监制:Diana Wan


    Most of us in Hong Kong today are the descendants of people who came from Guangdong in the 19th to 20th centuries. As a result, the majority of Hong Kong’s population speaks Cantonese. A smaller percentage, now mostly the older generation and village residents, still speak other dialects. “LauZone” is a colloquial Cantonese term for non-Cantonese natives. It is also the title of a show in Tai Kwun’s “Spotlight” season of performing arts, that examines the relationship between identity and dialect.

    "To be Continued”, the group exhibition currently on show at Sin Sin Fine Art, brings together the backgrounds, minds, experiences and styles of six artists from three generations. They are Ken Chung, Justin Hui, Grace Liu, Kate Ouyang, Wong Tong and Sin Sin Man herself, and they work in a variety of techniques and media including painting, photography, textiles, jewellery, and found, discarded or random everyday objects.

    John and Michelle Phillips wrote the song “California Dreamin’” in the cold New York winter of 1963 as they were missing – and yes, dreaming of - sunny California days. It was first recorded by Barry McGuire, but it was their own version, as part of “The Mamas and the Papas, that made it popular around the world. “California Dream” is the title of local singer-song writer Helen Z’s new EP which contains eight English songs. Earlier this week, she came to our studio to tell us what California means to her.

    联络: wanyt@rthk.hk


    • Design for the visually impaired@HKDI, Tino Sehgal & in the studio: singer song-writer Cehryl

      Design for the visually impaired@HKDI, Tino Sehgal & in the studio: singer song-writer Cehryl

      Today and in the coming two weeks, we will feature three very different local singer-songwriters on the show to find out what inspires them to write their own music of. Later in this week’s show, I’ll be talking to Honehg Kong raised Cehryl who recently returned here after spending time in the United States and the United Kingdom, about readjusting her life and telling her personal stories through songs.

      There are six main kinds of impairments that can affect people: auditory, visual, speech, cognitive, neurological, and physical. However, society often doesn’t do enough in terms of accessibility and designing for people with such impairments. To empower students and to address such needs, in July, the Hong Kong Design Institute’s Advanced Design Studio held an exhibition showcasing design solutions for the visually impaired.

      Artist Tino Sehgal creates what he describes as “constructed situations” that challenge the definition of art and the idea of art as a commodity. Designed to leave no footprint, his work emphasises people, not things. He focuses on interactions, exchanges, and conversations by recruiting local “interpreters” of all ages to engage with the audience. You can experience two of Sehgal’s best-known pieces at Tai Kwun until the end of this week in the “trust & confusion” exhibition. 150 Hong Kong “interpreters” between 16 and 73 have been recruited for "These Associations" in the prison yard, 30 of whom will take part in each performance. The other work, “This Variation” takes place in a dark room where professional dancers improvise and interact with people who come in. As Sehgal wants no physical trail of his works, neither photographing or filming them is allowed, but he did speak to us via the internet.

      Hong Kong born and raised singer songwriter Cehryl attended Berklee College of Music and later moved to Los Angeles. Plans to tour with her music were put on hold due to the Covid-19 pandemic, and so she’s back in Hong Kong, at least for a while. Her musical interests range from R&B, punk to indie pop-folk. She’s also passionate about photography and films. She’s here to tell us more about her new EP, “time machine”.

    • Y·PARK Sculpture Camp, “A HK Suit Story” @ The Mills & in the studio: pianist Colleen Lee

      Y·PARK Sculpture Camp, “A HK Suit Story” @ The Mills & in the studio: pianist Colleen Lee

      Government figures tell us that Hong Kong generates about 160 to 180 tonnes of yard waste, also known as green or garden waste, daily. Around 100 tonnes of that are generated and collected by government departments in the course of public works and daily vegetation maintenance. And the amount has increased over the past five years. The problem was particularly highlighted in 2018 when typhoon Mangkhut hit Hong Kong. 44,600 tonnes of yard waste were sent to the landfill that year, and almost half of which was in the aftermath of Mangkhut. But there are creative ways to reuse at least some of that waste.

      A visit to a Hong Kong tailor shop used to be a one of the main attractions for foreign visitors coming to Hong Kong. At a fraction of the cost of Italian or British tailor-made suits, any gentleman or aspiring gentleman, could get a bespoke suit made here within a day or so. But with the retirement of many of the old masters who’d come to Hong Kong from Shanghai, a lack of interest in the trade from younger generations, changes in lifestyle and fashion trends, and the advent of fast fashion, this kind of craftsmanship is disappearing. At The Mills in Tsuen Wan, “Foreign Fabric Local Looks: A Hong Kong Suit Story” shows how a well-fitting suit can convey the spirit of Hong Kong.

      December last year was the 250th anniversary of the birth of Ludwig van Beethoven. Hundreds of celebrations were planned across the globe, especially in his birthplace of Bonn, Germany. Sadly, Covid-19 either cancelled, suspended, or delayed many of those events. One of those delayed programmes was a joint presentation by the Hong Kong Academy for Performing Arts and RTHK’s Radio 4 of “Beethoven 32 in Hong Kong”. Now it’s going ahead. The organisers and pianist Colleen Lee came to our studio to tell us more.

    • Hong Kong Dragon Kiln, Wei Leng Tay’s “Abridge” & in the studio: cellist Bernard Chan & band

      Hong Kong Dragon Kiln, Wei Leng Tay’s “Abridge” & in the studio: cellist Bernard Chan & band

      Located in the west of Hong Kong’s New Territories, Tuen Mun lies between two mountains, Castle Peak and Kau Keng Shan. At one time it was a port and the location of a defence garrison because it was so close to the sea. Its local occupations, including trade, fishing, and salt production, can be traced back to the Tang dynasty. Although today’s Tuen Mun is a new town, there are still a few remnants of the past. One of them is the Hong Kong Dragon Kiln tucked away off Castle Peak Road.

      Currently on show at WMA Space the exhibition “Abridge” features the personal stories of Singaporean cross-disciplinary artist Wei Leng Tay presented in photography, video, and sound. The exhibition includes photographic prints made by re-photographing analogue images of some of her previous works and transforming them into digital copies. Some of the works include images of her living and working in Hong Kong between 1999 and 2015. Tay says her aim is to explore the way we see and interact with images in an uncertain present.

      After graduating from the Hong Kong Academy for Performing Arts, cellist Bernard Chan went on to study for his Master’s degree at the Royal Academy of Music.
      While there, he was selected to take part in an exchange programme with the North German Radio orchestra. Apart from playing the cello, Bernard also sings and plays the piano. Earlier this week, he came to our studio to tell us about his upcoming concert, “About Time”.

    • M+ opening: HK Here & Beyond, Jimmy Lee @ 1a Space & in the studio: The Up:Strike Project

      M+ opening: HK Here & Beyond, Jimmy Lee @ 1a Space & in the studio: The Up:Strike Project

      The idea of developing a West Kowloon Cultural District was proposed in former Chief Executive Tung Chee-hwa’s Policy Address in 1998. In the ensuing more than two decades, the ambition to turn the 40 hectares of land into a cultural hub for Asia has been modified by comings and goings of personnel, design changes, and controversies. The price tag has ballooned from the original estimation of HK$21.6 billion to over HK$29 billion. After years of delay in completing some infrastructures and cultural facilities, the district now features the Xiqu Centre, Freespace, the Arts Pavilion and the Art Park. And the new kid on the block, opening this week, is the modern art museum M+.

      On show at 1a Space “Another Day in Paradise” by Jimmy Lee is a satellite exhibition of the Hong Kong International Photo Festival 2021. It is a photographic journey across different counties in England from 2017 to 2019, focusing on British lives and landscapes in the run up to Britain’s departure from the European Union. Lee says his photos are an observation of Britain’s social landscape and contemporary era by an outsider, but also someone who is, due to Hong Kong’s long historical relationship with Britain, more than just an outsider.

      As its name suggests, the New Vision Arts Festival concentrates on programmes that are non-traditional, experimental, and innovative. Despite the Covid-19 inspired travel restrictions that have impacted many local art events, this year’s edition of the festival, the tenth, has a strong line-up. The organisers have coped with the pandemic by, in part, commissioning works from overseas artists that can be streamed online. Other creators are exploring augmented reality and interactive online games.
      Two performers who will be appearing in person are percussionists Matthew Lau and Karen Yu.

    • Tadayoshi Nakabayashi, artist Chen Wei & in the studio: Lillian Kong and Alice Hui

      Tadayoshi Nakabayashi, artist Chen Wei & in the studio: Lillian Kong and Alice Hui

      The Hong Kong Open Printshop is currently showing internationally renowned Japanese printmaker Tadayoshi Nakabayashi’s works here for the first time at the Hong Kong Jockey Club Creative Arts Centre. The 84-year-old’s works are primarily etchings and intaglio prints. The exhibition features the motif of decay that runs through his career, in a series of prints inspired by the poem, ”Nothing can Escape from Decay” by the late Japanese poet Mitsuharu Kaneko.

      Mainland Chinese artist Chen Wei’s “The Last Night” at Blindspot Gallery is a new set of works that follow on from previous series such as “Noon Club” and “New City”. The exhibition title is inspired by Tsai Chin’s song at the end of the film, “The Last Night of Taipan”, an adaptation of a Pai Hsien-yung short story. Chen’s works incorporate found objects, large-scale photographs, LED lights, multi-media installations, and tiles spanning the dark industrial setting of the gallery, to reflect on urbanism and our night lives, and to convey a sense of nostalgia.

      Harpist Lillian Kong last performed in our studio with clarinettist Linus Fung two years ago. She is back again, this time partnering flautist Alice Hui. The duo have an upcoming recital this Sunday performing music by Liszt, Ibert, Piazzolla and so on. Earlier this week, they came to our studio to share about that.

    • Digital Art Fair Asia and NFT & in the studio: soprano Athene Mok & pianist Cherry Tsang

      Digital Art Fair Asia and NFT & in the studio: soprano Athene Mok & pianist Cherry Tsang

      In June, we explained what NFTs, or non-fungible tokens are and how they are catching on and affecting the art world. New technologies tend to develop fast, and a lot can happen in a very short period. And that is as true in Hong Kong as it is anywhere.

      The art form that we have come to know as the vocal recital first developed in 18th century Germany. It involves a selection of art songs, with lyrics for one voice based on poems or texts and accompanied by piano. Important composers in the genre include Schubert, Schumann, Brahms, Mahler, Richard Strauss and even Tchaikovsky. The lyrics often focus on love, nature, and even human mortality. Earlier this week, soprano Athene Mok and pianist Cherry Tsang came to our studio to tell us more about the genre.

    • Lui Shou-kwan & Wucius Wong, Tsang Chui-mei & in the studio: clarinettist Gilad Harel

      Lui Shou-kwan & Wucius Wong, Tsang Chui-mei & in the studio: clarinettist Gilad Harel

      Lui Shou-kwan was a pivotal figure in the development of ink art in post-war Hong Kong, bringing together his traditional Chinese painting knowledge and the influence of Western art, and spearheading the New Ink Painting Movement. In the 1950s and 1960s, he continued to develop his own creative process as well as guide a new generation of artists, including Wucius Wong.

      Hong Kong is a cosmopolitan city, and in the arts, the blending of Chinese traditions and Western approaches continues. For her current exhibition at the Karin Weber Gallery painter Tsang Chui-mei takes an ancient idiom rooted in Confucian philosophy 不日不月 or “Day and Night” as her title. Tsang transfers the subjects and objects that she sees daily on her way to and from her studio onto her canvases as fragments and patterns. She says she sees these works as explorations of space and time, taking nature as her inspiration.

      Clarinettist Gilad Harel is currently visiting Hong Kong for the first time. His debut concert with Hong Kong Premiere Performances is tonight and the programme that showcases not only his virtuosity as a classical musician but also his love for Klezmer music. He will be playing a second concert, this time performing the Mozart Clarinet Concerto, on Saturday with the Hong Kong Sinfonietta.

    • St. James’ Creation's clay & sand art workshops, Henry Moore & in the studio: Joshua Jones

      St. James’ Creation's clay & sand art workshops, Henry Moore & in the studio: Joshua Jones

      Expressing ourselves or communicating with others often relies heavily on words to convey our thoughts, feelings, and experiences. However, non-verbal communications such as touch offer an alternative for those who express themselves differently. Pottery and other ceramic arts, for instance, have long been used as forms of art therapy.

      Henry Moore was a pioneer and one of the most important British artists of the 20th century. His monumental semi-abstract sculptures of the human form can be seen around the world. Two of his large sculptures in Exchange Square One and Two have been in Hong Kong since 1974. Moore worked in sculpture, drawing, print-making and textile design. Currently on show at Hauser & Wirth, are rarely seen large-scale tapestries. In 1976, Moore’s daughter Mary Moore introduced her father to the West Dean Tapestry Studio and worked with artisans to transform Moore’s watercolour drawings into life-size tapestries.

      Saxophonist Joshua Jones studied the instrument in the Royal Welsh College of Music and Drama and then earned his master’s degree at the Royal Northern College of Music. He went on to further his studies in the Netherlands. Jones came to Hong Kong four years ago and later this month he will perform works by composers Erwin Schulhoff, Stefan Wolpe and Kurt Weill at the concert: “Hot Music” with the City Chamber Orchestra of Hong Kong.

    • Brutalism & in the studio: Wuji Ensemble's

      Brutalism & in the studio: Wuji Ensemble's "Boundless Groove: A Sonic Journey in Nature"

      Sleek and glassy high-rises may dominate Hong Kong’s cityscape, particularly in the business districts, but the city does also have examples of other styles, including the school of architecture known as Brutalism. Brutalist architecture emphasises function over decoration. It does not hide the materials that it is made of. The term “Brutalism” itself was coined by architects Alison and Peter Smithson in 1953 to describe a house in England in which bare concrete, brick and wood were emphasised. It was publicised further by architectural historian Reyner Banham. A recent exhibition highlights some examples of Brutalist Architecture in Hong Kong.

      The annual Jockey Club New Arts Power art festival is back. The five-month event includes six live in-venue performances and more than 100 community events. One of those live performances “Boundless Groove: A Sonic Journey in Nature” features the locally acclaimed Wuji Ensemble. Known for mixing Chinese and Western instruments to create innovative music since 2003, the ensemble ventured into jazz in 2019. Their upcoming concert will take the audience into nature with jazz and Chinese music. Earlier this week, they came to our studio to give us a preview.

    • Non-visual Photography & in the studio: HKU MUSE's 80 Years of the Messiaen Quartet

      Non-visual Photography & in the studio: HKU MUSE's 80 Years of the Messiaen Quartet

      French composer, organist and teacher Olivier Messiaen was a devout Catholic and an enthusiastic ornithologist who integrated birdsong, Catholic theology, and mystical and religious themes into his music. Early in World War II, he was interned in a Nazi prisoner-of-war camp in Gorlitz, Germany. While there, he wrote “Quartet for the End of Time”, composing for the instruments and musicians available: clarinet, violin, cello and piano. They rehearsed in in the camp bathroom and gave the piece its premiere in front of some 400 prisoners and German officers on 15th January 1941. On the 8th October, the University of Hong Kong’s MUSE is presenting a concert to mark the 80th anniversary of the quartet. Earlier this week, the musicians who will be performing came to our studio to tell us more.

      Messiaen sometimes said that for him, music was not just “tonal”, “modal” or “serial”, music was about colour. “I see colours when I hear sounds,” he said. “But I don’t see colours with my eyes, I see colours intellectually in my head.” This ability, to experience one of your senses through another, is called synaesthesia. Not all of us experience it, but those living with an impairment of one sense do sometimes find ways to make up for it by making unconventional or additional use of the others.