{"id":1363,"date":"2020-09-26T23:37:02","date_gmt":"2020-09-26T15:37:02","guid":{"rendered":"https:\/\/learning.hku.hk\/hkarttimeline\/?page_id=1363"},"modified":"2021-09-10T13:00:22","modified_gmt":"2021-09-10T05:00:22","slug":"mobilitymovementspaces","status":"publish","type":"page","link":"https:\/\/arthistory.hku.hk\/hkarttimeline\/index.php\/satellitetimelines\/mobilitymovementspaces\/","title":{"rendered":"Satellite \u2013 Mobility, Movement &#038; Spaces"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-page\" data-elementor-id=\"1363\" class=\"elementor elementor-1363\" 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-af4533d elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"af4533d\" 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-237be18\" data-id=\"237be18\" 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-53e7a4e elementor-widget elementor-widget-jet-headline\" data-id=\"53e7a4e\" 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\">Mobility, Movement & Spaces<\/span><\/span><span class=\"jet-headline__space\">&nbsp;<\/span><span class=\"jet-headline__part jet-headline__second\"><span class=\"jet-headline__label\">Mapping Choi Yan Chi, Ellen Pau and May Fung in Hong Kong\u2019s Art Circle<\/span><\/span><\/h1>\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-6dca3aa elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"6dca3aa\" 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-c492210\" data-id=\"c492210\" 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-f0547a3 elementor-aspect-ratio-169 elementor-widget elementor-widget-video\" data-id=\"f0547a3\" data-element_type=\"widget\" data-settings=\"{&quot;youtube_url&quot;:&quot;https:\\\/\\\/www.youtube.com\\\/watch?v=Hj8xSqeH9hY&quot;,&quot;video_type&quot;:&quot;youtube&quot;,&quot;controls&quot;:&quot;yes&quot;,&quot;aspect_ratio&quot;:&quot;169&quot;}\" data-widget_type=\"video.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-wrapper elementor-fit-aspect-ratio elementor-open-inline\">\n\t\t\t<div class=\"elementor-video\"><\/div>\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-8844fc8 elementor-widget elementor-widget-spacer\" data-id=\"8844fc8\" 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-fdc9d20 elementor-widget elementor-widget-html\" data-id=\"fdc9d20\" 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.icloud.com\/keynote\/0vZzOA6qmsH8wxBdCh2PlyEhQ?embed=true\" width=\"640\" height=\"500\" frameborder=\"0\" allowfullscreen=\"1\" referrer=\"no-referrer\"><\/iframe>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-528dcb7 elementor-widget elementor-widget-spacer\" data-id=\"528dcb7\" 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-b4dd016 elementor-widget elementor-widget-jet-headline\" data-id=\"b4dd016\" 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-dfa2554 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"dfa2554\" 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-8c96c32\" data-id=\"8c96c32\" 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-fe161a7 elementor-widget elementor-widget-text-editor\" data-id=\"fe161a7\" 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>By spatially mapping the movement and mobility of three women artists in Hong Kong during specific periods of their career, my timeline foregrounds the artists\u2019 agency in shaping their artistic identity through building art spaces. Against a linear temporal approach to art history, the spatial mapping provokes considerations on how physical and conceptual space influenced art in Hong Kong. Choi Yan Chi (\u8521\u4ede\u59ff b.1949), Ellen Pau (\u9b91\u85f9\u502b b.1961) and May Fung (\u99ae\u7f8e\u83ef b.1952) are well-established artists who worked in different capacities within and beyond the local art circle. The three artists are selected because they are institution builders who created spaces to make and display art, forming a foundation for the art community that connected artists within and across generations. As founders of cultural organisations, the artists exercised greater autonomy over the display and hence the production of their works. In this way, institutions acted as anchors for the artists to move around the art circle and existed as extensions of their artistic identities that correspond to the artists\u2019 oeuvre.<\/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\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-6ae4043 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"6ae4043\" 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-55f9dd7\" data-id=\"55f9dd7\" 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-b4e9e91 elementor-widget elementor-widget-text-editor\" data-id=\"b4e9e91\" 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>The three artists studied in this project are leaders with their own visions for Hong Kong art which they realised through their art practice and the institutions they established.<sup>[1]<\/sup> As pioneers, these artists had to take on multiple roles to complete the art ecology.<sup>[2]<\/sup> Recognising the need for an infrastructure to support and sustain art-making, the artists created art institutions with visions that echoed their own artistic paths. For instance, Videotage\u2019s international focus and its organisation of the <em>Microwave International New Media Arts Festival<\/em> reflects Ellen Pau\u2019s artistic positioning as an international artist.<sup>[3]<\/sup> It also hosts VMAC, the first archive of multimedia works in Hong Kong, aligning with Ellen Pau\u2019s concern over the lack of documentation of art in Hong Kong.<sup>[4]<\/sup> The experimental vision of 1a space runs parallel with Choi Yan Chi\u2019s avant-garde spirit which can be understood through her \u201ccross-media experimentations\u201d meant as a means for her to \u201cgrow beyond (her) \u201cframes\u201d of creation\u201d.<sup>[5]<\/sup> Spaces of Art &amp; Culture Outreach (ACO), including a bookstore and rooftop garden, attests to its mission to \u201cencourage alternative reading\u201d and \u201cadvocate green living\u201d, embodying May Fung\u2019s advocations.<sup>[6]<\/sup> In an interview in 1998, Fung proclaimed the importance of extensive reading to her learning process as a self-taught artist.<sup>[7]<\/sup> Ecological concern is a recurring theme in May Fung\u2019s works, including her <em>Eco-Psycho <\/em>series of which <em>Sweet Life <\/em>(2000-2002, fig. 1) is part of. The series draws parallels between the decaying state of the ecology and the psychological state of humans.<sup>[8]<\/sup> These examples suggest institutions as extensions of the presented personas of the artists and, in reverse, can be understood as spaces for the artists to structure their public identity.<br \/><br \/><\/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-194a71f\" data-id=\"194a71f\" 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-c87796c elementor-widget elementor-widget-jet-accordion\" data-id=\"c87796c\" 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-2101\" class=\"jet-toggle__control elementor-menu-anchor\" data-toggle=\"1\" role=\"tab\" aria-controls=\"jet-toggle-content-2101\" 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-2101\" 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>In their interviews or writings, the three artists acknowledge either explicitly or implicitly their role as a pioneer. Choi Yan-chi, \u201cAm I Turning Right?,\u201d 30\u201331. Choi recognised herself as a \u201cforerunner of installation art in Hong Kong\u201d; Lee, Christie. \u201cIn Hong Kong, What is Home?\u201dIn an interview, Ellen Pau recalls that she was one of only eight video artists in Hong Kong when she co-founded Videotage;<\/p><p>May Fung, \u201cFrom 1989 to Now: May Fung on Video Art\u201d (Edited transcript of talk, Exhibition <a href=\"https:\/\/www.westkowloon.hk\/en\/sitesencountered\/five-artists-sites-encountered\"><em>Five Artists: Sites Encountered<\/em><\/a> at the M+ Museum, West Kowloon Cultural District, Hong Kong, September 19, 2019). <a href=\"https:\/\/stories.mplus.org.hk\/en\/blog\/from-1989-to-now-may-fung-on-video-art\/\">https:\/\/stories.mplus.org.hk\/en\/blog\/from-1989-to-now-may-fung-on-video-art\/<\/a>.<\/p><p>May Fung describes when Hartmut Jahn, a German artist, came to the Goethe Institut Hong Kong in 1989, he \u201ctreated (video artists like May Fung and Ellen Pau) as pioneers of video art in Hong Kong\u201d.<\/p><\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div><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-2102\" class=\"jet-toggle__control elementor-menu-anchor\" data-toggle=\"2\" role=\"tab\" aria-controls=\"jet-toggle-content-2102\" 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-2102\" class=\"jet-toggle__content\" data-toggle=\"2\" 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>Ellen Pau, \u201cInterview with Ellen Pau, 15 September 1998 (Part 2).\u201d<\/p><\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div><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-2103\" class=\"jet-toggle__control elementor-menu-anchor\" data-toggle=\"3\" role=\"tab\" aria-controls=\"jet-toggle-content-2103\" 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-2103\" class=\"jet-toggle__content\" data-toggle=\"3\" 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>Videotage organised the Microwave from 1996 \u2013 2006, before it became an independent organisation; Ellen Pau, \u201cEllen Pau in Conversation with Phoebe Wong,\u201d by Phoebe Wong, <em>Ocula Magazine <\/em>online, January 18, 2019. <a href=\"https:\/\/ocula.com\/magazine\/conversations\/ellen-pau\/\">https:\/\/ocula.com\/magazine\/conversations\/ellen-pau\/<\/a>. Ellen Pau mentions reconsidering her relationship with the contemporary art scene in Hong Kong after her solo exhibition at Para Site; In Ellen Pau, \u201cInterview with Ellen Pau, 15 September 1998 (Part 2),\u201d she brought up Canada, Germany, the United States etc. as comparison to Hong Kong\u2019s art scene, suggesting the need to emulate the cultural infrastructures overseas.<\/p><\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div><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-2104\" class=\"jet-toggle__control elementor-menu-anchor\" data-toggle=\"4\" role=\"tab\" aria-controls=\"jet-toggle-content-2104\" 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-2104\" class=\"jet-toggle__content\" data-toggle=\"4\" 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>Ellen Pau, \u201cEllen Pau in Conversation with Phoebe Wong.\u201d<\/p><\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div><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-2105\" class=\"jet-toggle__control elementor-menu-anchor\" data-toggle=\"5\" role=\"tab\" aria-controls=\"jet-toggle-content-2105\" 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 #5<\/div>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div id=\"jet-toggle-content-2105\" class=\"jet-toggle__content\" data-toggle=\"5\" 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>Choi Yan-chi, \u201cAm I Turning Right?,\u201d 28\u201329.<\/p><\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div><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-2106\" class=\"jet-toggle__control elementor-menu-anchor\" data-toggle=\"6\" role=\"tab\" aria-controls=\"jet-toggle-content-2106\" 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 #6<\/div>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div id=\"jet-toggle-content-2106\" class=\"jet-toggle__content\" data-toggle=\"6\" 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>\u201cACO Team,\u201d Art &amp; Culture Outreach, accessed\u00a0 October 29, 2020, <a href=\"https:\/\/www.aco.hk\/team\">https:\/\/www.aco.hk\/team<\/a>. May Fung introduces herself as the ACO Dolphin who \u201cLoves nature, but then cannot forsake art and culture and social responsibility, thus living demi-human and demi-beast between the city and the countryside.\u201d<\/p><\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div><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-2107\" class=\"jet-toggle__control elementor-menu-anchor\" data-toggle=\"7\" role=\"tab\" aria-controls=\"jet-toggle-content-2107\" 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 #7<\/div>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div id=\"jet-toggle-content-2107\" class=\"jet-toggle__content\" data-toggle=\"7\" 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>May Fung, \u201cInterview with Fung Meiwah May, 23 October 1998 \u2014 Transcript (English).\u201d<\/p><\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div><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-2108\" class=\"jet-toggle__control elementor-menu-anchor\" data-toggle=\"8\" role=\"tab\" aria-controls=\"jet-toggle-content-2108\" 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 #8<\/div>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div id=\"jet-toggle-content-2108\" class=\"jet-toggle__content\" data-toggle=\"8\" 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>May Fung, \u201cMay Fung\u2019s Installation Art: Reflection,\u201d in <em>May Fung: Everything Starts from Here, <\/em>ed. Leung Chi Wo and Leung Chin Fung, (Hong Kong: Para\/Site Art Space, 2002), 22\u201323, <a href=\"https:\/\/issuu.com\/parasite_hk\/docs\/2002_ex_8_box_5_3\">https:\/\/issuu.com\/parasite_hk\/docs\/2002_ex_8_box_5_3<\/a>, Issuu.<\/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-d9ec72d elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"d9ec72d\" 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-33 elementor-inner-column elementor-element elementor-element-98b2a7d\" data-id=\"98b2a7d\" 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-79ddf1d gallery-spacing-custom elementor-widget elementor-widget-image-gallery\" data-id=\"79ddf1d\" data-element_type=\"widget\" data-widget_type=\"image-gallery.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-image-gallery\">\n\t\t\t<div id='gallery-1' class='gallery galleryid-1363 gallery-columns-1 gallery-size-full'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"240\" height=\"286\" src=\"https:\/\/arthistory.hku.hk\/hkarttimeline\/wp-content\/uploads\/2021\/04\/Fig3_01.png\" class=\"attachment-full size-full\" alt=\"\" \/>\n\t\t\t<\/div><\/figure>\n\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<div class=\"elementor-column elementor-col-33 elementor-inner-column elementor-element elementor-element-3ca6242\" data-id=\"3ca6242\" 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-b8ef57d gallery-spacing-custom elementor-widget elementor-widget-image-gallery\" data-id=\"b8ef57d\" data-element_type=\"widget\" data-widget_type=\"image-gallery.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-image-gallery\">\n\t\t\t<div id='gallery-2' class='gallery galleryid-1363 gallery-columns-2 gallery-size-full'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"354\" height=\"508\" src=\"https:\/\/arthistory.hku.hk\/hkarttimeline\/wp-content\/uploads\/2021\/04\/Screen-Shot-2021-04-27-at-4.39.19-PM-e1619513438239.png\" class=\"attachment-full size-full\" alt=\"\" srcset=\"https:\/\/arthistory.hku.hk\/hkarttimeline\/wp-content\/uploads\/2021\/04\/Screen-Shot-2021-04-27-at-4.39.19-PM-e1619513438239.png 354w, https:\/\/arthistory.hku.hk\/hkarttimeline\/wp-content\/uploads\/2021\/04\/Screen-Shot-2021-04-27-at-4.39.19-PM-e1619513438239-209x300.png 209w\" sizes=\"auto, (max-width: 354px) 100vw, 354px\" \/>\n\t\t\t<\/div><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"354\" height=\"510\" src=\"https:\/\/arthistory.hku.hk\/hkarttimeline\/wp-content\/uploads\/2021\/04\/Screen-Shot-2021-04-27-at-4.39.32-PM.png\" class=\"attachment-full size-full\" alt=\"\" srcset=\"https:\/\/arthistory.hku.hk\/hkarttimeline\/wp-content\/uploads\/2021\/04\/Screen-Shot-2021-04-27-at-4.39.32-PM.png 354w, https:\/\/arthistory.hku.hk\/hkarttimeline\/wp-content\/uploads\/2021\/04\/Screen-Shot-2021-04-27-at-4.39.32-PM-208x300.png 208w\" sizes=\"auto, (max-width: 354px) 100vw, 354px\" \/>\n\t\t\t<\/div><\/figure>\n\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<div class=\"elementor-column elementor-col-33 elementor-inner-column elementor-element elementor-element-3f88ff5\" data-id=\"3f88ff5\" 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-1865121 elementor-widget elementor-widget-image-gallery\" data-id=\"1865121\" data-element_type=\"widget\" data-widget_type=\"image-gallery.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-image-gallery\">\n\t\t\t<div id='gallery-3' class='gallery galleryid-1363 gallery-columns-1 gallery-size-full'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon landscape'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"682\" height=\"508\" src=\"https:\/\/arthistory.hku.hk\/hkarttimeline\/wp-content\/uploads\/2021\/04\/Screen-Shot-2021-04-27-at-4.39.26-PM.png\" class=\"attachment-full size-full\" alt=\"\" srcset=\"https:\/\/arthistory.hku.hk\/hkarttimeline\/wp-content\/uploads\/2021\/04\/Screen-Shot-2021-04-27-at-4.39.26-PM.png 682w, https:\/\/arthistory.hku.hk\/hkarttimeline\/wp-content\/uploads\/2021\/04\/Screen-Shot-2021-04-27-at-4.39.26-PM-300x223.png 300w\" sizes=\"auto, (max-width: 682px) 100vw, 682px\" \/>\n\t\t\t<\/div><\/figure>\n\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-2963eb1 elementor-widget elementor-widget-text-editor\" data-id=\"2963eb1\" 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>\u00a0<\/p><p>Fig. 1 Installation view of May Fung, <em>Sweet Life, <\/em>2000\u20132002, mini LCD monitors and other materials (sheep skins, trees, a children\u2019s toilet, a perspex cubicle with one side covered by a venetian blind, UV light tubes), in <em>May Fung: Everything Starts from Here,<\/em> 24\u201325.<\/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\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-3e52415 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"3e52415\" 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-6734570\" data-id=\"6734570\" 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-e5ed157 elementor-widget elementor-widget-text-editor\" data-id=\"e5ed157\" 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>A spatial mapping of the way artists traversed the art circle is particularly important for Hong Kong, where high property prices directly impacted the conditions of art making, physically and thus, conceptually.<sup>[9]<\/sup> The gathering and subsequent eviction of artists from the short-lived Oil Street Artist Village of 1998 is marked out in my timeline to emphasise the instability of having a physical space for artists to create, display and communicate about art.<sup>[10]<\/sup> The congestion of physical space extended to artists\u2019 anxiety over their conceptual space for art making, corresponding to changes in the social environment and political regime during the late 80s and 90s. This anxiety is encapsulated in Choi Yan Chi\u2019s <em>Drowned III: Swimming in the Dark<\/em> (1993, fig. 2), part of a series that responded to the \u201ctrauma\u201d of the June-Fourth incident in 1984 and the Handover in 1997.<sup>[11]<\/sup> Tidily stacked books were contained in glass cases, drowned in oil to slowly disintegrate. These glass cases were put on pedestals that inferred their importance, amplifying the eerie atmosphere and the sense of helplessness as the words in the books were rendered non-functional and disappeared before the embedded ideas could be read. At the time, the medium of installation art connoted an instability which echoed the ephemerality of space in a city with limited land and uncertain sovereignty.<sup>[12]<br \/><br \/><\/sup><a href=\"#_ftnref1\" name=\"_ftn1\"><\/a><\/p><p><a href=\"#_ftnref1\" name=\"_ftn1\"><\/a><\/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-f247b8e\" data-id=\"f247b8e\" 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-ba60995 elementor-widget elementor-widget-jet-accordion\" data-id=\"ba60995\" 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-1951\" class=\"jet-toggle__control elementor-menu-anchor\" data-toggle=\"1\" role=\"tab\" aria-controls=\"jet-toggle-content-1951\" 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 #9<\/div>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div id=\"jet-toggle-content-1951\" 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>May Fung, \u201cArt Should Not Be Sensible: In Conversation with May Fung,\u201d by Karen Cheung and Chelsea Ma, Asia Art Archive, August 3, 2020, accessed October 29, 2020. <a href=\"https:\/\/aaa.org.hk\/en\/ideas\/ideas\/art-should-not-be-sensible-in-conversation-with-may-fung\">https:\/\/aaa.org.hk\/en\/ideas\/ideas\/art-should-not-be-sensible-in-conversation-with-may-fung<\/a>. In the recent interview, May Fung described the lack of money and space to be the main challenges faced by emerging artists, forming the motivation behind Arts and Culture Outreach (ACO).<\/p><\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div><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-1952\" class=\"jet-toggle__control elementor-menu-anchor\" data-toggle=\"2\" role=\"tab\" aria-controls=\"jet-toggle-content-1952\" 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 #10<\/div>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div id=\"jet-toggle-content-1952\" class=\"jet-toggle__content\" data-toggle=\"2\" 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>Oil Street Archive, Asia Art Archive. <a href=\"https:\/\/aaa.org.hk\/en\/collections\/search\/archive\/oil-street-archive\">https:\/\/aaa.org.hk\/en\/collections\/search\/archive\/oil-street-archive<\/a>.<\/p><p>The \u201cSave Oil Street\u201d campaign launched by tenants of the Oil Street premise speak to the opposition of artists against giving up their physical space for creation.<\/p><\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div><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-1953\" class=\"jet-toggle__control elementor-menu-anchor\" data-toggle=\"3\" role=\"tab\" aria-controls=\"jet-toggle-content-1953\" 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 #11<\/div>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div id=\"jet-toggle-content-1953\" class=\"jet-toggle__content\" data-toggle=\"3\" 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>Choi Yan-chi, \u201cAm I Turning Right?,\u201d 24\u201325.<\/p><\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div><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-1954\" class=\"jet-toggle__control elementor-menu-anchor\" data-toggle=\"4\" role=\"tab\" aria-controls=\"jet-toggle-content-1954\" 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 #12<\/div>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div id=\"jet-toggle-content-1954\" class=\"jet-toggle__content\" data-toggle=\"4\" 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>Choi Yan-chi, \u201cAm I Turning Right?,\u201d 28\u201331. Choi recalls that mediums of performance and installation art were ways to defy stable identities and existing frameworks in art; Lo Kwai-cheung, \u201cInstalling Instability\u201d in <em>[Re]Fabrication: Choi Yan-chi\u2019s 30 years, Paths of Inter-disciplinarity in Art, <\/em>ed. Linda C. H. Lai. (Hong Kong: Para\/Site Art Space, 2006), 112\u2013115, <a href=\"https:\/\/www.para-site.art\/publications\/refabrication-choi-yan-chis-30-years-paths-of-inter-disciplinarity-in-art\/\">https:\/\/www.para-site.art\/publications\/refabrication-choi-yan-chis-30-years-paths-of-inter-disciplinarity-in-art\/<\/a>, Issuu. Choi\u2019s contemporary Lo Kwai-cheung (\u7f85\u8cb4\u7965) describes understanding her work as avante-garde and links between \u201cthe will to transgress the confinement of space as a container\u201d and \u201cthe subversive impulses within an orderly paradigm\u201d in installation art which \u201csubtly refers to the character of our contemporary society.\u201d<\/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-af0588c elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"af0588c\" 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-60be5e3\" data-id=\"60be5e3\" 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-cdd4970 elementor-widget elementor-widget-image\" data-id=\"cdd4970\" data-element_type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-image\">\n\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"691\" src=\"https:\/\/arthistory.hku.hk\/hkarttimeline\/wp-content\/uploads\/2021\/04\/Screen-Shot-2021-04-27-at-5.01.00-PM-1024x691.png\" class=\"attachment-large size-large\" alt=\"\" srcset=\"https:\/\/arthistory.hku.hk\/hkarttimeline\/wp-content\/uploads\/2021\/04\/Screen-Shot-2021-04-27-at-5.01.00-PM-1024x691.png 1024w, https:\/\/arthistory.hku.hk\/hkarttimeline\/wp-content\/uploads\/2021\/04\/Screen-Shot-2021-04-27-at-5.01.00-PM-300x202.png 300w, https:\/\/arthistory.hku.hk\/hkarttimeline\/wp-content\/uploads\/2021\/04\/Screen-Shot-2021-04-27-at-5.01.00-PM-768x518.png 768w, https:\/\/arthistory.hku.hk\/hkarttimeline\/wp-content\/uploads\/2021\/04\/Screen-Shot-2021-04-27-at-5.01.00-PM.png 1094w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/>\t\t\t\t\t\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<div class=\"elementor-column elementor-col-50 elementor-inner-column elementor-element elementor-element-2dbb1d3\" data-id=\"2dbb1d3\" 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-b1f7cde elementor-widget elementor-widget-text-editor\" data-id=\"b1f7cde\" 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>Fig. 2 Installation view of Choi Yan Chi, <em>Drowned III: Swimming in the Dark,<\/em> 1993, in The First Asia Pacific Triennial, Queensland Art Gallery, Australia, in <em>[Re]Fabrication: Choi Yan-chi\u2019s 30 years, Paths of Inter-disciplinarity in Art, <\/em>ed. Linda C. H. Lai. (Hong Kong: Para\/Site Art Space, 2006), 83. <a href=\"https:\/\/www.para-site.art\/publications\/refabrication-choi-yan-chis-30-years-paths-of-inter-disciplinarity-in-art\/\">https:\/\/www.para-site.art\/publications\/refabrication-choi-yan-chis-30-years-paths-of-inter-disciplinarity-in-art\/<\/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\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-0d4bffb elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"0d4bffb\" 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-07744b7\" data-id=\"07744b7\" 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-c82d0d8 elementor-widget elementor-widget-text-editor\" data-id=\"c82d0d8\" 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>Against the theme of disappearance and instability, the people activating art spaces sustained their communities even as institutions and spaces are destabilized. The formation of Videotage\u00a0 in 1986 by Ellen Pau, May Fung, Wong Chifai (\u9ec3\u5fd7\u8f1d) and Comyn Mo (\u6bdb\u6587\u7fbd), who met through the then-disbanded Phoenix Cine Club, reflects a continuity overlooked in institutional histories. Relational links between artists and art institutions also provide interesting ways to think about the ideological links between the art practices of different artists. Geographical proximity between Videotage and Zuni Icosahedron, a performance art group, shaped both the works of May Fung and Ellen Pau.<sup>[13]<\/sup> May Fung\u2019s <em>Thought 3 <\/em>(1989) includes a video documentation of Zuni\u2019s theatre performance <em>October<\/em>, using the theatre stage as a metaphor for life.<sup>[14]<\/sup> Ellen Pau\u2019s <em>Love in the Time of Cholera <\/em>(1989) includes clips documented from the same performance by Zuni.<sup>[15]<\/sup> A rhizomatic mapping of Hong Kong\u2019s art circle can reveal connections that would be neglected in a linear narrative of Hong Kong art history.<\/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-50fea13\" data-id=\"50fea13\" 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-3e6d394 elementor-widget elementor-widget-jet-accordion\" data-id=\"3e6d394\" 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-6541\" class=\"jet-toggle__control elementor-menu-anchor\" data-toggle=\"1\" role=\"tab\" aria-controls=\"jet-toggle-content-6541\" 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 #13<\/div>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div id=\"jet-toggle-content-6541\" 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>Christie Lee, \u201cIn Hong Kong, What is Home? Ellen Pau Tackles the Question In Her 30-Year Retrospective,\u201d Zolima Citymag, January 1, 2019, <a href=\"https:\/\/zolimacitymag.com\/hong-kong-home-ellen-pau-tackles-the-question-in-her-30-year-retrospective\/\">https:\/\/zolimacitymag.com\/hong-kong-home-ellen-pau-tackles-the-question-in-her-30-year-retrospective\/<\/a>. From its inception Videotage shared space in Happy Valley with Zuni Icosahedron, an experimental performance art group, before moving into the Oil Street Artist Village in 1998; May Fung, \u201cInterview with Fung Meiwah May, 23 October 1998 \u2014 Transcript (English).\u201d May Fung mentions that her participation in Zuni\u2019s performances heightened her awareness of body movement and performativity; Ellen Pau\u2019s works such as <em>Love in the Time of Cholera <\/em>(1989) and <em>Drained II <\/em>(1989) uses video documentations of Zuni\u2019s performances. \u201cEllen Pau: What about Home Affairs? \u2014 A Retrospective,\u201d 17 names the late 1980s as a \u201cmilestone era when the artist (Ellen Pau) began to experiment with screen-based media in combination with stage, dance and installation arts\u201d.<\/p><\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div><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-6542\" class=\"jet-toggle__control elementor-menu-anchor\" data-toggle=\"2\" role=\"tab\" aria-controls=\"jet-toggle-content-6542\" 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 #14<\/div>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div id=\"jet-toggle-content-6542\" class=\"jet-toggle__content\" data-toggle=\"2\" 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>Lok Fung, \u201cFrom Personal to Political: Deconstructing May Fung\u2019s Short Film and Video Creations,\u201d In <em>May Fung: Everything Starts from Here, <\/em>ed. Leung Chi Wo and Leung Chin Fung. (Hong Kong: Para\/Site Art Space, 2002), 8\u20139. <a href=\"https:\/\/issuu.com\/parasite_hk\/docs\/2002_ex_8_box_5_3\">https:\/\/issuu.com\/parasite_hk\/docs\/2002_ex_8_box_5_3<\/a>, Issuu; May Fung, \u201cInterview with Fung Meiwah May, 23 October 1998 \u2014 Transcript (English).\u201d May Fung talks about <em>Thought 3<\/em> (1989) as a work that mixes the medium of video screening and solo reading, an element of theatre.<\/p><\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div><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-6543\" class=\"jet-toggle__control elementor-menu-anchor\" data-toggle=\"3\" role=\"tab\" aria-controls=\"jet-toggle-content-6543\" 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 #15<\/div>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div id=\"jet-toggle-content-6543\" class=\"jet-toggle__content\" data-toggle=\"3\" 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>E-catalogue for \u201cThe Great Movement: Ellen Pau Solo Exhibition,\u201d Edouard Malingue Gallery online, published 2019, unpaginated. <a href=\"https:\/\/edouardmalingue.com\/wordpress\/wp-content\/uploads\/2019\/11\/Ellen-Pau_E-catalogue.pdf\">https:\/\/edouardmalingue.com\/wordpress\/wp-content\/uploads\/2019\/11\/Ellen-Pau_E-catalogue.pdf<\/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\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-e212d57 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"e212d57\" 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-d6e4024\" data-id=\"d6e4024\" 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-6f7016b elementor-widget elementor-widget-text-editor\" data-id=\"6f7016b\" 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>Beyond local connections, long distance networks reflected in my timeline reveal moments of increased external interest in Hong Kong art following the June-Fourth incident in 1984 and the Handover in 1997. These networks provided artists in the late 80s and 90s with the foundation to consider Hong Kong\u2019s position as a cosmopolitan city and challenge the East\/West narrative to reading Hong Kong art.<sup>[16]<\/sup> Writing about her <em>Drowned<\/em> series, Choi Yan Chi notes and compares the different responses based on the cultural context the work was staged.<sup>[17]<\/sup> Her training and experience outside Hong Kong supplemented her with an in-depth perspective of the reception to her work in different contexts, an awareness that impacted the way she considered her position in the field.<sup>[18]<\/sup> This global awareness not only shaped the artists\u2019 personal art making practices, but also the way they assessed Hong Kong\u2019s cultural sphere and the institutions they founded to contribute to Hong Kong\u2019s art ecology.<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-cca4e8e\" data-id=\"cca4e8e\" 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-e88fe89 elementor-widget elementor-widget-jet-accordion\" data-id=\"e88fe89\" 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-2431\" class=\"jet-toggle__control elementor-menu-anchor\" data-toggle=\"1\" role=\"tab\" aria-controls=\"jet-toggle-content-2431\" 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 #16<\/div>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div id=\"jet-toggle-content-2431\" 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>Carolyn Cartier, \u201cHong Kong and the Production of Art in the Post\/Colonial City,\u201d <em>China Information <\/em>22, no. 2 (2008): 248\u2013252. Cartier proposes locality as a way of digressing from the China\/West narrative in Hong Kong art, using a point of view of Hong Kong as a liminal space.<\/p><\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div><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-2432\" class=\"jet-toggle__control elementor-menu-anchor\" data-toggle=\"2\" role=\"tab\" aria-controls=\"jet-toggle-content-2432\" 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 #17<\/div>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div id=\"jet-toggle-content-2432\" class=\"jet-toggle__content\" data-toggle=\"2\" 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>Choi Yan-chi, \u201cAm I Turning Right?,\u201d 26\u201327. Choi makes comparison between the responses of \u201cChinese, Asians and Germans\u201d who associate <em>Drowned <\/em>with the \u201cdestructiveness of totalitarianism\u201d and the \u201cBritish, Australians, Canadians as well as New Age intellectuals\u201d who felt \u201ca sense of relief\u201d.<\/p><\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div><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-2433\" class=\"jet-toggle__control elementor-menu-anchor\" data-toggle=\"3\" role=\"tab\" aria-controls=\"jet-toggle-content-2433\" 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 #18<\/div>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div id=\"jet-toggle-content-2433\" class=\"jet-toggle__content\" data-toggle=\"3\" 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>Ibid., 26\u201327. Choi Yan Chi has a BFA and MFA from The Chicago Institute of Art and resided in Canada from 1993 \u2013 1997. She writes about an anecdote from her Fellowship show in 1976 that can be read as a turning point in from her practice in painting to installation. Her tutor\u2019s response to her painted works made her feel an \u201cotherness\u201d that turned her away from her conviction of her role to \u201csteer Chinese contemporary art\u201d through painting, which instigated Choi\u2019s exploration of \u201cnew domains\u201d as she returned to Hong Kong.<\/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-5fb15ae elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"5fb15ae\" 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-5116df9\" data-id=\"5116df9\" 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-29daac4 elementor-widget elementor-widget-text-editor\" data-id=\"29daac4\" 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>For the three artists I traced in my timeline, institution-building is significant in two-folds: it established the particular artists as leaders, while laying a foundation for the local art ecology. Institution-building was also a way for the artists to claim physical and conceptual space, acting as anchors for the artists as their roles shifted throughout their artistic careers, and reflecting the artistic concerns of its founders which coalesced with the reputation of the institution.\u00a0 By foregrounding the artists behind institutions and visualizing the mobility of the three artists, my timeline prompts investigation into <em>how an artist became an artist in Hong Kong<\/em> and emphasizes the artists\u2019 agency through institution-building which granted them additional cultural capital and autonomy to shape their artistic identity.<\/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\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-89d3b94 elementor-widget elementor-widget-jet-accordion\" data-id=\"89d3b94\" 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-1441\" class=\"jet-toggle__control elementor-menu-anchor\" data-toggle=\"1\" role=\"tab\" aria-controls=\"jet-toggle-content-1441\" 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-1441\" 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>\u201cACO Team.\u201d Art &amp; Culture Outreach. Accessed\u00a0 October 29, 2020. <a href=\"https:\/\/www.aco.hk\/team\">https:\/\/www.aco.hk\/team<\/a>.<\/p><p>Cartier, Carolyn. \u201cHong Kong and the Production of Art in the Post\/Colonial City.\u201d <em>China Information <\/em>22, no. 2 (2008): 245\u2013275.<\/p><p>Cheung, Ysabelle. \u201cThe Life of an Image.\u201d <em>Artomity Magazine<\/em>, December 30, 2019. <a href=\"https:\/\/artomity.art\/2019\/12\/30\/ellen-pau\/\">https:\/\/artomity.art\/2019\/12\/30\/ellen-pau\/<\/a>.<\/p><p>Choi, Yan-chi. \u201cAm I Turning Right?\u201d In <em>[Re]Fabrication: Choi Yan-chi\u2019s 30 years, Paths of Inter-disciplinarity in Art, <\/em>edited by Linda C. H. Lai, 14\u201333. Hong Kong: Para\/Site Art Space, 2006. <a href=\"https:\/\/www.para-site.art\/publications\/refabrication-choi-yan-chis-30-years-paths-of-inter-disciplinarity-in-art\/\">https:\/\/www.para-site.art\/publications\/refabrication-choi-yan-chis-30-years-paths-of-inter-disciplinarity-in-art\/<\/a>. Issuu.<\/p><p>Choi, Yan-chi. <em>From &#8216;Oil Street&#8217; to &#8216;Cattle Depot&#8217;. <\/em>Hong Kong: 1a Space, 2001.<\/p><p>Chow, Vivienne. \u201c&#8217;We Can&#8217;t Afford Another Generation Too Lazy to Think&#8217;, Says Arts Adviser.\u201d <em>South China Morning Post<\/em>, January 20, 2014. <a href=\"https:\/\/www.scmp.com\/news\/hong-kong\/article\/1409172\/we-cant-afford-another-generation-too-lazy-think-says-arts-adviser\">https:\/\/www.scmp.com\/news\/hong-kong\/article\/1409172\/we-cant-afford-another-generation-too-lazy-think-says-arts-adviser<\/a>.<\/p><p>DeWolf, Christopher. \u201cAt site of Hong Kong\u2019s first Artists\u2019 Village, Art has come Full Circle \u2013 The Story of Oil Street, North Point, and How it Earned its Name.\u201d <em>South China Morning Post<\/em>, March 1, 2020. <a href=\"https:\/\/www.scmp.com\/lifestyle\/travel-leisure\/article\/3048327\/site-hong-kongs-first-artists-village-art-has-come-full\">https:\/\/www.scmp.com\/lifestyle\/travel-leisure\/article\/3048327\/site-hong-kongs-first-artists-village-art-has-come-full<\/a>.<\/p><p>E-catalogue for \u201cThe Great Movement: Ellen Pau Solo Exhibition.\u201d Edouard Malingue Gallery online. Published 2019. <a href=\"https:\/\/edouardmalingue.com\/wordpress\/wp-content\/uploads\/2019\/11\/Ellen-Pau_E-catalogue.pdf\">https:\/\/edouardmalingue.com\/wordpress\/wp-content\/uploads\/2019\/11\/Ellen-Pau_E-catalogue.pdf<\/a>.<\/p><p>Exhibition brochure for \u201cEllen Pau: What about Home Affairs? \u2014 A Retrospective.\u201d <em>Para Site <\/em>online. Accessed October 5, 2020. <a href=\"https:\/\/www.para-site.art\/exhibitions\/ellen-pau-what-about-home-affairs-a-retrospective\/\">https:\/\/www.para-site.art\/exhibitions\/ellen-pau-what-about-home-affairs-a-retrospective\/<\/a>.<\/p><p>Fung, Lok. \u201cFrom Personal to Political: Deconstructing May Fung\u2019s Short Film and Video Creations.\u201d In <em>May Fung: Everything Starts from Here, <\/em>edited by Leung Chi Wo and Leung Chin Fung, 2\u201315. Hong Kong: Para\/Site Art Space, 2002. <a href=\"https:\/\/issuu.com\/parasite_hk\/docs\/2002_ex_8_box_5_3\">https:\/\/issuu.com\/parasite_hk\/docs\/2002_ex_8_box_5_3<\/a>. Issuu.<\/p><p>Fung, May. \u201cArt Should Not Be Sensible: In Conversation with May Fung.\u201d By Karen Cheung and Chelsea Ma. Asia Art Archive. August 3, 2020. Accessed October 29, 2020. <a href=\"https:\/\/aaa.org.hk\/en\/ideas\/ideas\/art-should-not-be-sensible-in-conversation-with-may-fung\">https:\/\/aaa.org.hk\/en\/ideas\/ideas\/art-should-not-be-sensible-in-conversation-with-may-fung<\/a>.<\/p><p>Fung, May. \u201cFrom 1989 to Now: May Fung on Video Art.\u201d Edited transcript of talk for the exhibition <a href=\"https:\/\/www.westkowloon.hk\/en\/sitesencountered\/five-artists-sites-encountered\"><em>Five Artists: Sites Encountered<\/em><\/a>, M+ Museum, West Kowloon Cultural District, Hong Kong, September, 2019.<\/p><p>Fung, May. \u201cInterview with Fung Meiwah May, 23 October 1998 \u2014 Transcript (English).\u201d By Leung Chiwo Warren. Asia Art Archive. October 23, 1998. <a href=\"https:\/\/aaa.org.hk\/en\/collections\/search\/library\/interview-with-fung-meiwah-may-23-october-1998-transcript-english\">https:\/\/aaa.org.hk\/en\/collections\/search\/library\/interview-with-fung-meiwah-may-23-october-1998-transcript-english<\/a>.<\/p><p>Fung, May. \u201cMay Fung\u2019s Installation Art: Reflection.\u201d In <em>May Fung: Everything Starts from Here, <\/em>edited by Leung Chi Wo and Leung Chin Fung, 22\u201323. Hong Kong: Para\/Site Art Space, 2002. <a href=\"https:\/\/issuu.com\/parasite_hk\/docs\/2002_ex_8_box_5_3\">https:\/\/issuu.com\/parasite_hk\/docs\/2002_ex_8_box_5_3<\/a>. Issuu.<\/p><p>Lai, Linda Chiu-han. &#8220;Contemporary \u201cWomen\u2019s Art in Hong Kong\u201d Reframed: Performative Research on the Potentialities of Women Art Makers.&#8221; <em>Positions<\/em> 28:1 (February 2020): 237-74. Accessed October 4, 2020. doi: 10.1215\/10679847-7913132.<\/p><p>Lee, Christie. \u201cIn Hong Kong, What is Home? Ellen Pau Tackles the Question In Her 30-Year Retrospective.\u201d <em>Zolima Citymay<\/em>, January 1, 2019. <a href=\"https:\/\/zolimacitymag.com\/hong-kong-home-ellen-pau-tackles-the-question-in-her-30-year-retrospective\/\">https:\/\/zolimacitymag.com\/hong-kong-home-ellen-pau-tackles-the-question-in-her-30-year-retrospective\/<\/a>.<\/p><p>Lee, Christie. \u201cLocal Art: Like its Namesake Bus Line, 1a Space is Quintessentially Hong Kong.\u201d <em>Zolima Citymag<\/em>, January 18, 2018. <a href=\"https:\/\/zolimacitymag.com\/artist-choi-yan-chi-turned-1a-space-into-quintessential-hong-kong-gallery\/\">https:\/\/zolimacitymag.com\/artist-choi-yan-chi-turned-1a-space-into-quintessential-hong-kong-gallery\/<\/a><\/p><p>Lo, Kwai-cheung. \u201cInstalling Instability.\u201d In <em>[Re]Fabrication: Choi Yan-chi\u2019s 30 years, Paths of Inter-disciplinarity in Art, <\/em>edited by Linda C. H. Lai, 110\u2013115. Hong Kong: Para\/Site Art Space, 2006. <a href=\"https:\/\/www.para-site.art\/publications\/refabrication-choi-yan-chis-30-years-paths-of-inter-disciplinarity-in-art\/\">https:\/\/www.para-site.art\/publications\/refabrication-choi-yan-chis-30-years-paths-of-inter-disciplinarity-in-art\/<\/a>. Issuu.<\/p><p>\u201cMay Fung.\u201d <em>Hysan95. <\/em>Accessed 5 Oct, 2020. <a href=\"http:\/\/www.hysan95.com\/interview\/may-fung\/\">http:\/\/www.hysan95.com\/interview\/may-fung\/<\/a>.<\/p><p>Oil Street Archive. Asia Art Archive, Hong Kong. <a href=\"https:\/\/aaa.org.hk\/en\/collections\/search\/archive\/oil-street-archive\">https:\/\/aaa.org.hk\/en\/collections\/search\/archive\/oil-street-archive<\/a>.<\/p><p>Pau, Ellen. \u201cEllen Pau in Conversation with Phoebe Wong.\u201d By Phoebe Wong. <em>Ocula Magazine <\/em>online. January 18, 2019. <a href=\"https:\/\/ocula.com\/magazine\/conversations\/ellen-pau\/\">https:\/\/ocula.com\/magazine\/conversations\/ellen-pau\/<\/a>.\u00a0 \u00a0<\/p><p>Pau, Ellen. \u201cInterview with Ellen Pau, 15 September 1998 (Part 1).\u201d By Leung Chiwo Warren. Asia Art Archive (September 1998). WAV, 1:32:19.<\/p><p><a href=\"https:\/\/aaa.org.hk\/en\/collections\/search\/library\/interview-with-ellen-pau-15-september-1998-part-1\">https:\/\/aaa.org.hk\/en\/collections\/search\/library\/interview-with-ellen-pau-15-september-1998-part-1<\/a>.<\/p><p>Pau, Ellen. \u201cInterview with Ellen Pau, 15 September 1998 (Part 2).\u201d By Leung Chiwo Warren. Asia Art Archive. WAV, 13:20, September 15, 1998.\u00a0 <a href=\"https:\/\/aaa.org.hk\/en\/collections\/search\/library\/interview-with-ellen-pau-15-september-1998-part-2\">https:\/\/aaa.org.hk\/en\/collections\/search\/library\/interview-with-ellen-pau-15-september-1998-part-2<\/a>.<\/p><p>PAU, Ellen. Individual File: Ellen PAU. Asia Art Archive, Hong Kong.<\/p><p>\u201cShe Said Why Me, 1989.\u201d Video Media Art Collection. Videotage. Accessed 5 October, 2020. <a href=\"http:\/\/vmac.org.hk\/web\/details.php?tag=1651&amp;page=2\">http:\/\/vmac.org.hk\/web\/details.php?tag=1651&amp;page=2<\/a>.<\/p><p>Tyrell, Clare. \u201cMay Fung.\u201d <em>South China Morning Post<\/em>, 2002. <a href=\"https:\/\/www.scmp.com\/article\/396905\/may-fung\">https:\/\/www.scmp.com\/article\/396905\/may-fung<\/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-1e37188 elementor-widget elementor-widget-spacer\" data-id=\"1e37188\" 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-095c23d elementor-widget elementor-widget-jet-headline\" data-id=\"095c23d\" 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-dbaa8ff elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"dbaa8ff\" 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-9e418aa\" data-id=\"9e418aa\" 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-fb55b30 elementor-position-left elementor-vertical-align-top elementor-widget elementor-widget-image-box\" data-id=\"fb55b30\" 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\/yitinglee\/\"><img decoding=\"async\" src=\"https:\/\/arthistory.hku.hk\/hkarttimeline\/wp-content\/uploads\/2021\/07\/yitingsq-e1626254011337-500x500.jpg\" title=\"yitingsq\" alt=\"yitingsq\" \/><\/a><\/figure><div class=\"elementor-image-box-content\"><h3 class=\"elementor-image-box-title\"><a href=\"https:\/\/arthistory.hku.hk\/hkarttimeline\/index.php\/yitinglee\/\"><p><a href=\"https:\/\/arthistory.hku.hk\/hkarttimeline\/index.php\/yitinglee\/\">Yi Ting Lee<\/a><span style=\"color: var( --e-global-color-4f0b6a08 ); font-size: 1.75rem;\"><\/span><\/p><\/a><\/h3><p class=\"elementor-image-box-description\">Yi Ting is a recent graduate and teaching assistant at the University of Hong Kong (HKU). <span style=\"font-size: 14.4px;\">She was very fortunate for the opportunity to lead the Hong Kong Art Timeline project during the summer of 2020 with Nicole Martin Nepomuceno. <\/span>She finds modern Indian art fascinating, and has won the regional prize for the Global Undergraduate Awards in the Art History category for her paper on Abanindranath Tagore. At the moment, sh<span style=\"font-size: 14.4px;\">e is preparing to pursue her MA in Art History at the Courtauld Institute of Art in London, focusing on<\/span><span style=\"font-size: 14.4px;\"> Chinese painting from the late Ming to Qing period.<\/span><\/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-2ff8a34\" data-id=\"2ff8a34\" 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-18b17dc elementor-widget elementor-widget-jet-button\" data-id=\"18b17dc\" 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>Mobility, Movement &#038; Spaces&nbsp;Mapping Choi Yan Chi, Ellen Pau and May Fung in Hong Kong\u2019s Art Circle https:\/\/www.youtube.com\/watch?v=Hj8xSqeH9hY Author&#8217;s Statement&nbsp; By spatially mapping the movement and mobility of three women artists in Hong Kong during specific periods of their career, my timeline foregrounds the artists\u2019 agency in shaping their artistic identity through building art spaces. [&hellip;]<\/p>\n","protected":false},"author":6,"featured_media":0,"parent":647,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"elementor_header_footer","meta":{"footnotes":""},"class_list":["post-1363","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/arthistory.hku.hk\/hkarttimeline\/index.php\/wp-json\/wp\/v2\/pages\/1363","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\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/arthistory.hku.hk\/hkarttimeline\/index.php\/wp-json\/wp\/v2\/comments?post=1363"}],"version-history":[{"count":115,"href":"https:\/\/arthistory.hku.hk\/hkarttimeline\/index.php\/wp-json\/wp\/v2\/pages\/1363\/revisions"}],"predecessor-version":[{"id":3281,"href":"https:\/\/arthistory.hku.hk\/hkarttimeline\/index.php\/wp-json\/wp\/v2\/pages\/1363\/revisions\/3281"}],"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=1363"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}