74\u85dd\u8853\u89c0\u300c1997\u81f32017\u300d\uff08\u4e0a\uff09[History and Present: Kith Tsang\u2019s Artistic View in 20 Years (1997-2017) section 1]\u201d Ming Pao Weekly, June 9, 2017. <a href=\"https:\/\/www.mpweekly.com\/culture\/%e5%9b%9e%e6%ad%b8%e4%ba%8c%e5%8d%81%e5%b9%b4-%e5%bb%bf%e5%b9%b4%e5%9b%9e%e6%ad%b8%e5%89%8d%e5%be%8c%e8%a9%b1-%e6%9b%be%e5%be%b7%e5%b9%b3-36358\">https:\/\/www.mpweekly.com\/culture\/%e5%9b%9e%e6%ad%b8%e4%ba%8c%e5%8d%81%e5%b9%b4-%e5%bb%bf%e5%b9%b4%e5%9b%9e%e6%ad%b8%e5%89%8d%e5%be%8c%e8%a9%b1-%e6%9b%be%e5%be%b7%e5%b9%b3-36358<\/a>.<br \/><br \/>Janice. \u201c\u6b77\u53f2\u8207\u7576\u4e0b-\u66fe\u5fb7\u5e73\u5eff\u5e74\u85dd\u8853\u89c0\u300c1997\u81f32017\u300d\uff08\u4e0b\uff09[History and Present: Kith Tsang\u2019s Artistic View in 20 Years (1997-2017) section 2]\u201d. Ming Pao Weekly, June 12, 2017. <a href=\"https:\/\/www.mpweekly.com\/culture\/%e5%9b%9e%e6%ad%b8%e4%ba%8c%e5%8d%81%e5%b9%b4-%e4%bd%9b%e5%ad%b8-%e5%8d%81%e5%b9%b4%e5%9b%9e%e6%ad%b8%e5%89%8d%e5%be%8c%e8%a9%b1-36519\">https:\/\/www.mpweekly.com\/culture\/%e5%9b%9e%e6%ad%b8%e4%ba%8c%e5%8d%81%e5%b9%b4-%e4%bd%9b%e5%ad%b8-%e5%8d%81%e5%b9%b4%e5%9b%9e%e6%ad%b8%e5%89%8d%e5%be%8c%e8%a9%b1-36519<\/a>.<br \/><br \/>The Japan Foundation Asia Center. <em>Alternatives: Contemporary Art Spaces in Asia<\/em>, Edited by Yasuko Furuichi, Japan, 2001.<br \/><br \/>Krischer, Olivier. \u201cThinking of Art as Informal Life. Politics in Hong Kong\u201d, <em>New Worlds from Below: Informal life politics and grassroots action in twenty-first-century Northeast Asia<\/em>, 2017, ANU Press.<br \/><br \/>Lau, Jian hua, Lee Chun Fung and Au Hua Yun. \u201c\u85dd\u8853\u9023\u7d50\u793e\u904b\u7684\u9999\u6e2f\u300c\u884c\u52d5\u300d\u81e8\u754c\u9ede [The Critical Point of Art Connecting with Social Movement in Hong Kong].\u201d \u85dd\u8853\u89c0\u9edeACT, no. 47 (2011). <a href=\"https:\/\/issuu.com\/leechunfung\/docs\/act47_p62_75\">https:\/\/issuu.com\/leechunfung\/docs\/act47_p62_75<\/a>.<br \/><br \/>Lee, Christie. \u201cInside Negative Space, Hong Kong\u2019s Newest Artist-run Gallery.\u201d Zolima City Mag, July 11, 2019. <a href=\"https:\/\/zolimacitymag.com\/inside-negative-space-hong-kongs-newest-artist-run-gallery\/\">https:\/\/zolimacitymag.com\/inside-negative-space-hong-kongs-newest-artist-run-gallery\/<\/a>.<br \/><br \/>Lee, Chunfung. <em>Can We Live (Together)<\/em>, Hong Kong, Leisure and Cultural Services Department, 2014. Exhibition Catalogue.<br \/><br \/>Lee, Mary. \u201c\u9019\u5169\u5e74\u9999\u6e2f\u767c\u751f\u4e86\u54a9\u4e8b \u2500\u2500 \u4ee5\u300c\u54a9\u4e8b\u85dd\u8853\u7a7a\u9593\u300d\u70ba\u4f8b\uff0c\u8ac7\u9999\u6e2f\u53e6\u985e\u85dd\u8853\u7a7a\u9593 [What Happened in Hong Kong in the Past Two Years \u2500\u2500Using Things That Can Happen as Example to Think about Hong Kong\u2019s Alternative Space].\u201d 2018 \u5e74\u9999\u6e2f\u8996\u89ba\u85dd\u8853\u5e74\u9451 [2018 Hong Kong Visual Arts Yearbook]. Accessed August 15, 2020. <a href=\"http:\/\/hkvisualartsyearbook.org\/lib\/img\/cuhkvayb\/pdf\/application_20180803_gPwD9.pdf\">http:\/\/hkvisualartsyearbook.org\/lib\/img\/cuhkvayb\/pdf\/application_20180803_gPwD9.pdf<\/a>.<br \/><br \/>Leung, Poshan Anthony. \u201c\u85dd\u8853\u8207\u516c\u5171\u7a7a\u9593 [Art and Public Space].\u201d 2008 \u5e74\u9999\u6e2f\u8996\u89ba\u85dd\u8853\u5e74\u9451_\u516c\u5171\u8b70\u984c [2008 Hong Kong Visual Arts Yearbook_Public topics]. Accessed August 15, 2020. <a href=\"http:\/\/hkvisualartsyearbook.org\/lib\/img\/cuhkvayb\/pdf\/2008_PI_SPACE_CHN.pdf\">http:\/\/hkvisualartsyearbook.org\/lib\/img\/cuhkvayb\/pdf\/2008_PI_SPACE_CHN.pdf<\/a>.<br \/><br \/>Leung, Poshan Anthony. \u201cRetreating from the Forefront of Officialisation: The Example of Artists in Fo Tan Industrial Area.\u201d Asia Art Archive, December 1, 2004. <a href=\"https:\/\/aaa.org.hk\/en\/ideas\/ideas\/retreating-from-the-forefront-of-officialisation-the-example-of-artists-in-fo-tan-industrial-area\">https:\/\/aaa.org.hk\/en\/ideas\/ideas\/retreating-from-the-forefront-of-officialisation-the-example-of-artists-in-fo-tan-industrial-area<\/a>.<br \/><br \/>Leung, Poshan Anthony and Seth Denizen. \u201cPrivatising Public Space: Time Square Incidents in Hong Kong.\u201d Asia Art Archive, April 1, 2015. <a href=\"https:\/\/aaa.org.hk\/en\/ideas\/ideas\/privatising-public-space-times-square-incidents-in-hong-kong\/off-the-shelf-researching-hospitality-and-peace-at-aaa-the-perpetual-peace-project\/off-the-shelf-researching-hospitality-and-peace-at-aaa-the-perpetual-peace-project\/1989-chinaavant-garde-exhibition\/type\/collection-spotlight\/en\/collection\/search\/keywords:between-artists-paul-chan-martha-rosler-danh-vo-where-the-lions-are--sort:relevance\/wang-youshen-archive-1989-chinaavant-garde-exhibition-beijing\/object\/sample-1-china-avant-garde-1\/type\/notes\/en\/collection\/search\/keywords:between-artists-paul-chan-martha-rosler-danh-vo-where-the-lions-are--sort:relevance\/v\/en\/library\/danh-vo-where-the-lions-are\/page\/2\">https:\/\/aaa.org.hk\/en\/ideas\/ideas\/privatising-public-space-times-square-incidents-in-hong-kong\/off-the-shelf-researching-hospitality-and-peace-at-aaa-the-perpetual-peace-project\/off-the-shelf-researching-hospitality-and-peace-at-aaa-the-perpetual-peace-project\/1989-chinaavant-garde-exhibition\/type\/collection-spotlight\/en\/collection\/search\/keywords:between-artists-paul-chan-martha-rosler-danh-vo-where-the-lions-are&#8211;sort:relevance\/wang-youshen-archive-1989-chinaavant-garde-exhibition-beijing\/object\/sample-1-china-avant-garde-1\/type\/notes\/en\/collection\/search\/keywords:between-artists-paul-chan-martha-rosler-danh-vo-where-the-lions-are&#8211;sort:relevance\/v\/en\/library\/danh-vo-where-the-lions-are\/page\/2<\/a><br \/><br \/>Mok, Chiu Yu. \u201c\u53e3\u8ff0\u6b77\u53f2 [Oral History].\u201d International Association of Theatre Critics (Hong Kong). Accessed August 15, 2020. <a href=\"http:\/\/www.drama-archive.hk\/?a=doc&amp;id=90625\">http:\/\/www.drama-archive.hk\/?a=doc&amp;id=90625<\/a>.<br \/><br \/>Okazaki, Manami. \u201cWhy Hong Kong artists and activists are turning to zines in the digital age.\u201d South China Morning Post, November 25, 2017. <a href=\"https:\/\/www.scmp.com\/magazines\/post-magazine\/long-reads\/article\/2121084\/why-hong-kong-artists-and-activists-are-turning\">https:\/\/www.scmp.com\/magazines\/post-magazine\/long-reads\/article\/2121084\/why-hong-kong-artists-and-activists-are-turning<\/a>.<br \/><br \/>Para Site and West Space. <em>Space Traffic: Artist-run Spaces Beyond a Local Context<\/em>, Hong Kong, 2002.<br \/><br \/>Stand News. \u201c\u6297\u722d\u7269\u54c1\u878d\u5165\u5275\u4f5c\u3000\u6587\u5b78\u5b63\u5c55\u89bd\u85dd\u8853\u5bb6\u56de\u61c9\u6642\u5c40 [Protest Objects infused in Creation, Artist Respond to Social Situation in Literature Season].\u201d August 4, 2019. <a href=\"https:\/\/www.thestandnews.com\/art\/%E6%8A%97%E7%88%AD%E7%89%A9%E5%93%81%E8%9E%8D%E5%85%A5%E5%89%B5%E4%BD%9C-%E6%96%87%E5%AD%B8%E5%AD%A3%E5%B1%95%E8%A6%BD%E8%97%9D%E8%A1%93%E5%AE%B6%E5%9B%9E%E6%87%89%E6%99%82%E5%B1%80\/\">https:\/\/www.thestandnews.com\/art\/%E6%8A%97%E7%88%AD%E7%89%A9%E5%93%81%E8%9E%8D%E5%85%A5%E5%89%B5%E4%BD%9C-%E6%96%87%E5%AD%B8%E5%AD%A3%E5%B1%95%E8%A6%BD%E8%97%9D%E8%A1%93%E5%AE%B6%E5%9B%9E%E6%87%89%E6%99%82%E5%B1%80\/<\/a>.<br \/><br \/>Terroni, Cristelle. \u201cThe Rise and Fall of Alternative Spaces.\u201d Coll\u00e8ge de France &#8211; Books &amp; Ideas, October 7, 2011. <a href=\"https:\/\/booksandideas.net\/The-Rise-and-Fall-of-Alternative.html\">https:\/\/booksandideas.net\/The-Rise-and-Fall-of-Alternative.html<\/a>.<br \/><br \/>Tse, Chitak Ducky and Tse Ngosheung, eds. <em>\u65b0\u6625\u7cca\u58eb\u6258\uff0e\u83dc\u5712\u85dd\u8853\u5feb\u6a02\u6297\u722d<\/em> [Woodstock in Spring: Art for the Cause of Choi Yuen Village]. Hong Kong, Kubrick, 2012.<br \/><br \/>Wen, Yau. \u201c\u85dd\u8853\u5bb6\u4e0a\u8857\u53bb! \u2014 \u85dd\u8853\u516c\u6c11\u300c423 \u85dd\u8853\u516c\u6c11\u5927\u8072\u884c\u300d\u7684\u555f\u793a [Artists on the Street: the Signification of 423 Art Citizen March].\u201d 2011 \u5e74\u9999\u6e2f\u8996\u89ba\u85dd\u8853\u5e74\u9451 [2011 Hong Kong Visual Arts Yearbook]. Accessed August 17, 2020. <a href=\"http:\/\/www.arts.cuhk.edu.hk\/~fadept\/Yearbook\/YearbookEssays\/2011\/2011_423artcitizen_chin.pdf\">http:\/\/www.arts.cuhk.edu.hk\/~fadept\/Yearbook\/YearbookEssays\/2011\/2011_423artcitizen_chin.pdf<\/a><br \/><br \/>Wen, Yau. \u201c\u5f98\u5f8a\u5728\u908a\u9672\u9593\u7684\u89ba\u9192 &#8211; \u9999\u6e2f\u85dd\u8853\u8207\u793e\u6703\u884c\u52d5\u7684\u8a6d\u7570 [The Awakening that wanders around boundary: Hong Kong Art and the Eeriness of Social Movement].\u201d International Association of Art Critics Hong Kong, June 14, 2013. <a href=\"http:\/\/www.aicahk.org\/chi\/reviews.asp?id=463&amp;pg=1\">http:\/\/www.aicahk.org\/chi\/reviews.asp?id=463&amp;pg=1<\/a><br \/><br \/>Wen, Yau. \u201cHong Kong Performance Art Research Project.\u201d Asia Art Archive, April 1, 2005. <a href=\"https:\/\/aaa.org.hk\/en\/ideas\/ideas\/hong-kong-performance-art-research-project\">https:\/\/aaa.org.hk\/en\/ideas\/ideas\/hong-kong-performance-art-research-project<\/a><br \/><br \/>Wen, Yau. <em>Performing Identities: Performative Practices in Post-Handover Hong Kong Art &amp; Activism<\/em>, Hong Kong, 2018.<br \/><br \/>Wen, Yau. \u201cShortlist | Performing the Protests.\u201d Asia Art Archive, March 1, 2019. <a href=\"https:\/\/aaa.org.hk\/en\/ideas\/ideas\/shortlist-performing-the-protests\">https:\/\/aaa.org.hk\/en\/ideas\/ideas\/shortlist-performing-the-protests<\/a><\/p><\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-33abc08e elementor-widget elementor-widget-spacer\" data-id=\"33abc08e\" data-element_type=\"widget\" data-widget_type=\"spacer.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-spacer\">\n\t\t\t<div class=\"elementor-spacer-inner\"><\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-5cfce4c5 elementor-widget elementor-widget-jet-headline\" data-id=\"5cfce4c5\" data-element_type=\"widget\" data-widget_type=\"jet-headline.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h1 class=\"jet-headline jet-headline--direction-horizontal\"><span class=\"jet-headline__part jet-headline__first\"><span class=\"jet-headline__label\">About the author<\/span><\/span><span class=\"jet-headline__space\">&nbsp;<\/span><\/h1>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<section class=\"elementor-section elementor-inner-section elementor-element elementor-element-4dc2df54 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"4dc2df54\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t\t\t<div class=\"elementor-row\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-inner-column elementor-element elementor-element-5978ae6a\" data-id=\"5978ae6a\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-column-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t<div class=\"elementor-widget-wrap\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-59e652d9 elementor-position-left elementor-vertical-align-top elementor-widget elementor-widget-image-box\" data-id=\"59e652d9\" data-element_type=\"widget\" data-widget_type=\"image-box.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<div class=\"elementor-image-box-wrapper\"><figure class=\"elementor-image-box-img\"><a href=\"https:\/\/arthistory.hku.hk\/hkarttimeline\/index.php\/wongtinlok\/\"><img decoding=\"async\" src=\"https:\/\/arthistory.hku.hk\/hkarttimeline\/wp-content\/uploads\/2021\/06\/2-500x500.jpg\" title=\"2\" alt=\"2\" \/><\/a><\/figure><div class=\"elementor-image-box-content\"><h3 class=\"elementor-image-box-title\"><a href=\"https:\/\/arthistory.hku.hk\/hkarttimeline\/index.php\/wongtinlok\/\"><a href=\"https:\/\/arthistory.hku.hk\/hkarttimeline\/index.php\/wongtinlok\/\">Wong Tin Lok<\/a><\/a><\/h3><p class=\"elementor-image-box-description\">Lok Wong is a writer\/ researcher\/ curator graduated from the University of Hong Kong. His interest in non-institutional art activities led him into studying the transitional pattern of artist-run spaces. His recent projects involve developing exhibitions on a community basis, researching the independent art scene in Asia, and producing video content to educate the public on Modern Art History.<\/p><\/div><\/div>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-inner-column elementor-element elementor-element-79c714aa\" data-id=\"79c714aa\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-column-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t<div class=\"elementor-widget-wrap\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-39e82a0f elementor-widget elementor-widget-jet-button\" data-id=\"39e82a0f\" data-element_type=\"widget\" data-widget_type=\"jet-button.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<div class=\"elementor-jet-button jet-elements\"><div class=\"jet-button__container\">\n\t<a class=\"jet-button__instance jet-button__instance--icon-left hover-effect-1\" href=\"https:\/\/arthistory.hku.hk\/hkarttimeline\/index.php\/people\/\">\n\t\t<div class=\"jet-button__plane jet-button__plane-normal\"><\/div>\n\t\t<div class=\"jet-button__plane jet-button__plane-hover\"><\/div>\n\t\t<div class=\"jet-button__state jet-button__state-normal\">\n\t\t\t<span class=\"jet-button__icon jet-elements-icon\"><i aria-hidden=\"true\" class=\"fas fa-arrow-circle-right\"><\/i><\/span><span class=\"jet-button__label\">More about us<\/span>\t\t<\/div>\n\t\t<div class=\"jet-button__state jet-button__state-hover\">\n\t\t\t<span class=\"jet-button__icon jet-elements-icon\"><i aria-hidden=\"true\" class=\"fas fa-arrow-circle-right\"><\/i><\/span><span class=\"jet-button__label\">Other contributors<\/span>\t\t<\/div>\n\t<\/a>\n<\/div>\n<\/div>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>The Struggle of Spatial Politics&nbsp;Artist-run Spaces and Pop-up Art Events from the mid-80s onwards Author&#8217;s Statement&nbsp; This satellite illustrates the organic relationship between artist-run spaces (ARS) and pop-up art events (PAE) in Hong Kong from the mid-80s onwards.[1] ARS and PAE overlap one another in terms of their site-specificity, non-permanency, and focus on artists, oftentimes [&hellip;]<\/p>\n","protected":false},"author":4,"featured_media":0,"parent":647,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"elementor_header_footer","meta":{"footnotes":""},"class_list":["post-1150","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/arthistory.hku.hk\/hkarttimeline\/index.php\/wp-json\/wp\/v2\/pages\/1150","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/arthistory.hku.hk\/hkarttimeline\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/arthistory.hku.hk\/hkarttimeline\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/arthistory.hku.hk\/hkarttimeline\/index.php\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/arthistory.hku.hk\/hkarttimeline\/index.php\/wp-json\/wp\/v2\/comments?post=1150"}],"version-history":[{"count":38,"href":"https:\/\/arthistory.hku.hk\/hkarttimeline\/index.php\/wp-json\/wp\/v2\/pages\/1150\/revisions"}],"predecessor-version":[{"id":3486,"href":"https:\/\/arthistory.hku.hk\/hkarttimeline\/index.php\/wp-json\/wp\/v2\/pages\/1150\/revisions\/3486"}],"up":[{"embeddable":true,"href":"https:\/\/arthistory.hku.hk\/hkarttimeline\/index.php\/wp-json\/wp\/v2\/pages\/647"}],"wp:attachment":[{"href":"https:\/\/arthistory.hku.hk\/hkarttimeline\/index.php\/wp-json\/wp\/v2\/media?parent=1150"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}