History of Hong Kong Art Village

(Eng. Summary) andrew lam (The section History of Oil track Architecture was published in Hong Kong Economic Journal 2000-03-27) The First Stage The Oil lane rate of flow During the 17 months from August 1998 to the end of 1999, the politics plaza sureness rented an abandoned governmental building at Oil Street, North stoppage to architects, designers, photographers, several(prenominal) guileists and art sort outs at a rental rate as low as HK$ 2. 5 / public squ be ft. It gradually served as the nurturing solid ground for art education, originative industries and various kinds of armys and performances. 3 large-scale art and finale festivals have taken place in the device Village. More than vitamin C exhibitions and performances, which attracted more than 30,000 audiences, have been held throughout the year. The nature of activities were diverse to include dramaturgy work, dance, folk art, ink painting, calligraphy, installation, photography, sculpture, painting, multi-media, video art, digital art, architecture, fashion design, performance art and music concert.The Oil Street artwork Village was a obliging space, which fostered local anesthetic economies, fanciful industries and global art and cultural exchange activities. It attracted creative and enthusiastic one-on-ones to involve and to arouse the interest of local and overseas press. The derive reach of the Oil Street building was 125,000 squ be ft. The gross appal area was estimated to be 160,000 square ft. 33 art groups and workhops, and more than hundred artists were stationed in the artwork Village while more than 721 artists and 3,000 art group members involved in various activities (it is approximately 30% of HK art field).More than 60,000 square ft. area served as performing space, rehearsal room, working area, and storage. The abandoned prop was positively activated. In that short period of time, the art and culture attention built up a good partnership with the SA R government the artwork Village was recognized and supported by HKADC. In 98-99, the Planning section pointed out that Oil Street Art Village was a thriving model for land use transferral. All of the above prove that HK citizens desperately need the full support of the government to assist running a non-governmental and independent art colonization.It serves as a window and an opportunity for local art and cultural workers to showcase the power of creative culture. This is the gateway to reveal Hong Kong into the brand new art and cultural centre in Asia, and to chew out the image of HK in the global level. In 2000, the SAR government planned to move the land through auction. Various units in the Art Village locomote out and the land has been abandoned until today. Not only was the Oil Street Art Village destroyed, but the SAR government also lost close to HK$ 10,000,000 of rental income since 2000.The Second Stage Cheung Sha gruesome Warehouse & Old Kai Tak Aiport Peri od The ex-slaughterhouse in Cheung Sha Wan and the ex-Kai Tak Airport Office Tower was temporarily allow to Oil Street Art Village by the Government Property Agency. However, the space provided was not suitable for artistic activities. Many workshops and art groups much(prenominal) as 1aspace, Videotage, On and On Theatre, Zuni Icosahedron/Z+ etc. retreated or their activities suspended. Such a hybernated situation lasted for at least 1 and a half years. During the period, some art studio apartment was transferred to Old Kai TatAirport venue and the studio of Tsui Pui Wan had organized an installation, which attracted wide public meshing. The Third Stage To Kwa Wan Cattle Depot artist Village (CDAV) Period In July 2001, the Government Property Agency rented a renovated government property, the ex-quarantine station for animals (63 Ma Tau Kok Road, To Kwa Wan) to individual art groups and artists. Most of the architecture in the station is heritage. Some are over 100 years old. Units and ethnical activities in CDAV The total area of CDAV is 7,394. 93 square metres.It has 19 stationed art groups Zuni Icosehedron, Ngau con game Shue Sue Yuen, Artist commune 63 Museum, Videotage, 1aspace, Frog King Museum, (szOf)-Tsui Pui Wan, Wee Design, Photo China. CC, Cut_N_try shop, nightstick & Suzies, Tim Tsz Workshop, Possive Null Workshop, Kum Chi Keung Workshop, Steve Cheung-Work Zone, 2/3 Studio, N4 and so forth. Main publications in these two years include E+E by Ngau Pang Sue Yuen,. and many exhibition catalogues. Significant exhibitions held included Tree. Man Danny Yung alone Exhibition Tree Man in 2003, CADV held large-scale art festival, such(prenominal) as Cattle Depot Summer Days & Nights Arts fiesta 2003.The studio zero O fish organized Summer Workshop 02, etc. The Book Festival was co-organized by Zuni Ngau Pang Sue Yuen and 1aspace with participation of 22 cultural organizations. It attracted more than 20,000 local citizens and book lovers. The Arti st Commune has also organized many societal and cultural exchange programs. In the future, the CDAV will get under ones skin as a non-profit making charity (NGO). We are also planning to make the stovepipe use of spaces in the village as a platform for experimenting civil art education and creative cultural industries, and as a channel to consolidate different companionable sectors and governmental departments.The CDAV will be the new fountainhead of Hong Kong culture, and it will forecast and set an example to evaluate the idea of the operation of the proposed West Kowloon Cultural District. metropolis globalization and synchronization bring about the building of skyscrapers, highways, airports, etc Organizing international biennial, triennial, exposition and other great cultural events become inevitable in internationalization. The CDAV has long been a localized phenomenon, we pose the questions of globalization versus regionalism. In humankind, in that respect are 4 alterna tive spaces and 15 independent studios in the CDAV.For the sometime(prenominal) 2 years, they actively organized a great many of individual programs. They also organized joint events homogeneous community workshops and territory-wide art festivals. This design will present open studio propose to create A CONCEPTUAL COMPUTER HUB WHICH RE-UNIFIES THE WHOLE CDAV AGAIN. 1 The Experiment The Hong Kong CDAV is not a effected museum for cultural display. It is an alternative space a 7,394 sq meters art village with ocular art and theatre group, big companies and individual studios living in symbiosis.In reality there are dreams and conflicts, expectations and competitions. Urgency and stability are side by side. In meeting this global event, the proposed CDAV project will not be a fabrication of un-real situation. In preparing for the exhibition, no pre-fabricated unit or exhibition system will be re-assembled in another site for exhibition. The studios of the CDAV is like A MICROSCO PE. It helps the international audience TO UNCOVER A WORLD OF ADVENTURE, EXPERIMENTATION, uncovering AND WONDERS in the CDAV. There is NO GLASS OR INSTRUMENT use TO MAGNIFY OR DISTORT FACT AND REALITY.Every object has to be viewed in actual size Like the Berlin Biennale 2004, The CDAV studios portray reality and the CDAV artists provide such a visual excursion with a LIFE MANUAL. They themselves are the best exhibition documents and interpreters. BEYOND THE FRAME WE PROVIDE A NEW berth WHICH EXTENDS THE CONVENTIONAL PHYSICAL & CONCEPTUAL BOUNDARY OF AN EXHIBITION WITHIN THE ALREADY-EXISTING AND be AREA OF STUDIOS IN THE CDAV. The artists working in the CDAV studios take the opportunity to develop creative dialogue and exchange with the international curators and artists.The CDTV project will be in an interesting dialogue by using site-specific studio works showing artistic development from initial stage to final production, from abstract building to theory formulation, from pre- exhibition studio discourse to post-exhibition debate. 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Dr. Sacker, managing director of Goethe-Institute(Hong Kong)? Oscar Ho, exhibition director of HK Arts Centre? Renee Chan, art and design programme designer, HKU-Space? Ben Sumner, senior lector of APA? Chartered Society of Designers?Caroloine Cheng, director of The Pottery Workshop? Lam Yuen mei? Gary Mak Sing Hei, associate director of Broadway Cinematheque? Cheng Wai Lau, manager of Theatre Ensemble? Irene Ngan, course Manager of Goethe-Institut? Ip Yuk Yiu, Lecturer of City University? Linda Lai, assistant professor of SCM, City University? Nancy Tong, assistant professor of City University? Cheung Kai Sun, art director of Zebra Consultant? Simon Queeans, publisher of BC Magazine? Leung Chi Fan, vice-president of Hong Kong Society For Education In Art? Hung Chin Lu, director of Studio 22 Ltd.? Leong Ka Tai, director of Camera 22 Ltd.?Golden Cheetah Company? Wong Leung Sek Rupert, chairman of Hue Art link? Shum Ka Chun, art dirctor of ICON? Wong Chack Kie, Associate Professor of the Chinese University of Hong Kong? Li Chak Man, project manage r of Yew Chung Education Foundation? Siu King Chung, assistant professor of HK polytechnic University? Tang Shu Wing, artistic director of No Man Land moderate? Tsang Wai Yi Catherine Lau Lui Wai Kei Lam Wai Kit? Lau Chung Hang? Kelvin Tsang? Louisanna Chan? Steve Choi? William Thomas Dixon? Pegsi K C Wong? Betty Hung? Yik Fei? Natashia Ting Clorie Ng? Fanny Lam? Lau Mei Yee? May Fung? Yanpi Kwan Pui Yan?Wong throw away Kit? Hilary Binks John Thompson Chan Chui Hing, Nose? Mo-yung Yuk Lin Helen Leung Jenny Lam Chi Ling? Lichtenstein, Frederic? Vivian Chan Sau Han? Lee Kit Wai John Yip? Chan Tze Ming Liu Yuen Hung Jacqueline? Sandra L. Walters? Winton non Marsalis? Clarence Tsui Borezee? Blaise Lam Kam Ying? Wong Fung Ming? Tam Shiu Wah Hillman? Norris Ng? Lesley Chan Yan Yan,? Woo Vivian Cheng? Wai Kwan? Alice Chu? Cherie, Cheng Shui Che? Chan Wai Fun Dovas? Lau Wing Yin, Nataue? Kum Chi Keung? Tina Chan? Charles Lam? Maria Leung? Wei Peh Ti? Wong Hao An Alanie? Wong Gi Wai, Gigi? Winnie Lau? Paul Kember? Julita Lui Y. E.?Juliana Wong? Peter K. Ho? Jan Chu? Pamela Hoy So Ching? Quentin Fong Bryan land? Liu Ying Kei Carol? Robert Orien? Freddie Chan? Rachel Lee? Fornia Chan Siu Yim? Beryl Yau? Mimi Tung? Frank Yeung? Kearen Pang Yuri? Ng Lilian Chan The Australian Network For Art and Technology? Artspace Visual Arts Centre, Sydney? Chinese Art News Magazine? Marina Grzinic, Fund For Video Art? Griffith Artworks, Griffith University, Australia? Videobrasil Festival, Brazil? mike Stubbs, director of Hull Time Based Art, UK? Mike Leggett, Australia? Chang Young-Hae, Seoul? animate being Kahlen, Germany? Evangelo Costadimas? Uwe Buchler, Werleitz? Gesellschaft, Germany? Steve Hawley, UK? Trevor Batten, Amsterdam? 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