A Note About The Usefulness of Prison Art - Focusing on Foreign Cases –

This article argues that prison art programs are central to the human rights of Indigenous detainees. It examines how these programs are most commonly understood in terms of their rehabilitative value, an approach which fails to fully capture the right of Indigenous detainees to participation in them. It argues that a human rights framework should be applied to prison art programs. This recognises the pivotal role art programs play in realising a multitude of interconnected rights, upholds the voices of Indigenous prisoners and emphasises the crucial place of self-determination in the design, delivery and ultimate success of programs.

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Heterotopic Heritage in Hong Kong: Tai Kwun and Neo-Victorian Carceral Space

Humanities ◽

10.3390/h11010012 ◽

2022 ◽

Vol 11 (1) ◽

pp. 12

Author(s):

Elizabeth Ho

Keyword(s):

Hong Kong ◽

Social Life ◽

Art Museum ◽

Current Status ◽

The Arts ◽

Heritage Site ◽

Original Definition ◽

Prison Art ◽

Financial Arrangements ◽

Postcolonial History

The prison is specifically identified by Michel Foucault in his essay, ‘Of Other Spaces’ (1967), as an exemplar of “heterotopias of deviation”. Reified in neo-Victorian production as a hegemonic space to be resisted, within which illicit desire, feminist politics, and alternate narratives, for example, flourish under harsh panoptic conditions, the prison nonetheless emerges as a counter-site to both nineteenth-century and contemporary social life. This article investigates the neo-Victorian prison museum that embodies several of Foucault’s heterotopic principles and traits from heterochronia to the dynamics of illusion, compensation/exclusion and inclusion that structure the relationship of heterotopic space to all space. Specifically, I explore the heritage site of the Central Police Station compound in Hong Kong, recently transformed into “Tai Kwun: the Centre for Heritage and the Arts”. Tai Kwun (“Big Station” in Cantonese) combines Victorian and contemporary architecture, carceral space, contemporary art, and postcolonial history to herald the transformation of Hong Kong into an international arts hub. Tai Kwun is an impressive example of neo-Victorian adaptive reuse, but its current status as a former prison, art museum, and heritage space complicates the celebratory aspects of heterotopia as counter-site. Instead, Tai Kwun’s spatial, historical, and financial arrangements emphasize the challenges that tourism, government funding, heritage, and the art industry pose for Foucault’s original definition of heterotopia and our conception of the politics of neo-Victorianism in the present.

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