Arts Attack!
It must be a quote taken from a newspaper article, a film or a book, or a radio show, but wherever it’s from it always makes me chuckle. Here goes my own rendition: imagine yourself to be an alien beholding the planet Earth from the sky. For a second your gaze cast upon a sport stadium, a football ground for instance, watching 23 bio-beings, divided into two teams, in a running frenzy up and down the field and chasing after a ball in front of a packed crowd. The purpose of the game seems to be kicking the ball into the net…except that no one does for the entire 90 minutes…four limps, arms specifically, are not utilised despite millions of years of evolution. There are even penalties for touching the ball, executed by the man with the whistle who has drawn a red card from his pocket and shows it to the yelling man in the torn jersey. Seconds later that the man in the fluorescent jersey and Mickey Mouse gloves not only touches the ball, but also grapples with it for a few good seconds before kicking it out. That’s just baffling. The whole thing hardly makes any sense…. ‘Classic example of an activity given birth and cradled by a low intelligent civilisation,’ the alien thinks to itself, ‘AI calling centre to withdraw troops.’
That it makes no sense at all is precisely the beauty of football—23 people and a ball, which is still being held dearly to the heart of an armchair football fan after nearly two decades.


Installation of a myriad of human faces. Every step you take onto the metal discs gives echoing auditory impressions that resemble the shackles and chains used to restrain captives.
It’s eerie, daunting and chilled me to the bone.

A maze in the courtyard, slanted and cobble-stone lined to make the hide-and-seek game doubly difficult. Perhaps it's purposely designed for you to get lost...
What, then, would an alien think of what is known collectively as arts institutions? Wouldn’t it think of us all as daft too? After all, galleries, museums, opera houses, concert halls, public spaces doubling as arts spaces, and archives—frequented by streams of visitors, some of them staring at (art) objects with blank emotion, some of them putting on a ‘I-know-it-all’ art connoisseur façade—are very abstract concepts to grasp.
But whatever purposes they serve, they are always at the very top of my travel itinerary and make my days.
In the age of jet travel, one is never far away from the world’s greatest museums and galleries, Louvre, Prado, Hermitage, the British Museum, MOMAs, Guggenheims (New York, Bilbao, etc), Tate, Tate Modern, the national gallery of a civilised state (ie Hong Kong excluded), and galleries devoted to a single prominent painter, van Gogh in Amsterdam for one. Been there? Done that? You wow at the paintings, amazed by their craftsmanship, but few really stand out and shine as true awe-inspiring experiences.
But there is no shortage of reasons to explain why the Jewish Museum in Berlin warranted two separate visits during my stay in the German capital. The database alone, accessible to visitors in inter-active formats on the terminals, boasts a corpus of tens and thousands of oral history interviews with Jewish Holocaust and WWII survivors, is the stuff that the Hong Kong Film Archive can only dream of. This was an experience to savour and ponder upon the best of humanity, and to reflect and learn from the atrocity of war committed by the worst of mankind.

The Munch trio: the artist, the painting, the cake
The Edvard Munch Museum in Oslo is a real gem that has sadly gone unnoticed. For years I was led to believe the man in ‘Scream’—the twisted, wrinkled face of a monster—is a persona of the artist himself. Judge for yourself.
Another often-neglected member of arts institutions, in the humble opinion of a non-church going but devout Christian, is chapels and churches, a tour of which will have to wait till the next blog.
That it makes no sense at all is precisely the beauty of football—23 people and a ball, which is still being held dearly to the heart of an armchair football fan after nearly two decades.


Installation of a myriad of human faces. Every step you take onto the metal discs gives echoing auditory impressions that resemble the shackles and chains used to restrain captives.
It’s eerie, daunting and chilled me to the bone.

A maze in the courtyard, slanted and cobble-stone lined to make the hide-and-seek game doubly difficult. Perhaps it's purposely designed for you to get lost...
What, then, would an alien think of what is known collectively as arts institutions? Wouldn’t it think of us all as daft too? After all, galleries, museums, opera houses, concert halls, public spaces doubling as arts spaces, and archives—frequented by streams of visitors, some of them staring at (art) objects with blank emotion, some of them putting on a ‘I-know-it-all’ art connoisseur façade—are very abstract concepts to grasp.
But whatever purposes they serve, they are always at the very top of my travel itinerary and make my days.
In the age of jet travel, one is never far away from the world’s greatest museums and galleries, Louvre, Prado, Hermitage, the British Museum, MOMAs, Guggenheims (New York, Bilbao, etc), Tate, Tate Modern, the national gallery of a civilised state (ie Hong Kong excluded), and galleries devoted to a single prominent painter, van Gogh in Amsterdam for one. Been there? Done that? You wow at the paintings, amazed by their craftsmanship, but few really stand out and shine as true awe-inspiring experiences.
But there is no shortage of reasons to explain why the Jewish Museum in Berlin warranted two separate visits during my stay in the German capital. The database alone, accessible to visitors in inter-active formats on the terminals, boasts a corpus of tens and thousands of oral history interviews with Jewish Holocaust and WWII survivors, is the stuff that the Hong Kong Film Archive can only dream of. This was an experience to savour and ponder upon the best of humanity, and to reflect and learn from the atrocity of war committed by the worst of mankind.

The Munch trio: the artist, the painting, the cake
The Edvard Munch Museum in Oslo is a real gem that has sadly gone unnoticed. For years I was led to believe the man in ‘Scream’—the twisted, wrinkled face of a monster—is a persona of the artist himself. Judge for yourself.
Another often-neglected member of arts institutions, in the humble opinion of a non-church going but devout Christian, is chapels and churches, a tour of which will have to wait till the next blog.






