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Foreign Affairs

The curator of Duddell’s latest exhibition ‘Foreign Presence’ talks to Wynna Wong about the city’s multi-cultural population.

 

The subject of identity and nationality has always been a controversial one; especially in this city we call Hong Kong. The discussion seems to have become especially turbulent over recent years with China sentiments boiling over more than ever. That’s why Inti Guerrero’s presentation of ‘Foreign Presence’ arrives in perfect time.

After three successful exhibitions in its fourth floor Salon by artists such as Amelie von Wedel, Ai Weiwei and MAP Office, Duddell’s has once again become an exhibition venue—this time for Columbia-born artist Inti Guerrero who attempts to highlight the importance of foreign presence in Hong Kong through the display of artworks, including fashion photography and archival documents. Here, old juxtaposes new, with works by contemporary artists as well as war photographs from the 19th century.

Hong Kong’s diverse culture was what inspired Guerrero to curate this project. “What’s interesting and unique about Hong Kong is immigration that is and always has been part of the culture,” he says. “It’s not a community of people that have always been here for centuries of generations, but they came from different parts of the world.” Indeed, about 90 percent of Hong Kong’s current population is of Mainland Chinese immigration; mostly from the early population boom during the 40s and 50s. The rest are sprinkles of expats who came throughout the colonial period and a handful of foreign workers from Asia. During the early 90s, a considerable amount of people also left for North America, but nowadays, many more are returning or joining in for new opportunities.

Born and raised in Columbia and schooled in Brazil and Holland, Guerrero arrived in Hong Kong four years ago. “People are attracted to this city not only because it’s a financial hub” he says. “Hong Kong is also a creative centre. When a city has so many different kinds of people, it makes for a fascinating culture.”

This may come as a surprise for many locals, where it seems to have become a trend to complain about Hong Kong being a “cultural desert”, but Guerrero disagrees.

“It’s true, if you want to be critical. Hong Kong lacks a lot of institutional support.” he explains. “But you need to understand that public doesn’t necessarily have to mean government. A private enterprise can also think about public projects. Public also varies. It’s not only about approaching masses or a massive amount of people; it can mean approaching different audiences that share an interest. Regarding his own exhibition at Duddell’s, “maybe in a way this place is reacting to a certain community that likes contemporary art that shares an interest for food at the same time. Just because it only benefits a small community, it doesn’t mean it’s not a public effort.”

The exhibition begins with Claire Fontaine’s striking neon sign that says ‘Foreigners Everywhere’ in Chinese characters. “It opens up a lot of discussion. It sounds alarming,” says Guerrero. “It could also be suggesting that one is always potentially a foreigner somewhere, [not necessarily] in a place, but you can become a foreigner when you leave your comfort zone. You become distinct. There’s always an idea of cultural difference in society and in one’s own life”

Apposing with delicate age are two 19th century photographs by British-Italian Felice Beato, taken while he was traveling across Asia and documenting the conflicts happening at the time. The photos show as the French and British fleet’s flock in to occupy the city. “Because of the military presence, you can feel the control and imperial dominance. These are very powerful images.” says Guerrero.

Across the room, hangs perhaps the most interesting piece—a triptych by Hong Kong-based Leung Chi Wo. Leung took photographs of the bullet-hole ridden walls of the old Legislative Council Building in Central, and places plexiglass panels on top, engraved with the words “STOP USELESS RESISTANCE”. Guerrero explains these words came from a propaganda leaflet rained onto the city by Japanese troops during the war, aimed at the British occupying Hong Kong at the time.

Finally, hanging on a wall in the next room are images from a 1962 Harper’s Bazaar fashion shoot in Hong Kong. The collection shows lanky, Western models posing against fish markets and tight back alleyways. “It’s very orientalist, of course it is!” laughs Guerrero. “But perhaps this shows the beginning of Hong Kong’s materialistic, shopping mall culture.”

For Inti Guerrero, foreign presence comes in many forms. Does he consider himself a foreign presence? “Yes, but in a positive way.” he answers. “When you exist within another culture, not only are you hyper-aware of the differences, you may even realize things locals normally wouldn’t.” Being a curator helps too. “[Especially] as a person of art, when you curate exhibitions, you become aware of the context and conceptions of your audience… Actually when you are an artist, an intellectual or a curator, you’re always a foreigner to a certain reality.”

Foreign Presence will run from now until the end of April at Duddell’s in Central.

Duddell’s, 1 Duddell Street, Central, Hong Kong, +852 2525 9191, duddells.co

 

A version of this article first appeared in the Friday, 28 February 2014 issue of The Standard Hong Kong.

Photo credits to The Standard and Duddell’s Hong Kong.

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