Book contents
- Frontmatter
- Contents
- List of figures, tables, and illustrations
- Acknowledgements
- Note on Romanization
- 1 Introduction
- 2 Revisiting the Historical Trajectories of Modern Art Museums in China
- 3 He Xiangning Art Museum in Shenzhen
- 4 Guangdong Times Museum in Guangzhou
- 5 Hong Kong Museum of Art in Hong Kong
- 6 Conclusion
- Bibliography
- Index
5 - Hong Kong Museum of Art in Hong Kong
Published online by Cambridge University Press: 21 November 2020
- Frontmatter
- Contents
- List of figures, tables, and illustrations
- Acknowledgements
- Note on Romanization
- 1 Introduction
- 2 Revisiting the Historical Trajectories of Modern Art Museums in China
- 3 He Xiangning Art Museum in Shenzhen
- 4 Guangdong Times Museum in Guangzhou
- 5 Hong Kong Museum of Art in Hong Kong
- 6 Conclusion
- Bibliography
- Index
Summary
Abstract
This chapter examines the museum circuit of the Hong Kong Museum of Art, an official art museum in Hong Kong, which was shaped by national, local and global forces, and colonial legacies. The museum's intermediaries, mainly in-house curators, have demonstrated potency in articulating cultural representations for diplomacy, cultural nationalism, leisure consumption, global gratification, and interpretation of the local, tending to produce a feudalized public sphere that discourages critical thinking and public debate. Visitors to the museum are demographically diverse and characterized by six distinct identities. Critical audience and activists oppose or resist the strategies of consumption that the museum's structures enjoin. The museum reveals the tension between the government and its counter-publics and has created a cultural circuit of contested values and identities.
Keywords: Hong Kong studies, cultural politics, feudalized public, critical Audience
The Hong Kong Museum of Art was the only art museum established by the British colonial government in Hong Kong in the 1960s. Since 1997, it has continued to operate under the authority of the Department of the Hong Kong Special Administrative Government. The museum now positions itself as the leading art museum in the region which ‘connect[s] and share[s] with everyone using the language of art to foster creativity’. Its mission is to conduct cultural heritage research and make collections accessible by providing a significant platform for artistic talents both locally and globally, on the one hand, and to promote artistic appreciation and lifelong learning and vitalize the cultural lives of people through means of innovation and creativity in collaboration with the art community and all social sectors, on the other hand. The museum is located at the waterfront in Tsim Sha Tsui, a hub of international and cultural activities and the paradise of tourists. The museum is now undergoing renovation for the expansion of its exhibition spaces and an upgrade of its facilities.
This chapter examines how this official museum is institutionally regulated, how it has represented art with shifting styles of curatorial interpretation, collection development, and art display extending from the colonial to the postcolonial periods, and how the museum's publics orient themselves in the process of cultural consumption.
- Type
- Chapter
- Information
- Museum Processes in ChinaThe Institutional Regulation, Production and Consumption of the Art Museums in the Greater Pearl River Delta Region, pp. 177 - 214Publisher: Amsterdam University PressPrint publication year: 2019