Journal articles: 'Kongo Art'

1

Mosquera, Gerardo. "José Bedia: Postmodern Kongo art." Review: Literature and Arts of the Americas 29, no. 52 (January 1996): 19–52. http://dx.doi.org/10.1080/08905769608594469.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

MacGaffey, Wyatt. "Commodore Wilmot Encounters Kongo Art, 1865." African Arts 43, no. 2 (June 2010): 52–53. http://dx.doi.org/10.1162/afar.2010.43.2.52.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Martínez-Ruiz, Bárbaro. "Kongo Ins-(ex)piration in Contemporary Art." Art Bulletin 98, no. 3 (July 2, 2016): 291–96. http://dx.doi.org/10.1080/00043079.2016.1157410.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Heimlich, Geoffroy, Jean-Loïc Le Quellec, and Clément Mambu Nsangathi. "Lovo, rock images, and mythology in the Land of the Kongo." Journal of Social Archaeology 18, no. 1 (February 2018): 30–49. http://dx.doi.org/10.1177/1469605317751171.

Full text

Abstract:

In Kongo Central, rock art sites stretch from Kinshasa to the Atlantic coast and from northern Angola to southern Congo-Brazzaville. Preliminary research revealed one coherent entity situated north of the Kongo kingdom: the Lovo Massif, presently inhabited by the Ndibu, one of the Kongo subgroups. Comparison of the ethnological, historical, archaeological, and mythological points of view confirms that certain Kongo ritual and symbolic aspects are pre-Christian and refer to cosmogony, anthropogony, or narratives associated with the mythical origin of death. Investigating rock images allows us to better understand the link between the images, the myths, and their repercussions on the life of the Kongo today.

APA, Harvard, Vancouver, ISO, and other styles

5

Heimlich, Geoffroy, Pascale Richardin, Nathalie Gandolfo, Eric Laval, and Michel Menu. "First Direct Radiocarbon Dating of the Lower Congo Rock Art (Democratic Republic of the Congo)." Radiocarbon 55, no. 3 (2013): 1383–90. http://dx.doi.org/10.1017/s0033822200048311.

Full text

Abstract:

Lower Congo rock art is concentrated in a region that stretches from Kinshasa to the Atlantic coast and from northern Angola to southern Congo-Brazzaville. Although Lower Congo rock art was identified as early as the 19th century, it had never been a subject of thorough investigation. Presently inhabited by the Ndibu, one of the Kongo subgroups, the Lovo Massif is situated north of the ancient Kongo Kingdom. With 102 sites (including 16 decorated caves), the massif has the largest concentration of rock art in the entire region. In 2008 and 2010, we were able to collect pigment samples directly on the panels of the newly discovered decorated cave of Tovo. Unlike the Sahara and southern Africa, both extensively prospected, rock art of central Africa is still widely unknown and not dated. Radiocarbon dating of rock art in Africa is a real challenge and only a few direct dates have been obtained thus far. After verifying that the pigment samples were indeed charcoal, we proceeded to 14C date them using accelerator mass spectrometry (AMS). The results indicate dates between cal AD 1480 and 1800, confirming that the occupation of Tovo Cave was contemporaneous with the ancient Kongo Kingdom.

APA, Harvard, Vancouver, ISO, and other styles

6

MacGaffey, Wyatt. "Astonishment and Stickiness in Kongo Art: A Theoretical Advance." Res: Anthropology and aesthetics 39 (March 2001): 137–50. http://dx.doi.org/10.1086/resv39n1ms20167526.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Souza, Marina de Mello e. "O cristianismo congo e as relações atlânticas." Revista de História, no. 175 (December 20, 2016): 451. http://dx.doi.org/10.11606/issn.2316-9141.rh.2016.115126.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

MacGaffey, Wyatt. "Constructing a Kongo Identity: Scholarship and Mythopoesis." Comparative Studies in Society and History 58, no. 1 (January 2016): 159–80. http://dx.doi.org/10.1017/s0010417515000602.

Full text

Abstract:

AbstractThe past thirty years have seen, particularly in the United States, a transformation in the public image of “Kongo,” an ill-defined entity (a tribe, a kingdom, a culture, a region?) on the Atlantic coast of Central Africa. The efforts of R. F. Thompson, professor of art history at Yale, and A. Fu-kiau, himself Kongolese, have done much to popularize a “Kongo” characterized more by its romantic appeal than by historical or ethnographic verisimilitude. Elsewhere in the Americas, the reputation of “Kongo” has suffered by comparison with “Yoruba,” another historically emergent Atlantic identity, based in West Africa. These identities, and the supposed contrast between them, are products of an increasingly complex trans-Atlantic discourse.

APA, Harvard, Vancouver, ISO, and other styles

9

Fromont, Cécile. "Foreign Cloth, Local Habits: Clothing, Regalia, and the Art of Conversion in the Early Modern Kingdom of Kongo." Anais do Museu Paulista: História e Cultura Material 25, no. 2 (August 2017): 11–31. http://dx.doi.org/10.1590/1982-02672017v25n02d01-2.

Full text

Abstract:

ABSTRACT From their king’s decision to embrace Catholicism at the turn of the sixteenth century to the advent of imperial colonialism in the late eighteen hundreds, the men and women of the central African kingdom of Kongo creatively mixed, merged, and redefined local and foreign visual forms, religious thought, and political concepts into the novel, coherent, but also constantly evolving worldview of Kongo Christianity. Sartorial practices and regalia in particular showcased the artful conversion of the realm under the impetus of its monarchs and aristocrats. In their clothing and insignia, the kingdom’s elite combined and recast foreign and local, old and new, material and emblems into heralds of Kongo Christian power, wealth, and, eventually history. I propose to use the concept of the space of correlation as a key to analyze these elaborate, and constantly evolving religious, political, and material transformations through an attentive focus on cultural objects such as clothing, hats, swords, and saint figures.

APA, Harvard, Vancouver, ISO, and other styles

10

West-Durán, Alan. "Mpambu Nzila: José Bedia at the Crossroads." Religions 12, no. 3 (March 6, 2021): 172. http://dx.doi.org/10.3390/rel12030172.

Full text

Abstract:

The article draws on the Kongo term mpambu nzila of crossroads, that equally signifies altar, to discuss the paintings and drawings of Cuban-born artist José Bedia. He is a practitioner of Palo Briyumba, a syncretic Afro-Cuban religion that combines Kongo religious beliefs, Regla de Ocha, Spiritism, and Catholicism. The article examines six works by the artist from 1984 to 1999 and how Bedia represents Palo in his art. Additionally, the centrality of the nganga (a cauldron that paleros use to work for and protect them) is discussed historically, philosophically, and religiously as a physical and spiritual embodiment of the crossroads. Bedia’s work is also analyzed using the Sankofa bird as metaphor (of flying forward and looking back) and as an example of the West African notion of coolness. The article also examines Palo as a de-colonial way of knowing and ends with the crossroads through the example of Lucero Mundo (Elegguá).

APA, Harvard, Vancouver, ISO, and other styles

11

Mansour, Opher. "Picturing Global Conversion: Art and Diplomacy at the Court of Paul V (1605-1621)." Journal of Early Modern History 17, no. 5-6 (2013): 525–59. http://dx.doi.org/10.1163/15700658-12342380.

Full text

Abstract:

Abstract This article examines the progress of a series of ambassadorial visits to Rome by emissaries from the Kongo, Japan, and Safavid Persia as they unfolded over the reign of Pope Paul V. Close attention is paid to the visual representation of the ambassadors, and of their actions, in engravings and in the decoration of the Quirinal Palace. The author argues that the public aspects of diplomacy, and of the visual representations based on it, played a significant role in articulating the Papacy’s missionary ambitions and sense of its global position. Furthermore, it is argued that the diplomatic and courtly practices of the papal court played a significant role in mediating the representation of “other” cultures in early modern Europe.

APA, Harvard, Vancouver, ISO, and other styles

12

Mosterman, Andrea. "The Art of Conversion: Christian Visual Culture in the Kingdom of Kongo by Cécile Fromont." Catholic Historical Review 102, no. 3 (2016): 651–52. http://dx.doi.org/10.1353/cat.2016.0194.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Thornton, John. "The Art of Conversion: Christian Visual Culture in the Kingdom of Kongo, written by Cécile Fromont." Social Sciences and Missions 28, no. 3-4 (2015): 399–400. http://dx.doi.org/10.1163/18748945-02803005.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Mark, Peter. "The Art of Conversion: Christian Visual Culture in the Kingdom of Kongo. Cécile Fromont. Chapel Hill: University of North Carolina Press, 2014. xx + 284 pp. $45." Renaissance Quarterly 69, no. 1 (2016): 256–58. http://dx.doi.org/10.1086/686358.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Rey, Terry. "The Art of Conversion: Christian Visual Culture in the Kingdom of the Kongo. By Cécille Fromont (Chapel Hill, University of North Carolina Press, 2014) 283 pp. $45.00." Journal of Interdisciplinary History 46, no. 4 (February 2016): 619–20. http://dx.doi.org/10.1162/jinh_r_00929.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

Kouwenberg, Silvia. "Review of “The art of remembering: The Lumbalú of Palenque and the genesis of Palenquero, a review of “Chi ma n kongo”: Lengua y rito ancestrales en El Palenque de San Basilio” by Armin Schwegler." Journal of Pidgin and Creole Languages 15, no. 1 (August 1, 2000): 229–37. http://dx.doi.org/10.1075/jpcl.15.1.25kou.

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

Mark, Reet. "Endel Kõksi abstraktsetest maalidest." Baltic Journal of Art History 11 (November 30, 2016): 125. http://dx.doi.org/10.12697/bjah.2016.11.07.

Full text

Abstract:

The artist Endel Kõks (1912–1983) is a member of the same generation of Estonian art classics as Elmar Kits and Lepo Mikko. After Kits’s and Kõks’s debut at the exhibition of the Administration of the Cultural Endowment’s Fine Art Foundation (KKSKV) in Tallinn in 1939, the three of them started to be spoken about as the promising Tartu trio. In 1944, Endel Kõks ended up in Germany as a wounded soldier, while Kits and Mikko remained in Estonia. The Kõks’s works that have surreptitiously arrived in his homeland are incidental and small in number. Thus, without any proof, an image developed or was developed of him in Soviet-era art history as a mediocre painter and especially as a weak abstractionist, which is somewhat prevalent even today. I would dispute this based on the conclusions that I reached when helping to organise the exhibition of exile Estonian art between 2008 and 201142 and Endel Kõks’s solo exhibition between 2011 and 201343; conclusions that I have supplemented with the opinions expressed by exile Estonian art historians and artists.In 1951 Kõks moved to Sweden. Paul Reets has highlighted the years between 1952 and 1956, and assumed that these were difficult years due to the contradictions he faced. According to Reets, one obstacle was influence of the Pallas on Kõks’s painting style, which was conservative and adhered to the trends of Late Cubism. According to both Eevi End and Paul Reets, Kõks painted his first abstract painting in 1956 Rahutus (Restlessness) according to the former and Konflikt (Conflict) according to the latter). A black-and-white photo exists of Restlessness, which is slightly reminiscent of Pollock, and this is not the same work that P. Reets refers to. They both note that this was a convincing and mature abstraction not a searching for form, and as Reets states, Kõks had severed himself from the Pallas.The abstract paintings created between 1956 and 1960 – Kompositsioon (Composition) (1958), Rõõmus silmapilk (Joyful Moment) (1959) and others – are constructed on the impact of a joyfully colourful palette and lines, and demonstrate a kinship with the abstract works of Vassili Kandinsky. There is also a similarity to Arshile Gorky, whose works he may have seen at the exhibition of modern American art in Stockholm in 1953.Kõks’s transition into a pure form of abstraction occurred in 1963. Reets has characterised this as a “the most wondrous year that one can expect to see in an artist’s life. Not an unexpected year, but one that was unexpectedly and extremely rich when it came to his works.” The artist started to create series of works, of which the best known is undoubtedly Elektroonika (Electronics), which was comprised of 36 sheets. According to Kõks, he developed the need and idea to create the series while listening to experimental music, watching experimental films and thinking about nuclear physics. Created with a glass printing technique, or vitreography, each work is unique due to the post-printing processing, paint dripping, spraying and additional brushstrokes and images. Of course, all this alludes to Jackson Pollock.In 1962, Kõks painted the abstract composition Astraalne (Astral), which depicts a red circle and bent violet rectangle next to it on an interesting yellowish-brown surface that creates a rough effect. Using only these two symbols, the artist creates a sense of floating in cosmic space. Starting in 1964–1965 this style gradually came to dominate his work, and in was in this style that Kõks created the works that express the greatness of his talent and the charm of the “shaper of nature forms” in the purest sense.The construction of these works is brilliantly simple, and comprised of symbols and images placed on a relatively uniform surface. The nervous brittleness and rapid movement have disappeared from the paintings. The mood is calm and reveling. There is a monumental feel to many of the pictures. Masterful, delicate colour combinations triumph. And as time goes on, the more abundant and interesting the texture becomes. Eevi End believes that Kõks was influenced by Ellsworth Kelly, Kenneth Noland and other representatives of the school of Hard-edge painting that other influential direction operating in American abstractionism during the 20th century. Kõks himself has defined his abstract paintings as biomorphic abstraction, characterized by a free formalism, spatiality and atmospherics (Arshile Gorky, William de Kooning, Mark Tobey, Mark Rothko, and Jackson Pollock.)Kõks’s abstraction that features intellectual and cognizant images is totally the opposite of Elmar Kits’s excellent and spontaneous colourful abstraction. Kits remains true to the Pallas colour tradition; Kõks breaks out of it. Kõks feels secure painting abstract pictures and enjoys the game, which cannot be said of the thoroughly abstract works of Lepo Mikko or Alfred Kongo. Those who doubt this statement should remember that, in order to provide an assessment of Kõks’s abstract pictures, one must have seen them in Europe, the U.S. and Canada. Conclusions cannot be drawn based exclusively on the works in Estonia. As an abstractionist, he is in no way weaker than his contemporaries, just very different and the determination of superiority is a matter of taste. Endel Kõks’s greatness lies in the fact that he was able to fit with what was happening in world art (which many exile artists could not); he experimented with new directions and finally put together something new for himself, and thereby developed Estonian art as a whole.

APA, Harvard, Vancouver, ISO, and other styles

18

Kit, Wah. "Representation and identity issue between globalism and localism: The case of Hong Kong pavilion at the Venice Biennale." SAJ - Serbian Architectural Journal 7, no. 2 (2015): 173–90. http://dx.doi.org/10.5937/saj1502173k.

Full text

Abstract:

In this presentation Lee Kit's art installation at the Venice Biennale in 2013 is used as a case study of the ways in which artworks represent and help to construct representations of Hong Kong's challenge to and subversion of an aggressive and powerful rising China. In contrast with the explicit social critique and grandeur of artworks exhibited in the China Pavilion, Lee Kit's art installation - "an impressionistic house" - in the Hong Kong Pavilion appears not only abstract but mundane and even trivial. As the artist was handpicked by the organizer, without any prior public consultation, there has been heated public debate on the extent to which it is representative of Hongkongness. I argue that the apparently trivial and ordinary elements of Lee's work constitute rather than reflect the new generation of Hong Kong art. These elements may also be part of a strategy for negotiating the political identity inescapably imposed on Hong Kong by China. Hong Kong art now has the potential to distance itself from or express skepticism toward the grand narratives presented by China, to paraphrase the writing of art historian David Clarke (1997). I believe part of the aims of the international conference on "Hong Kong as Method" held at the University of Hong Kong in December 2014 is to use the ordinary to destabilize and challenge Hong Kong's taken-for-granted political identity and thereby promote diversity and inter-Asian cultural dynamics.

APA, Harvard, Vancouver, ISO, and other styles

19

Yau, Ka-Fai, and David Clarke. "Hong Kong Art: Culture and Decolonization." Journal of Aesthetic Education 37, no. 3 (2003): 112. http://dx.doi.org/10.2307/3527309.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Kember, Pamela, Chantal Wong, Claire Hsu, and Hammad Nasar. "Asia Art Archive." Art Libraries Journal 39, no. 2 (2014): 5–9. http://dx.doi.org/10.1017/s0307472200018241.

Full text

Abstract:

Asia Art Archive was established in 2000 in Hong Kong to document and secure the multiple recent histories of contemporary art in the region. Built through a systematic programme of research and information gathering, it is widely regarded as one of the world’s leading public collections of primary and secondary source material about contemporary art in Asia, comprising hundreds of thousands of physical and digital items, searchable via its online catalogue. A growing selection of digitised material is now also available in the Collection Online.

APA, Harvard, Vancouver, ISO, and other styles

21

Dias Ramos, Afonso. "Kongo Reframed." Oxford Art Journal 40, no. 3 (August 8, 2017): 491–95. http://dx.doi.org/10.1093/oxartj/kcx017.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Cheng, Vennes. "The Misrepresentation of Hong Kongness." Museum Worlds 8, no. 1 (July 1, 2020): 149–67. http://dx.doi.org/10.3167/armw.2020.080111.

Full text

Abstract:

Established in 1962, the Hong Kong Museum of Art was the first public museum in the city. It closed in August 2015 for a four-year renovation and spatial expansion of the facility, and reopened its doors in November 2019. The renovation happened precisely in the interstices of two important historical ruptures in recent Hong Kong history: the Umbrella Movement of 2014 and the ongoing Anti-China Extradition Movement that started in 2019. These movements are redefining the identity of the city and its people in contrast to the conventional Hong Kong cliché of transformation from fishing village to modern financial hub. Without addressing recent changes in cultural identity, the revamped museum rhetorically deploys obsolete curatorial narratives through exhibitions of Hong Kong art. This report critiques the representation of Hong Kongness in the revamped museum and argues that the latter is a soulless entity that overlooks the fact that both politics and art are now reconstructing local identities.

APA, Harvard, Vancouver, ISO, and other styles

23

Millichap, John. "Independent art publishing in China." Art Libraries Journal 39, no. 2 (2014): 14–19. http://dx.doi.org/10.1017/s0307472200018265.

Full text

Abstract:

China’s publishing landscape today remains a harsh environment, dominated by the state industry and hostile to outside intruders. A few small independent art publishers, design studios and self-publishing artists have appeared in recent years in Beijing, Hong Kong, Shanghai, Guangzhou and other cities, a series of developments that signal new directions for the future of art publishing in this country.

APA, Harvard, Vancouver, ISO, and other styles

24

Kuo, Jason C. "Hong Kong Art: Culture and Decolonization (review)." China Review International 10, no. 1 (2003): 120–24. http://dx.doi.org/10.1353/cri.2004.0029.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Yau, Ka-Fai. "Hong Kong Art: Culture and Decolonization (review)." Journal of Aesthetic Education 37, no. 3 (2003): 112–18. http://dx.doi.org/10.1353/jae.2003.0027.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Lai, Linda Chiu-han. "Contemporary “Women’s Art in Hong Kong” Reframed." positions: asia critique 28, no. 1 (February 1, 2020): 237–74. http://dx.doi.org/10.1215/10679847-7913132.

Full text

Abstract:

This article is a report of an ongoing performative research project conducted by the author in the capacity of an experimental historian–cum–fellow artist to the research subjects. Performative research is meant to be deconstructive: enacting the “what-if-we-talk” point of departure, the researcher and her subjects reopen established conclusions and definitions and examine (rules of) inclusions and exclusions in the local art paradigm. The main tasks and methods that form the performative research are (re) naming, inscription, dialogues, and thick description. The author engaged female artists in conversations to solicit their self-portrayal as artists, or not; the importance of womanhood to their life and art making; and their use of feminism. The exchanges with six artists discussed here reveals the complex positions Hong Kong women occupy in sustaining artistic creation and innovation in Hong Kong, which reopens such questions as what is an artist and what is art making. This research supports a picture of art as being more about the process and the here-and-now moment than the final art object. Women’s art as a research framework productively points to a pervading mode of artistic practice that highlights collaboration, networking, and the making of relations, events, and situations. This performative approach also invokes all artists to become theory makers of their own practice.

APA, Harvard, Vancouver, ISO, and other styles

27

Bianca Lee, Ling Cheun. "Home-based Art Therapy in Hong Kong." Creative Arts in Education and Therapy 6, no. 2 (February 1, 2021): 200–208. http://dx.doi.org/10.15212/caet/2020/6/27.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Lai, Linda Chiu-han. "Algorithmic Art: Shuffling Space and Time." Transfers 9, no. 2 (June 1, 2019): 112–18. http://dx.doi.org/10.3167/trans.2019.090208.

Full text

Abstract:

Why are art-science dialogues important, and how should they take place? How do our everyday culture and institutional constructs define and delimit such possibilities? Why do contemporary art lovers still presume they are immune to and from scientific knowledge? How should a visitor of a media art event make sense of the machine work? Algorithmic Art: Shuffling Space & Time (AA) directed these questions to technical experts, artists, art lovers, and the public through a series of themed discussions and a six-hundred-square-meter indoor playground of machines and computational installations. AA also sought to key in on the question of survival. What mark has the struggling existence of the twenty-year-old School of Creative Media at the City University of Hong Kong left to Hong Kong’s (media) art history? The school remains the only pedagogic research center in Hong Kong where conceptual issues of new media art creation and how to “live” in an age of big data are interrogated through scholarship and practice.

APA, Harvard, Vancouver, ISO, and other styles

29

Kong, Eric Kai-Pang, Ludmila Prokunina-Olsson, Wilfred Hing-Sang Wong, Chak-Sing Lau, Tak-Mao Chan, Marta Alarcón-Riquelme, and Yu-Lung Lau. "A new haplotype ofPDCD1is associated with rheumatoid arthritis in Hong Kong Chinese." Arthritis & Rheumatism 52, no. 4 (April 2005): 1058–62. http://dx.doi.org/10.1002/art.20966.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Liu, Hong Yu. "South Asians in “Asia’s World City”: Postcolonial Identity Struggles and Art Participation in Hong Kong." Culture and Local Governance 7, no. 1-2 (June 7, 2021): 1–16. http://dx.doi.org/10.18192/clg-cgl.v7i1-2.4625.

Full text

Abstract:

Hong Kong, being the “Asia’s world city”, the government proclaimed itself committed to enhancing an inclusive society. However, critics have been questioning the effectiveness of its policy in bringing social inclusion as many South Asians in Hong Kong have to deal with post-colonial identity struggle in everyday life. By using participant observations and interviews, I will discuss how South Asians engage in community art which enables them to find other realms of (self-)representation beyond those delivered by the state and its failed promise of institutionalised assimilatory multiculturalism. Despite the policy shortcomings, a “dual” Hongkonger identity was found in minority descendants, facilitated by participating in community art activities. This article contributes to the knowledge of cultural inclusion, to understand its empowerment and potential conflicts in community art participation, and to invite more academic discussions on multiculturalism in the context of Hong Kong.

APA, Harvard, Vancouver, ISO, and other styles

31

Molho, Jeremie. "Becoming Asia’s Art Market Hub: Comparing Singapore and Hong Kong." Arts 10, no. 2 (April 27, 2021): 28. http://dx.doi.org/10.3390/arts10020028.

Full text

Abstract:

The recent emergence of new regions in the global art market has been structured by hub cities that concentrate key actors, such as global auction houses, influential art fairs, and galleries. Both Singapore and Hong Kong have developed explicit strategies aimed at positioning themselves as Asia’s art market hub. This followed the steep rise of the Chinese art market, but also the general perception of Asia as the world’s most dynamic art market. While Hong Kong’s emergence derives from its status as gateway to the Chinese market, and has been driven by key global players, such as the auction houses Christies’ and Sotheby’s, the Art Basel fair, and mega-galleries, Singapore’s strategy has been driven by the state. At the end of the 2000s, the city identified the art market as a new growth sector, and proactively invested, by creating a cluster concentrating international galleries and supporting art fairs, art weeks, and new world-class cultural institutions. Based on comparative fieldwork, and interviews with actors of the Singapore and Hong Kong art markets, this article shows that the two cities’ distinct strategies have generated contrasted models of “cultural hubs”, and that they play complementary roles in the structuration of the region’s art market.

APA, Harvard, Vancouver, ISO, and other styles

32

Wang, Yi-Xiang J., James F. Griffith, Xian-Jun Zeng, Min Deng, Anthony W. L. Kwok, Jason C. S. Leung, Anil T. Ahuja, Timothy Kwok, and Ping Chung Leung. "Prevalence and Sex Difference of Lumbar Disc Space Narrowing in Elderly Chinese Men and Women: Osteoporotic Fractures in Men (Hong Kong) and Osteoporotic Fractures in Women (Hong Kong) Studies." Arthritis & Rheumatism 65, no. 4 (March 28, 2013): 1004–10. http://dx.doi.org/10.1002/art.37857.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Coote, Jeremy. "The Art of Conversion: Christian Visual Culture in the Kingdom of Kongo by Cécile Fromont Chapel Hill: University of North Carolina Press for the Omohundro Institute of Early American History and Culture, Williamsburg, VA, 2014. 303 pp., 37 color plates, 93 b/w figures, map, index. $45.00, cloth." African Arts 50, no. 1 (March 2017): 95–96. http://dx.doi.org/10.1162/afar_r_00339.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Wong, Kit-mei Betty. "Conceptions of Art in Hong Kong Preschool Children." Australasian Journal of Early Childhood 32, no. 4 (December 2007): 31–36. http://dx.doi.org/10.1177/183693910703200407.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Vigneron, Frank. "Two Competing Habitus among Hong Kong Art Practitioners." Visual Anthropology 26, no. 2 (March 2013): 132–46. http://dx.doi.org/10.1080/08949468.2013.754315.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Vigneron, Frank. "‘Ink Art’ as strategy for Hong Kong institutions." Journal for Cultural Research 21, no. 1 (January 2, 2017): 92–117. http://dx.doi.org/10.1080/14797585.2017.1281473.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

Alexander Mak. "How Far Has Hong Kong Tax Boosted The Art Market in Hong Kong?" Ilkam Law Review ll, no. 22 (June 2012): 415–36. http://dx.doi.org/10.35148/ilsilr.2012..22.415.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Biernaczky, Szilárd. "Kulturális értékeink megbecsüléséről." Afrika Tanulmányok / Hungarian Journal of African Studies 12, no. 1-3. (October 30, 2018): 157–60. http://dx.doi.org/10.15170/at.2018.12.1-3.9.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

Chun Fung, Lee. "How is art political? The political construction in the discourse of art activism in Hong Kong." Journal of Contemporary Chinese Art 8, no. 1 (July 1, 2021): 13–31. http://dx.doi.org/10.1386/jcca_00035_1.

Full text

Abstract:

With the radicalization of activism in Hong Kong in the past decade, it has become increasingly common for artists to engage in the political situation through their creative work; the discussion of art and activism has also become popular and the term ‘art activism’ is usually used to describe such practices, referring it with a new political imagination of art. This article takes the discussion of such practices through the concept of art activism as a complex dynamic of discursive practice. It reflects the ways in which politics are constructed through the discourse of art activism, and how such a concept contributes to its political dynamics in social movements. This article attempts to analyse the changing trajectory of the discourse of art activism and to explore how different actors discuss its confrontational relationship in different contexts. Hence, what kind of politics does this concept refer to? This article suggests that the discourse of art activism has been influenced by the theory of New Social Movements in the West, in which the construction of collective emotions and identities are emphasized. It has become a key element in the political composition of art activism, and provided a new impetus to the dynamics of social movement, but at the same time imposed certain limitations later on. This article takes such a review as an attempt to outline the political construction of the discourse of art activism in Hong Kong, tracing its dynamics and changing trajectories, hence the heterogeneous elements in the discourse of art activism that may provide an alternative perspective in deconstructing its boundaries.

APA, Harvard, Vancouver, ISO, and other styles

40

Leung, Bo-Wah. "A proposed model of transmission of Cantonese opera in Hong Kong higher education: From oral tradition to conservatoire." Arts and Humanities in Higher Education 19, no. 2 (August 6, 2018): 144–66. http://dx.doi.org/10.1177/1474022218791465.

Full text

Abstract:

Transmission of traditional art forms in the modern world has been a major issue in the field of arts education. Different issues have been raised on how to preserve the traditional art forms for further development. Cantonese opera is a representative Chinese opera popular in south China including Hong Kong. However, the genre has been experienced fluctuation since 1950s with the difficulties of transmission through oral tradition to conservatory tradition. While the Hong Kong Government promotes the genre to reserve the cultural tradition, great masters have been fading out and younger generation encounters difficulties in inheriting the genre. This article reports parts of a large-scale study on the nature and characteristics of oral tradition, learning in community settings, conservatory tradition, and proposes a model of transmission of Cantonese opera in Hong Kong. The model may shed light on preserving, inheriting, and further developing traditional performing arts in the modern world.

APA, Harvard, Vancouver, ISO, and other styles

41

Bovino, Emily Verla. "On union, displaced: Capture and captivity with the Hong Kong Artist Union (HKAU)." Journal of Contemporary Chinese Art 8, no. 1 (July 1, 2021): 49–70. http://dx.doi.org/10.1386/jcca_00037_1.

Full text

Abstract:

In 2016, between Guangdong strikes in mainland China and Hong Kong’s unionization momentum, Hong Kong artist Wong Ka Ying posted a call on Facebook founding the Hong Kong Artist Union (HKAU). The gesture followed the mischievously named Come Inside, Hong Kong’s ‘first female artist duo’ created by Wong and artist Mak Ying Tung, which declared it would combat art’s ‘formalized system’. Ironically, one of its first actions was to enrol in a course on insurance that could help it formalize healthcare for artists. Come Inside welcomed the idea that opposition to the ‘system’ brings artists into it. HKAU took shape within this ‘trap’ when Wong and Mak started researching trade unions. ‘On Union, Displaced’ explores the past four years of HKAU existing as a union-not-yet-registered-as-an-official-union, a serious gesture of ludic conceptualism that plays with artistic freedom’s relationship to captivity and capture. Through Rey Chow’s theory of conceptual art as trap, it traces HKAU’s entanglement in the history of Hong Kong art groups, regional labour organizing, and efforts to reground the term ‘artist’. Studying HKAU requires various conceptual frameworks: Yuk Hui’s cosmotechnics; Laikwan Pang’s multiple sovereignties; Sandro Mezzandra and Brett Neilson’s border-as-method; Linda Lai Chiu-han’s performative research; and Frank Vigneron’s plastician. The article explores how being ‘plastic’ ‐ a union displaced; a union whose registration with the Hong Kong Special Administrative Region is perpetually negotiated ‐ has helped HKAU pose important questions about solidarity and sovereignty in art.

APA, Harvard, Vancouver, ISO, and other styles

42

Mok, C. C., C. L. Kwok, L. Y. Ho, P. T. Chan, and S. F. Yip. "Life expectancy, standardized mortality ratios, and causes of death in six rheumatic diseases in Hong Kong, China." Arthritis & Rheumatism 63, no. 5 (April 27, 2011): 1182–89. http://dx.doi.org/10.1002/art.30277.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Lee, Nga Yu, and Bonnie Yuen Yan Chan. "Art for the People: Street Performance in Hong Kong." International Journal of the Arts in Society: Annual Review 3, no. 4 (2009): 47–52. http://dx.doi.org/10.18848/1833-1866/cgp/v03i04/35507.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Bartel, David. "Hong Kong Art Hub : De l'art ou du cochon ?" Monde chinois 33, no. 1 (2013): 148. http://dx.doi.org/10.3917/mochi.033.0148.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Law, Shui Ki. "On Ideology and Art Creation: Vienna vs. Hong Kong." Journal of Extreme Anthropology 1, no. 2 (September 7, 2017): 31–34. http://dx.doi.org/10.5617/jea.4987.

Full text

Abstract:

A student essay for the Special Student Issue of the Journal of Extreme Anthropology accompanying the art exhibition 'Artist's Waste, Wasted Artists', which opened in Vienna on the 19th of September 2017 and was curated by the students of social anthropology at the University of Vienna. This essay considers the difference between the art worlds in Vienna and Hong Kong, focusing in particular on the differing ideologies of creation and structural limitations, utilizing the work on ideology by Louis Althusser. The essay is also based on interviews with the Viennese artist Klaus Peter Scheuringer.

APA, Harvard, Vancouver, ISO, and other styles

46

Yang, Chia-ling, and Yunchiahn C. Sena. "Editorial Art in Translation: Taiwan, Hong Kong, and Korea." Art in Translation 11, no. 1 (January 2, 2019): 1–2. http://dx.doi.org/10.1080/17561310.2019.1582911.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Mui, Ma So. "Dialogic pedagogy in Hong Kong: Introducing art and culture." Arts and Humanities in Higher Education 12, no. 4 (October 2013): 408–23. http://dx.doi.org/10.1177/1474022213481939.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

BRINKMAN, INGE, and BERNARD CLIST. "SPACES OF CORRELATION - The Art of Conversion: Christian Visual Culture in the Kingdom of Kongo. By Cécile Fromont. Chapel Hill, NC: Published for the Omohundro Institute of Early American History and Culture, Williamsburg, Va. by the University of North Carolina Press, 2014. Pp. xviii + 283. $45, hardback (ISBN 978-1-4696-1871-5)." Journal of African History 57, no. 1 (February 12, 2016): 163–64. http://dx.doi.org/10.1017/s0021853715000705.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Simon, Kavuna, and Wyatt MacGaffey. "Northern Kongo Ancestor Figures." African Arts 28, no. 2 (1995): 48. http://dx.doi.org/10.2307/3337225.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Cooksey, Susan, Robin Poynor, and Hein Vanhee. "Kongo across the Waters." African Arts 46, no. 4 (December 2013): 74–87. http://dx.doi.org/10.1162/afar_a_00109.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Journal articles on the topic 'Kongo Art'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles