Survey of contemporary Hong Kong art.

'Hong Kong Artists' is an international publication dedicated to the emerging generation of artists born between the late 1970s and the mid 1980s, and introduces 20 artists working in a variety of media from pencil drawing to public performance, from painting to computer-animated video work.

Hong Kong has the once in a generation opportunity to assert itself as the creative and cultural hub of Asia, and to rival the established centers of New York and London. In providing an angle unique to the city, Hong Kong could play a pivotal role in redefining the concept of a "global" art world. But, is it ready to take on the challenge? Magnus Renfrew, art expert and one of the driving forces behind the city's ascent in the art world, outlines the recent past and paints the future of Hong Kong's creative scene, all while reflecting on his own experiences and the new buzz around Hong Kong's endless possibilities.

Contemporary Chinese art is nowadays a subject area widely taught and researched in academic and nonacademic publications, but it has not yet been studied by 'localizing' the research in specific cultural areas within the Chinese world. Selecting Hong Kong for a first such study was an obvious choice, since Hong Kong culture has had for already quite a long time very specific features which have put it apart from the generally accepted definition of Chinese national culture. Although it is not a survey of 'Hong Kong art,' as such a study would demand many more books, the works of about eighty artists working in Hong Kong (and sometimes outside) have been analyzed and contextualized in these pages.

Thanks to an impressive selection of works of painting, sculpture, mixed media, ceramics, photography, this book showcases the best in contemporary Hong Kong art with the aim of promoting awareness of Hong Kong artistic achievement on a worldwide basis

This imaginative and innovative study by Daniel Miles Amos, begun in 1976 and completed in 2020, examines sociocultural changes in the practices of Chinese martial artists in two closely related and interconnected southern Chinese cities, Hong Kong and Guangzhou. The initial chapters of the book compare how sociocultural changes from World War II to the mid-1980s affected the practices of Chinese martial artists in the British Crown Colony of Hong Kong and neighboring Guangzhou in mainland China. An analysis is made of how the practices of Chinese martial artists have been influenced by revolutionary sociocultural changes in both cities. In Guangzhou, the victory of the Chinese Communist Party lead to the disappearance in the early 1950s of secret societies and kungfu brotherhoods. Kungfu brotherhoods reappeared during the Cultural Revolution, and subsequently were transformed again after the death of Mao Zedong, and China’s opening to capitalism. In Hong Kong, dramatic sociocultural changes were set off by the introduction of manufacturing production lines by international corporations in the mid-1950s, and the proliferation of foreign franchises and products. Economic globalization in Hong Kong has led to dramatic increases both in the territory’s Gross Domestic Product and in cultural homogenization, with corresponding declines in many local traditions and folk cultures, including Chinese martial arts. The final chapters of the book focus on changes in the practices of Chinese martial arts in Hong Kong from the years 1987 to 2020, a period which includes the last decade of British colonial administration, as well as the first quarter of a century of rule by the Chinese government.

The book brings together a series of essays about art in Hong Kong written over the last ten years, with the intention of offering a personal chronicle of the Hong Kong art world during a time of great change. Many of the essays concern themselves with the work of local artists, but Western and Chinese artists whose works have been exhibited in Hong Kong during this period are also discussed. In addition to a consideration of particular artists and works of art, there are also essays which engage with debates that have been taking place in Hong Kong concerning curatorship and various arts policy issues. Fully illustrated and written in a straightforward style, Art and Place is one of the first serious attempts to evaluate the art of Hong Kong. It should be of use to anyone interested in the cultural life of one of Asia's leading cities.

Hong Kong has the once in a generation opportunity to assert itself as the creative and cultural hub of Asia, and to rival the established centres of New York and London. In providing an angle unique to the city, Hong Kong could play a pivotal role in redefining the concept of a 'global' art world. But, is it ready to take on the challenge? Magnus Renfrew, art expert and one of the driving forces behind the city's ascent in the art world, outlines the recent past and paints the future of Hong Kong's creative scene, all while reflecting on his own experiences and the new buzz around Hong Kong's endless possibilities.

The Hong Kong Urban Sketching Artbook is a collection of artworks of travel artist Evgeny Bondarenko. It contains 72 black-and-white illustrations, and also 18 colorful, showing scenes of Hong Kong. This collection of artwork is intended to encourage travel, discovery, and artistic expression. It offers a way to enjoy a beautiful scene without the distraction of the background noise, while also inspiring the viewer to pay attention to smaller details when exploring a new city. The illustrations were drawn on location by pencil or ink and then colored with watercolor or gouache paint. Enter a unique landscape for each painting: the heart and soul of traditional Chinese culture and modern urban life. Evgeny was inspired by the architecture, cultural icons, and community scenes that make Hong Kong such a dynamic city. Evgeny Bondarenko is a Russian travel artist who has been sketching life experiences in cities around the world since 2010. When he first started these trips, traveling to six countries and over thirty cities, including Beijing, Shanghai, Hong Kong, Macao, Moscow, St Petersburg, Paris, and Taipei. His drawings are more than just travel notes; rather, they are a research of people's lifestyles and perceptions. He found himself capturing the essence of a life on paper. A wave of something strange came over him. The unknown bright colors and the secret of the lines woven together before his eyes came to life. This process of art creation is a never-ending journey of exploration, personal experience, and learning.

In late 2014, the prodemocracy demonstrations that were called the "Umbrella Movement" revealed to the world that Hong Kong was not the moneyobsessed society it had often been portrayed as. Hong Kong Soft Power is a description of the complex relationship the artists and activists of this city have had with the country it has been part of since 1997. Trying to understand all the varied forms of art practices possible in the Special Administrative Region by locating them within a relational model, and situating them within the dynamic and changing art ecosystem that has developed over the last decade, Hong Kong Soft Power describes the local art field as a site of struggle where the connections with Chinese Mainland institutions and art practices play a fundamental role. This is not to say that this influence has entirely dominated the local art field, and this book also emphasizes how the artists of the city have engaged in practices ranging from the most personal to the most sociallyoriented. With the analysis of the works of about fifty local art practitioners and a representative range of art institutions, Hong Kong Soft Power is the portrait of a culture going through the trials and tribulations of rapid political and economic changes in both its negative and positive effects.