Hong Kong – In the Art Basel of Hong Kong, the new works of the painter Chow Chun-Fai transport the spectators to The night in 1997 When the former British colony returned to the Chinese domain, which was exhibited in the same exhibition center where An era ended And another began.
That transformation In the postcolonial era of the city it has taken A drastic turn Since 2020, when China imposed A National Security Law that practically eliminated dissent. The law led many middle class families and young professionals, including artists, To emigrate For democracies such as Great Britain, Canada, Taiwan and the United States of what was once a refuge for free expression in Asia.
But others, such as Chow, chose to stay and continue documenting their hometown despite the unclear red lines. His works in Art Basel, which opens to the public on Friday, review the collective memories of Hong Kongers from the end of the 1990s and early 2000s, once many were proud of the vitality and opening of the Chinese Financial Center.
“While we study art, we have learned that many artists faced transcendental times. Since we are living such a momentous moment, I will continue learning from him,” he said in an interview before the exhibition.
Maybe Chow is better known for those art circles outside his Ingenious recreations of classic movie scenes with bilingual subtitles that lead the public to reflect on the history and identity of Hong Kong. He was also in the news when he was running against candidates in favor of the establishment in the 2012 legislative elections and the 2016 Electoral Committee race, although he finally lost both competitions.
In Art Basel, Chow’s paintings review important news events, from the delivery of 1997 and the abroad travel made by the former Chinese leaders to the celebration of China, becoming the host of the 2008 Olympic Games.
His works center in some of the largest news covered by Sharon Cheung, a former journalist and now local director of the gallery.
In 2000, Former Chinese President Jiang Zemin He destroyed Cheung for asking what he called “too simple, sometimes naive.” He had asked Jiang if his support for the Hong Kong leader, Tung Chee-Hwa, gave the impression of an imperial style appointment. One of Chow’s paintings illustrates that scene.
Another set of Chow paintings that will be shown, entitled “Panda”, captures Jiang’s personality on the other hand, documenting his cheerful response to a question about pandas during a United States trip in 2002. He answered in English with a smile: “I’m sorry, I’m an electric power engineer.” Zhang said he was not an expert in Panda and cited a confucian saying about the virtue of recognizing what one does not know.
Chow said he included work in the exhibition because Pandas have become a tendency issue In Hong Kong, where the twins born last year caused a crazy bear. Jiang’s response shows the characteristics of Chinese leaders at that time, he said.
Some 20 years later, Chinese leaders no longer have such open exchanges with Hong Kong journalists. Last year, the Chinese government even eliminated an annual press conference By the prime minister, one of the rare times that a Chinese leader has taken questions from journalists.
In Hong Kong, Beijing has doubled its following control 2019 anti -government protests. Many leaders Prodemocratic activists were prosecuted and imprisoned According to the Security Law. Apple daily and NewsThe media known for their critical government reports were closed in 2021 after their main editors were arrested.
The cultural sector has felt the chilling effect.
In 2021, the Government Amendments introduced in your film censorship law for national security reasons. Some filmmakers have stopped projecting their work in the city. The cultural works that diverge from government posts have lost funds. Libreros practice self -censorship at the City Book Fair and local libraries in 2023 Titles taken Related to the repression of the 1989 Tiananmen Square in Beijing and some political figures.
Cheung, director of the SC gallery, said that people have become more cautious when expressing their thoughts, but that she and Chow will not let fear stop them. The sense of distance of art allows space for interpretation, said Cheung.
“We are not trying to say something to people. It’s more about what people take when they look at these images,” he said.
Chow said he never planned to leave Hong Kong despite the drastic changes in the city, noting that the artists who lived great changes in the past produced a great job.
“Today, finding us in this moment of transformation, how could, as a creative professional, not be here to witness it personally?” said.
