Hong Kong Art is the first comprehensive survey of contemporary art from Hong Kong presented within the changing social and political context of the territory’s 1997 handover from British to Chinese sovereignty. Tracing a distinctive and increasingly vibrant art scene from the late 1960s through the present, David Clarke discusses a wide range of media, including painting, sculpture, photography, video, and installations, as well as other kinds of visual production such as architecture, fashion, graphic design, and graffiti.
Clarke shows how a sense of local identity emerged in Hong Kong as the transition approached and found expression in the often politicized art produced. Given the recent international exposure of mainland Chinese contemporary art, this book considers the uniqueness of the art of China’s most cosmopolitan city. With a modern visual culture that was flourishing even when the People’s Republic was still closed to the outside world, Hong Kong has established itself as an exemplary site for both local and transnational elements to formulate into brilliant and groundbreaking art.
The author writes about individual artists and art works with a detail that will appeal to artists, curators, and art historians, as well as to postcolonial scholars, cultural studies scholars, and others.
Review
“This is an exciting look at the visual perspectives from many groundbreaking voices of Hong Kong’s contemporary art scene. It showcases a wide range of (multi)media, including photography, video, painting, architecture, installation, and sculpture. Clarke even delves into fashion and graffiti, tracing Hong Kong art as it reflects social moods and politics from the ’60s to the Handover.”
--Giant Robot
“Hong Kong Art persuasively illustrates the distinctiveness of Hong Kong art and its relation to Chinese culture. It is a worthwhile point from which to initiate discussion on a body of art that provokes multiple perspectives. . . . [A]ccompanied by a lengthy bibliography that may be the most comprehensive English-language bibliography of Hong Kong visual art to date.”
--Joan Kee, CAA Reviews
"[P]rovocative. . . . The book is accompanied by a lengthy bibliography that may be the most comprehensive English-language bibliography of Hong Kong visual art to date. . . . [F]ascinating insights. . . . Hong Kong Art persuasively illustrates the distinctiveness of Hong Kong art and its relation to Chinese culture. It is a worthwhile point from which to initiate discussion on a body of art that provokes multiple perspectives."
--Joan Kee, CAA Reviews
"[A] lucid narrative, substantial research, and an awareness of art history writing. . . ."
--Ka-Fai Yau, Journal of Aesthetic Education
"[A] welcome addition to the literature on contemporary art in China."
--Jason C. Kuo, China Review International
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我发现这本书最令人着迷的地方,在于它对于“时间”这一维度的处理。它不是线性的时间叙事,而是像一个复调的音乐作品,将过去、现在甚至是对未来的某种预感,交织在一起进行呈现。在某些篇章中,作者会突然跳跃式地将八十年代的观念艺术与当代社交媒体上的视觉传播现象进行对照分析,这种跨时空的并置,极大地拓宽了我们对“艺术史”边界的想象。这种手法要求读者具备高度的专注力,因为你必须时刻准备好,迎接叙事焦点的突然转移。它不像是在写一本“历史”,更像是在构建一个多维度的“思想场域”,让不同的时代精神在这里相互碰撞、激发出新的火花。这本书无疑是那种需要反复阅读,每次都能带来新的领悟的文本,它不是提供答案,而是提供了一套更精妙的提问方式。
评分这本书的排版和插图选择,无声地讲述了它自己的立场。我注意到,那些被选中的艺术品图片,很少是那些在国际上已经被高度定型的“代表作”,反而多是一些模糊的、存档状态不佳的、甚至有些残缺的图像资料。这种“不完美”的视觉呈现,似乎是作者有意为之,用以对抗那种被过度整理和美化的官方历史叙事。整本书的论述风格,也倾向于一种内敛的、带有学术克制感的叙事,但字里行间,却蕴含着一股强大的能量,像是在平静的湖面下涌动的暗流。它很少使用情绪化的词汇来评判,而是通过严谨的逻辑推演,自然而然地指向了某种历史的必然性与文化抵抗的可能性。对于一个习惯于快速获取信息的读者来说,这本书需要极大的耐心去投入,但一旦沉浸其中,那种被智力上的深度所滋养的感觉是无可替代的。
评分阅读体验上,这本书的节奏感非常奇特,它时而如同缓慢流淌的墨汁,在历史的长河中踱步沉思;时而又像一场突如其来的暴雨,用密集的论点和强烈的观点将你淹没。我印象最深的是其中关于城市空间变迁与艺术表达之间相互作用的章节。作者似乎对城市肌理有着一种近乎迷恋的敏感,他没有将艺术视为独立于环境的存在,而是将其视为城市本身呼吸和代谢的副产品。书中的描述带着一种强烈的画面感,仿佛能嗅到旧区拆迁时尘土的味道,听到霓虹灯下人们的交谈声。这种对物质环境的关注,使得抽象的理论讨论变得扎实可感。更妙的是,作者在引用了大量西方理论框架的同时,又非常谨慎地指出了这些框架在解释本土现象时的局限性,展现了一种成熟的批判性自觉,避免了陷入简单的“对等翻译”的陷阱。
评分这本书的封面设计,那种粗粝的、带着某种未完成感的印刷质地,就立刻抓住了我的注意力。它不像那种光鲜亮丽的艺术画册,反而更像是一份被时间打磨过的档案,或者说,是一件带有强烈历史回声的物件。我记得当我翻开扉页时,那种纸张摩擦发出的轻微沙沙声,仿佛将我带入了一个并非全然清晰,却又无比真实的旧日场景。内容上,它似乎并没有试图去构建一个宏大叙事,而是像在迷宫中穿梭,时不时地抛出一些令人困惑却又极其引人入胜的片段——那些关于战后重建时期底层社群的自发艺术实践,或者那些在殖民体制边缘挣扎的本地艺术家的创作母题。它很少用教科书式的语言去定义“什么是香港艺术”,而是通过大量的案例分析和引文,引导读者去感受那种在不同文化张力下产生的独特的审美焦虑与表达冲动。我尤其欣赏它对视觉媒介以外形式的关注,比如早期电影的海报设计,或是民间节庆中的临时装置,这些“非正式”艺术形态,才是真正构成了那片土地日常肌理的关键所在,也使得全书的视野显得格外开阔和接地气。
评分这本书的文字密度高得惊人,初次阅读时我甚至需要频繁地停下来,去梳理那些复杂的句式和引用的来源。它不满足于仅仅罗列事实,而是像一位技艺精湛的语言雕塑家,试图用最精准的词汇去捕捉那些难以言喻的文化现象。我感觉作者在处理“身份认同”这个核心议题时,采取了一种近乎解构主义的策略,不断地拆解和重组那些既定的标签。比如,书中对七十年代某个特定艺术团体集体创作的一次深入剖析,其分析的细致程度,简直到了微观粒子的级别,探讨了光线、空间布局甚至参与者的呼吸频率如何影响了最终作品的意义场域。这种深挖细究的态度,让这本书远超一般艺术史的范畴,更像是一部社会心理学的田野调查报告。读完后,我发现自己对许多过去视为理所当然的艺术作品,产生了全新的、甚至有些颠覆性的理解,那种智力上的挑战感和随之而来的豁然开朗,是阅读这类学术性著作时最令人沉醉的体验。
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