The Para/Site project apparently demonstrated such a concept. Early in 1996, in a derelict and abandoned shop which was never originally a place for any kind of arts, Para/Site appeared. During the time that was allocated to it, Para/Site was used by us as a temporary workshop initially and later as exhibiting space. We were guests. We were given much hospitality and appreciation but we never owned it. When we left, Para/Site not only had survived but continued to exist in spite of it, because it never owned the field from the very beginning though did posses it in its entirety "tactically". At an opportune time, Para/Site would emerge, perhaps in another form, another location, another space, using that overall "strategy" described by Rey Chow.

However, in the beginning we did not realize the significance of either Para/Site or para-site. We only wanted to exhibit collectively in order to gain experience from mutual inspiration and interaction. Also, we could not afford rents demanded from available conventional galleries which cost as much as thirty thousand Hong Kong dollars a week. A week to move in, move out, set up an exhibition, not to mention time for discussion, digestion and critique, was quite deplorable. All these unwholely conditions led us to search out other possibilities - an "alternative" space. When we found this shop in Kennedy Town, we were greatly impressed by its character, location and its "otherness" and eventually to consider the cultural meaning of such a "site" and the significance of Para/Site, para-site began to dawn on us.

We admit that the idea of the alternative art space is nothing new. In a society where sophisticated art institutions and their clear appreciation for the arts exist, these institutions and their museums are also the authority for "taste" and "culture". Owing to the fear of such an authority and mystification (John Berger states that museum mystifies art), audience can be misled to believe that only real art exists in museum, revering only what those museums uphold, preach and treat as untouchable commodity, that a real need of the "alternative".

Hong Kong is a very different matter. Though Hong Kong has sophistications in many and numerous ways, art is never considered as essential nor give any real importance. In many cases, artworks are regarded and appreciated more for their decorative attributes or meticulous craft and execution. in Hong Kong where a general art education is ignored and given no pride of place, it is no surprise to realize what is the present state of the arts and the meager role it plays for its public, its audience. In fact, without the respect of the general public, our museums and art centres, institutions are as marginalized as those labelled as "alternative", though they may have greater resources and power Para/Site finds itself in such a position, a paradox-- on the one hand it differentiates itself from more formal art institutions, taking on a role that at times complements or acts against them, when in effect art in Hong Kong, art for the public, is realistically all "alternative".

Para/Site, was a rare opportunity for those who had never entered a museum or gallery to meet the artists. It was good to be able to involve ourselves with the local community which certainly helped to promote the mutual understanding and a step forward towards a needful communication. This we found most encouraging and gratifying for Para/Site. No double there were many who merely passed us by and paid no interest at all. This was regrettable but would this go to reflect in reality the inertia of a tolerated local art scene by its public and that lack of appreciation and concern for the arts in Hong Kong.

Still, art is what it is about and whatever the public's opinion, the priority is not to compromise the art but to pursue a healthy art scene for everyone. And for art to establish its rightful place in Hong Kong, the tactics of para-site are perhaps relevant and a positive approach.

Lau Kin-wai in As Art of Nomads (in Chinese) reminiscences his fond memories of those "space" he encountered at Para/Site and the pleasures he enjoyed, the relaxed attitudes taken at the exhibits and during the organized forums.

In Studio + Gallery + Community? (in Chinese) King Siu takes a more critical view of Para/Site and discusses the relevance and its significance, exploring the possibility and respective meaning of developing alternative artspaces, analyzing too the relationships between the audience,the artists and the persons-in-charge of exhibitiong venues.

Irene Ngan in Mental Blueprint for Community Life (in Chinese) would provide points of view based on the local community and its relationship with art as well the limitations and insufficiency she observed at Para/Site. Examples of New York artists are quoted to express ideas of breaking down barriers between artists and community, between art and the public.

In Michael Wong's essay Just In Time: Anamorphosis as a Strategic Survival Visual Tactics, he regarded Para/Site as a metaphor for surviving in difficult times, as Hong Kong 1997 becomes a Special Administrative Region. Examples of the Renaissance are quoted to illustrate the possibility of this tactic.

Also included are two essays on the works exhibited. The first is Kith Tsang's Visual Arts in the Context of Post-Colonial Discourse, his self-interpretation of the work "Hello! Hong Kong, Part III", referring to a post-colonial discourse, local culture and history. The second essay by William Cheung is A Multilevel Reading of "Dream of a Path" (in Chinese) - an analysis of different visual elements and experiences, his views on reading artworks as activities of constructing meaning as vital as the artwork itself.

Apart from the contributors invited, many friends and visiting audience have made comments - in the guestbook as well as those made during the open forum's "Hot Pot Hot Talk". All of these are printed in their original mode and language. Viewed with selections from the photo documentation of the exhibitions, we hope this will contribute towards a more realistic impression and reflection of our experiences.

Last but not least, we wish to include in this homepage David Clarke's "The Icon and the Index: Modes of Invoking the Body's Presence", an essay published in the American Journal of Semiotics and which provided the inspiration and the impetus for the exhibition "Relic/Image" which resulted in the conception eventually of Artists in Western and Para/Site. This current version has been revised by the author himself.

Finally, we wish to thank everyone who have been so generous as to make all these possible ... and all well-wishers and await their support and participation in our next project of Para/Site.

(Translation by Patrick Lee)