Interview with Fiona Wong by Leung Chiwo Warren

In the second part of the interview, Wong thinks that Thirty-six Pieces, which was exhibited in the Contemporary Hong Kong Art Biennial Exhibition, is a recent work which she finds most satisfactory. She also mentions a number of artists whom she likes (00:00–08:13). As a Hongkonger, Wong identifies more strongly with this identity, and attempts to find out the positive aspects of living in Hong Kong. Her emotional relationship with Hong Kong, the artist says, is based on respect (08:13–15:15). Wong thinks Hong Kong’s art circles have been very active in recent years, but personally, she did not go to that many exhibitions, and she was not that interested in exhibitions centering on feminist or cultural identity (19:00–22:38). She continues to criticise Hong Kong’s culture and way of life as gearing towards 'instantaneous consumption.' She claims that the sculptures and the new ink wash paintings in the 1950s and 1960s were more representative of Hong Kong art, and the works of art that emerged around the June Fourth Incident in 1989 could be seen as a transition period, and for this reason, she cannot offer a definition of Hong Kong art at the moment (22:38–29:49).

此為梁志和與黃麗貞訪問之錄音

在訪問的第二節裡，黃氏認為曾於當代香港藝術雙年展中展出的《三十六件》是近年讓她最滿意的陶瓷作品，同時也提及一些她喜歡的藝術家 (00:00-08:13)。對於作為香港人，黃氏坦言近年有較多身份認同感，並嘗試尋找香港生活好的一面，與香港的情感關係也是建基於尊重 (08:13-15:15)。黃氏認為近年香港藝術圈很活躍，但個人不多看展覽，尤其對女權主義及文化身份等題材的展覽不感興趣 (19:00-22:38)。黃氏繼而批評香港文化及生活過於「即食」，並認為五、六十年代的雕塑及新水墨運動才是香港藝術的代表時期；而在「六四事件」前後出現的藝術作品則仍在進化階段，故暫未能給香港藝術下定義 (22:38-29:49)。