Certain iconic images of Hong Kong frequently appear on postcards, online, and in films. These often feature dense skyscrapers set against green hills and the shimmering waters of Victoria Harbour, captured from viewpoints like The Peak or the Kowloon waterfront. However, beneath these static portrayals lies a city in constant transformation, where even long-time residents can struggle to recognize familiar places.
Artist Chow Chun-fai experienced this firsthand when he tried to revisit a location he had painted over a decade ago in Mong Kok. Confident he knew the area well, he didn’t bother consulting a map. To his surprise, he couldn’t find the intersection of Portland Street and Shandong Street that he had once depicted. The large overhead signboards that once defined the area were gone, making it unrecognizable.
This moment of disorientation inspired Chow’s painting As Tears Go By 1988 at Mahjong School Portland Street (2024), now part of his exhibition “Map of Amnesia” at Tang Contemporary Art gallery in Hong Kong. The painting, named after Wong Kar-wai’s 1988 film As Tears Go By, reflects a blend of the past and present, showing the intersection as it appeared in the movie and how it looks today.
Chow’s work often draws on the collective memory evoked by films, using them to make his personal experiences more relatable. He believes that movies serve as a bridge, connecting his memories of specific locations with the shared experiences of Hongkongers. His painting captures the nostalgia and loss felt when familiar spaces transform or disappear altogether.
The exhibition features 14 new works inspired by classic Hong Kong films and photographs Chow has taken over the past two decades. These paintings include iconic landmarks like the Hong Kong Museum of Art, Mido Café, and Lin Heung Tea House—places that have undergone significant changes or are threatened by redevelopment. Chow meticulously details elements like window grilles, scaffolding, and neon reflections, inviting viewers to savor each scene slowly and thoughtfully.
Chow describes the exhibition as an exploration of the city’s “collective amnesia.” He explains that the rapid changes in Hong Kong have accelerated a sense of forgetting, making it challenging to hold onto the past. His previous exhibition, “A Mirage of a Shining City” (2023), shared similar themes, focusing on the city’s evolving identity and the personal memories intertwined with it.
One standout piece in the exhibition is City War 1988 at Star Ferry Multi-storey Car Park (2024), which references a scene from the film City War, featuring Chow Yun-fat and Ti Lung. The painting, set entirely in 1988, showcases the now-demolished Star Ferry Car Park and captures the spirit of an era that many in Hong Kong still remember fondly.
Another notable work is Chicken and Duck Talk 1988 at Tai Po Man Mo Temple (2024), inspired by the 1988 film starring Michael Hui. Chow’s memory of seeing the film crew as a child near his home and watching the movie with his family reflects the deep personal connections many Hongkongers have with local cinema and the city’s evolving landscape.
Chow’s paintings blend fantasy, reality, and personal emotion, challenging viewers to reflect on their own memories and relationships with the city. His work not only documents Hong Kong’s physical changes but also serves as a poignant reminder of the stories and experiences that make the city unique.
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