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Das war mein Grundkapital. Die Jahre danach musste ich kein Struggling Artist sein, keiner Miete nachrennen oder Dinge tun, die nicht meiner Entwicklung oder Unterhaltung dienten. Airplay, Tantiemen, Lizenzbeteiligungen variieren stark, je nach Zeitgeist, Nachfrage und Musikmarkt. Im Grossen und Ganzen sind die Budgets und Verkaufszahlen in der Musikbranche in den letzten sieben Jahren kleiner geworden.

Ich bin der Letzte, der ein Strukturwandel-Lamento anstimmt, ob in der Musikindustrie oder dem Journalismus quasi mein zweites, wenn auch sehr schwaches Standbein: Vor meiner Musikkarriere hatte ich ein Studium der Medienwissenschaften begonnen. Welche Kulturerzeugnisse dienen der Gesellschaft? Blickt irgendwer noch durch und nach vorne? Der Markt ist — Marketing-Effekte abgezogen — zumindest demokratisch. Das funktioniert und funktioniert nicht.

Wenn ich momentan probiere, mir Langeweile vorzustellen, schaffe ich es nicht.


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Das ist zu lange her. Ich sehne mich nach Arbeit mit Langeweile-Potenzial und verdienten Feierabenden. Ich will meine Passion zum Hobby machen. Wir sitzen im Kreis auf gelben Plastikhockern mitten in der Strasse, es ist kurz nach Uhr, die Strasse ist hell beleuchtet, eine Flutlichtlampe von einem anderen Restaurant blendet uns. Hong Kong befindet sich im Dauerzustand der Erneuerung. Die Erneuerung von Industriegebieten nennt die Regierung Revitalisierung.

Dass die Umwandlung von Industriege Viele Industriebetriebe verzichteten darauf. Auf unserem Plastiktisch stehen keine Blumen. Unser Kellner spricht kein Englisch. Essen ist hier immer kollektiv. Das Esszimmer verlegt sich auf die Strasse. Ein Ort des regen Austauschs mit Innovationspotenzial oder bloss ein weiterer Supermarkt? Hier, im Man kennt sich. Bis zu einer halben Million Schweizer Franken soll sie dieses Jahr gekostet haben. Man trinkt Granatapfel-Vodka-Cocktails aus Vakuumbeuteln.

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Blutbeutel, ein Hit. Apocalypse Postponed. Bunkerstimmung nach einem atomaren Super-Gau kommt nicht auf. Wir sind in einem Luxusbunker. Zum Beispiel Joyce, Die lebt nicht hier. Sie atmet schwer, sie sagt, die Stadt mache sie krank. Ihr Schlafzimmer ist Wohnzimmer und Atelier zugleich.

Ihr indischer Schnei Sie macht sich Sorgen um ihre Zukunft, sie arbeitet viel, verdient wenig. Ihre Mutter redet laut am Telefon, es geht fast immer um die Arbeit. Den Vater sieht sie selten. Er lebt in Shanghai, Immobilien. Danach habe sie immer rote Augen. Lantau oder die autofreie Lamma Island. Er betrachtet meinen Kopf. Mein Haarschnitt sei doch ok. Ich sage ihm, dass es um meine Arbeit geht, um sein Hong Kong. Ruhig und bestimmt. Es geht um die Mitbestimmung der Wahl des Stadtobersten. Gegner sorgen sich um Hong Kongs Image. Triaden agieren hier heute nur noch versteckt, verkaufen obscene discs unter Ladentheken in der Temple Street.

Yau Ma Tei wird bei westlichen Touristen immer beliebter. Es wird spekuliert, gestritten, angepriesen, versprochen und ignoriert. Die Verunsicherung ist gross. Doch Unsicherheit und Proteste gab es vor Regierungs-Grossprojekten schon immer. Fertig gestellt werden soll das Kulturviertel Michael ist eine Stadtbekanntheit.

Eloquent vor der Kamera, telegen, britisches Englisch mit Schalk. Im August diesen Jahres wird er im Kulturzentrum Oi! Wie im Westen bezeichnen sich auch chinesische Hipster nicht als solche. Das ist Teil der Distinktion. Nachdem er eine Woche keine feste Nahrung zu sich genommen, nachts auf Schlaf verzichtet, keine Zigaretten geraucht und keinen Alkohol konsumiert hat. Einziger Geldtransfer: Die Blutversteigerung am letzten Tag. Der Struggling Artist, der sich der Marktlogik nicht unterwirft. Auf dem Gewinnerzettel stand Long Hair.

Chi sitzt mit grossem schwarzen Rucksack auf dem grauen Sofa vor uns. Ich frage ihn, wie er Hong Kongs Zukunft sehe. Auch das Essen wird schlechter. Und privat? Er macht eine lange Pause. Ich nicht. Jaffa Lam hat sich ihres vor ein paar Jahren gekauft, bevor sich die Preise aufgrund der Revitalisierung vervierfachten. Ein Austausch untereinander findet statt, wenn auch nur vereinzelt. Sie mag weder Wettbewerbssituationen noch Networking zum Selbstzweck. In Bangladesh stellte sie Portraits von lokalen Arbeitern in staubigen Jacken aus. Hommagen an Anonyme, mit Gold umrahmt. Mit Vielen hat sie es sich verspielt in der Stadt, meint Jaffa Lam.

Oder Organisatoren ihrer Holz-Workshops, die ihr raten, mehr davon zu veranstalten. Be smooth. Letztere arbeitet hart, drei Jobs gleichzeitig. Sie arbeitet, soviel sie kann. Immer wieder laden sie westliche Institutionen ein. Zehn Tage Meditation zur Demut. Unseren Ort des Austauschs. Die Termine kreuzen sich. Bevor wir uns verabschieden, zeigt sie uns ihr Stammrestaurant in einem Shopping Center, neben einem Spielwarenladen.

Wir sind die einzigen hier, es ist ruhig. Kunst ist Arbeit, ein Struggle, ein Aufopfern. Stahl schweissen. Ganz in weiss, ein noch unbeschriebenes Blatt. Der Raum ist noch nicht angeschrieben. Sie fragt uns nicht, was hier ist, wir gehen nicht auf sie zu. Nach dem Public Talk versammeln sich die Anwesenden auf dem Vorplatz.

Der Raum ist noch nicht klimatisiert, zu heiss. Zu kalt, wenn man vor den kurzfristig gemieteten Ventilatoren sitzt.

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Vor dem Space ist es angenehm warm, wie die gesamte Woche schon. Die vom Konsul geladene Band Europa. Neue Leichtigkeit spielt ihren Rumba der Dekadenz ohne Publikum.


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Der Raum ist lauter als der Sender. Die Stimmung vor dem Space ist heiter. Einen davon mit Sonnenschirm auf dem Dach: Ein Motiv, das er lange schon realisieren wollte. Die Ausstellung und deren mediale Strahlkraft diente beiden Seiner internationalen Karriere hat die Konstellation auf jeden Fall zu mehr Aufmerksamkeit verholfen. Hong Kong selbst ist von der Regelung nicht betroffen, ein Land, zwei Systeme. Hong Kong sei zu teuer und vor allem zu westlich, zu wenig China. In Hong Kong sehen wir jetzt, wie China morgen aussehen kann.

Eine Stadt im Space of Flow. Mediatisierten Bildern ist schwer zu entkommen: Diese Arbeit beginnt mit Wolkenkratzern, gipfelt in Protesten. Wieviel hat Wong Kar-Wai mein Lee Kit betrachtet Hong Kong lieber aus der Distanz. Er sagt: I miss the noise. Upon immersing myself in the material, I soon realized that my interests lay in discovering the positions and opinions of Hong Kong artists on these developments. Through researching, I built up a list of Hong Kong-based artists who I then contacted to ask if I could visit them in person in early May in Hong Kong.

In the end, I managed to get a list of nine artists who I would meet during the week I was there. I tried as much as possible to visit them in their studios, so as also to get a feeling for how they work and under what sorts of conditions. The short conversations I then conducted are an attempt to paint a picture of the working situations, ideas, current works, and thoughts on the future that the artists have.


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In the following pages, I have included pictures from both myself distinguishable by the square white frame around each of them , as well as the artists themselves, who were generous enough to send me photos of their works and ateliers. These short interviews should not be seen as representative of the extensive creative output of any of the artists featured. Lastly, I would like to thank all the artists I met with for their warm welcome, their patience, and their pictures. Patrick Kull What are some typical problems of a Hong Kong artist?

Personally, I solve that problem by teaching at the university; I also see it as a responsibility of the artist to give something back to society. We always need to consider how to store stuff after the shows are over. I therefore often have to think about mobility and foldability without affecting the scale I have in mind.

Hong Kong is a place packed with exhibitions. We have to choose which shows we will participate in and which not, so as to avoid getting too sidetracked or loosing focus on our own research. As an artist, what institutions are most important to you? In my opinion, professional researchers, art writers, critics, art administrators, and good dealers are all very important to artists. I think that NGOs, archives, universities, alternative exhibition spaces, museums, art foundations, and residency programs are also very important.

In short, there should be a wide diversity of institutions helping artists that are linked into and help one another. What would you say to a young artist just starting arts school in Hong Kong? I would probably tell them to control and practice their artistic technique, as this is basic to development. Keep your eyes as well as your mind open, learn new things on your own or by listening to different people, have a sense of social responsibility. Everyone is equal, no matter if they are rich or poor.

To be a good human being is more important than just being a good artist, art is just a medium to help you cultivate the meaning of life. What is your favorite film? If people of Hong Kong were to elect you as Chief Executive of Hong Kong, what would be the first thing you would change? Hong Kong deserves to have a Bureau for Culture. Are you positive about what the future holds for Hong Kong in the coming years?

Share your thoughts and debate the big issues

Even though there are more challenges to come, there are also more changes. What are you working on right now? I am working with a new material. How would you describe the political situation in Hong Kong? All of a sudden, many locals have woken up to the political situation here. At the same time, someone who pretends to be asleep can never be awoken. Why did you move from Hong Kong to an island near Hong Kong?

I am now sometimes on the island and sometimes in town. When I moved back to Hong Kong after four years in Beijing and London, I wanted to get away from the city and have more time to focus on my own projects. How do you imagine the life of an artist living in Switzerland or Europe? I have different degrees of understanding of Swiss artists: those I know personally, artists I like and research, and artists whose work can be seen all over the world. My first personal encounter with a Swiss artist was when I took part in an artistic residency program in Sapporo, Japan in A fellow artist in the program, Isamu Krieger, is from Switzerland.

Roman Signer is one of my favourite artists, and also from Switzerland. My stay in London enriched my knowledge of European artists, and I have definitely been influenced by that. Demolishing Rumor, video still, 21'03", Video, What does an average day look like for you? Sitting in front of the computer, browsing different websites.

Recently, I have been working with prints, so I have to find images, decide what images I am going to use, and do some editing. This is all computer-based work. After finishing the prints, I usually set up a table and start painting. Basically the idea comes first, or sometimes the idea and the media come up together. I think though that the media is also a part of the idea or concept.

I am preparing a set of works about houses in Taiwan based around the concept of collecting light for a show in Taipei. What I do is select and print images of windows. In the work, light becomes a non-functional symbol that represents the desire for this essential element of a living space. Does sharing a studio with two other artists make for much collaboration?

However we do visit exhibitions and discuss different artworks together. I have a coffee to start my day. If I have any deadlines, I can work straight through the day, sometimes for up to a month or even longer. When I have time though, I just go through my day as if it was a slow holiday. I read or go on the Internet. I make some visual notes if I get a thought or an idea. When this happens, I go downstairs and take a long walk alone. During these walks, I often have some good ideas. What is missing for young artists in Hong Kong? It is not too difficult for young artists to find somewhere in Hong Kong to feature their work.

One thing though is that there is almost no funding for young artists to apply for if they want to further their studies abroad. The painting is going in my private collection. I will never sell it because I love the idea that it will always hang on my wall. Where would be the most interesting place to exhibit your work? I have been always interested in street art. Would you call yourself a political artist? No, my work reflects what concerns me. If you could change one thing in Hong Kong, what would it be? I would change the political system in order to make it a true democratic government free of Chinese intervention.

If you could travel anywhere for free, where would you go and why? I would go to New York City. My wife and I have lots of precious memories of New York from our time doing an artistic residency there in — Are you afraid of what the future political situation in Hong Kong will be? How do you imagine the lives of young artists in Switzerland? I imagine that they can manage their time very well and cannot take baths after 10pm. How would you describe your work? What interests you? Do you have a favorite place in Hong Kong? Yes, a coffee shop in Tai Hang with a bench that only does take-away coffee.

Who has influenced your work the most? He opened up my sensitivity to materials. Is there any agreement as to which toys you can use and which you cannot? She will often come up to my studio and steal my toys. Toys represent play as well as a process of recognition. My daughter helps me by making me aware of this cognitive process. In some of your works you confront skyscrapers with idyllic landscapes.

Can this be read as an environmentalist critique? Will Hong Kong have free elections in ? I worry how people are influenced by politics right now. Recently, I normally spend at least an hour a day on housework. Sometimes I nap from 10 pm to 12 am. My lunch is always bread, jam, and cheese heated in the oven. I eat with my mom, dad, or girlfriend at home, or sometimes out. When out, I enjoy watching a film and shopping but only observing people shopping.

Other than that, I always think about what I can actually do; writing, reading, making art, daydreaming, conceiving new ideas, and so on… Do you have any favorite place in Hong Kong? I always like to discover new places. I like the discovery itself more than an actual place. I imagine that we gradually become more similar under globalization, and begin facing similar problems in life.

Is there more space to live? Are the roads wider? Are the buildings lower in general? More museums? Larger studios and artworks? Slower rhythm of life? I think Hong Kong shapes artists because we are struggling between development and nature, identity, mainstream, independence and politics Do Swiss artists also face similar social problems and life issues? These interviews are the result of several months of intensive research, as well as a trip to Hong Kong in May with my two research colleagues, Claudio Bucher and Patrick Kull, under the direction of Michael Schindhelm.

The timeline is significant, as it reflects the number of years until the opening of the first phase of the West Kowloon Cultural District, a cultural mega-project encompassing an impressive array of cultural facilities, — among them theaters and an opera house. The Hong Kong art world is currently undergoing a significant paradigm shift. Over the past several years, the city has seen a veritable explosion of galleries, both foreign and domestic, along with substantial increases in government expenditure on arts and culture. In light of this transformation, I saw it fitting to interview those on the front lines of enacting change, as well as those who have watched the field develop over the past several decades.

The arts scene needs the development of some sort of standardized discourse on its actions. There are many very respectable efforts going on right now in the city to establish such a discourse, the work of the Asia Art Archive being a major one, but often the pace of change seems to make the task of writing and reflecting on Hong Kong somewhat Sisyphean.

Several interviewees mentioned that there was relatively little in the.

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With this collection of interviews with a cross-section of influential voices in the Hong Kong arts scene, I hope that I can play my own small part in codifying and formalizing what people are thinking and doing on the ground. It is my hope that this volume will serve to promote greater public understanding and awareness of the rapid and historic changes going on in the city right before our eyes.

Brandon Farnsworth. KC: At that time I was still a student. One of the reasons is that the infrastructure was not well built up. There was only one arts school, seriously speaking; Chinese University was the only place for tertiary education in the fine arts. I would say that there were three very important figures in the city at that time; one is the curator Oscar Ho from Arts Center, two is Johnson Zhang from Hanart Gallery, who was very important in opening up the window for Chinese artists in the international arena, and three would be the manager of the Fringe club, Benny Chia.

He also founded an important festival, called the Fringe Festival, which he then renamed the City Festival, which was aimed at putting art in neighborhoods such as the Soho District. These three key figures each did different kinds of things. One worked for the Arts Center to bring in international connections, one brought Chinese and Hong Kong artists to the international arts scene, and the third tried to bring art into the city. Back then, there was increasing demand for a more formal arts school. Chinese University is not really considered as an arts school. We only have a small department that we call the Department of Fine Arts, which comprises classes in every genre of art.

We train artists, curators, art educators, etc. This was because the arts scene in the eighties was not quite so popular, and a little bit marooned. In , the Baptist University Academy of Visual Arts started many art programs in new genres, such as media art and comic art. City University was more on the practical side at first, only interested in training animators and website designers, but now the curriculum has been changed to become more fine art oriented in the School of Creative Media.

All these developments changed the scenario of art in Hong Kong. There were not even many NGOs at that time in the city. BF: That leads well into my next question, which is how does the Chinese University fit into the Hong Kong arts scene? In the coming year, we are celebrating our 60th anniversary. If there is something called Hong Kong art history, the Chinese University plays a very important part, because many of the important artists have been teachers here, like Liu Guosong, the pioneer of contemporary ink art.

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