A comment on mental health in Hong Kong with photo festival’s return

As a photojournalist, Hongkonger Jeff Cheng Tsz-fung often finds himself in traumatic situations.

Art is an escape, and his exhibition, “With All Flatness”, at EJAR in Shau Kei Wan until November 19, invites viewers on a road trip around the city to try to find an exit from life’s stresses.

The centrepiece is a film projected onto two walls, showing a girl in a car on a night ride. It’s mixed with close-ups of random faces, ending with the almost ceremonial-like burning of a car.

In a back room sits a set of binoculars, inviting people to peer out of a window to find one of Cheng’s photos under a flyover. It’s an image of a car that appears trapped in a car park, looking for an exit.

The exhibition is part of the Hong Kong Inter­national Photo Festival (HKIPF), which was launched in 2010 to bring together Hong Kong and overseas artists.

“Not many people know this building even exists,” says Cheng. “Of all the festival spaces, this is the most difficult to find, but sadly the building will soon be knocked down,” he adds, pointing to a government notice hanging on a door detailing the building’s imminent demise.

The location might be off grid, but it makes sense considering the aim of the festival’s many satellite exhibitions is to occupy everyday spaces and create photographic encounters in different public and private venues all over the city.

Adjacent to Cheng’s exhibition is “Weaving Wishes on A Spinning Wheel” by Thai photographer Kamonlak Sukchai.

The calming works, influenced by mythical symbols, are poles apart from Cheng’s flashing imagery pierced with screeching sirens.

PMQ in Central is also hosting two exhibitions until November 13 as part of the HKIPF.

“One Hundred Years of Happiness”, by Vietnamese artist Van-Nhi Nguyen, challenges the stereotypes many people have of the Vietnamese that have been shaped by years of war and the country’s current role as a manufacturing hub.

Cambodian photographer Sereyrath Mech’s exhibition, “When the Sun Reaches the River”, shines a light on a minority group affected by the controversial Lower Se San 2 Dam project.

“I Have Fish”, until November 19 at JCCAC, showcases works by Taiwanese artist Yan-cheng Chen and reflects his views on family after recently becoming a father, while Masahiro Nakamura explores his Hong Kong and Japanese identity in “A ‘Foreigner’”, at the same Shep Kik Mei venue.

Australian artist Jay Davies’ “Home (Away From Home)”, comprising stills and moving imagery focusing on the sensuous nature of queer love and life, can be seen at the Eaton HK until November 19.

“With every stitch, they move further away from their trauma, taking time to understand what had happened, its impact and how to march forward.” But be quick; Sim’s exhibition “as time passes”, at Artzbrew Gallery in Sai Ying Pun, ends on October 29.

For more details, visit hkipf.org.hk.