This paper analyses the intermedia environment in Hong Kong in the late 1980s, in which Choi Yan Chi turned towards theatrical installation after 1989 with the "Drowned" series that narrates colonial histories in a tangible way. I will discuss how Choi opened up a space for self-healing and activism in 1988 and 1989, with two performative installations in collaboration with sound and performance artists, where the voices of audiences appear and disappear. Choi then shifted to sculptural displays that were nostalgic of Chinese modern histories and British colonialism--which form a transition from performative installation to to representations of Hong Kong art, particularly when displayed in countries with colonial contexts that resonates with the history of Hong Kong. This is the moment when the identity of Hong Kong art reappears.
|Publication status||Published - 9 Dec 2021|
|Event||Australian and New Zealand Art Association Conference 2021: Impact* - Sydney, Australia|
Duration: 8 Dec 2021 → 10 Dec 2021
|Public Lecture||Australian and New Zealand Art Association Conference 2021: Impact*|
|Period||8/12/21 → 10/12/21|