“It (The Handover Ceremony of Hong Kong in 1997) was incredibly boring and hideous to watch, but I stuck with it anyway. It was way after mid–night, my father pressed stop and ejected the VHS tape from the recorder. He peeled off the label from the label sheet came with the new VHS tape and carefully placed it on the cassette then wrote exquisitely “The Handover Ceremony of Hong Kong in 1997” in Chinese. The tape was then put away on the bookshelves among other nameless VHS cassettes. It stayed there ever since... To me, nothing really happened in 1997, Hong Kong did
not change over night and I did not all in a sudden faced with an identity crisis nor did I ever. Post–colonial identity is a common condition inherent among all Hong Kong Chinese, 1997 was like that VHS tape— meaningless gesture that we will not look back on in the books of history.” —Burnt Norton (1997–1998)
A SUNDAY DRIVE DOWN THE MEMORY LANE (2015)
The hypothesis of this project is to document the extend of change Hong Kong underwent through the course of the last 27 years. I will be looking the deviation through my written mémoire, and through the lens of newspaper. This work include a custom made microfilm and a personal written mémoire.
The mémoire represent my personal attitudes towards the divergence of Hong Kong in terms of political regimes, economy, and the well–being of its people. The microfilm contains a collection of newspaper clippings of 27 years of news reports regarding protests, labor strikes or gatherings of any kinds, symbolized people’s voice towards Hong Kong.
My mémoire is a recollection of memories starting my earliest one from the age of three to the present day. They are depictions of little events which in someways affected by the social vibe at the time. For example, in Dites-lui que je devais aller (1995—1996), I talked about my short–lived friendship to underline the waves of mass migrations of Hong Kong. In Burnt Norton (1997—1998), I talked about the night of the handover of Hong Kong to China, and how insignificant it was and yet how it has labeled Hong Kong with additional meanings.
As well, I collected all reporting of protests, labor strikes or gatherings of any kinds from the last 27 years found in Ming Pao and created a strip of microfilm to be projected through a microfilm scanner. Reading them closely, viewers should be able to get a vibe of the political climate and tension at any given time.
Through this project, I am hoping to use my personal memory and our Collective memory as people from Hong Kong to demonstrate the kind of change that Hong Kong has gone through, especially after 1989, 1999, 2004, 2014 the key moments when Hong Kong’s political future being more and more opaque.
©redit me, 2016