" e( T+ U" E. }' c* E) u2 y zTVBNOW 含有熱門話題，最新最快電視，軟體，遊戲，電影，動漫及日常生活及興趣交流等資訊。（中文版本於下半部） tvboxnow.com" Y4 \3 {- a; p+ d/ B& l! I
They say, a picture is worth a thousand words. A photograph of old Hong Kong makes us wonder, was this really the Wellington street that I set foot on today? How fast was traffic back then? How was it like to walk up to the Mid-Levels, before the escalator was set in place, before the wet markets made way for bars and restaurant? And how would the story change, if we find a handwritten letter of someone recounting those experiences from so many years ago? $ \# D1 F% k2 K) R6 T9 Y! ZTVBNOW 含有熱門話題，最新最快電視，軟體，遊戲，電影，動漫及日常生活及興趣交流等資訊。TVBNOW 含有熱門話題，最新最快電視，軟體，遊戲，電影，動漫及日常生活及興趣交流等資訊。( x8 B- Q! m/ _& I0 ?7 _9 D9 H$ s1 ~ tvb now,tvbnow,bttvb+ F7 c9 h) ?( Y% y
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If a picture tells a story better than a hundred words, so does a piece of primary, archival material. Earlier from February to April at Hong Kong University Museum and Art Gallery, a selection of archival materials was in display to complement the story which the exhibition “Encounters: Twentieth-century Chinese Art from the Khoan and Michael Sullivan Collection” tried to tell. Amongst these materials are correspondences between the collector and artists from decades ago, where artists sometimes recounted the hardships of sustaining a living, and at the same time, the jovial moments of encountering like-minded individuals to share their love of art. 6 e& r& H+ j/ \$ y# ^$ aTVBNOW 含有熱門話題，最新最快電視，軟體，遊戲，電影，動漫及日常生活及興趣交流等資訊。 , u# r4 u- q0 D公仔箱論壇 - m; r4 g* l+ ~! ]TVBNOW 含有熱門話題，最新最快電視，軟體，遊戲，電影，動漫及日常生活及興趣交流等資訊。TVBNOW 含有熱門話題，最新最快電視，軟體，遊戲，電影，動漫及日常生活及興趣交流等資訊。7 | B- S& e$ y7 W* e/ s
6294 letters from Irene Chou (English), Lu Shoukun (Chinese) and partial view of letter from Liu Guosong (Chinese)公仔箱論壇8 O( \8 _3 E3 t6 C! S+ Z* A$ I
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And here, let us resist the incredible temptation to jump into discussion on whether Hong Kong has art history or not, or who has been writing Hong Kong’s art history. * o% ?$ o0 S! K ! a, X2 l3 X2 p
Let us take a step back, and ask – what are the building blocks we need for us to write art histories, that form the conception consisting of multiple voices and perspectives? Do we need oral interviews? Archival materials? What about photo documentation?tvboxnow.com w& i2 R Z% G8 T6 A2 @$ y
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And perhaps more importantly, where are they? S8 f' o6 j% G+ |tvboxnow.com " H* o2 V8 R4 k9 C3 K, u3 k# i
Are they in the resource centres of LCSD museums, or the local archival initiatives? Are these initiatives still active? If not, and what did the previous initiatives collect and do? H, e- _+ D2 B P1 Q7 NTVBNOW 含有熱門話題，最新最快電視，軟體，遊戲，電影，動漫及日常生活及興趣交流等資訊。 ! r. Z1 [0 u- `4 L/ K6 ^5 {; v
Would players of the art field – those artists, writers, curators, gallerists, collectors alike - keep such materials? What would happen to these materials if its owner dies? Or would academics have their private collection too (they tend to accumulate an exponential amount of research materials, don’t you think so?)? Or also some eccentric individuals who just have a collecting obsession? 9 @1 t. K: f6 i+ u3 r/ }* b' j, O公仔箱論壇 4 q5 E N4 u: W6 Z& q8 z4 m
These questions are endless, and the answers to them, are perhaps, a case-by-case scenario. And these scenarios, like life, vary and surprise us in both good and bad ways. Yet again, when we begin to ask these questions, the quest begins.公仔箱論壇6 \8 Z9 ^; w8 A
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TVBNOW 含有熱門話題，最新最快電視，軟體，遊戲，電影，動漫及日常生活及興趣交流等資訊。7 | B- S& e$ y7 W* e/ s