Four people play badminton without a net in a circular courtyard surrounded on all sides by residential towers.

How Street Badminton Can Help Us Rethink Hong Kong’s Public Spaces

In 2019, artist Shirley Tse represented Hong Kong at the 58th Venice Biennale with her exhibition Shirley Tse: Stakeholders, Hong Kong in Venice. A version of this show is currently on display in Hong Kong at the M+ Pavilion until 1 November 2020 as Shirley Tse: Stakes and Holders.

One of the exhibition’s installations, Playcourt, consists of multiple sculptures that form a surreal, makeshift game of badminton. The work is based on Tse’s memories of playing street badminton in Hong Kong as a child. We invited artist and urban researcher Sampson Wong to join her in a conversation about badminton and public spaces. The resulting discussion, which you can read below, ranged from exploring the colonial imagery of Tse’s badminton sculptures to how Hong Kong spaces can unofficially transform from private to public.

Artist Shirley Tse discusses her work with various tools throughout the two decades of her sculptural practice.

Artist and curator in dialogue: Shirley Tse’s Sculptural Processes, Tools, and Objects

📹📃Video transcript for ‘Artist and curator in dialogue: Shirley Tse’s Sculptural Processes, Tools, and Objects’

In Shirley Tse: Stakes and Holders, Tse explores ancient and recent technologies in craft, manufacturing, and communications to create works that shed light on contemporary society.

In this conversation with guest curator Christina Li, Tse discusses her work with various tools throughout the two decades of her sculptural practice. The artist unpacks her thinking and processes, placing particular emphasis on the ways in which technologies and the objects we use shape our realities.

A video of the installation process of Shirley Tse’s sculptural artwork ‘Negotiated Differences’ at the M+ Pavilion in Hong Kong.

‘Shirley Tse: Stakes and Holders’: Agency in Practice

‘This is our new world, no?’

Suhanya Raffel

What does a museum installation process look like during COVID-19?

Shirley Tse: Stakes and Holders is the response exhibition to Hong Kong’s participation at the 58th Venice Biennale. It is the last exhibition at the M+ Pavilion.

Due to the COVID-19 pandemic, artist Shirley Tse and guest curator Christina Li were unable to travel to Hong Kong for the installation. The exhibition was installed through extensive dialogue across three different time zones—between the artist in Los Angeles, the guest curator in Amsterdam, and the curatorial and installation team in Hong Kong.

This video documents the three-week installation process of the site-responsive work Negotiated Differences, which relies on close collaboration and negotiation between all of the exhibition’s stakeholders.

Two works in the post have been put together to form a banner. On the left, an ink painting on paper depicts Hong Kong at night using varying shades of black, dark blue, and yellow. On the water are several boats, and along the shore, buildings with yellow lights are visible. On the right, an installation consists of several paintings and two videos on a white wall. Among the paintings are white, grey, red, and blue labels with text.

How Did You Two Meet? Hong Kong Visual Culture Objects in the M+ Collections

How did you two meet? is a ‘recipe’ for a public programme from the Canadian Centre for Architecture (CCA) in Montreal. The CCA invited us to put our own spin on this recipe at M+. Our How did you two meet? recipe goes like this: Pick two seemingly disconnected objects in the M+ Collections, and narrate a story that connects them.

Two curators from M+’s Hong Kong Visual Culture Team took on this challenge in an online programme. Curator Tina Pang introduced a piece by Lui Shou-kwan, while Associate Curator Chloe Chow explored a piece by Tiffany Chung.