Tongzhi in Desert


In a city facing political turmoil where non-heterosexual marriage isn’t recognized, Hong Kong queers are placed in a precarious position. Hong Kong’s postcolonial life differs from other colonies. Instead of becoming independent after escaping British rule, it has been handed over to the Chinese government without the input of indigenous Hong Kong people. In an interview of queer artists in Hong Kong, the interviewer notes that people talk about Hong Kong as a “creative desert.” Winkie Lam, a DJ and photographer responds by saying there’s a strong scene but the audience is lacking. She says, “There are lots of people doing good things but the audience has bad taste and they don’t get it.” Another artist says that the local gays are really uptight and “a bit basic.” However, the artists have hope for the new generation. In Chinese, the word tongxinglian is a clinical and often derogatory term for “homosexuals.” Alternatively, people use the term tongzhi, meaning comrade or queer. In the exhibition, Tongzhi in Desert, I explore queerness in postcolonial Hong Kong by featuring the art by Anson Mak, Jes Fan, Monique Yim, and Yau Ching. The queer culture in Hong Kong has always been there and is constantly changing in response to the environment. By showing these artists, I will present how queer people negotiate the landscape of Hong Kong in regards to sexuality, romantic preference, class, gender, and political scene.