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）
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.
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)