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2020年是怎樣的一個年份? 2020年活在過去無法修補的陰影下,面對政治對城市的撕裂,我們無能為力。還未等到惡夢在夢中散去, 一輪始料不及的疫情禁閉了我們的肉體,折磨我們的靈魂。 面對龐大的壓迫,一個又一個的藝術群體如皮球在城市的夾縫反彈而出。在眾多皮球當中,我們就如一個還未完成充氣就滾到海邊的小皮球,不停被海浪沖洗拍打。How was the year 2020? In 2020, we lived in the shadow of the past that could not be mended. Facing the city rift, there is nothing we can do. Before the nightmare dissipated in the dream, an unexpected surge of epidemic confined our bodies and tortured our souls. The huge oppression forcing artist commune, like a ball, one after another, bounced out of the cracks in the city. Among the many balls, we are like a small ball that rolls to the beach before it is fully inflated, constantly being washed and beaten by the waves.(Landescape1823)

周遭的世界愈來愈陌生,是我們整個時代正在面對的事。城市的快生快滅,令人喘息追趕。我們還未趕及體驗及哀悼所失去的;老街的拆卸、舊樓的收購、大海的封鎖,霎眼就改頭換面,建成了新簇的高樓大廈。廢墟的存在提供了一個「現場」,讓我們冷卻時間,把城市缺乏的「失去經驗」追回來。The world around us is getting more and more unfamiliar, that our entire epoch is encountering. The fast pace of birth and death of this city is a respite to catch up. While we have not been in time to experience and mourn what we have lost; the demolition of old streets, the acquisition of old buildings, and the blockade of the sea, all instantly turned into new clusters of high-rise buildings. The existence of the ruins provides a “site” for us to freeze time and evokes the “lost experience” that the city lacks.(Landescape1823)

No Site, lots of limitations
No time, lots of interstice
No word, lots of recordings
No media, lots of vestiges
No preps, lots of incidents
No theme, lots of discussions
No problem, lots of solutions

面對世界的一片混沌與荒誕,藝術到底有何用?在過去的兩年間,這個問題總在我腦海中浮現好幾遍。我視創作/表達情緒的慾望為進一步接近「希望」的出口。然而,當一切被黑暗淹沒,你卻看不見藝術能顯着地改變現實,那是多麼的絕望。 I hesitate about the practicality of art when the world is getting uncontrollably ridiculous. The doubt has been swirling in my mind several times in the past two years. The desire to create something / express my feelings and thoughts is a way to approach ‘hope’. However, it becomes so hopeless while all is darkness, and you don’t see art can bring efficient changes to reality. (黃姬雪 WONG Kei Suet, Ice)

在合作或藝術機構工作中,我覺得花精力磨合、互相尊重、共同營造是很重要的。藝術實踐中不應以成敗論對錯,要時刻保持對這種邏輯的警惕。藝術機構是最好的實踐和實驗場所,我希望不論自己作為其中的哪一方,嘗試構建一種以人為本、相互尊重、可持續的生產方式。During institutional work, I think it is very important to give efforts in the run-in period, respecting each other, and co-constructing. In art practice, success or failure should not be equivalent to right or wrong, and we must always be vigilant against this logic. Art institutions are the best places for practice and experimentation. I hope no matter which party I am in, I will try to build a people-oriented, respectful, and sustainable production approach. (徐然 XU Ran)

這些沙盤都是連接另一個時空的視窗,每一個元素都在另一個次元中模擬神話與歷史交融的各種可能。我在自己創作畫面時也與每個元素對話,也會借由他們之後來回答。這種駕神役鬼的快感,這就如同是小孩在沙坑上擺弄一個個小玩偶玩家家酒一般不亦樂乎。These scenarios are windows to another time and space, each element simulates the possibilities of mythology and history in another dimension. I also talk to each of the elements as I create my own images, and later answer all kinds of questions through them. The pleasure of playing with the gods and ghosts is like a child playing with a small doll in a sand table.(張文智 ZHANG Wenzhi)

起床 餵貓 message 靜坐/message/ 回message /message /回message 梳洗message /回message /message /回message/ message /message /回message摸貓/ 回message /message /message /回message /message /回message /message /回message message //message /回message /message /message /回message /message /回message /message /回message message //message /回message 坐巴士 essage /message /回message /message /回message /message /回message message //message /回message /message /message /回message /message /回message /message /messagee /回message /message /message 工作 e /回message /message /message /回message /message /回message /message /回message message //message /回message 坐巴士 essage /message /回message /message /回message /message /回message message //message /回message /message /message /回message /message /回message /message /messagee /回message / 餵貓 essage /message /message 工作 e /回message /message /message /回message /message /回message /message /回message message //message /回message 坐巴士 essage /message /回message /message /回message /message /回message / 靜坐 /睡
(盧韻淇的一天 A day of LO Wan Ki’s)

把虛擬帶到街上,發現人們可能要透過社交平台的資訊才會發現現實時空中出現的不一樣。Bringing virtual reality to the street, I discover that people can only find out what’s different in reality through information on social media. (盧韻淇 LO Wan Ki)

有時翻閱起床後即時記錄夢境的備忘錄(對啊所以那稱作備忘錄),那些內容及文字鋪排使我感到陌生,陌生得像是在窺看他人的夢境一樣。至今我已忘掉了成千上萬件事,當中有部分是我曾認為重要得不可撼動的,也有想要忘掉卻總忘不了的,惟如今都記不起來了。Sometimes when I look at the memos that I wrote down about and after dreaming, the content and layout of the words feel foreign to me, as if I were peering into someone else’s dreams. I have forgotten thousands of things so far, some of which I once thought was incredibly important, and some of which I wanted to forget but never could, but I can’t remember any of them now. (王昱珊 WONG Yuk Shan)

不同的人的話,都只為一直反覆證明,這個人是同志,這個人是同志(所以他自殺),這個人的人生,壓縮成為一串看似客觀的資料……Different people talked only to prove that this person is gay (therefore he took his own life). His life was compressed into a series of seemingly objective facts…( 2018/10/21, 來自張紫茵 by Dorothy Cheung)

無論如何,我想,炆蛋還是充滿客家女人的精神罷,是適應不同的環境,也是適應不同的剩食。After all, “Simmered Egg” is an adaptation made with the spirit of being a Hakka woman – adapting to changes (and leftover food). (2021/1/3
(客家式)炆蛋 | Simmered Egg (Hakka style) , 來自張紫茵 by Dorothy Cheung)

於是我用最容易找到的鉛筆做木作練習,寄托雙手和內在的燥動。由於房間不大,我媽媽有潔癖,所以我在自己房間內處理基本雕刻雛型,但只能坐在地上的膠袋裡雕刻,安撫了自己一段時間的迷失。 Subsequently, I used the most available wooden pencils for my woodworking exercises, to satisfy my hands and calm my inner turmoil. As my room was small and my mum is a clean freak, when I worked on the basic carving prototypes in my own room, I had to sit on the floor and carve in a plastic bag, soothing myself for a while. (劉菁兒 LAU Ching Yee, Cathleen)

我覺得平凡單一的生活其實不是大問題,藝術家也不是特別人物。進入生活、感受生活,然後才創作。循環、伸延、無意識的流動是我過往創作中重要元素,這些都是一種看似自由,卻不斷重復被困的曖昧狀態,指向當代社會中人所面對精神的困窘。I don’t think that the mundane and monotonous life is a big problem, and artists are not special. We live our life, we feel life, and then we create. The cycle, the extension, the unconscious flow are important elements in my past works, they are a seemingly free but constantly recurring state of ambiguity, pointing to the spiritual dilemma faced by people in modern society. (黃百亨 WONG Pak Hang, Samson)

好好學習在裂痕中遊走,反正世界只會越來越艱難,只能不停複習這個舉動,訓練自己看到看不見的視覺,才能展現到藝術的力量。我想現在可以做的是盡可能積累更多力量,才能走上更艱辛的路。或許有迷路的時候,那就一直迷路下去吧,為了安全到達目的地。But let us learn to walk through the cracks as the world gets harsher and harsher. For the power of art to radiate, we could only practice this act, practice our way of seeing be it visible or invisible. To prepare ourselves for a much more difficult road, I believe that the only way-in is to muster our strength to the best of our abilities. Yes, we may get lost, but do let us be lost. For we may then reach our destinations safe and sound. (屈鍵晴 WAT Kin Ching,2020)

我不想說自己在 「創造」藝術,也不想說自己在「創作」,反而那一種「生命力」對藝術活動產生幫助。而且比起做一個 「項目」,更多的是日常的「實踐」,是一種習慣的延續,讓我對非人的事物產生敏感和靈感。I do not want to say I’m ‘creating’ art or ‘creativity’, but it is a ‘vitality’ in addition to the art activity. And it is more about the daily ‘practice’ than working on a ‘project’, a continuity of habits that leads me to be sensitive and inspired by the nonhuman. (張國樑 Weera It ITTITEERARAK)

A ray of light pierces into a withered space,
reviving scenes that will soon vanish. (鄧廣燊與袁雅芝 TANG Kwong San & YUEN Nga Chi)

In the 1950s, public phone booths were installed across Hong Kong by the British Hong Kong Government. As technological advancements have provided city-wide network coverage, the gleams of smartphone screens are seen flitting in the streets. Scattered across the city are disused phone booths that are about one square metre in size, with
broken lightboxes inside. We wrapped a disused booth in a reflective cover, and added a coin from the colonial era with a hole drilled in it,
turning the booth into a pinhole darkroom. Through the inverted images inside the booth, the viewer shuttles back and forth between different landmarks before and after the handover, tracing the endlessly shifting political relationship between ‘deconstruct’ and ‘construction’ in the city.(鄧廣燊與袁雅芝 TANG Kwong San & YUEN Nga Chi)

A discarded phone booth waiting to be dismantled,
a memento of the Queen still being circulated today.(鄧廣燊與袁雅芝 TANG Kwong San & YUEN Nga Chi)


Regarding the “Family History of the Unknown” project, I am not writing a “family history”, rather, it focuses on the narrative of the great history, which leads to the blank, loss and error memories, and what traces of the power behind these memories leave behind, which can be analyzed and presented structurally with the void of the current history.


In parents’ families, there are relatives who died in the 1960s movement, whose descriptions by family members have now become blurred, and there are many clues that can be traced, which by my generation were already in the throes of being obscured.


When I ask what kind of history I have to face to belong to this family, the conflicts, blanks, and errors completely dominate it, and family memories are so easily lost in the writings of the Big History. When history fills in “a good enough story” accurately, then what is lost in the flow of ordinary families, ordinary lives, creates the archive of our present reluctance to reveal the truth, and this is the question to which “Family History of the Unknown” is oriented.


To sort out history with the help of memories in project actions, but also a reflection on “forgetting” – where is “I”? I am not here to record them, but I am in the same stream of time as they are.For the sake of the hidden wounds and lost words, people and people, we need to respond the instinctive understanding and fearlessness.

我在乎的是其中只有通過身體在場才能出現的東西,一些關於身體對環境的回應,特別是被推向極限之後出現的帶有強度的東西,那些使得日常成為虛妄的無意義(無法被意義俘獲)的事件。不過現在又是到了需要不斷咀嚼反思的時候了。I’m concerned with what emerges only through the presence of the body, something about the physical response to its environment, especially the intensity that emerges when my physical body is pushed to its limits, the events that make the everyday meaningless (unable to be captured by meaning). But now it’s time to keep contemplating on it again. (程新皓 CHENG Xinhao)

從2013 年開始,我就一直試圖把自己拋入這片場域,在知識和體感之間尋找著那條被掩蓋的線索。它永遠存在於某些光滑的敘事之間:“自然”與社會之間;不同的民族國家之間;“傳統”與全球化之間;歷史與當下之間;自我與他者之間。由此,我在這片陌生地形中重新學習進而穿越,並得以追問:何種平面在此以何種方式雜合?何種新的知識因之出現?何種實踐在製造這片空間?當下何以在這個特定的歷史中出現?I tried to enter the field since 2013 in both intellectual way and perceptual way. This is strange terrain comprising multiple familiar planes: between “nature” and society, between nation and state, between “tradition” and globalization, between history and the present, between kin and other. Here, on this strange terrain, I am learning how to traverse further, and go on to ask: what kinds of planes come together here in what complex way? What boundaries form? What new knowledge emerges as a result? What practices recreate this space? Through which historical practices can the present be revealed?(程新皓:“陌生地形”系列 CHENG Xinhao’s “Strangers Terrains” Series)

We tried to formulate as perfect a plan as possible. But last year, we could not have predicted this year.

Writing a story about the sea, we also are drifting in that sea.

Under the shadow of the pandemic, many things begin to seem trivial. In the months between last winter and this winter, we questioned the effectiveness of exhibitions a countless number of times, and even questioned the meaning of art itself. In times past, we always carefully considered the most ideal time to stage a show, dressed up in our best outfits for the opening, and invited our friends and acquaintances to attend. But today we are fully aware that this moment is certainly not the most auspicious time to open an exhibition. Yet when we say that we believe in the absolute necessity of presenting this exhibition at precisely this moment, it is because we seek to use the limited methods we are trained in to help recover what we have lost from the past, to help call our attention back to those things we were once too busy to notice, to treasure those things we have taken for granted, and to open our eyes to what we failed to see before.

When people are barely together, bringing their own desires and agendas with them, and anticipating that they will realise their pre-conceived concepts, desire obscures the virtue and an ‘only possibility’ can be seen, hence, the exhibition becomes no more than an empty vessel.

Equally, when we spend all our energy to create a seemingly perfect presentation, but turn a blind eye to the hardships and suffering of the real people behind it, then the exhibition itself becomes a form of violence.

Will the things we have abandoned come back to haunt us?

We thought about using the term “reverberation” to describe a certain moment in the future when the sense of history illuminates the present and causes people to suddenly experience an awakening.

Being inattentive to the present is an even more lamentable kind of forgetting, an even more willful kind of concealment.

But we now deeply feel that it is the existence of each person who enters this space that is creating the setting: each brings a layer of experience that becomes superimposed over other layers, to form an experiential multiplicity.

我相信人總是同時存在於過去與現在。在便攜數碼設備之前,我們僅僅依靠自我回憶,而現在這些記憶被算法物質化,(成為)數據和信息,將回憶變得粘滯,無法迴避。I believe humans have always simultaneously lived in the past and present. Before mobile devices, we do so by recalling our memories, and now such memories have been materialized as algorithms, data and information, which makes it much stickier and compulsive. ( 梁望琛 Joseph Leung Mong Sum)


In modern society material trumps imagination, people are too focused on ‘things’ as evidence of the ‘time’ lost in creating them, and become desensitised to the ‘now’; the historical narrative then becomes like the recovery of the ‘time’ lost in producing materials. ‘Now’ seems to become the transition from ‘the past’ to ‘the future’. Now examine transition as a philosophical concept – is it a process or a result? (LEE Kai-chung. 2019)

審查事件正好是當頭棒喝 —— 當用香港人的角度談論自身身份成為禁語時,我們或主動或被動地融合在過渡的結果中,或卡在進退兩難的狹縫裏(⋯⋯)(李繼忠,2019)

The censorship incident was a wake-up call – when it is forbidden for Hong Kong people to talk about their own identity, we actively or passively merge into the result of the transition, or get stuck in a very narrow gap; and when we are aware, we are part of the great transition, or pushing it (…) (LEE Kai-chung. 2019)


The practice of art as history is, within the limits of space and time, dealing with the ‘present tense’ and ‘present progressive tense’ of transition, and trying to force a rupture, and finally create multiple ‘presents’. (LEE Kai-chung. 2019)