Mimi Chun, founder of Blindspot Gallery, reflects on how classic films have inspired her career in the art world—and reveals what the gallery is working on next
The opening of Blindspot Gallery marked a series of firsts for Hong Kong’s art scene. Blindspot was the first commercial gallery in the city to focus on exhibiting photography, it was the first major gallery to open in the (now buzzing) Wong Chuk Hang district and it was one of the first galleries to represent a roster of local artists.
The brains behind this ambitious local gallery is Mimi Chun, who has seen Hong Kong’s art scene boom since she opened Blindspot in 2010. Here, she reflects on the very first exhibition she hosted at Blindspot, discusses what she loves about the art scene in Hong Kong and reveals which artist she’ll be championing next.
What was the first work of art that moved you?
I studied film, and later photography. My early exposure to visual arts and visual language stemmed from these educations. Orson Welles’ Citizen Kane (1941), Akira Kurosawa’s Rashomon (1950), Jean Luc Godard’s Breathless (1960) and Stanley Kubrick’s A Clockwork Orange (1971) are all films that had a huge impact on me when I was a student.
Chris Marker’s La Jetée (1962), a short film constructed from still photos, made me understand that the boundaries between art forms can be shifted—and sometimes broken.