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scientific data (such as the measurements of objects) to demonstrate how the artifacts were excavated and to depict their historical significance. By blurring the boundaries between historical facts and imaginative fabrication, many of the creative works were flawed in some way to allow audiences to question the “museum presentation” as a constructed convention. Thus, it created a condition for audiences to examine, verify, and interpret the historical narratives based on their thoughts and beliefs.
134:. They were assigned to be involved in the curatorial process at different organisations, such as the fictional Hong Kong Lo Ting Research Association and Friends of Lo Ting. These “unofficial organisations” were ingenious appropriations of the academic units that had conducted surveys and investigations on Chek Lap Kok Island, the archaeological site of the rich relics from the Middle
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Kong's cultural identity with increasing fervor. Out of insecurity, we have exaggerated our uniqueness and have tried hard to solidify, even fabricate, a distinctive cultural identity, which for some did not exist. As a presenter of culture, a curator can play a role in helping to shape this discourse.” Oscar Ho put in an essay in 1998.
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area. The aquatic creatures looked human with yellowish-dark eyes and bodies covered with short, brownish hair. The story tells of a man who brought a female Lo Ting onto the land, offering her food and clothes and teaching her to talk. Curiously, Lo Ting does not appreciate such kindness and wants
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In creating a fictional but convincing narrative, this exhibition intended to adopt a disembodied, omniscient voice of authority, to offer “objective” readings of the presence and absence of archaeological findings. First, it addressed participating artists as members from Team 20, a department of
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in art, and in the context of the "Museum 97" series, he revisited how history being told in institutional setting and by authority, and against the grand narratives. “Since the early nineties, when Hong Kong's return to China was becoming imminent, its people have discussed the question of Hong
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data, and literature sources, the curator invited artists to create “tangible and intangible evidence” of the Lo Ting. It was the second installment of a series of exhibitions that looked into an alternative version of local histories. The history of Lo Ting was first presented in the exhibition
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and Oscar Ho) was a landmark exhibition that addressed the viewing publics and their perceptions of art in Hong Kong. Members of the public were asked to nominate objects as art, accompanying by a short statement to explain their choices. The resulted exhibition featured many objects that were
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museum. Exhibits were shown in glass cases with wooden frames and miniature models, and maps were used to illustrate the geographical environment of the Lo Ting settlements. The “artifacts” were framed within the disciplinary context of archaeology, using photographs, diagrams, documents, and
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The artists include AU Kawai, CHAN Chihang, CHAN Kachun, HO Yuenleung, LAU Ying, LEUNG Wanyee Janice, LIU Chiwai, Luke CHING, NG Chiwai, NG Tszkwan, NG Waiming, SHEK Mingfai Phil, SIT Likhoi, WAN Laikuen Annie, YAN Patto, YAU Puiwah, YEUNG Waikeung, and YU Chiushan.
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172:(19 March – 14 May 1994) at the University Museum and Art Gallery, HKU, to create a dialogue with the pasts and traditions reflectively by juxtapositing everyday objects from contemporary life and the Museum's collection.
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was an ambitious attempt to further elaborate on the historical narratives of the mythical creature that enabled visitors to decipher the historical discourses and the processes related to local identities.
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Oscar Ho was the
Exhibition Manager of HKAC in the 1990s, and started to include local art and visual cultures in his exhibition programmes in the early 1990s.
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tribes from whom the indigenous Hong
Kongers descended. Drawing inspiration from archaeological findings, anthropological interpretations of myths and stories,
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Oscar Ho, the curator, considered the Lo Ting (a fictional tribe of half-man, half-fish creatures) as a purported ancestor of the
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Art
Criticism for the People : News Clippings Collection of Oscar Ho Hing-Kay 1980-90s
263:"What Two Hong Kong Exhibitions Reveal about the Handover, Identity, and Contemporary Art"
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scholar Qu Dajun, the Lo Ting, a half-man, half-fish hybrid, were living around the
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Hong Kong
Reincarnated: New Lo Ting Archaeological Find (Set of 51 photographs)
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The curatorial team meticulously designed the exhibition space to look like a
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HO, Hingkay Oscar (1999) “Invented
History”, in Ho, O. and Wear, E. (eds),
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excavation affiliated with the
Research Centre of Ancient History in
231:(Hong Kong: The International Association of Art Critics), 46–53.
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to return to the sea, choosing an "uncivilised form of living".
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As an artist, Ho has mounted an installation-exhibition titled
160:(25 October – 17 November 1990) (co-conceived by art historian
95:(九七博物館：歷史社群個人, 23 June - 12 July 1997, Hong Kong Arts Centre).
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UNESCO Observatory Multi-Disciplinary
Journal in the Arts
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Hong Kong Reincarnated – New Lo Ting Archaeological Find
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Deconstruct and Edit: Oscar Ho on the Art of Curating
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Mapping Identities: The Art and Curating of Oscar Ho
75:(香港三世書之再世書：盧亭考古新發現) was an exhibition held at the
234:HO, Hingkay Oscar (2016) "Critical Curatorship",
165:largely related to personal memory and fantasy.
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328:Museum 97: History, Community, Individual
215:Museum 97: History, Community, Individual
93:Museum 97: History, Community, Individual
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330:. Hong Kong: Hong Kong Arts Centre.
315:. Hong Kong: Hong Kong Arts Centre.
224:. Hong Kong: Hong Kong Arts Centre.
217:. Hong Kong: Hong Kong Arts Centre.
175:Oscar Ho has long term interest in
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258:. Hong Kong: Para Site Art Space.
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251:. Typesetter Publishing, 2020.
138:period, about 6,000 years ago.
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269:Accessed on 23 November 2019.
206:Accessed on 23 November 2019.
170:Engaging Tradition: Violation
79:from 20 June – 14 July 1998.
245:. Hong Kong: MMCM Creations.
254:Para Site Art Space (2004)
110:New Narratives of Guangdong
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267:IDEAS: AAA Online Journal
241:HO, Hingkay Oscar (2016)
220:HO, Hingkay Oscar (1998)
358:Art exhibitions in China
292:South China Morning Post
261:WONG, Michelle, (2017)
35:, as no other articles
177:institutional critique
184:Participating artists
77:Hong Kong Arts Centre
229:Hong Kong Art Review
209:HO, Hingkay, Oscar,
198:HA Bik Chuen Archive
104:Myth of the Lo Ting
326:Oscar, Ho (1997).
311:Oscar, Ho (1998).
125:Exhibition concept
54:for suggestions.
44:to this page from
348:1998 in Hong Kong
288:"Oscar goes wild"
150:About the curator
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238:5:2, 1–13.
50:; try the
37:link to it
213:. (1997)
143:modernist
136:Neolithic
40:. Please
193:See also
202:(1998)
112:by the
132:Nanhai
33:orphan
31:is an
211:et al
84:Tanka
114:Qing
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