Following the design competition held in 2012, the Xiqu Centre was finally completed and opened at the end of 2018, becoming the first performing arts venue in the West Kowloon Cultural District (WKCD). All sectors of society have high expectations for the Xiqu Centre, which is different from the typical Chinese opera performance venue. Renowned Cantonese opera actor Yuen Siu-fai even hopes that it will become an international hub for Chinese opera.

Since its opening, most of the programmes scheduled for the 2019/2020 season at the Xiqu Centre have been cancelled due to the social movement and the COVID-19 outbreak. It can be said that the Xiqu Centre has yet to officially operate under normal circumstances. I had the pleasure of interviewing Naomi Chung, Head of Xiqu, Performing Arts, of the West Kowloon Cultural District Authority (WKCDA). This piece attempts to provide a clearer picture of the context in which the establishment of the centre developed by examining various different facets, namely positioning, venue use, programme planning, commissioning, and research and conservation.

This essay illustrates the development of the Hong Kong design industry over the course of a century, from 1900 to the early 21st century, dividing its history into four periods according to the influences of the time and the features of the items produced. Firstly, the period from 1900 to the 1930s showed the “traditions of the Pearl River Delta and the Shanghai trend factor”, and largely came about as a result of the influence from Guangdong designs, such as silverware, daily necessities and posters, and from Shanghai’s fashion and home and graphic designs. Secondly, the design industry has undergone several transformations between the 1930s and the 1960s, a period marked by a transition from “made in Great Britain” to “made in Hong Kong”. During the third period, from the 1970s to the 1990s, driven by the “effects of China’s reforms and opening-up policies”, the industry adopted a business mode that focused on high-quality and high value-added production. Lastly, the writer offers her insights into the major developments at the dawn of the millennium, as she believes that Hong Kong design has shifted its focus to original design manufacturers and original brand manufacturers, breaking free from the pragmatism to embrace a variety of styles.

In 2009 and 2010, there were two large-scale sculpture shows held consecutively in Hong Kong, the coverage and the size of audiences of which advanced the development of sculptural art in Hong Kong to an unprecedented height. The two events are “Oasis．Mirage: Hong Kong International Sculpture Symposium 2009” and “Echo – Hong Kong Sculpture Biennial 2010”. Despite having moved my art studio to Guangzhou a while ago, I had the good fortune of participating in the two events and came away with some memorable experiences and feelings. Below is a retrospective account of my participation in and reflections on the two exhibitions.

This essay features an interview; among the discussants have been Lam Ka-man Carmi, Executive Editor of the Hong Kong Visual Arts Yearbook, Leung Po-shan Anthony, Convener of the Factory Artists Concern Group, Chow Chun-fai, Convener of the Factory Artists Concern Group and a Fotanian member, and AhKok Wong, spokesperson of the Revitalization Independence Partnership (RIP) and an underground musician in Kwun Tong. With most questions asked by Lam, they began a discussion revolving around the following issues: rental increases for industrial buildings, what should be condemned the most in the revitalization of industrial buildings, how media coverage influenced the artists’ confrontation, focuses of different news media, characterized into mainstream and independent ones, and the subtle relationship among them, the conditions of the artists fighting against the revitalization and the amount of attention they could draw, the aspirations and approaches of artists working with different media, the new development of their confrontation, and the discussants’ visions for the future.

Researchers of Hong Kong art history would be among the first to acknowledge the many gaps and holes that exist in the studies of Hong Kong art history, particularly the decades prior to the 1970s. While Hong Kong became the adopted home of a group of southbound artists who continued to pursue art with a patriotic zeal during the post-war years, research and objective analyses of their creative inspirations and achievements in the territory have been scant. Even the most notable names such as Chan Hoi-ying and Ma Jir-bo often draw a blank.

Renowned painter Wu Guanzhong passed away in Beijing on June 25, 2010. At his memorial, Szeto Yuen-kit, writer of this essay, then Curator (Xubaizhai) of the Hong Kong Museum of Art spoke as Hong Kong representative. Key messages in his speech is repeated in this essay, including the concurrent exhibition of Wu’s works in the Hong Kong Museum of Art and the city’s tribute to the painter, who had left behind many great works here. The writer then traces the relationship between Wu and Hong Kong. Albeit hardship in his Motherland, Wu had never shown regrets upon his decision to return to China from Paris, detour Hong Kong, and has always maintained his lofty integrity. Analyzed in this essay is the characteristics of Wu’s later works, including four of his last paintings donated to the Museum as tokens of his affection to Hong Kong. The writer also quotes messages from the last batch of visitors of “Lofty Integrity: Donation of Works by Wu Guanzhong” as examples of how people appreciate the painter’s distinguished virtues and talents, and enormous contributions to the world.

The essay starts by pointing out how Cantonese artists had dominated the attention of academic researchers in Hong Kong. It is only until recently when there emerge studies devoted to Northern artists. The writer argues that the life experiences and artistic achievement of painter Van I-pong (1917-1994; born in Shanghai) contributed an indispensable chapter to Hong Kong art history and deserves comprehensive, in-depth review. Van had since young learned the art of bamboo-carving, seal carving and calligraphy. From the age of twelve he started to learn painting. He moved to Hong Kong in 1949. The essay gives an account of Van’s creative works, exhibitions, social circles and comments from his contemporaries over three decades. Since his migration to Canada in 1984, Van made a large amount of finger paintings which, in the writer’s opinion, is a major achievement in Van’s later stage of painting career. The essay also covers Van’s contributions to art education and gives a detailed account of the painter’s teaching manuscripts, Theories of Chinese Landscape Painting.

Performance art has become a vital element in the flourishing contemporary art scene in Asia, and festivals celebrating performance art were also proliferated in Asian cities. A 5-days symposium was held by the Asia Art Archive and the Centre for Community Cultural Development on October 2010. With round-table seminars, artist talks, performances and workshop, internationally respected performance artists, archivists, and researchers were gathered in Hong Kong to critically discuss the challenges associated with performance work.

Hong Kong Photo Festival 2010 (HKPF), a biennial photo festival which organized by the Hong Kong Photographic Culture Association since 2010. It was mean to be a platform of exchange for established photographers from China, Asian regions and around the world. It also provides a window of opportunity for aspiring young photographers to further develop this art form in Hong Kong from such diverse perspectives as culture and economy.

At the beginning, the writer cites examples of artists taking to the streets as an introduction to the “423 Art Citizens March”, which was triggered by the detention of Mainland artist Ai Weiwei and joined by over 2,000 people. The essay continues explaining the formation of “Art Citizens”, which spurred the birth of the 23 April March, and highlights the artworks created and activities organized during the march, pointing out the artistic power of demonstrations and the determination of the art group to uphold artists’ freedom of speech and of creation. In the end, the writer offers readers multiple kinds of reflections on artists’ cultural identity after the Handover, how the artistic power has worked and the relationship between art and action.