(28 Mar 2025)
RESTRICTION SUMMARY:
ASSOCIATED PRESS
Hong Kong – 28 March 2025
1. Various of artist Chow Chun-fai in his studio finishing his three-panel work depicting the handover ceremony of Hong Kong from Britain to China in 1997, to be exhibited at Art Basel Hong Kong 2025
2. SOUNDBITE (Cantonese) Chow Chun-fai, artist:
"If you ask me if there’s any pressure, I can tell you all artists are facing some pressure. But what I would say is that in the past while studying art, we’ve learned many artists faced momentous times. Since we are living through such a momentous time ourselves now, I will continue to learn from it."
3. Various of Chow talking in his studio
4. SOUNDBITE (Cantonese) Chow Chun-fai, artist:
"Of course, we face confusion, for example, we might be confused by like what you said whether red lines exist or where they are. But what I can tell you positively is not to be scared because it would become an obstacle for you fully to express yourself. So, we should adjust to live with the new environment or use new ways to express ourselves.”
5. Chow speaking
6. Various of Chow’s smaller painting’s depicting the work of Hong Kong TV reporter
7. Various of Chow working on his large painting
STORYLINE:
At Hong Kong’s Art Basel, painter Chow Chun-fai’s new works transport viewers back to the night in 1997 when the former British colony returned to Chinese rule, displayed in the very exhibition center where one era ended and another began.
That transformation in the city’s post-colonial era has taken a drastic turn since 2020, when China imposed a national security law that virtually wiped out dissent.
The law drove many middle-class families and young professionals, including artists, to emigrate to democracies like Britain, Canada, Taiwan and the U.S. from what was once a haven for free expression in Asia.
But others, like Chow, chose to stay and continue to document their home city despite unclear red lines.
His works at Art Basel, which opens to the public on Friday, revisit Hong Kongers’ collective memories of the late 1990s and early 2000s, a time many were proud of the Chinese financial hub’s vibrancy and openness.
“While studying art, we’ve learned many artists faced momentous times. Since we are living through such a momentous time ourselves now, I will continue to learn from it," he said in an interview ahead of the exhibition.
Chow is perhaps best known to those outside art circles for his witty recreations of classic movie scenes with bilingual subtitles that lead audiences to reflect on Hong Kong’s history and identity.
He was also in the news when he ran against pro-establishment candidates in the 2012 legislative election and the 2016 election committee race, though he ultimately lost both contests.
At Art Basel, Chow’s paintings revisit significant news events, from the 1997 handover and overseas trips made by former top Chinese leaders to the celebration of China becoming the host of the 2008 Olympic Games.
His works center on some of the biggest news stories covered by Sharon Cheung, a former journalist and now local gallery director.
In 2000, late former Chinese President Jiang Zemin berated Cheung for asking what he called “too simple, sometimes naive” questions.
She’d asked Jiang if his support for then-Hong Kong leader Tung Chee-hwa gave the impression of an imperial-style appointment. One of Chow’s paintings illustrates that scene.
Zhang said he was not a panda expert and quoted a Confucian saying about the virtue of acknowledging what one doesn’t know.
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