He started accumulating an array of memorabilia from Cheung’s profession, together with photographs, books, press playing cards and extra, which he used to rearrange the mise-en-scène for his recreation of historic moments.
Considered one of these is seen in Leaders (2023) and its miniature counterparts Chief I and Chief II (each 2023), which had been all primarily based on an early 2000s picture Cheung took throughout a gathering between former US president George W Bush and former Chinese language president Hu Jintao. Right here, Chow purposely leaves out the politicians’ heads, focusing as a substitute on their pose and the ornamental furnishings of the White Home.
He says it is usually vital for him to create artwork that may stay related sooner or later, which suggests adapting the specificity of Cheung’s information supplies fairly drastically by making use of completely different storytelling methods.
He’s additionally making an attempt to keep away from making political artwork that’s shallow and apparent. “We are able to have an umbrella within the portray and [that’d be called political art]. However I’m making an attempt to keep away from that,” he says.
For an artist who has at all times been politically knowledgeable, this exhibition can be a part of Chow’s seek for new methods of expression below Hong Kong’s new restrictions.
“We shouldn’t be too passive,” he says. “I used to have a studio in Beijing for 3 years throughout the Olympics, so I’ve witnessed how the artists specific themselves … The scenario [in Hong Kong] is sort of comparable, in that artists attempt to have some new solution to specific themselves, however not cross the so-called crimson line.”
Journalists Affiliation thirty seventh Dinner (2023) and Journalists Affiliation forty first Dinner (2023), each reimagined depictions of the Hong Kong Journalist Affiliation’s annual gala dinner, are two prime examples of how Chow has realized to skirt the restrictions.
Although the unique photos of previous dinners attended by Cheung had been full of journalists and folks performing, celebrating and consuming champagne, Chow’s work present levels which can be utterly empty.
The 2 poignant work additional level to this suffocation of freedom of speech with its visible, aesthetic components.
“The sunshine on the stage additionally implies that there ought to be one thing occurring on the stage – the viewers have their expectation of what’s occurring on the stage, however we are able to’t see something,” he says.
In the meantime, Beijing Olympics (2023) captures a scene from July 13, 2001, the day it was introduced that Beijing’s bid to host the 2008 Olympic Video games was profitable. Cheung reported from Tiananmen Sq., the place it abruptly grew to become flooded with folks celebrating.
“For me, it’s so unusual, as a result of we’ve got been reporting in Tiananmen Sq. for a few years. We all know you at all times must secretly movie, and also you by no means put up your digicam,” she says.
However that night time, journalists had been allowed to movie overtly, and Cheung – then working for Hong Kong Cable Tv – was the primary broadcaster to report on the celebration in Beijing, at 4.34am.
Courageous, daring: the artists who hit again at South Korean society
Courageous, daring: the artists who hit again at South Korean society
And naturally, there may be the Jiang portray – Go away It (2023), which is an animated, spinoff interpretation of Jiang’s rant.
Cheung believes that Chow is the one artist in Hong Kong who can, and is prepared to, ship the sort of exhibition – one that’s overtly political however nonetheless has layers of depth. “He can skilfully restructure and re-edit the picture, however carry out a brand new story,” she says.
“Folks grew to become very timid. They are saying, ‘I don’t need to say something,’ or ‘I don’t need to paint,’ or ‘I’ll transfer out of Hong Kong,’” she says.
“However I feel that isn’t the best way to positively face the current scenario. We’ve to search out one other new solution to specific, fairly than [say], ‘No, I’m not going to say something’.
“I feel that we should always have this braveness, we should always have this knowledge, to discover a solution to nonetheless specific ourselves.”
“Interview the Interviewer”, SC Gallery, 1902, Sungib Industrial Centre, 53 Wong Chuk Cling Highway, Wong Chuk Cling. Tue-Sat 11.30am-6.30pm. Till November 11.
