From Fo Tan to Fotanian

Local artists meet and dinner in Dai Pai Dong.
Fo Tan is famous for its Dai Pai Dong (A Hong Kong Style Restaurant), which is disappearing in Hong Kong now.

You can find the Hong Kong style restaurant open till 2am but not the much-criticised giant canopy, a winning design by architect Lord Foster, here in Fo Tan. In contrast to the 25 billion dollars West Kowloon Cultural District (WKCD) project, which is a 40-hectare waterfront site with three theatres, a performance venue and 10,000 square meters in size art exhibition centre, there are around 20 self-funded studios by local artists in Fo Tan which is a remote coastal settlements in Sha Tin before 1950s[1]. In 1970s, Fo Tan was planned to develop into one of the four light industrial area in Sha Tin when it was undergoing new town development.. Different from other light industrial area, Fo Tan also has residential areas to the east, alongside the railway , and in the mountains to the west. In 1980s to 90s, the rent of a 100 square meters factory was about USD$1500, estimated value around USD$ 350,000. One of the earliest artists setting up studio in Fo Tan included Warren Leung, the first artist representing Hong Kong in the Venice Biennale[2].

In 2001, a fire took away one of the five studios in the Department of Art in the Chinese University of Hong Kong (CUHK).  The art students had to cram into the four remaining studios to create their artworks.  Eight of us[3] then decided to look for a studio in some factories in an old industrial area. We were really desperate for space; the same thing that I suppose that every big city people desperate for. For me, I believe the studio space was essential to keep working after graduation. That is the beginning of an artist’s career.  Whenever people asked how long I have been an artist, I answered since 2001, the year I had my first studio.

Fo Tan, a busy industrial area in Hong Kong

In that year, the rent for the factories in Fo Tan and Tsuen Wan were cheaper than the other industrial areas in Hong Kong.  We chose Fo Tan, due to its proximity to the library of CUHK, which holds a good collection of Art Books, to establish our studio - 318 studio located at suite 318 in Wah Luen Industrial Centre, the farthest away from the train station. It was the cheapest at the time with a monthly rent of HKD$3,800 (USD$490) for 100m².  The building had a spacious high ceiling and an industrial-sized elevator, which enabled the creation and transfer of large pieces of art.  Many people thought that the phenomenon of establishing art studios in Fo Tan was due to the relatively cheap rent as a result of the stock market crash in 1997.  Interestingly, if we looked at the introduction of Fotanian in newspaper / art magazine, it often began with “the migration of Hong Kong industries to China” or “the economic recession in Hong Kong.”  While this evidence was correct, it did not convince me as the main reason for the settlement of the artists in Fo Tan.  This argument neglected the psychological and social aspects of the city at the time.  The depression of real estate in Hong Kong was not new; the rent of the factories had shrunk since 1997.  Yet the rapid establishment of studios did not happen until 2001. I believe this phenomenon was a reflection of the belief and desire of the new generation toward the future of the society and the style of living.  But what do the new generation really believe in and look for?  How can we better understand it?

Fo Tan open studio was innovative to many newcomers.  But would it attract people to come again?  According to curator Oscar Ho[14], “the idea of open studio would get bored after several visits.  Yet if the exhibitions focused at certain themes only, it would underplay the core idea of the unique and creative space contained within the studios in the factories.”  In my opinion, emphasis on both theme and space are essential for the future.  Both ideas are necessary to satisfy different demands by the public and professionals.  I believe the ideal situation would come when every studio has its unique plan and theme and, more importantly, put in their collaborate effort in the open studio.

With over 70 artists and 20 Studios, a map is essential for visiting Open studios.

To the media and general public, Fo Tan seems to be very organized.  Yet it has its own challenges.  Every year, individuals from each studio come together for the sake of the open studio.  However, only several artists are responsible for the administrative tasks while, at the same time, maintain their part- or full-time work to make a living.  This is a major obstacle for the open studio and, often, for local art to develop into its full potential.  Should Fo Tan develop a more organized structure or continue to count on the voluntary effort of several artists?  This question remained unanswered.  On top of this problem, Fo Tan faces a bigger challenge that does not exist in the studios in other countries that encourage art initiatives.  In these countries, many of the studios are supported by the government in a way that certain districts or areas are reserved for artists’ studios or offices use only with a long term fixed rent guarantee.  In addition to the government support, many private organization and cultural fund sponsor the studios.  In contrast, the artists in Fo Tan do not have a common goal to develop the strategy for protecting the studios or the initiative to solicit sponsorship.  With the expansion and popularity of the Fo Tan studios, the artists also have to worry about increasing rent.