A new digital installation at Tai Kwun in Hong Kong’s Central district titled DigiRadiance: Gold_Lead_Wood_Coal brings to life the often-overlooked experiences of Chinese migrants in New Zealand’s gold mines during the late 1800s. Created by New Zealand video artist Lisa Reihana, the immersive presentation explores the hardships and resilience of these migrants, highlighting stories seldom told in mainstream history.
Reihana’s 360-degree video montage, projected on the four walls of Tai Kwun’s F Hall Studio, envelopes viewers in a narrative that blends historical events with evocative imagery. The artist, who is of Maori descent, emphasizes a personal connection to the story, revealing that her own family has Maori-Chinese heritage. “I am respectful about showing work on other people’s land,” says Reihana. “But this felt like the right moment to share this history, especially since it’s not widely known here in Hong Kong.”
The installation sheds light on the solidarity between Maori and Chinese communities, who faced discrimination and exploitation as victims of colonialism. Reihana features compelling subjects, including a Chinese woman imprisoned for stealing bread, and the tale of the SS Ventnor, a cargo ship chartered to return the bones of 499 deceased Chinese miners to Hong Kong. When the ship sank off the coast of New Zealand, the bones were recovered by Maori communities, who respectfully buried them—a gesture of mutual care and dignity.
Reihana’s visuals offer a stark contrast between the majestic New Zealand landscapes and the harsh realities faced by the Chinese miners. She also captures the claustrophobic atmosphere of a women’s prison ward, delving into the untold stories of female Chinese prisoners whose names were never recorded. “Queen Victoria mandated separate wings for female prisoners, but we know very little about these women,” she notes.
The installation is not without challenges. The F Hall Studio’s three structural pillars obstruct the full immersive experience of the exhibition. Reihana acknowledges the difficulty but embraces the limitations of the space. “The columns are tricky, but I can’t move them. It’s part of the commission,” she says. “I hope the artwork still resonates despite the constraints, encouraging visitors to move around the room and engage with the layers of history presented.”
DigiRadiance: Gold_Lead_Wood_Coal offers a powerful exploration of shared histories and cultural empathy. It runs at Tai Kwun until January, inviting viewers to experience a different perspective on a significant yet underrepresented chapter of migrant history.
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