“Cities on the Move”(1997-1999) | How Hou Hanru exemplifies the moments of Contemporary Asian Art curating as it grapples with globalisation in the 1990’s
Not a single region in the world had undergone a more transformative and profound cultural and economic change than Asia in the 1990’s. Curators began to negotiate with the entangled relationship between art, architecture and the dynamic process of globalisation in Asia. Globalisation is a process that imposed upon not only people but also an intermingling and confrontational process of blurred national borders, where dominant social and cultural relations are extended transnationally to the periphery.[1] The explosive integration of non-Western art has led to a myriad of multicultural mega-exhibitions, such as the Venice Biennale, Sydney Biennale, and Documenta, concerns of the homogenisation of non-European identities within Western art institutions also emerged. As a result, this has led many global non-Western curators such as Hou Hanru and Okwui Enwezor to challenge and confront the essentialist and ‘othering’[2] structures of Eurocentric exhibitions and frameworks, seeking to negate the ‘single point of view’ curatorial narration of non-Western identities.[3] Hou Hanru has become a prominent and sought after Chinese curatorial figure within the global art world, namely for mediating the Asian context in mega-exhibitions and biennales internationally.[4] Hou Hanru’s travelling exhibition “Cities on the Move” (1997-1999) co-curated with, Swiss, Hans Ulrich Obrist, undertook the task of negating the globalised stasis white cube exhibition form through instilling pluralistic Asian identities and shifting urban landscapes of Asia into the Western context.[5] The durational form of Cities on the Move exemplified the ever-shifting cultural paradigms and hybridity that sat in the ‘mid-ground’[6] between the East and West. Hou Hanru had the urgent task of shifting and re-centering the discourse of Contemporary Asian art from the margins into the centre and confronting the homogenising forces of globalisation.[7] This essay will analyse how Hou Hanru exemplifies the moments of Contemporary Asian art, architecture and cultural hybridity entangled in the dynamic process of globalisation in Cities on the Move. This exhibition was one of the most significant travelling exhibitions of the time, that attempted to undermine the Euro-centric perspective of Asia as static, traditional, and un-moving entities devoid of Contemporary Art.
Figure 1. Heri Dono, Inner City, 1997, and Liew Kung Yu, Pasti Boleh/Sure You Can , 1997, installation view for Cities on the Move exhibition, Secession Vienna, 1997.
Cities on the Move was an internationally travelling exhibition commenced from November 1997 to January 1999, which opened at the Secession Vienna and has since travelled to the CAPC Museum of Contemporary Art in Bordeaux, MoMA PS1 in New York, Louisiana Museum of Modern Art in Denmark, Hayward Gallery in London, Kiasma in Helsinki and lastly the city of Bangkok. The exhibition was an ever-evolving body of work that sought to address the entangled relationship between art, architecture, and globalisation, contributed by over 70 artists and architects who worked in and around Asia.[8] As Cities on the Move travelled to each European city, Hou Hanru engaged with architects and artists to reinvent a labyrinth of Asian cities into different iterations, illustrating the shifting landscapes of contemporary Asia and the growing cultural hybridity of the East and West. Countries such as China, India, Indonesia, Thailand, Malaysia, Philippines, and Singapore were developing economic powers of the world at the forefront of transformative urbanisation in the 1990's, embracing modernisation to each of their socio-political and economic histories.[9] Hou Hanru described the durational exhibition model, as always “changing, reinventing, renovating, adapting itself” to the shifting pluralistic contexts, reinforcing transnational practices and collaboration between artists and architects.[10] The radical transformation of Asia’s city landscapes and arts ecology profoundly informed artists and architects who worked in and around Asia. Architects such as Oscar Ho, Chang Yung Ho, Itsuko Hasegawa, William Lim, and Rem Koolhaas, collaboratively reinvented the shows into “moving exhibition cities”, extending the dialogue between architecture, curating and contemporary art altogether.[11] Hou Hanru’s celebration of architecture and art is apparent in Chinese architect, Chang Yung Ho’s architectural intervention of the Venice Secession gallery space, as celebrated in Douglas Fogle’s review of Cities on the Move.[12] Chang Yung Ho incorporated bi-level metal scaffolding structures which strongly emulated the construction scaffolding often seen in South-East and East Asian urban landscapes. Furthermore, Indonesian artist, Heri Dono’s aerial installation “Inner City” 1997 (see Figure 1.) of fifteen fibreglass angels attached to the scaffolding structures of the gallery ceiling, highlights the apparent collaborative dialogue between artworks and the architectural landscape of Cities on the Move. The fifteen angels rigged with speakers emitted bird and insect sounds interloped with radio interferences, combining the forces of sound, architecture and visual imagery forging an Asian urban labyrinth.[13] The scaffolding structures mapped the dynamic relationships between the physical space of the museum and the artists and artworks, addressing a critical conversation between Western art institutions and Asian art. Chang Yung Ho’s architectural intervention ruptured the established modes of exhibition-making and the stagnant structures of the white cube, by directly engaging with the locality of the space and the dynamism of Asia’s urban landscape. Hou Hanru undermined the hegemonic white cube exhibition model by establishing a mid-ground or Third Space for cultural hybridity and transnational collaboration, blurring and dissolving the physical and non-physical borders of the East and West. Homi K. Bhabha conceptualises the Third Space as “an ambivalent space of enunciation”[14], emerged as a result of cultural mobility and globalisation to invoke meaning and representations between dichotomies.[15] The exhibition became an active space for the ‘‘hybrid understanding of culture’’ and “embracement of differences”, negating essentialist concepts of culture and shapeshifting the roles of curators and international exhibitions in the thick of globalisation.[16]
Since the 1990’s, mega-exhibitions such as Biennials and large-scale international art exhibitions have become an institutional “global white cube”, perceived as autonomous and sanitised entities away from their physical environments.[17] Biennales and mega-travelling exhibitions have become institutional vehicles for contemporary art to be mediated and validated among the international art circuit.[18] The explosive expansion of large-scale exhibitions across the world transformed the cultural role of curators, as exhibitions began to take a ‘curatorial’ turn.[19] Paul O’Neill argues that the primary role of the curator took a transformative shift from “curator as carers”, to a curator as a free cultural agent who plays an “active part within the production of art itself”.[20] For instance, Hou Hanru played a significant role in successfully mediating and integrating Contemporary Asian art into Biennials and international exhibition contexts such as the 2002 Gwangju Biennale, 1999 Venice Biennale and 1997-99 Cities on the Move. As a cultural agent, Hou Hanru’s curatorial agenda in Cities on the Move was a ‘curatorial constellation’[21] of activities that was an ever-evolving and shifting body of work which continuously unfolded itself, resisting the stasis and forces of homogenisation. Charles Esche argues that globalisation has enforced large scale exhibitions into a process of standardisation and homogenisation, reinforcing the power that the centre has over the periphery.[22] The durational and shifting structures of Cities on the Move negated the standard ‘single point of view’ exhibition model and instead engaged with localised contexts and spectators with the artworks. Curatorial production and agendas began to take a discursive and educational turn, illustrated in Cities on the Move’s discussion panels with Hou Hanru, Hans Ulrich Obrist, artists, and architects, which became an integral part of the exhibition for localised discourse between artists, local spectators and curators. Likewise, performances, art-talks, and cultural activities, that explored the relationship between the East and West were also presented as exhibition events by transnational and local artists. Besides exhibition programs and events, catalogues and publications were also utilised as educational and discursive forms of curatorial production. For instance, Hayward Gallery’s exhibition catalogue enclosed a series of essays on Asian urbanism, and an extensive list of Asian restaurants, art and entertainment centres, and businesses located in London, collated at the end of the catalogue as a bespoke directory of the city. The discursive catalogue profoundly contextualised the artworks of its transnational cultural context and enforced a critical dialogue between the London spectators with their locality and the Asian culture, disembodying the white cube ideological ‘autonomy’ from the artworks.
Figure 2. Liew Kung Yu, Pasti Boleh/Sure You Can, 1997, installation view for Cities on the Move exhibition, Secession Vienna, 1997.
Cities on the Move centralised the myriad narratives and identities within urbanised Asian cities that stood between globalisation and traditionalism, exemplifying the evolving cultural pluralism from the accelerated cultural mobility in Asia.[23] Asian Art researcher, Michelle Antoinette attests that the superficial ‘multicultural’ representation in international exhibitions “merely masked the framing of non-Western artists within a persistent Euro-American perspective”, as international exhibitions began to flourish with contemporary art from all over the world.[24] The Western spectacle society homogenised the heterogeneous nature of Asian cultural and political identities, and spectacularised cultural differences of the East and West, which played in favour of Western economic interests and its triumphalist ideologies.[25] Thus, Hou Hanru sought to address the representational tensions of Asian artists in institutionalised exhibition spaces and structures, which commodified the Asian condition as a “multicultural spectacle”.[26] Reesa Greenberg once argued “exhibitions have become the medium through which art becomes known”[27], exhibitions have also become the medium where representations of ethnic identities and narratives take place through the efforts of curators and artists together. Globalisation has provoked a myriad of discourses surrounding ‘’differences, similarities, parallel histories’’, questioning how Western institutions and contexts position the representations of Asian identities and narratives.[28] The Parisian curator, Jean Hubert-Martin’s 1989 landmark exhibition “Magiciens de la Terre”, embodied the representational concern and attempted to overturn the Western ethnocentric lens applied to non-Western art, changing the course of international multicultural exhibition-making.[29] In the same manner, Hou Hanru’s Cities on the Move was an integral exhibition for marrying the late-twentieth century global mobility and mass culture to the orientalist stereotypes of Asian identities.[30] Cultural theorist, Stuart Hall argued the produced global mass culture is a veiled form of homogenisation that seeks to neutralise and erase differences in cultural representation, and to produce a universalised perception of the world which was centred mainly around the West.[31] Cities on the Move foregrounded a myriad of artists from different countries such as Sri Lanka, Malaysia, Philippines and Thailand, which were often marginalised from the centre of Contemporary Asian art discourses at the time. Exemplifying the moments of peripheralised narratives, for instance, Sri Lankan artist Chandraguptha Thenuwara’s “Barrelism Tourist Map” 1997, shed light onto the inherent political and social instability of Sri Lanka in the 1990’s. Thenuwara’s conception of ‘barrelism’ and ‘barrelscape’ describes the disfigured omnipresence of the Sri Lankan state power over its society, unveiling a marginalised narrative of the Western hegemonic accounts of Asian history.[32] Moreover, Malaysian artist Liew Kung Yu’s installation “Pasti Boleh/Sure You Can” 1997 (see Figure 2.), exemplified Malaysia’s new socio-political conditions in the 1990’s as one of the “rising Asian tigers” in Asia.[33] The installation comprised of kitsch photo collages of ‘trophies’ framed in a glass vitrine shrine deifying the Kuala Lumpur skyscrapers as the “the tallest in the world”, symbolising the eagerness of Malaysia in the race for transformative modernisation.[34] The traditional ornamentation framed around the modern skyscrapers reveals the uneasy proximity and tension between tradition and modernisation in Malaysia. The Western-centric discourse of art systemically subordinated and ‘othered’ heterogeneous narratives of the Asian experience, by perpetuating them as monolithic entities and exotic spectacles. Hegemonic systems of cultural and image production continue to perpetuate an asymmetrical power structure, contributing to the alienation and estrangement of individuals in the ‘spectacle society’.[35] These subversive imageries contributed by Cities on the Move illustrate how hegemonic systems of image and cultural production seeks to frame our perception of the world, to both reinforce and oppress particular narratives and identities.
Cities on the Move was an exhibition celebrated for its representational ambitions between the East and West; however, not without its curatorial shortcomings and limitations. Hou Hanru quickly became a liaison and mediator between Europe and Asia connecting artists and architects transnationally since the pervasive integration of non-Western art in the global art scene, as the concerns of the neglected, ‘marginalised other’ emerged. Art critic Hal Foster argues non-Western artists have taken up the role as “ethnographers”, as they become more prevalent within Western exhibition spaces.[36] The ethnographic framing of non-Western artists often positions them as “artefacts of difference”[37] emphasising the distinction between dichotomies, which Foster describes as a process of ‘othering’.[38] Cities on the Move suffered the burden of representation as a thematically Asian exhibition, incentivising an expectation for European spectators to find definitive and ethnographic representations of the Asian experience in the show. In James Swinson’s review of Cities on the Move, the Hayward Gallery show was an “urban overkill” with overwhelming and chaotic visual experiences of almost a hundred artworks condensed into a gallery space.[39] The artwork was ironically inaccessible and difficult to decipher amid the unruly density and architectural ornamentation.[40] Moreover, Antoinette described it as “a reflection of the outsiders” usual first-time experience of Asia, reinforcing stereotypes of the spectacle imagery and dizzying fantasy of Asian cities.[41] Indicative of the Western tastes of exoticism, the range of artists exhibited from Asia was limited to China, Japan, Singapore, South Korea, Thailand, Indonesia, Taiwan, Malaysia, Philippines and Sri Lanka, omitting countries like Vietnam, Cambodia and Laos in its artistic and architectural representation. As illustrated by Liew Kung Yu’s “Pasti Boleh/Sure You Can” 1997, Cities on the Move was interested in the rising economic powers and prosperity of Asia, centralising significantly urbanised countries characterised by sophisticated skylines and skyscrapers. Hou Hanru and Hans Ulrich Obrist failed to highlight the economic and social disparities across South-East and East Asia which were an unprecedented consequence of the capitalist globalisation, as their economies became dependant on the global financial market. In fact, in the same year Cities on the Move launched, the 1997 Asian Economic Crisis gripped most of East and South-East Asia particularly affecting Thailand, Indonesia, Malaysia, and South Korea. Business analysts argue that it was a result of the urgency of globalisation and the excessive economic growth of Asia, provoking international foreign investors to exploit the domestic financial market for short-term economic gains.[42] The 1997 Asian Economic Crisis led to a hyperbolic surge of unemployment and deteriorated living conditions across South-East Asia, causing disparate divisions between economic classes. The consequences of the financial crisis were not reflected among the romanticised lens of Asia in Cities on the Move, catering to the “international desires for a cosmopolitan spectacle of exotic Asia, even under the sign of global capitalism”.[43] Perhaps, to an extent Cities on the Move merely validated particular cultural and economic narratives and generalisations of Asia, neither overturning them or relativising.
Cities on the Move was a critical international travelling exhibition that bridged the significant dialogue between Asia and Europe, shedding profound insight into aspects of local cultural contexts and identities of South-East and East Asia. Hou Hanru and Hans Ulrich Obrist facilitated a vital discourse on globalisation and urbanisation of Asia, providing an introspective insight into the drastic changes of the cultural, economic and architectural landscape. Despite its aforementioned limitations, Cities on the Move nevertheless involved South-East Asian narratives which were often narrowly omitted out of the Asian art discourse in the West. Hou Hanru elucidated an indicative phenomenon of the Asian condition, which was a process of transnational cultural hybridity between cultures, locality, and class. Cities on the Move ruptured the homogenising forces of the globalisation and hegemonic exhibition models of the white cube, embodied through its ever-evolving hybridisation and durational structures. Hou Hanru established a firm mid-ground between the East and West discourse, naturally forcing viewers into a dialogue between the binary. Puerto Rican curator Mari Carmen Ramirez poses a critical question for multicultural exhibition-making, asking “how can exhibitions attempt to represent the social, ethnic, or political complexities of groups without reducing these subjects into essentialist stereotypes”.[44] Cities on the Move exemplifies the representational dilemma of Asian identities among the international curatorial arena, initiating an on-going discourse to address the limitations of the Western centre-periphery exhibition model. As we continue to live in the process of capitalist globalisation, Hou Hanru denotes that “we are still in a mid-ground of endless invention” where “a truly global world and art is yet to be invented”.[45] Cities on the Move produced vast cultural differences that was much needed to be recognised in Europe and the broader West, paving the road for perhaps a new trajectory into multicultural exhibition-making within the global art landscape.
[1] Hall, Stuart. “The Local and the Global: Globalisation and Ethnicity”. Culture, Globalisation and the World-System: Contemporary Conditions for the Representation of Identity, ed. Anthony D. King, Minneapolis: University of Minnesota Press,1997. pp.28-29.
[2] ‘Othering’ encompasses a process that reinforces hegemonic power structures that engenders the marginality of communities based on inherent differences, that are not limited to religious, gender, race, socioeconomic, ethnic, and sexual orientation differences.
Powell, John A.,and Stephen Menendian, “The Problem of othering: Towards Inclusiveness and Belonging”, Othering & Belonging Journal, Issue 1, 2016 , Accessed June 21 http://www.otheringandbelonging.org/the-problem-of-othering/
[3] Savela, Mika Olavi. “The Urgent Modernity – Reviewing Displays of New Urban China Amidst the Curatorial Turn and Global Biennalization.” PhD Dissertation, The Chinese University of Hong Kong, Hong Kong, 2016. In PROQUESTMS ProQuest Dissertations & Theses Global, Accessed June 15 2020 https://search-proquestcom.ezproxy.lib.monash.edu.au/docview/1846486129?accountid=12528. p. 108.
[4] Savela, p.29.
[5] Hou Hanru, Interview by SFAQ International Art and Culture Publication, San Francisco, September 14 2014, Accessed June 15 2020 http://sfaq.us/2014/09/in-conversation-hou-hanru-with-marie-martraire-and-xiaoyu-weng/
[6] Mid-ground is a term rephrased by Hou Hanru in his book “On the Mid-Ground” 2002, that directly refers to Homi K Bhabha’s conception of the Third Space which is an alternative space that allows room for difference, cultural hybridity and active productions of meaning. Hou Hanru’s “mid-ground” applies to an independent space for cultural hybridity that transcends the “East and West” dichotomy.
[7] Savela, “The Urgent Modernity – Reviewing Displays of New Urban China Amidst the Curatorial Turn and Global Biennalization”, p.107.
[8] Mostafavi, Mohsen. “Cities of Distraction”, Cities on the Move, London; Hayward Gallery, 1999. p.9.
[9] Mostafavi, p.7.
[10] Hou Hanru, and Hans-Ulrich Obrist. “Cities on the Move”, Cities on the Move, London: Hayward Gallery, 1999. p.15.
[11] Hou Hanru, and Hans-Ulrich Obrist, p.12.
[12] Fogle, Douglas. “Cities on the Move”, Flash Art 41, no.261, 2008, pp.196-197. Accessed June 18 2020,
https://search-ebscohost-com.ezproxy.lib.monash.edu.au/login.aspx?direct=true&db=asu&AN=505318970&site=ehost-live&scope=site
[13] Hou Hanru, and Hans-Ulrich Obrist, p.24.
[14] Bhabha, Homi K. “Cultural Diversity and Cultural Differences,” The Post-Colonial Studies Reader, ed. B. Ashcroft, G. Griffiths, H. Tiffin, New York: Routledge, 2006, p. 206-212.
[15] Bhabha, Homi K. In Rutherford, Jonathan, “The Third Space - Interview with Homi Bhabha”, Identity, Community, Culture, Difference, London: Lawrence and Wishart, 1990, p.209.
[16] Hopfener, Birgit, “Destroy the Mirror of Representation. Negotiating Installation Art in the 'Third Space”, Negotiating Difference : Contemporary Chinese Art in the Global Context. Weimar: VDG, Verlag Und Datenbank Für Geisteswissenschaften, 2012. p.64-66 , Accessed June 16, 2020, https://ebookcentral-proquest-com.ezproxy.lib.monash.edu.au/lib/monash/reader.action?docID=2069200&ppg=61
[17] Filipovic, Elena. “The Global White Cube”, OnCurating 22 , April 2014, Accessed June 17 2020, https://www.on-curating.org/issue-22-43/the-global-white-cube.html#.Xu2ROZMzbUJ
[18] O’Neill, Paul. “The Curatorial Turn: From Practice to Discourse”, Issues in Curating Contemporary Art and Performance. Rugg, Judith., Sedgwick, Michèle, and Ebooks Corporation. Bristol, UK ; Chicago: Intellect, 2007. p.27. Accessed June 17 2020, https://ebookcentral-proquest-com.ezproxy.lib.monash.edu.au/lib/monash/detail.action?docID=329916.
[19] O’Neill, p.15.
[20] O’Neill, p.15.
[21] Conceptualised by Paul O’Neill, “Curatorial Constellation” is a set of curatorial production and practice that resists the stasis of the single point view narration through durational and temporal methodologies, and involves educational and discursive events such as discussion panels, publications, and workshops beyond the exhibition itself.
[22] Esche, Charles, “Debate: Biennials”, Frieze Magazine , Issue 92, 2005. Accessed June 18 2020, https://frieze.com/article/debate-biennials
[23] Mostafavi,“Cities of Distraction”, p.9.
[24] Antoinette, Michelle. “Reworlding Art History: Encounters with Contemporary South-East Asian Art after 1990”, Leiden: BRILL, 2015, p.167. Accessed June 18, 2020. https://ebookcentral-proquest-com.ezproxy.lib.monash.edu.au/lib/monash/detail.action?docID=4540552
[25] Antoinette, p.162.
[26] Antoinette, p.162.
[27] Greenberg, Reesa , Bruce W. Ferguson & Sandy Nairne. “Thinking About Exhibitions”, ed. Greenberg, Ferguson & Nairne . London & New York: Routledge, 1996, p. 2.
[28] Antoinette, Michelle, and Turner, Caroline, “Contemporary Asian Art and Exhibitions : Connectivities and World-making”, Canberra: ANU Press, 2014, p.7. Accessed June 14, 2020. https://ebookcentral-proquest-com.ezproxy.lib.monash.edu.au/lib/monash/detail.action?docID=3543943
[29] Antoinette, “Reworlding Art History: Encounters with Contemporary South-East Asian Art after 1990”, p.177.
[30] Antoinette, p.198.
[31] Hall,“The Local and the Global: Globalisation and Ethnicity”, pp.28-29.
[32] Medis, Darshana. “A Conversation with Sri Lankan artist Chandraguptha Thenuwara”, World Socialist Web Site, 25 November 1999. Accessed June 18 2020.
http://www.wsws.org/articles/1999/nov1999/barr-n25.shtml
[33] Antoinette. Turner, “Contemporary Asian Art and Exhibitions:Connectivities and World-making”, p.237.
[34] Antoinette, “Reworlding Art History: Encounters with Contemporary South-East Asian Art after 1990”, p.205.
[35] Hou, Hanru. “On the Spectacle of the Everyday”, Translated by Artnet Magazine, Lyon, 2009. Accessed June 14 2020 http://www.artnet.com/magazineus/features/hanru/hou-hanru8-14-09.asp
[36] Foster, Hal. “The Artist as Ethnographer”, The Return of the Real: The Avant-garde at the End of the Century, London: MIT PRESS, 1996, p.198.
[37] Antoinette, “Reworlding Art History: Encounters with Contemporary South-East Asian Art after 1990”, p.168.
[38] Foster,“The Artist as Ethnographer”, p.198.
[39] Swinson, James. “Architects Dream of Nightmare Cities: ‘Cities on the Move’,” Third Text, Issue 13, no. 48,1999, p.101-107. Accessed June 15 2020, doi: 10.1080/09528829908576813
[40] Swinson, p.101-107.
[41] Antoinette, “Reworlding Art History: Encounters with Contemporary South-East Asian Art after 1990”, p.204.
[42] Branine, Mohamed. “The 1997 Asian Financial Crisis.” In SAGE Business Cases, SAGE Publications Ltd., 2020. Accessed 17 June 2020 doi:10.4135/9781473928107.
[43] Antoinette, “Reworlding Art History: Encounters with Contemporary South-East Asian Art after 1990”, p.203.
[44]Ramirez, Mari Caren. “Brokering Identities: Art curators and the politics of cultural representation”, Thinking About Exhibitions, ed Reesea Greenberg, London & New York: Routledge, 1996, p.23.
[45] Hou Hanru, “On the Midground: Chinese artists, diaspora and global art,” in Beyond the Future: The Third Asia–Pacific Triennial of Contemporary Art, ed. Queensland Art Gallery,1999, p.191.
Figures
Heri Dono, Inner City, 1997, and Liew Kung Yu, Pasti Boleh/Sure You Can , 1997, installation view for Cities on the Move exhibition, Secession Vienna, 1997. Accessed June 25, 2020. https://aaa.org.hk/en/collection/search/archive/cities-on-the-move-exhibition-archive-exhibition-documentation/object/cities-on-the-move-1-exhibition-view-1-34732
Liew Kung Yu, Pasti Boleh/Sure You Can, 1997, installation view for Cities on the Move exhibition, Secession Vienna, 1997. Image Reproduced from : Antoinette, Michelle, and Turner, Caroline, “Contemporary Asian Art and Exhibitions : Connectivities and World-making”, Canberra: ANU Press, 2014, p.235. Accessed June 25, 2020. https://ebookcentral-proquest-com.ezproxy.lib.monash.edu.au/lib/monash/detail.action?docID=3543943
https://aaa.org.hk/en/collections/search/archive/cities-on-the-move-exhibition-archive
