曾經構想得儘量完美。然而去歲怎知今年。
We tried to formulate as perfect a plan as possible. But last year, we could not have predicted this year.

為海撰寫故事時，我們亦都漂在海上。
Writing a story about the sea, we also are drifting in that sea.

疫症之下，很多事情開始變得無謂。從一個冬天過渡到另一個冬天，我們無數次質疑展覽的有效性，也反復詰問藝術的意義。以前，我們常常計算最佳的展覽時機，為了開幕日而盛裝打扮、呼朋喚友。今日一定不是一個展覽的好時機，但如果說我們此時此刻仍然感到其必要性，是想要用我們唯一擅長的方式來尋找往日裡我們失去的，感受那些我們無暇顧及的、珍惜那些我們習以為常的、看見那些曾不可見的。
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.

當人各有所求，勉強相聚，期待所有預設的概念變為現實時，慾望遮蔽了善念而成為「可見的」唯一，展覽於是也成為那副空洞的軀殼。
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.

當我們用盡全力呈現一個看似美麗的景象，卻對其後的人正在經歷的痛苦視而不見時，展覽也未嘗不是一種暴力。
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.

我們會否被我們摒棄的一切反噬？
Will the things we have abandoned come back to haunt us?

曾想要借用「殘響」來形容未來某時，歷史感映照當下，人刹那醒覺。
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.

忽視當下，又何嘗不是更可悲的遺忘，一種更主動的掩藏。
Being inattentive to the present is an even more lamentable kind of forgetting, an even more willful kind of concealment.

曾多努力去想如何將作品與現實勾連，有時甚至花費了太多力氣。今天我們卻深深感到，是因為每一個人的存在，讓多重時間疊加在這一展示空間之內。
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.

曾經構想得儘量完美。然而去歲怎知今年。
We tried to formulate as perfect a plan as possible. But last year, we could not have predicted this year.

為海撰寫故事時，我們亦都漂在海上。
Writing a story about the sea, we also are drifting in that sea.

疫症之下，很多事情開始變得無謂。從一個冬天過渡到另一個冬天，我們無數次質疑展覽的有效性，也反復詰問藝術的意義。以前，我們常常計算最佳的展覽時機，為了開幕日而盛裝打扮、呼朋喚友。今日一定不是一個展覽的好時機，但如果說我們此時此刻仍然感到其必要性，是想要用我們唯一擅長的方式來尋找往日裡我們失去的，感受那些我們無暇顧及的、珍惜那些我們習以為常的、看見那些曾不可見的。
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.

當人各有所求，勉強相聚，期待所有預設的概念變為現實時，慾望遮蔽了善念而成為「可見的」唯一，展覽於是也成為那副空洞的軀殼。
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.

當我們用盡全力呈現一個看似美麗的景象，卻對其後的人正在經歷的痛苦視而不見時，展覽也未嘗不是一種暴力。
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.

我們會否被我們摒棄的一切反噬？
Will the things we have abandoned come back to haunt us?

曾想要借用「殘響」來形容未來某時，歷史感映照當下，人刹那醒覺。
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.

忽視當下，又何嘗不是更可悲的遺忘，一種更主動的掩藏。
Being inattentive to the present is an even more lamentable kind of forgetting, an even more willful kind of concealment.

曾多努力去想如何將作品與現實勾連，有時甚至花費了太多力氣。今天我們卻深深感到，是因為每一個人的存在，讓多重時間疊加在這一展示空間之內。
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.

曾經構想得儘量完美。然而去歲怎知今年。
We tried to formulate as perfect a plan as possible. But last year, we could not have predicted this year.

為海撰寫故事時，我們亦都漂在海上。
Writing a story about the sea, we also are drifting in that sea.

疫症之下，很多事情開始變得無謂。從一個冬天過渡到另一個冬天，我們無數次質疑展覽的有效性，也反復詰問藝術的意義。以前，我們常常計算最佳的展覽時機，為了開幕日而盛裝打扮、呼朋喚友。今日一定不是一個展覽的好時機，但如果說我們此時此刻仍然感到其必要性，是想要用我們唯一擅長的方式來尋找往日裡我們失去的，感受那些我們無暇顧及的、珍惜那些我們習以為常的、看見那些曾不可見的。
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.

當人各有所求，勉強相聚，期待所有預設的概念變為現實時，慾望遮蔽了善念而成為「可見的」唯一，展覽於是也成為那副空洞的軀殼。
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.

當我們用盡全力呈現一個看似美麗的景象，卻對其後的人正在經歷的痛苦視而不見時，展覽也未嘗不是一種暴力。
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.

我們會否被我們摒棄的一切反噬？
Will the things we have abandoned come back to haunt us?

曾想要借用「殘響」來形容未來某時，歷史感映照當下，人刹那醒覺。
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.

忽視當下，又何嘗不是更可悲的遺忘，一種更主動的掩藏。
Being inattentive to the present is an even more lamentable kind of forgetting, an even more willful kind of concealment.

曾多努力去想如何將作品與現實勾連，有時甚至花費了太多力氣。今天我們卻深深感到，是因為每一個人的存在，讓多重時間疊加在這一展示空間之內。
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.

曾經構想得儘量完美。然而去歲怎知今年。
We tried to formulate as perfect a plan as possible. But last year, we could not have predicted this year.

為海撰寫故事時，我們亦都漂在海上。
Writing a story about the sea, we also are drifting in that sea.

疫症之下，很多事情開始變得無謂。從一個冬天過渡到另一個冬天，我們無數次質疑展覽的有效性，也反復詰問藝術的意義。以前，我們常常計算最佳的展覽時機，為了開幕日而盛裝打扮、呼朋喚友。今日一定不是一個展覽的好時機，但如果說我們此時此刻仍然感到其必要性，是想要用我們唯一擅長的方式來尋找往日裡我們失去的，感受那些我們無暇顧及的、珍惜那些我們習以為常的、看見那些曾不可見的。
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.

當人各有所求，勉強相聚，期待所有預設的概念變為現實時，慾望遮蔽了善念而成為「可見的」唯一，展覽於是也成為那副空洞的軀殼。
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.

當我們用盡全力呈現一個看似美麗的景象，卻對其後的人正在經歷的痛苦視而不見時，展覽也未嘗不是一種暴力。
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.

我們會否被我們摒棄的一切反噬？
Will the things we have abandoned come back to haunt us?

曾想要借用「殘響」來形容未來某時，歷史感映照當下，人刹那醒覺。
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.

忽視當下，又何嘗不是更可悲的遺忘，一種更主動的掩藏。
Being inattentive to the present is an even more lamentable kind of forgetting, an even more willful kind of concealment.

曾多努力去想如何將作品與現實勾連，有時甚至花費了太多力氣。今天我們卻深深感到，是因為每一個人的存在，讓多重時間疊加在這一展示空間之內。
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.

曾經構想得儘量完美。然而去歲怎知今年。
We tried to formulate as perfect a plan as possible. But last year, we could not have predicted this year.

為海撰寫故事時，我們亦都漂在海上。
Writing a story about the sea, we also are drifting in that sea.

疫症之下，很多事情開始變得無謂。從一個冬天過渡到另一個冬天，我們無數次質疑展覽的有效性，也反復詰問藝術的意義。以前，我們常常計算最佳的展覽時機，為了開幕日而盛裝打扮、呼朋喚友。今日一定不是一個展覽的好時機，但如果說我們此時此刻仍然感到其必要性，是想要用我們唯一擅長的方式來尋找往日裡我們失去的，感受那些我們無暇顧及的、珍惜那些我們習以為常的、看見那些曾不可見的。
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.

當人各有所求，勉強相聚，期待所有預設的概念變為現實時，慾望遮蔽了善念而成為「可見的」唯一，展覽於是也成為那副空洞的軀殼。
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.

當我們用盡全力呈現一個看似美麗的景象，卻對其後的人正在經歷的痛苦視而不見時，展覽也未嘗不是一種暴力。
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.

我們會否被我們摒棄的一切反噬？
Will the things we have abandoned come back to haunt us?

曾想要借用「殘響」來形容未來某時，歷史感映照當下，人刹那醒覺。
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.

忽視當下，又何嘗不是更可悲的遺忘，一種更主動的掩藏。
Being inattentive to the present is an even more lamentable kind of forgetting, an even more willful kind of concealment.

曾多努力去想如何將作品與現實勾連，有時甚至花費了太多力氣。今天我們卻深深感到，是因為每一個人的存在，讓多重時間疊加在這一展示空間之內。
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.

曾經構想得儘量完美。然而去歲怎知今年。
We tried to formulate as perfect a plan as possible. But last year, we could not have predicted this year.

為海撰寫故事時，我們亦都漂在海上。
Writing a story about the sea, we also are drifting in that sea.

疫症之下，很多事情開始變得無謂。從一個冬天過渡到另一個冬天，我們無數次質疑展覽的有效性，也反復詰問藝術的意義。以前，我們常常計算最佳的展覽時機，為了開幕日而盛裝打扮、呼朋喚友。今日一定不是一個展覽的好時機，但如果說我們此時此刻仍然感到其必要性，是想要用我們唯一擅長的方式來尋找往日裡我們失去的，感受那些我們無暇顧及的、珍惜那些我們習以為常的、看見那些曾不可見的。
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.

當人各有所求，勉強相聚，期待所有預設的概念變為現實時，慾望遮蔽了善念而成為「可見的」唯一，展覽於是也成為那副空洞的軀殼。
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.

當我們用盡全力呈現一個看似美麗的景象，卻對其後的人正在經歷的痛苦視而不見時，展覽也未嘗不是一種暴力。
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.

我們會否被我們摒棄的一切反噬？
Will the things we have abandoned come back to haunt us?

曾想要借用「殘響」來形容未來某時，歷史感映照當下，人刹那醒覺。
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.

忽視當下，又何嘗不是更可悲的遺忘，一種更主動的掩藏。
Being inattentive to the present is an even more lamentable kind of forgetting, an even more willful kind of concealment.

曾多努力去想如何將作品與現實勾連，有時甚至花費了太多力氣。今天我們卻深深感到，是因為每一個人的存在，讓多重時間疊加在這一展示空間之內。
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.

曾經構想得儘量完美。然而去歲怎知今年。
We tried to formulate as perfect a plan as possible. But last year, we could not have predicted this year.

為海撰寫故事時，我們亦都漂在海上。
Writing a story about the sea, we also are drifting in that sea.

疫症之下，很多事情開始變得無謂。從一個冬天過渡到另一個冬天，我們無數次質疑展覽的有效性，也反復詰問藝術的意義。以前，我們常常計算最佳的展覽時機，為了開幕日而盛裝打扮、呼朋喚友。今日一定不是一個展覽的好時機，但如果說我們此時此刻仍然感到其必要性，是想要用我們唯一擅長的方式來尋找往日裡我們失去的，感受那些我們無暇顧及的、珍惜那些我們習以為常的、看見那些曾不可見的。
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.

當人各有所求，勉強相聚，期待所有預設的概念變為現實時，慾望遮蔽了善念而成為「可見的」唯一，展覽於是也成為那副空洞的軀殼。
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.

當我們用盡全力呈現一個看似美麗的景象，卻對其後的人正在經歷的痛苦視而不見時，展覽也未嘗不是一種暴力。
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.

我們會否被我們摒棄的一切反噬？
Will the things we have abandoned come back to haunt us?

曾想要借用「殘響」來形容未來某時，歷史感映照當下，人刹那醒覺。
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.

忽視當下，又何嘗不是更可悲的遺忘，一種更主動的掩藏。
Being inattentive to the present is an even more lamentable kind of forgetting, an even more willful kind of concealment.

曾多努力去想如何將作品與現實勾連，有時甚至花費了太多力氣。今天我們卻深深感到，是因為每一個人的存在，讓多重時間疊加在這一展示空間之內。
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.

曾經構想得儘量完美。然而去歲怎知今年。
We tried to formulate as perfect a plan as possible. But last year, we could not have predicted this year.

為海撰寫故事時，我們亦都漂在海上。
Writing a story about the sea, we also are drifting in that sea.

疫症之下，很多事情開始變得無謂。從一個冬天過渡到另一個冬天，我們無數次質疑展覽的有效性，也反復詰問藝術的意義。以前，我們常常計算最佳的展覽時機，為了開幕日而盛裝打扮、呼朋喚友。今日一定不是一個展覽的好時機，但如果說我們此時此刻仍然感到其必要性，是想要用我們唯一擅長的方式來尋找往日裡我們失去的，感受那些我們無暇顧及的、珍惜那些我們習以為常的、看見那些曾不可見的。
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.

當人各有所求，勉強相聚，期待所有預設的概念變為現實時，慾望遮蔽了善念而成為「可見的」唯一，展覽於是也成為那副空洞的軀殼。
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.

當我們用盡全力呈現一個看似美麗的景象，卻對其後的人正在經歷的痛苦視而不見時，展覽也未嘗不是一種暴力。
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.

我們會否被我們摒棄的一切反噬？
Will the things we have abandoned come back to haunt us?

曾想要借用「殘響」來形容未來某時，歷史感映照當下，人刹那醒覺。
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.

忽視當下，又何嘗不是更可悲的遺忘，一種更主動的掩藏。
Being inattentive to the present is an even more lamentable kind of forgetting, an even more willful kind of concealment.

曾多努力去想如何將作品與現實勾連，有時甚至花費了太多力氣。今天我們卻深深感到，是因為每一個人的存在，讓多重時間疊加在這一展示空間之內。
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.

曾經構想得儘量完美。然而去歲怎知今年。
We tried to formulate as perfect a plan as possible. But last year, we could not have predicted this year.

為海撰寫故事時，我們亦都漂在海上。
Writing a story about the sea, we also are drifting in that sea.

疫症之下，很多事情開始變得無謂。從一個冬天過渡到另一個冬天，我們無數次質疑展覽的有效性，也反復詰問藝術的意義。以前，我們常常計算最佳的展覽時機，為了開幕日而盛裝打扮、呼朋喚友。今日一定不是一個展覽的好時機，但如果說我們此時此刻仍然感到其必要性，是想要用我們唯一擅長的方式來尋找往日裡我們失去的，感受那些我們無暇顧及的、珍惜那些我們習以為常的、看見那些曾不可見的。
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.

當人各有所求，勉強相聚，期待所有預設的概念變為現實時，慾望遮蔽了善念而成為「可見的」唯一，展覽於是也成為那副空洞的軀殼。
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.

當我們用盡全力呈現一個看似美麗的景象，卻對其後的人正在經歷的痛苦視而不見時，展覽也未嘗不是一種暴力。
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.

我們會否被我們摒棄的一切反噬？
Will the things we have abandoned come back to haunt us?

曾想要借用「殘響」來形容未來某時，歷史感映照當下，人刹那醒覺。
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.

忽視當下，又何嘗不是更可悲的遺忘，一種更主動的掩藏。
Being inattentive to the present is an even more lamentable kind of forgetting, an even more willful kind of concealment.

曾多努力去想如何將作品與現實勾連，有時甚至花費了太多力氣。今天我們卻深深感到，是因為每一個人的存在，讓多重時間疊加在這一展示空間之內。
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.

曾經構想得儘量完美。然而去歲怎知今年。
We tried to formulate as perfect a plan as possible. But last year, we could not have predicted this year.

為海撰寫故事時，我們亦都漂在海上。
Writing a story about the sea, we also are drifting in that sea.

疫症之下，很多事情開始變得無謂。從一個冬天過渡到另一個冬天，我們無數次質疑展覽的有效性，也反復詰問藝術的意義。以前，我們常常計算最佳的展覽時機，為了開幕日而盛裝打扮、呼朋喚友。今日一定不是一個展覽的好時機，但如果說我們此時此刻仍然感到其必要性，是想要用我們唯一擅長的方式來尋找往日裡我們失去的，感受那些我們無暇顧及的、珍惜那些我們習以為常的、看見那些曾不可見的。
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.

當人各有所求，勉強相聚，期待所有預設的概念變為現實時，慾望遮蔽了善念而成為「可見的」唯一，展覽於是也成為那副空洞的軀殼。
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.

當我們用盡全力呈現一個看似美麗的景象，卻對其後的人正在經歷的痛苦視而不見時，展覽也未嘗不是一種暴力。
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.

我們會否被我們摒棄的一切反噬？
Will the things we have abandoned come back to haunt us?

曾想要借用「殘響」來形容未來某時，歷史感映照當下，人刹那醒覺。
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.

忽視當下，又何嘗不是更可悲的遺忘，一種更主動的掩藏。
Being inattentive to the present is an even more lamentable kind of forgetting, an even more willful kind of concealment.

曾多努力去想如何將作品與現實勾連，有時甚至花費了太多力氣。今天我們卻深深感到，是因為每一個人的存在，讓多重時間疊加在這一展示空間之內。
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.

曾經構想得儘量完美。然而去歲怎知今年。
We tried to formulate as perfect a plan as possible. But last year, we could not have predicted this year.

為海撰寫故事時，我們亦都漂在海上。
Writing a story about the sea, we also are drifting in that sea.

疫症之下，很多事情開始變得無謂。從一個冬天過渡到另一個冬天，我們無數次質疑展覽的有效性，也反復詰問藝術的意義。以前，我們常常計算最佳的展覽時機，為了開幕日而盛裝打扮、呼朋喚友。今日一定不是一個展覽的好時機，但如果說我們此時此刻仍然感到其必要性，是想要用我們唯一擅長的方式來尋找往日裡我們失去的，感受那些我們無暇顧及的、珍惜那些我們習以為常的、看見那些曾不可見的。
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.

當人各有所求，勉強相聚，期待所有預設的概念變為現實時，慾望遮蔽了善念而成為「可見的」唯一，展覽於是也成為那副空洞的軀殼。
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.

當我們用盡全力呈現一個看似美麗的景象，卻對其後的人正在經歷的痛苦視而不見時，展覽也未嘗不是一種暴力。
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.

我們會否被我們摒棄的一切反噬？
Will the things we have abandoned come back to haunt us?

曾想要借用「殘響」來形容未來某時，歷史感映照當下，人刹那醒覺。
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.

忽視當下，又何嘗不是更可悲的遺忘，一種更主動的掩藏。
Being inattentive to the present is an even more lamentable kind of forgetting, an even more willful kind of concealment.

曾多努力去想如何將作品與現實勾連，有時甚至花費了太多力氣。今天我們卻深深感到，是因為每一個人的存在，讓多重時間疊加在這一展示空間之內。
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.

曾經構想得儘量完美。然而去歲怎知今年。
We tried to formulate as perfect a plan as possible. But last year, we could not have predicted this year.

為海撰寫故事時，我們亦都漂在海上。
Writing a story about the sea, we also are drifting in that sea.

疫症之下，很多事情開始變得無謂。從一個冬天過渡到另一個冬天，我們無數次質疑展覽的有效性，也反復詰問藝術的意義。以前，我們常常計算最佳的展覽時機，為了開幕日而盛裝打扮、呼朋喚友。今日一定不是一個展覽的好時機，但如果說我們此時此刻仍然感到其必要性，是想要用我們唯一擅長的方式來尋找往日裡我們失去的，感受那些我們無暇顧及的、珍惜那些我們習以為常的、看見那些曾不可見的。
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.

當人各有所求，勉強相聚，期待所有預設的概念變為現實時，慾望遮蔽了善念而成為「可見的」唯一，展覽於是也成為那副空洞的軀殼。
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.

當我們用盡全力呈現一個看似美麗的景象，卻對其後的人正在經歷的痛苦視而不見時，展覽也未嘗不是一種暴力。
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.

我們會否被我們摒棄的一切反噬？
Will the things we have abandoned come back to haunt us?

曾想要借用「殘響」來形容未來某時，歷史感映照當下，人刹那醒覺。
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.

忽視當下，又何嘗不是更可悲的遺忘，一種更主動的掩藏。
Being inattentive to the present is an even more lamentable kind of forgetting, an even more willful kind of concealment.

曾多努力去想如何將作品與現實勾連，有時甚至花費了太多力氣。今天我們卻深深感到，是因為每一個人的存在，讓多重時間疊加在這一展示空間之內。
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.

曾經構想得儘量完美。然而去歲怎知今年。
We tried to formulate as perfect a plan as possible. But last year, we could not have predicted this year.

為海撰寫故事時，我們亦都漂在海上。
Writing a story about the sea, we also are drifting in that sea.

疫症之下，很多事情開始變得無謂。從一個冬天過渡到另一個冬天，我們無數次質疑展覽的有效性，也反復詰問藝術的意義。以前，我們常常計算最佳的展覽時機，為了開幕日而盛裝打扮、呼朋喚友。今日一定不是一個展覽的好時機，但如果說我們此時此刻仍然感到其必要性，是想要用我們唯一擅長的方式來尋找往日裡我們失去的，感受那些我們無暇顧及的、珍惜那些我們習以為常的、看見那些曾不可見的。
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.

當人各有所求，勉強相聚，期待所有預設的概念變為現實時，慾望遮蔽了善念而成為「可見的」唯一，展覽於是也成為那副空洞的軀殼。
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.

當我們用盡全力呈現一個看似美麗的景象，卻對其後的人正在經歷的痛苦視而不見時，展覽也未嘗不是一種暴力。
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.

我們會否被我們摒棄的一切反噬？
Will the things we have abandoned come back to haunt us?

曾想要借用「殘響」來形容未來某時，歷史感映照當下，人刹那醒覺。
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.

忽視當下，又何嘗不是更可悲的遺忘，一種更主動的掩藏。
Being inattentive to the present is an even more lamentable kind of forgetting, an even more willful kind of concealment.

曾多努力去想如何將作品與現實勾連，有時甚至花費了太多力氣。今天我們卻深深感到，是因為每一個人的存在，讓多重時間疊加在這一展示空間之內。
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.

曾經構想得儘量完美。然而去歲怎知今年。
We tried to formulate as perfect a plan as possible. But last year, we could not have predicted this year.

為海撰寫故事時，我們亦都漂在海上。
Writing a story about the sea, we also are drifting in that sea.

疫症之下，很多事情開始變得無謂。從一個冬天過渡到另一個冬天，我們無數次質疑展覽的有效性，也反復詰問藝術的意義。以前，我們常常計算最佳的展覽時機，為了開幕日而盛裝打扮、呼朋喚友。今日一定不是一個展覽的好時機，但如果說我們此時此刻仍然感到其必要性，是想要用我們唯一擅長的方式來尋找往日裡我們失去的，感受那些我們無暇顧及的、珍惜那些我們習以為常的、看見那些曾不可見的。
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.

當人各有所求，勉強相聚，期待所有預設的概念變為現實時，慾望遮蔽了善念而成為「可見的」唯一，展覽於是也成為那副空洞的軀殼。
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.

當我們用盡全力呈現一個看似美麗的景象，卻對其後的人正在經歷的痛苦視而不見時，展覽也未嘗不是一種暴力。
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.

我們會否被我們摒棄的一切反噬？
Will the things we have abandoned come back to haunt us?

曾想要借用「殘響」來形容未來某時，歷史感映照當下，人刹那醒覺。
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.

忽視當下，又何嘗不是更可悲的遺忘，一種更主動的掩藏。
Being inattentive to the present is an even more lamentable kind of forgetting, an even more willful kind of concealment.

曾多努力去想如何將作品與現實勾連，有時甚至花費了太多力氣。今天我們卻深深感到，是因為每一個人的存在，讓多重時間疊加在這一展示空間之內。
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.

曾經構想得儘量完美。然而去歲怎知今年。
We tried to formulate as perfect a plan as possible. But last year, we could not have predicted this year.

為海撰寫故事時，我們亦都漂在海上。
Writing a story about the sea, we also are drifting in that sea.

疫症之下，很多事情開始變得無謂。從一個冬天過渡到另一個冬天，我們無數次質疑展覽的有效性，也反復詰問藝術的意義。以前，我們常常計算最佳的展覽時機，為了開幕日而盛裝打扮、呼朋喚友。今日一定不是一個展覽的好時機，但如果說我們此時此刻仍然感到其必要性，是想要用我們唯一擅長的方式來尋找往日裡我們失去的，感受那些我們無暇顧及的、珍惜那些我們習以為常的、看見那些曾不可見的。
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.

當人各有所求，勉強相聚，期待所有預設的概念變為現實時，慾望遮蔽了善念而成為「可見的」唯一，展覽於是也成為那副空洞的軀殼。
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.

當我們用盡全力呈現一個看似美麗的景象，卻對其後的人正在經歷的痛苦視而不見時，展覽也未嘗不是一種暴力。
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.

我們會否被我們摒棄的一切反噬？
Will the things we have abandoned come back to haunt us?

曾想要借用「殘響」來形容未來某時，歷史感映照當下，人刹那醒覺。
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.

忽視當下，又何嘗不是更可悲的遺忘，一種更主動的掩藏。
Being inattentive to the present is an even more lamentable kind of forgetting, an even more willful kind of concealment.

曾多努力去想如何將作品與現實勾連，有時甚至花費了太多力氣。今天我們卻深深感到，是因為每一個人的存在，讓多重時間疊加在這一展示空間之內。
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.

曾經構想得儘量完美。然而去歲怎知今年。
We tried to formulate as perfect a plan as possible. But last year, we could not have predicted this year.

為海撰寫故事時，我們亦都漂在海上。
Writing a story about the sea, we also are drifting in that sea.

疫症之下，很多事情開始變得無謂。從一個冬天過渡到另一個冬天，我們無數次質疑展覽的有效性，也反復詰問藝術的意義。以前，我們常常計算最佳的展覽時機，為了開幕日而盛裝打扮、呼朋喚友。今日一定不是一個展覽的好時機，但如果說我們此時此刻仍然感到其必要性，是想要用我們唯一擅長的方式來尋找往日裡我們失去的，感受那些我們無暇顧及的、珍惜那些我們習以為常的、看見那些曾不可見的。
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.

當人各有所求，勉強相聚，期待所有預設的概念變為現實時，慾望遮蔽了善念而成為「可見的」唯一，展覽於是也成為那副空洞的軀殼。
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.

當我們用盡全力呈現一個看似美麗的景象，卻對其後的人正在經歷的痛苦視而不見時，展覽也未嘗不是一種暴力。
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.

我們會否被我們摒棄的一切反噬？
Will the things we have abandoned come back to haunt us?

曾想要借用「殘響」來形容未來某時，歷史感映照當下，人刹那醒覺。
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.

忽視當下，又何嘗不是更可悲的遺忘，一種更主動的掩藏。
Being inattentive to the present is an even more lamentable kind of forgetting, an even more willful kind of concealment.

曾多努力去想如何將作品與現實勾連，有時甚至花費了太多力氣。今天我們卻深深感到，是因為每一個人的存在，讓多重時間疊加在這一展示空間之內。
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.

曾經構想得儘量完美。然而去歲怎知今年。
We tried to formulate as perfect a plan as possible. But last year, we could not have predicted this year.

為海撰寫故事時，我們亦都漂在海上。
Writing a story about the sea, we also are drifting in that sea.

疫症之下，很多事情開始變得無謂。從一個冬天過渡到另一個冬天，我們無數次質疑展覽的有效性，也反復詰問藝術的意義。以前，我們常常計算最佳的展覽時機，為了開幕日而盛裝打扮、呼朋喚友。今日一定不是一個展覽的好時機，但如果說我們此時此刻仍然感到其必要性，是想要用我們唯一擅長的方式來尋找往日裡我們失去的，感受那些我們無暇顧及的、珍惜那些我們習以為常的、看見那些曾不可見的。
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.

當人各有所求，勉強相聚，期待所有預設的概念變為現實時，慾望遮蔽了善念而成為「可見的」唯一，展覽於是也成為那副空洞的軀殼。
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.

當我們用盡全力呈現一個看似美麗的景象，卻對其後的人正在經歷的痛苦視而不見時，展覽也未嘗不是一種暴力。
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.

我們會否被我們摒棄的一切反噬？
Will the things we have abandoned come back to haunt us?

曾想要借用「殘響」來形容未來某時，歷史感映照當下，人刹那醒覺。
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.

忽視當下，又何嘗不是更可悲的遺忘，一種更主動的掩藏。
Being inattentive to the present is an even more lamentable kind of forgetting, an even more willful kind of concealment.

曾多努力去想如何將作品與現實勾連，有時甚至花費了太多力氣。今天我們卻深深感到，是因為每一個人的存在，讓多重時間疊加在這一展示空間之內。
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.

曾經構想得儘量完美。然而去歲怎知今年。
We tried to formulate as perfect a plan as possible. But last year, we could not have predicted this year.

為海撰寫故事時，我們亦都漂在海上。
Writing a story about the sea, we also are drifting in that sea.

疫症之下，很多事情開始變得無謂。從一個冬天過渡到另一個冬天，我們無數次質疑展覽的有效性，也反復詰問藝術的意義。以前，我們常常計算最佳的展覽時機，為了開幕日而盛裝打扮、呼朋喚友。今日一定不是一個展覽的好時機，但如果說我們此時此刻仍然感到其必要性，是想要用我們唯一擅長的方式來尋找往日裡我們失去的，感受那些我們無暇顧及的、珍惜那些我們習以為常的、看見那些曾不可見的。
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.

當人各有所求，勉強相聚，期待所有預設的概念變為現實時，慾望遮蔽了善念而成為「可見的」唯一，展覽於是也成為那副空洞的軀殼。
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.

當我們用盡全力呈現一個看似美麗的景象，卻對其後的人正在經歷的痛苦視而不見時，展覽也未嘗不是一種暴力。
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.

我們會否被我們摒棄的一切反噬？
Will the things we have abandoned come back to haunt us?

曾想要借用「殘響」來形容未來某時，歷史感映照當下，人刹那醒覺。
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.

忽視當下，又何嘗不是更可悲的遺忘，一種更主動的掩藏。
Being inattentive to the present is an even more lamentable kind of forgetting, an even more willful kind of concealment.

曾多努力去想如何將作品與現實勾連，有時甚至花費了太多力氣。今天我們卻深深感到，是因為每一個人的存在，讓多重時間疊加在這一展示空間之內。
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.