This project is a map of the musical peripheries that coexists with the boisterous rhythm of Hong Kong from within: visiting and studying spaces for music; drawing and photographing these often ephemeral venues; analyzing them in reference to the city´s real estate dynamics, and sociopolitical context; interviewing the main stakeholders; and reading the stories behind the music with the goal of eciphering the role of art production in the current context of Hong Kong. By curating itineraries around these hidden music sites, the goal is to provide an alternative understanding of the diverse struggles over placeness in the city through the lenses of emergent culture, showcasing artists´ “tactics” versus the commodification of creativity in order to achieve diverse opportunities in a tightly controlled ureaucratic society. These networks formed by hundreds of musicians scattered in secluded unexpected venues around the city will be made visible through events, videos and publications.
About Diego Caro
Diego Caro is a PhD candidate at the Faculty of Architecture of the University of Hong Kong and a teacher assistant of History of Modern Architecture and Architecture and its Discourses. His fields of research are History & Theory of Urbanism and Urban Spatial Restructuring under Global Capitalism. He has presented his ongoing work on Madrid’s Ciudad Lineal at UC Berkeley and the Second urbanHIST Conference in Stockholm, and his studies on contemporary Hong Kong have been shown in renowned conferences and publications such as the 18th IPHS conference in Yokohama.
Before commencing his PhD he worked for over 7 years as architect and urbanist in renowned offices of Spain, Japan and China, including Kengo Kuma, Vector Architects and Neri & Hu. From 2017, he has developed the blog Broadway 128 on urbanism and art, and he is also a keyboardist and composer of the Hong Kong- based band Cracklebox.