The 12-storey meeting house building of The Church of Jesus Christ of Latter-day Saints in Wan Chai, Hong Kong, administrative headquarters of the Mormon church in Asia.
In a early artwork “I am the light of the world, Dlrow eht fo thgil eht ma I” I made a video about a photograph made by group of New Zealand missionaries who went to southern China in the 1940s to spread the word of Christianity – a mission that unfortunately was a political and social disaster. The work was an image of the missionaries created entirely from firecrackers. In the video loop, the firecrackers explode into a blaze of furious golden fire until the footage is reversed, setting up a continuous cycle of destruction and reformation.
Elder Elliot. Courtesy Yuk King Tan.
Part of my general research is about the economic moves of The Church of Jesus Christ of Latter-day Saints (LDS Church) as they are set up Hong Kong as a base to bring the Mormon Church into Mainland China. The Wanchai Meetinghouse is a 12-storey building that serves as meeting place for 12 wards, the administrative headquarters for the LDS Church in the Asia region and, with three apartments on top floor housing the church ‘Area Presidency’, as the obvious symbol of the reach of the Mormon faith.
Designed by a Mormon architect Leland Gray and his son Stephen Gray its presence suggests that one of the most regimented Christian religions in the world will also move towards a strong presence in China. Inside the Meetinghouse is a maze of rooms: sports courts, multi-purpose prayer-zones, music and classrooms all decorated with spiritually focused paintings. The Church of the Latter Day Saints requires one-tenth of their follower’s income as part of the tilling process and also committed unpaid service such as the two-year missionary tours undertaken by 19-25-year-old Mormons. I became interested in the missionaries ideas about language, belief, politics and service. Most of the missionaries are required to learn as much about their host country and language of the country as possible, they even have at times have a new terminology that fuses the slang from the host country with the language of the faith and church. The Wan Chai Meetinghouse has become a type of “one-stop baptism shop” where Mainland Chinese people can be anointed a ‘Mormon’ in just twelve hours to try to circumnavigate the backlash from communist officials. As most of the churches in Hong Kong are run on a tight economic business model, the possibility of using the city as a base into China’s billion possible new recruits can be seen of as a golden, priceless opportunity.
One of the many congregation/teaching rooms.
Chung King Mansions and the nearby Mirador Mansions on Nathan Road, include low-budget guesthouses, electronic stores, clothing shops, sari stores, curry houses, tailors, and foreign exchange office. It has been estimated that 4,000 people live in the Mansions.
Chung King and Mirador Mansions
Built in the 1960s Chung King Mansions were built for a higher level of economic strata because of their height and type of construction. Now they house the largest amount of guesthouses and the greatest level of ethnic diversity in Hong Kong. It has been called the by Time magazine “Best Example of Globalization in Action” or by Gordon Mathews “the backside of globalism”. The economic trade passing through these two buildings has been significant enough to have a cause and effect in the entire region. Hong Kong anthropologist Gordon Mathews states that 20% of the mobile phones in sub-Saharan Africa have been traded through these buildings. He goes on to say:
“Chungking Mansions figures as an important depot of the worldwide movement of goods and capital to and from the developing world - low-end globalization”, reports CNN.go. These two buildings are described by Surajit Chakravarty in his ‘Dissertation in Urban planning – Social Sciences’ as “spaces of market-culturalism with tensions arising from this hyper "market-culturalism", a socio-spatial condition (or entity) whereby identity is expressed through the market, legitimacy sought through consumption, and interaction between communities is marked by a spirit of competition, with tensions persisting under the façade of cooperation.”
I became interested in the light well structures when I first arrived in Hong Kong. They seemed something like a physical metaphor for the very density of change that Hong Kong aspires to achieve. The pipes and internal systems climbing up the buildings are a form of root system and, as the bars barricading the top of the wells are unable to prevent the large collection of rubbish thrown at the bottom, the wells suggest the contrasts between daylight with dark obscurity, connection versus containment. A friend, who is a caretaker of the poorest housing estates in Hong Kong, once described a story where a young man wrenched off the bars at the top of the light well and from a cocktail of hallucinogens and perhaps suicidal thoughts jumped down the well. After hitting most of the air conditioners and injuring himself on the metal clothing racks he hit the bottom but survived as his body was expectedly cushioned by the huge amount of garbage that had been tossed down there.
With regards to Chung King mansions, Hong Kong filmmaker Wong Kar-Wai has said that “…its 200 lodgings, it is a mix of different cultures ... a legendary place where the relations between the people are very complicated. It has always fascinated and intrigued me. It is also a permanent hotspot for the cops in HK because of the illegal traffic that takes place there. That mass-populated and hyperactive place is a great metaphor for the town herself…”
At Chung King Mansions we will be lead through the floors by another filmmaker, Berlin-based Elke Marhöfer who currently lives in the mansions recording and researching the stories from African traders for a film about exchange, migrants and trading with sub-Saharan Africa.
Berlin-based artist Elke Marhöfer joins us for a bit during our Mansions visit and tells us about the filming project she has been conducting in recent weeks focusing on the trade between Africa and Asia. Photo: Heman Chong.
Elke recommends Gordon Matthews' book "Ghetto at the center of the world. ChungKing Mansions, Hong Kong" (The University of Chicago Press, 2011).
Advertising low-budget lodging in the corridors of Chungking Mansions.
First floor of Chungking Mansions. Boxed merchandise in Chungking Mansions.
Mirador Mansions (more photos here). Notice board in Mirador Mansions.
Tailor workshop in Mirador Mansions.
In the stairwell of Mirador Mansions. Photo: Mimi Brown. Monica's enterprises, a sari store in Mirador Mansions.
Courtyard of Mirador Mansions.
Laundry and A/C at Mirador Mansions. Maximising laundry space.
A lost mexican sombrero in the Mirador Mansions.Interior façades, Mirador Mansions.
The tour of the Kowloon Mosque is lead by an Imam, Muhammad Ashrad. Both the mansions and the Kowloon Mosque hold 4,000 people and in many ways the two structures have defined the urban population of that area. As the largest and most attended mosque in Hong Kong, it also shaped the development of that area, servicing and encouraging the Muslim population to stay and work in close proximity for prayer and for counsel. Most large religious institutions are constructed around notions of belief and grandiosity. The chandeliered grandeur of the main prayer space of the mosque has become its own inspirational jewel at the heart of the Muslim in Hong Kong yet by keeping the Muslim population centred around one area, it can be seen as problematic, creating a type of social isolation tank which acerbates the homogeneity of Hong Kong’s cultural make-up.
Kowloon Mosque and Islamic Centre in Nathan Road, the largest in the city. Photo: Mimi Brown.
Yuk King exploring the roof of the Mosque.
Tea break with Macanese-Portuguese pastéis de nata and chicken pie at Macau Dai Pai Dong.
Entrance to the Chai Wan recycling depot, focus of Yuk King Tan's video 'The Limit of Visibility' (2012).
Chai Wan Working Cargo Area – Recycling Industry
My home overlooks the recycling depot of Chai Wan and it’s a daily activity to watch the progress of the boats filled with compacted paper and scrap metal move through the harbour. Two of my art projects have looked at value in terms of recycling and labour. The video ‘Scavenger’ followed the work of elderly recycle-trolley workers, named ‘scavengers’ in Hong Kong, and in the video ‘Limit of Visibility’ I filmed the progress of the recycling material around the cargo areas and as it is loaded on ships that take the material to various sites in Hong Kong and China. Still from the video 'Scavenger' (2008). Courtesy Yuk King Tan.
The government owns all of Hong Kong's cargo working areas but private operators lease parts of the cargo bay from the government so that the refuse industry balances in tension between private enterprise and public management. One of the operators of the Chai Wan cargo bay will take us on a tour of the area and talk about his business working in the district over the last four years.
The compacted cubes of paper and cardboard, craned from trucks into formal grids carpeting the long barges, can be seen as a refuse landscape, the material creating its own mountains and valleys. Compacted into modernist blocks, the previously loose paper detritus is the byproduct of a booming information industry. Distributed between masses of ships and industrial crane equipment, this material is prepared to become another kind of vast colony. Sent to less developed countries further broken down and salvaged, the waste material is a literal paper trail about the scale, power and wastage of economic development and trade. The sheer tonnage of the paper and the beauty of its compressed form about to undergo future transformation are all tied to the fluctuating market value attached to refuse material.
The recycling industry that brought in so much revenue through the last ten years to ‘recycle cities’ in China has been stymied by the global market slowdown. There are times where the material shipped to China has lost most of its share value over the travel time between ports. The paper cubes are like giant books from the transactions of the city, which now may only be used as landfill. There were stories from China that refuse paper blocks are being used as less than stable filler in creating reclaimed land. For Hong Kong, waste and recycling will always be a complicated issue in a dense and expensive land and property-controlled city.
Sunset over the bay.
We end with the tour with a dinner at a tiny boarding house where nine domestic helpers will make a meal from the Philippines and discuss political and personal issues around life as a Filipina woman working in Hong Kong.
These women are friends, some of whom I have met, as part of a previous project ‘Helper’ 2009 in which a group of domestic helpers inhabited a gallery in Hong Kong to become both living sculptures and gallery invigilators for the duration of the exhibition.
Excerpt from Beth Laygo Interview – part of the 2009 project ‘Helper’ presented at 1aSpace, Hong Kong:
"I am a person behind everyone. We are always invisible, and if you want to call your work something, well, it should be just H, like Hey, or just like the sound ‘Hhh”, or H_____ with a gap. That’s like us - without a name. I have to subdue my personality, be in the background. Sometimes I feel as if I am losing myself piece by piece. Every day a little part is gone, the worse thing is that it’s your self-confidence. And as time goes on you are lost, you have to be humble, and it’s so hard to be quiet all the time. You know… it's like I left my personality home in the Philippines.
We have a relationship based on verbs. My employer does not speak English, and I do not yet know how to speak Cantonese. We always use verbs in our everyday life, so we do action words. Not nouns or adjectives, the verb relationship.
Helper Beth. Courtesy: Yuk King Tan
It’s okay to be called maid because we are like that. But sometimes it’s so degrading. Just like a helper, you are really helping and when you are really helping you feel satisfaction, you feel joy and happiness and you feel some fulfilment. Just like, ‘maid’, is a bit above a slave. It’s so very low. When called a maid, it is a compulsory word. You are obliged to do it and have no choice.
That is an irony, even for us, that we are going to other countries taking care of other kids to have more money for our kids. Just like them, the employers, they entrust us their kids and we bring them up so they can make more money. It is bad, but needed in this kind of society, for this kind of lifestyle that we all want. Because we must enjoy life. It is in our nature to seek what others have. Though it is sometimes more about wants than necessities.
The most difficult part is the adjustment period. It’s a very long adjustment period. Both parties must put up with each other; you have your own attitudes, upbringing and values. So, of course, I try to correct mine, but also you must adjust to my values.
I will do in the gallery space what needs to be done, if I need to sweep the floor I will sweep if there is dust I will dust the pictures. But we are used to it, is very hard to get away from your routine. When you are used to doing it, it is very hard to stop. The routine is sometimes boring; I am a person who likes to do fieldwork. It’s so boring if it’s just about the floor and house. Not every day you have someone to talk to because every day is very busy. It’s so comforting to be able to talk.
It’s quite bad; the Philippines is poor because there is so much politicking. They think about politics without considering the needs of the people. People get poorer and poorer. I studied accountancy. To be working is a necessity; no mother wants to be away from her kids. We are the ‘light of the home’, yet we must go out and earn money.
I cannot explain art; art is something other people have like a gift, its drawing and pictures. Art is a gift, something that not everyone appreciates. Something it's about dreams, sometimes its when things that are extra good. I feel so honoured and thankful; it’s not everybody that wants us to be an artwork. My daughter is good at drawing."