Interview with Siu Kingchung by Leung Chiwo Warren

In the second part of the recorded interview, Siu continues to talk about the relationship between art and himself, as well as between art and NUX. He points out that it is important for artists to have a flexible attitude that allows them to accommodate changing circumstances (00:00-05:00). When it comes to production, Siu looks for the appropriate materials that suit the concept and theme, and his aesthetic consideration comes from his prior training and studies in art (07:46-12:40). Siu underlies the so-called 'art-led social observation,' with which we enlist artistic sensitivity to observe everyday phenomena, and these insights can be articulated via textual or visual elements (25:08-28:30). He also thinks the Hong Kong art scene lacked unity and initiatives to organise and advocate for a more ideal art environment and policies. Hong Kong artists had the power to change, but sadly, they were sadly unware of the power they had (28:40-39:00). Siu also remarks that Hong Kong works were still unable to capture Hong Kong’s art environment, which was due to a dearth of research and discourse on this aspect of Hong Kong art (39:00-48:50).    


在訪問的第二節裡,蕭氏續談個人和「八人入艾」跟藝術的關係,指出保持變通的態度的重要性 (00:00-05:00);在製作上,蕭氏會根據槪念及題材尋找適合的物料,對美學的考量則受益於過往的藝術訓練 (07:46-12:40)。蕭氏主張所謂藝術的社會觀察,並認為可透過文字或視覺元素來表現,而藝術的敏銳觸角,也應來自對日常現像的觀察 (25:08-28:30)。他又認為香港藝壇缺乏團結和主動的力量去爭取理想中的藝術環境和政策,也不意識到有這種權力 (28:40-39:00)。蕭氏亦指出現時香港的作品並未能呈現香港的藝術環境,全因香港正缺乏這方面的研究及論述 (39:00-48:50)。

Title type


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Spoken language



oral historyHong Kong

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interview documentation, 

event photograph/recording

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Interview with Siu Kingchung, 14 October 1998 (Part 2), 訪問蕭競聰,一九九八年十月十四日(第二部份)