In the heart of Hong Kong’s Art Basel, artist Chow Chun-fai presents a thought-provoking collection that takes audiences back to the pivotal night of 1997. It was a moment when the city transitioned from British to Chinese rule, and now, these works are showcased in the same venue where this monumental shift occurred.
The narrative of Hong Kong’s evolution post-1997 saw a dramatic change in 2020 after China’s national security law was enacted, effectively stifling dissent. This law prompted an exodus of middle-class families and young professionals, including artists, to countries like the UK, Canada, Taiwan, and the US. Despite this, Chow chose to remain in Hong Kong, dedicated to capturing the essence and memories of the city amid uncertain times. His exhibition, beginning Friday, reflects on the vibrant years of the late 1990s and early 2000s, a period marked by Hong Kong’s dynamic culture and openness.
Chow articulates the significance of living through transformative times, paralleling the experiences of many artists before him. Known for his witty reinterpretations of iconic film scenes equipped with bilingual subtitles, Chow encourages reflections on Hong Kong’s identity and history. His past foray into politics is marked by attempts to challenge the pro-establishment narrative during elections, though he didn’t secure victories.
At Art Basel, Chow revisits critical historical moments, including the handover in 1997 and prestigious international events involving Chinese leaders, like the 2008 Olympics. The inspiration for his work often crosses paths with the timeline of events covered by Sharon Cheung, a former journalist and current gallery director. A notable interaction in 2000 with then-Chinese President Jiang Zemin, who criticized Cheung’s questions as “too simple,” is immortalized in one of Chow’s paintings.
Another memorable moment Chow captures revolves around Jiang’s playful response during a U.S. visit in 2002 when questioned about pandas. Chow included this piece in his collection as it represents a more candid era in Chinese politics. Today, such interactions are rare. The media landscape has shifted, particularly following the government’s repressive actions against pro-democracy protests in 2019, leading to the incarceration of dissenters and the closure of media outlets like Apple Daily.
The cultural and creative sectors have not been immune to these changes. Amendments to the film censorship law have led to increased self-censorship among filmmakers. Moreover, books with political undertones are less visible in the city’s book fairs, aligning with governmental priorities. Libraries in 2023 even removed literature linked to the 1989 Tiananmen Square events.
Despite growing caution among artists and cultural figures, SC Gallery director Cheung maintains that fear should not hinder expression. Through art, she and Chow provide a platform for interpretation rather than definitive messages.
Chow’s commitment to Hong Kong is resolute. He firmly believes that as an artist, being present during times of immense change is crucial for creating meaningful work. “In experiencing such transformation, I find it vital to witness this personally and through the lens of art,” he emphasizes.