Liquid Ground 溢流地

‘Liquid Ground’ 8.14 – 11.14.2021, Para Site

Curated by Alvin Li and Junyuan Feng

‘LIQUID GROUND’ IS A PROPOSAL FOR A FUTURE COMMONS— STILL UP IN THE AIR—THAT WILL ONE DAY BE UNDERWATER. In Nagisa Oshima’s Cruel Story of Youth (1960), a concretearmoured coastline serves as the interface between postwar Japanese urban space and the uncharted, timeless ocean, a faultline along which the protagonists contemplate and whisper.

Parallel to its ‘lovers against the world’ plot is the agon between human-made tectonics and the erosive, elemental forces of nature. Now, decades later, humanity finds itself in an age of ever more intensive terraforming: from Singapore to Penang, Macau, and Shanghai, coastal cities across Asia have raced to turn bodies of water into solid ground where capital ebbs and flows at a supersonic speed of urbanisation unparalleled by their Western counterparts.

Hong Kong, too, is no stranger to land reclamation, with largescale projects dating back to the mid-nineteenth century. While in some instances, land reclamation projects are undertaken as preventative measures to 3

conserve diminishing landmass, there is an alarming tendency in these more recent initiatives to trade water for flattened, abstract tabulae rasae that often become theatres for technocratic hubris ad absurdum.

One recent example of this dark Prometheanism is ‘Lantau Tomorrow Vision’, a controversial infrastructure project proposed in 2018 by Hong Kong chief executive Carrie Lam. Touted as ‘a solid foundation for a sustain1 able future for Hong Kong’, the project aims to reclaim 1,700 hectares from the sea at HK$624 billion and to turn Lantau Island into Hong Kong’s third economic hub by 2030 — that is, a few decades before the supposed drowning of many Asian metropolises as a consequence of the climate catastrophe.

Amid this fugue of earth and water, this dialectic of solidification and dissolution, ‘Liquid Ground’ seeks to confront an as-yet-unsettled plan with a series of new commissions and

recent works. This attempt to problematise an urban development project through an art exhibition is prompted by a keen awareness concerning the increasing dependence of artistic infrastructure on developmentalist statecraft worldwide.

Take West Kowloon in Hong Kong, for instance: as architecture scholars Ying Zhou and Desmond Choi have observed in their study, the turbulent trajectory of this large-scale land reclamation project—now home to some of Hong Kong’s most prominent art institutions—is essentially a testament to the British colonial legacy of technocratic problem-solving and neoliberal governance. Underlying its development is an economic appropriation of culture in the name of regional urban competition, also destined as a means to pamper the elites’ ‘functionalist business instincts 2 for marketing entertainment.’

Similar strategies are at work in other recent cultural districts, such as West Bund in Shanghai: though not on reclaimed land, West Bund was once home to the now demolished Longhua Airport, which served as a persecution ground during World War II, then again during the

Cultural Revolution. After that, the area went through decades of industrialisation before the recent proliferation of museums and galleries gave it a brand new identity, boosting tourism while conveniently obscuring its dark history. Here, in these abstracted territories, art is strategically deployed to generate value and shroud blemishes both culturally and economically, performing ‘land reclamation’ in the North American sense of the term, namely restoring disturbed land to productive utility. To sustain art’s efficacy, it is therefore imperative to critically consider the grounds on which it circulates, and liquidise the congealed forms of its instrumentalisation.

Several new commissions on view in ‘Liquid Ground’ examine the state-of-the-art developmentalism sculpting Hong Kong’s environment and art infrastructure.

Cui Jie’s Rainfall Pavilion (2021), greeting visitors at the entrance, restores an altered pavilion by the late Hong Kong architect Chung Wah Nan to its original design. With painterly precision, Cui problematises the Hong Kong government’s removal of the artificial lake surrounding the pavilion and the sealing of its rooftop openings—aesthetic 4

decisions by Chung that had also served the socio-cultural function of connecting the public with nature—while alluding to the functionalist mindset driving much of urban development today at the expense of life quality. A prolific writer, Chung was highly critical of socio-spatial abuses perpetrated by real 3 estate developers in Hong Kong.

Resonating with Chung’s critique of exploitative real estate development, research by the newly founded Centre for Land Affairs on New World Development’s activities in the New Territories, presented as an installation, exposes the collusion between the government and the real estate sector underlying the narrative of Hong Kong’s land shortage (invariably described as a problem with land reclamation as the only possible solution, while the abundant brownfield sites reserved for business operators are elided), as well as the increasing deployment of artwashing and greenwashing by real estate giants to distract from their land abuse.

Central to the exhibition is the idea of the island as allegory, a theme which also foregrounds its spatial design. As ecological units and dwelling 5

places, islands are isolated but open, liminal but self-sufficient, constantly phase-shifting between solid, liquid, and spirit.

Confronting the Lantau Tomorrow Vision development plan, Zheng Bo’s and Zheng Mahler’s works (both new commissions) undermine the anthropocentric view of Lantau Island as a strategic stronghold by amplifying the voices of local plants and water buffaloes. Meanwhile, the speculative invocation by several other artists of sea myths and island cosmologies—long buried beneath the abstractions of land, washed dull with modern waters—gives viewers glimpses of other possible relationalities beyond those of today’s incentivised urbanism. Yi Xin Tong’s The Birth of Julung-Julung: The Aquatic Dragon (2019 – 20) documents his making and gifting of a musical instrument, in the shape of a mythological dragon, to the fishermen of Dinawan Island in Malaysia, inviting viewers to consider the practice of reciprocal exchange—fundamental to human society—as also crucial to restoring the broken equilibrium between humanity and nature. Through the fictional narrative of a pirate colony with a celebrated

tradition of mark-making in states of intoxication, Travis Jeppesen pays homage to the anarchic nature of many actually extant island cosmologies worldwide throughout history, positioning their Dionysian wildness against the prevailing view of social progress upheld by land-bound national governments. Heidi Lau and Future Host’s collaborative project draws inspiration from Shanhaijing (Book of Mountains and Seas), one of the earliest texts of Chinese ecological thinking, which describes the primordial world as water-filled and divided into eighteen sections along two cardinal axes, each area characterised by unique geography and beasts. These individuated, island-like microcosms afforded their species a sort of undifferentiated flourishing within their limits, contrasting sharply with the all-encompassing hierarchies of the Middle Kingdom that came into being after the Qin Dynasty. In the two millennia following the birth of centralised imperial rule, such ‘islands’ were disenchanted and assimilated into the larger sovereignty on the continent. Through ceramic sculptures and video performance, Lau and Future

Host reintroduce fabled species and mythical geography—lost to the expanse of continental Empire—back into contemporary formulations of queer ecological thought and kin-making.

Some of the works in the exhibition converse intertextually through shared attempts to excavate the coming into being of the planetary extraction machinery. By delving into historical minutiae, artists Riar Rizaldi and Gary Zhexi Zhang debunk, each in their own way, the deceitful myth of an ‘inevitable’ extractivist present. Riar Rizaldi’s Tellurian Drama (2019) tells an erratic story about the fortune and misfortune of Mount Malabar during and after the heyday of the Dutch colonial regime in Indonesia.

Full of unexpected plot twists, the film probes into a possible world where the mountain itself is seen as a pathway for spiritual communication, instead of shackled as a signal amplifier for the colonial master’s communication network. The reverence for mountains in Javanese cosmologies hints at a very different understanding of infrastructure—one oriented by the spiritual rather than the utilitarian. The modes of existence of a 6

spiritual medium are not entirely decodable by human beings, and thus not subject to appropriation or exploitation—and any acknowledgement of these modes of existence as such must diverge squarely from the colonial extractivist imperative.

On a related note, to sustain the ceaseless material extraction and infrastructural proliferation of the colonised world, early modern empires developed a confounding array of ostentatious technologies under the umbrella of ‘finance’. The age of empires at the end of the 19th century coincided with the birth of a system called ‘the economy’, over which individuals would have little influence. This financial and economic system consisted of not only operational techniques and social institutions, but also narratives and parafictions necessary to make these machines and institutions workable. Zhang recognises the fictionalisation fever inherent in the modern realm of finance, where giving value means telling stories. The 19th-century financial scam at the centre of inquiry in Zhang’s work has cast a long shadow in the past two hundred years, during which financial scams and economic 7

crises have occurred and recurred in never-ending downward spirals, pushing both the human and nonhuman worlds to a point of no return.

The habitual understanding of matter as ‘inanimate’, raw, brute, dull, and inert, may seem less indisputable after a close reading of the urban environment in our immediate vicinity—infrastructure consisting of apparently mechanical and tame materials whose modes of operation are ostensibly clear to us, which we deem ‘infra-’ or ‘underlying’. A group of works in the exhibition reinstates the intrinsic agencies of matter, with their potentials to disrupt or rebel against wishfully precalculated human agenda. Lee Kai Chung’s multimedia installation Sea-sand Home confronts the hubris at play in technocratic infrastructural infatuation, re-acknowledging the chemical agency that sand has in the deceptively quotidian construction process. The piece’s title is a poignant description of human-made structures faced with an impending climate doomsday and the inexorable process of entropy. Leelee Chan also reads the urban environment with a sculptor’s eye, full of sensitivity

for material idiosyncrasies. Absorber #2 (2017) is the fruit of a journey through Hong Kong in search of asphalt debris. The sculpture’s crumbling asphalt lays bare a temporal scale far beyond that of a simple human lifetime, pointing to a humanless future when urban structures will continue to exist in the form of ruins—memento mori of our time. Parallel to the materiality of the urban environment is its heavily administered flow of energy. Of all the forms of energy traversing urban spaces—electric, thermal, kinetic, and luminous—sonic energy’s peculiar somatic resonance has a particular emancipatory potential.

Channelling the rave energy of a war-torn, trash-ridden Beirut, Jessika Khazrik conjures a ritualistic site of mourning in the shape of a dance floor installation and transforms the historical trauma of her homeland into cathartic vibrations and sound waves—forms of energy much needed in the struggle to defend livable coastal cities across the globe.

On another, more formal plane, the exhibition extends its investigation of modernity and developmentalism towards the aesthetic legacy of modernism,

which several artists critique or recuperate. Ho Rui An’s video Shell Revolution (2018) contemplates the extractivist aesthetics behind the Royal Dutch Shell’s increasingly flattened logo. In 1955 New York, interestingly enough, the then prevailing version of this very logo—to this day a quintessential signifier of corporate dominance—was shown as an example of outstanding graphic design in the exhibition ‘Signs in the Street’ at the Museum of Modern Art. Though this inclusion may have been determined on purely formal grounds, it also inadvertently betrayed the institution’s close alignment with capitalist imperatives at the time (as argued persuasively by the late architect, curator and MoMA 4 associate Bernard Rudofsky).

Rendering the gradual transformation of the logo in silent animation, Ho’s eerie video provides an object lesson in how a kind of sleek, abstract aesthetic became entangled with the idealist fantasy of globalisation, alluding to the pitfalls of aesthetic appreciation heedless of sociopolitical and ecological ramifications. Minimalist sculptures in the 1960s, such as those by Donald Judd and Robert Morris, 8

were exemplary in intermingling art’s objecthood with its viewing experience. Through a novel reading of minimalist mediation between mind and matter, experience and objecthood, Alice Wang’s new sculpture employs mirrored reflections and porcelain fragments inlaid with gold to weave an allegory for impermanence. In a similar vein, the aforementioned work by Lee Kai Chung expands on the idea of the ‘non-site’ developed by Land Art pioneer Robert Smithson in the late 1960s. Through site/ non-site dialectics, Smithson attempted to represent the entanglement between there and here, open and closed, natural and human-made: the site was ‘the physical, raw reality’ of a specific locale, while the nonsite was a sample of that reality 5 displayed elsewhere. Adopting a comparable strategy, Lee’s multimedia installation, which unfolds around a pile of salt crystals, reveals the hideous extraction happening at sand mining sites while bringing a corresponding sense of urgency into the white cube.

One and a half years in the making and postponed several times due to the Covid-19 pandemic, ‘Liquid Ground’ has 9

finally come to fruition just as Lantau Tomorrow Vision sails through various chambers of the Hong Kong SAR government— despite ongoing public opposition—towards its actualisation.

With the ground on which we stand erratically shifting, new choreographies must be constantly rehearsed to catch its rhythm. It is our hope that this collective effort will engage and mobilise the public to forge new networks of solidarity in a deteriorating environment, and towards a commons founded on the necessity of limits to growth, of respect for local histories, ancestral knowledge, material agencies, and multispecies entanglement.

Alvin Li and Junyuan Feng

1.

Sustainable Lantau Office—Lantau Tomorrow Vision, www.lantau.gov.hk/en/lantau-tomorrow-vision/index.html.

2. Zhou Ying, and Desmond Choi. “West Kowloon, Hong Kong: A Transport-Oriented Development with Culture”. The Grand Projet: Towards Adaptable and Liveable Urban Megaprojects, edited by Kees Christiaanse, Anna Gasco, and Naomi Hanakata, Amsterdam: NAi Publishers, 2019, p149–98.

3. Chung Wah Nan, 大國不崇洋, China Architecture Building Press, 2008, p214.

4. For more information on ‘Signs in the Street’, refer to the exhibition press release on the MoMA website. See also Felicity D. Scott’s study of the late architect and curator Bernard Rudofsky, to whose critique of modernism we owe a great deal. MoMA’s modernist legacy for this recontextualization of Ho Rui An’s work. Felicity D. Scott, Disorientation: Bernard Rudofsky in the Empire of Signs, Berlin: Sternberg Press, 2016.

5. Robert Smithson, “A Provisional Theory of Non-sites.” Robert Smithson: The Collected Writings, edited by Jack Flam, University of California Press, 1996, p364.

「 溢流地」 8.14 – 11.14.2021， Para Site

策展人 李佳桓與馮駿原

‘LIQUID GROUND’ IS A PROPOSAL 「溢 流地」 FOR A FUTURE COMMONS— 是關於未來公地的 STILL UP IN THE AIR—THAT WILL ONE 一次提案，它尚在半空之中， DAY BE UNDERWATER.

但終將沉入水底。

In Nagisa Oshima’s Cruel Story conserve diminishing landmass, of Youth (1960), a concrete- 在大島渚的《青 there is an alarming tendency 1960 armoured coastline serves春殘酷物語》（ as in these more recent initiatives the interface between年）中，混凝土防波堤包裹 postwar to trade water for flattened, 的海岸線成為了戰後日本都市 Japanese urban space and the abstract tabulae rasae that 空間與神秘莫測、亙古不變的海 uncharted, timeless ocean, a often become theatres for technocratic hubris ad absurdum. 洋之間的分界線。站在這條斷層 faultline along which the protagonists contemplate and whisper. One recent example of this dark 線之上，主人翁們有時陷入沉思， 有時低聲細語。與電影中「戀人反抗世 Parallel to its ‘lovers against the Prometheanism is ‘Lantau Tomorrow Vision’, a controversial 界」故事線平行展開的，是大規模人工構造 world’ plot is the agon between infrastructure project proposed 與自然元素具腐蝕性的力量之間的競爭。數十年後 human-made tectonics and 的今天，我們置身於一個「地球化」工程日漸泛濫的時 in 2018 by Hong Kong chief exthe erosive, elemental forces ecutive Carrie Lam. Touted as 代：從新加坡、檳城、澳門到上海，亞洲的海濱城市爭相將 of nature.

Now, decades later, 水體轉化為堅實的地表，使資本可以在其之上以西方城市不 humanity finds itself in an age of ‘a solid foundation for a sustain1 able future for Hong Kong’, the 能相比的發展速度流動、運轉。香港同樣有漫長的填海造陸 ever more intensive terraforming: from Singapore to Penang, project aims to reclaim 1,700 史，最早的大規模填海項目可追溯至十九世紀中葉。儘管一 Macau, and Shanghai, coastal hectares from the sea at HK$624 些填海工程是為了保育土地資源採取的必要預防措施， cities across Asia have raced to 但人們還是能在太多最近的規劃中，嗅到一個令人擔 billion and to turn Lantau Island turn bodies憂的趨勢：城市以平坦、抽象的「白板」取代水體， of water into solid into Hong Kong’s third economic hub by 2030 — that is, a few 而技術官僚便以此為劇場中央，上演癲狂的傲慢戲碼。 ground where capital ebbs and decades before the supposed 「明日大嶼願景」便是這黑暗普羅米修斯主義的最新 flows at a supersonic speed of drowning of many Asian metrourbanisation例證。這一大規模基建項目由香港特區行政長官林 unparalleled by 2018 年提出，宣稱能「為香港未來的可 polises as a consequence of the their Western鄭月娥於 counterparts.

1 6,240 ，通過耗資 持續發展奠定穩固基礎」 climate catastrophe.

Hong Kong, too, is no stranger 1700 億港元填海造陸獲得 Amid公頃土地，在 this fugue of earth and to land reclamation, with large2030 年之前將大嶼山轉變為香港第三 scale projects dating back to the water, this dialectic of solidification and dissolution, ‘Liquid 大經濟中心——然而再過幾十年， mid-nineteenth century.

While Ground’ seeks to confront an in some instances, land 亞洲諸多大都會將因氣候災難 reclamation projects are undertaken 而長眠海底。 as-yet-unsettled plan with a as preventative measures to series of new commissions and 11

recent works. This attempt to Cultural Revolution. After that, problematise an urban在水與土的 developthe area went through decades ment project through an art 賦格曲、固化與溶解的 of industrialisation before the 辯證法之間，「溢流地」試 exhibition is prompted by a recent proliferation of museums 圖以一系列委託作品和藝術家近 keen awareness concerning the and galleries gave it a brand new 作直面一個仍未定型的計劃。是次通 increasing dependence of aridentity, boosting tourism while tistic infrastructure on develop- conveniently obscuring its dark 過藝術展覽來詰問都市發展計劃的嘗試， mentalist statecraft worldwide. 來自一個強烈的體認：全世界的藝術基礎 history. Here, in these abstracted territories, art is strategically Take West設施對發展主義施政策略的依賴在不斷增強。 Kowloon in Hong deployed to generate value and Kong, for以香港西九龍為例，建築學者周穎和蔡旻傑在 instance: as architecture她們的研究中指出，這個命運多舛的大規模填海 scholars Ying Zhou and shroud blemishes both culturally and economically, performing Desmond Choi have observed 項目（現在是香港最著名的數間藝術機構的所在 ‘land reclamation’ in the North 地），基本上是英國殖民統治遺留的證明，包括 in their study, the turbulent trajectory of this large-scale land American sense of the term, 處理問題的技術官僚與新自由主義的管理體系。 reclamation project—now home 在西九龍項目發展的背後，是一種以區域性都市 namely restoring disturbed land to some of Hong Kong’s most 競爭之名，從經濟考量出發的文化挪用，同時也 to productive utility. To sustain 注定淪為一種呵護「精英營銷娛樂的功能主義商 prominent art institutions—is art’s efficacy, it is therefore im2 perative to critically consider the 。類似的策略可以在近來興起 業直覺」的手段 essentially a testament to the grounds on which it circulates, British的其他文化區中觀察到，例如上海的西岸，儘 colonial legacy of technocratic problem-solving and 管並非填海造地，其前身龍華機場，曾在二戰 and liquidise the congealed 和文革期間被徵用為刑場，而後又經歷了數十 neoliberal governance. Underforms of its instrumentalisation. lying its development is an eco年的工業化，直到近年來美術館和畫廊的湧現 Several new commissions on nomic賦予它新的身份，不僅帶動了觀光，又恰恰掩 appropriation of culture view in ‘Liquid Ground’ examine in the蓋了當地的晦暗歷史。在這些或抽象、或意義 name of regional urban the state-of-the-art developmentalism sculpting Hong Kong’s en被抽離的領土上，藝術被策略性地運用，在 competition, also destined as vironment and art 展覽中幾 infrastructure. 文化上與經濟上生產價值和掩飾傷疤，執 a means to pamper the elites’ Land Reclamation ） Rainfall 件新委託作品審 Cui Jie’s Pavilion (2021), 行了「填海造陸」（ ‘functionalist business instincts 2 一詞在北美語境中的另一個意義—— 視現行發展主義思 greeting visitors at the entrance, for marketing entertainment.’ 「土地復墾」，將荒地重新開墾出生 潮如何形塑香港的環 Similar strategies are at work in restores an altered pavilion by 境與藝術基礎設施。在 other產力。因此，為了維護藝術的效力， recent cultural districts, the late Hong Kong architect 展覽入口的新作《聽雨 such 就必須批判性地思考藝術流通的 as West Bund in Shanghai: Chung Wah Nan to its original 2021 年）中，崔 亭》（ though地基，並溶解已固型的各種 not on reclaimed land, design. With painterly precision, 潔以精細的筆觸復原 將藝術工具化的形式。 West Bund was once home to Cui problematises the Hong 了已故的香港建築 the now demolished Longhua Kong government’s removal of 師鍾華楠設計的 Airport, which served as a perthe artificial lake surrounding secution ground during World the pavilion and一座涼亭， the sealing of War II, then again during the its rooftop openings—aesthetic 12

decisions by Chung that had places, islands are isolated but 香港政府後來填平了open, liminal but self-sufficient, also served the socio-cultural 周圍的人工湖，並封補了亭頂開口，這些出於 function of connecting the pubconstantly phase-shifting belic with nature—while alluding tween solid, liquid, and spirit. 鍾氏當年美學考量的設計，賦予涼亭連接公眾與自 然的社會文化功能。藝術家質疑這種以犧牲生活品質 to the functionalist mindset Confronting the Lantau Tomorrow Vision development plan, 的代價來發展更新都市的功能主義思維。鍾氏同時亦是一 driving much of urban development today at the expense of life Zheng Bo’s and Zheng Mahler’s 位高產的作者，他曾抨擊香港地產商糟蹋社會空間和環境資 3 quality.源的惡行 A prolific。與鍾氏對剝削式地產發展的批評一脈相承， writer, Chung works (both new commissions) 2021 年成立的土地關係中心，在是次展覽中以裝置的形式 was highly critical of socio-spaundermine the anthropocentric tial abuses perpetrated by real 呈現了有關新世界發展有限公司在新界活動的研究，揭露 view of Lantau Island as a stra3 estate香港土地短缺這套說辭背後，政府與地產業者之間的勾 developers in Hong Kong. tegic stronghold by amplifying 結（土地短缺往往被描述為香港面臨的問題，而填海 Resonating with Chung’s critique the voices of local plants and 是唯一可行的解決之道，卻絕口不提大量的富餘 of exploitative real estate develwater buffaloes. Meanwhile, the opment, research by the newly 棕地被保留給地產商的事實），並指出：地產 speculative invocation by several other artists of sea myths and founded Centre for Land Affairs 霸權越來越慣用藝術和環保來轉移大眾 island cosmologies—long buried on New World Development’s 對他們濫用土地 的關注。 beneath the abstractions of activities in the New Territories, 島嶼作為意象 land, washed dull with modern presented as an installation, exposes the collusion between the waters—gives viewers glimpses 是貫串整個展覽的母 題，也是展覽空間設計的主 government and the real estate of other possible relationalities 線。島嶼，作為生態學單位和棲居之地，既封閉 sector underlying the narrative beyond those of today’s incentivised urbanism. Yi Xin Tong’s 又開放，既是閾限空間又自給自足，在固態、液態、靈性 of Hong Kong’s land shortage Zheng 之間不斷變幻。直面「明日大嶼願景」計劃，鄭波與 The Birth of Julung-Julung: The (invariably described as a probMahler 的作品（均為本次展覽委託創作）透過放大在地植物與 lem with land reclamation as Aquatic Dragon (2019 – 20) doc水牛的聲音，顛覆了發展項目背後把大嶼山視作戰略重鎮的人類 the only possible solution, while uments his making and gifting 中心主義觀點。另外幾位藝術家思辨式地援引長期被掩埋在抽 of a musical instrument, in the the abundant brownfield sites 象的土地敘事之下、被現代浪潮沖淡的海洋神話與島嶼宇宙 shape of a mythological dragon, reserved for business operators 觀——讓觀眾得以窺視現今功利主義的城市化模式之外更多樣 to the fishermen of Dinawan are elided), as well as the in2019 至 2020 年） creasing deployment of artwash- Island in Malaysia, 的關係可能性。童義欣的《蛟龍誕生》（ inviting ing and greenwashing by real 記錄了他製作並贈予馬來西亞金之島漁民一件龍形樂器的過 viewers to consider the practice 程，邀請觀眾思考互惠交換這個人類社會的基本實踐，是否 estate giants to distract from of reciprocal exchange—fundaTravis mental to human society—as their land在恢復人類與自然之間被破壞的平衡中同樣至關重要。 abuse. 虛構了一個海盜殖民地，其島民有一項名聞遐邇的 also crucial to restoring the Central Jeppesen to the exhibition is broken equilibrium between the idea of傳統：他們會在各種程度的迷醉狀態下創作印跡標註。藉此， the island as allegory, a theme 藝術家頌揚了歷史上諸多真實存在的無政府主義式島嶼 which also forehumanity and nature. Through grounds its spatial宇宙觀，將其酒神般的縱情狂野，與大陸國家政 design. As the fictional narrative of a pirate colony with a celebrated 府高舉的社會進步主流觀點相對照。 ecological units and dwelling 13

tradition of mark-making in 劉慧德與 Host reintroduce fabled species 未來主人的合作項目從《山海經》這部蘊 states of intoxication, Travis and mythical geography—lost 含中國最古老的生態觀念的文本中汲取靈感，書 Jeppesen pays homage to the to the expanse of continental 中的世界由被東南西北四大方向分割的十八山、海、 anarchic nature of many actuEmpire—back into contemporary ally大荒組成，各有獨特的山川地理與奇花異草、珍禽異 extant island cosmologies formulations of queer ecological 獸。這些仿若島嶼般獨立的微縮世界在各自的界限之 worldwide throughout history, thought and kin-making. 中，賦予各物種無差別地滋養生息的條件，這與秦代 positioning their Dionysian Some of the works in the 之後中原王朝統御一切的制度形成了鮮明對比。自中 wildness against the prevailing exhibition converse intertextually through shared attempts 央集權的帝國統治建立後的兩千多年裡，這些「島 view of social progress upheld to excavate the coming into be嶼」漸漸被袪魅、同化、納入大陸國家的統御。劉 by land-bound national governments. Heidi Lau and Future ing of the planetary extraction 慧德和未來主人運用陶瓷雕塑及錄像表演，向觀 Host’s collaborative project machinery. By delving into 眾重新介紹這些神話中的生物與地理——它 draws inspiration from Shanhistorical minutiae, artists Riar 們失落於帝國的開疆拓土，卻在當代 haijing (Book of Mountains and 的酷兒生態與親緣締結中重 Rizaldi and Gary Zhexi Zhang Seas), one展覽中的 of the earliest texts 出江湖。 debunk, each in their own way, 一些作品不約而同地 of Chinese ecological thinking, the deceitful myth of an ‘inevitable’ extractivist present. Riar 嘗試考據機械榨取地球的歷史軌 which describes the primordial Rizaldi 和Tellurian Drama (2019) 跡，形成了相互呼應。藝術家 world as water-filled and divid- RiarRizaldi’s ed張哲熙分別以不同的途徑，深入歷史的細節，戳破當下所謂 into eighteen sections along tells an erratic story about Riar Rizaldi 的《地球戲 「不可避免」的榨取主義充斥謊言的迷思。 two cardinal axes, each area the fortune and misfortune 2019 年）講述荷蘭殖民時期和之後，印尼馬拉巴爾火山命運無 劇》（ characterised by unique geogra- of Mount Malabar during and phy and beasts. These individ常的故事。影片中充滿許多意想不到的轉折，意在探討一個可能存在 after the heyday of the Dutch uated, island-like microcosms 的世界中，山作為靈性交流的媒介，而非受限於作為殖民者通訊網絡的 colonial regime in Indonesia. 訊號放大器。爪哇宇宙觀中對山的崇敬，展示了一種對「基礎設施」截 afforded their species a sort Full of unexpected plot twists, of然不同的理解，以精神靈性而非實用價值為導向。靈性媒介的存在模式 undifferentiated flourishing the film probes into a possible 並非人類可以完全理解的，更不用說被侵佔或剝削了，而任何對這些存 within their limits, contrasting world where the mountain itself 在模式的承認都必須和殖民主義的榨取行為劃清界線。在另一個相關 sharply with the all-encompass- is seen as a pathway for spiriing的議題上，為了維持殖民地無休止的資源開發與基礎建設，近世帝國 hierarchies of the Middle tual communication, instead of Kingdom that came into being shackled as a signal amplifier 在「金融」的名號下，發展出一系列叫人困惑、徒有其表的技術。十 after九世紀末的帝國時代同時也見證了個體似乎永遠無法左右的「經 the Qin Dynasty. In the two for the colonial master’s communication network. The rever濟」系統的誕生，此經濟與金融的體系不僅包括經營技術和社會 millennia following the birth of ence for mountains in Javanese 機構，還有讓這些機器和機構能夠運行的配套敘事與虛構。張 centralised imperial rule, such 哲熙辨識出現代金融領域對於編造事實的狂熱，因為賦予 ‘islands’ were disenchanted and cosmologies hints at a very 價值等同講一套故事。張氏的作品以十九世紀的金融騙 assimilated into the larger sover- different understanding of infraeignty on局為中心，過去的兩百年間，此案影響深遠，金融 the continent. Through structure—one oriented by the ceramic sculptures and video spiritual rather than the utilitar詐騙和經濟危機再三發生，在永不止息的惡 ian. The modes of existence of a performance, Lau 性循環中，把人類與非人類的世界 and Future 推向一條不歸路。 14

spiritual medium are not entirely crises have occurred and recurred in never-ending downdecodable by human beings, 當代存在 ward spirals, pushing both the and thus not subject to appropriation or exploitation—and 一種慣常思維，視 human and nonhuman worlds to any acknowledgement of these 物質為「無生命的」、 a point of no return. modes of existence as such 粗糙的、赤裸的、遲鈍的、被 The habitual understanding must diverge squarely from動的，然而一旦我們仔細審視周 the of matter as ‘inanimate’, raw, 遭的城市環境，這一想法將不再是不 colonial extractivist imperative. brute, dull, and inert, may seem 容置喙的——城市環境的基礎設施由表 On a related note, to sustain the less indisputable after a close 面上機械和順從的材料構成，這些材料 ceaseless material extraction reading of the urban environment in our immediate vicini的作用對我們來說似乎是清晰明了的， and infrastructural proliferation ty—infrastructure consisting 因此被認為是「基礎」的。展覽中，一 of the colonised world, early of apparently mechanical and 組作品嘗試重新體認物質的內在能動性， modern empires developed a 它們有充分的潛能去擾亂、反叛那些一 tame materials whose modes of confounding array of ostentatious technologies under廂情願地事先算計的人類訴求。李繼忠 the operation are ostensibly clear 年）挑戰 umbrella of ‘finance’. The age of 的多媒體裝置《海砂屋》（ to us, which 2021 we deem ‘infra-’ or 了技術官僚在其基礎設施迷戀中展現的狂妄 empires at the end of the 19th ‘underlying’. A group of works in century coincided自大，重新承認了砂在看似平淡無奇的建造過 with the birth the exhibition reinstates the intrinsic agencies of matter, with 程中所具有的化學能動性。作品的標題是對氣 of a system called ‘the economy’, over which候危機和熵增過程雙重威脅下人工構築的可悲 individuals their potentials to disrupt or 的闡釋。陳麗同也以雕塑家的眼光審視城市空間， would have little influence. This rebel against wishfully precal#2》（ 2017 年） culated human agenda.

Lee Kai 對物質特性尤為敏感。《吸收體 financial and economic system 源於藝術家在香港沿途收集瀝青碎片的數次漫遊。 consisted of not only operational Chung’s multimedia installation 雕塑中的瀝青碎塊赤裸呈現遠超於人類生命的時 Sea-sand Home confronts the techniques and social institutions, but also narratives and 間尺度，指向一個人類滅絕的未來，而城市結構將 hubris at play in technocratparafictions會以廢墟的形式繼續存在，是為當代版的「人終有 necessary to make ic infrastructural infatuation, memento mori）。與城市環境的物質性平行 一死」（ re-acknowledging the chemical these machines and institutions 存在的是受高度管制的能量流。在城市空間中穿行的 agency that sand has in the workable.

Zhang recognises the 如電能、熱能、動能、光能等各類能量中，聲能因其 deceptively quotidian construcfictionalisation fever inherent Jessika tion process. The piece’s title 可以與人體直接共振而具有特殊的解放潛能。 in the modern realm of finance, Khazrik 以舞池裝置召喚出舉行悼念儀式的場所，傳 is a poignant description of huwhere giving value means telling stories.

The 19th-century man-made structures faced with 達了在戰火紛飛、垃圾遍地的貝魯特依然迸發的狂 financial野派對能量，將藝術家家鄉的歷史創傷轉化為宣 scam at the centre of an impending climate doomsday 洩的振動與聲波，這些形式的能量是全球海 inquiry in Zhang’s work has cast and the inexorable process of a long shadow in the 濱城市爭取捍衛自身居住條件 past two entropy. Leelee Chan also reads 時所尤為需要的。 hundred years, during which the urban environment with a financial scams and economic sculptor’s eye, full of sensitivity 15

for material idiosyncrasies. Abwhich several artists critique or sorber #2 (2017) is the fruit of a recuperate. Ho Rui An’s video journey through Hong Kong in在另一個更形 Shell Revolution (2018) contemplates the extractivist aesthetics 式性的層面上，展覽將其 search of asphalt debris. The behind the Royal Dutch Shell’s sculpture’s crumbling對現代性和發展主義的檢視延伸至 asphalt 現代主義的美學遺產，其中幾位藝術 increasingly flattened logo. In lays bare a temporal scale far 家對此進行了批判或復原。何銳安的錄 1955 New York, interestingly beyond that of a simple human 2018 the年）思考了荷蘭 then prevailing lifetime, pointing to a像作品《蜆殼革命》（ humanless enough, 皇家蜆殼公司日益扁平化的商標背後的榨取主義 version of this very logo—to this future when urban structures 美學。這個商標是企業主導的典型代表，有趣的是， will continue to exist in the form day a quintessential signifier 1955 年紐約現 它也曾作為優異平面設計的範例，被收入 of corporate dominance—was of ruins—memento mori of our 代藝術博物館的「街頭標誌」展覽。儘管此商標的展出可 shown as an example of outtime. Parallel to the materiality standing graphic design in the 能僅基於形式美學的考慮，卻無意中暴露了現代藝術博物館 of the urban environment is its 與資本主義規則的共謀​ ​— —持這一觀點的代表就是已故建築 exhibition ‘Signs in the Street’ heavily administered flow of en4 Bernardof Rudofsky ergy. Of all the forms of energy 師、策展人以及現代藝術博物館同僚 at the Museum Modern。在 Art. 何氏怪誕的錄像中，蜆殼商標以無聲動畫的形式逐漸變化，向 traversing urban spaces—elecThough this inclusion may have tric, thermal, kinetic, and lumi觀眾展示一種光滑、抽象的美學是如何與全球化的理想主義幻 been determined on purely 1960 nous—sonic energy’s peculiar 夢糾纏，同時影射不顧社會政治和生態影響的審美陷阱。 formal grounds, it also inadverDonald Judd tently betrayed the institution’s 年代以 為代表的極簡主義雕塑作 somatic resonance has與 a Robert par- Morris ticular emancipatory potential. 品，足堪典範地融合了藝術的物性與其觀看體驗。王凝慧的新 close alignment with capitalist 雕塑極富新意地解讀了極簡主義在心智與物質、經驗與物性之間 Channelling the rave energy of imperatives at the time (as argued persuasively by the late 的折衷協調，運用鏡面反射和鑲金瓷片編織出了一齣萬物無常的 a war-torn, trash-ridden Beirut, 1960 curator 年代末期大地藝 寓言。與此類似，上述李繼忠的作品擴展了 architect, and MoMA Jessika Khazrik conjures a rit4 ualistic site of Smithson mourning in the 提出的非現場觀念。通過現場、非現場 術先軀 Robert associate Bernard Rudofsky).

Smithson 試圖捕捉此處與彼處、開放與封閉、自然 的辨證， shape of a dance floor installaRendering the gradual transtion and transforms the historiformation of the logo in silent 與人造之間的糾葛：現場是一個特定地點的「物理的、 cal trauma of her homeland into 裸裎的現實」，而非現場則是那個現實在其他地方展 animation, Ho’s eerie video pro5 vides an object lesson in how a cathartic示的樣本 vibrations。前述李繼忠的多媒體裝置採用類似的 and sound 策略，圍繞着一堆鹽晶體展開，揭露在採砂場 kind of sleek, abstract aesthetic waves—forms of energy much 發生的可怕榨取，同時將相應的緊迫感帶 needed in the struggle to defend became entangled with the idealist fantasy of globalisation, al入白立方。 livable coastal cities across the luding to the pitfalls of aesthetic globe. appreciation heedless of socioOn another, more formal political and ecological ramifiplane, the exhibition extends its cations. Minimalist sculptures investigation of modernity and in the 1960s, such as those by developmentalism towards the Donald Judd and Robert Morris, aesthetic legacy of modernism, 16

were exemplary in intermingling finally come to fruition just as art’s objecthood with its viewLantau Tomorrow Vision sails ing experience. Through a novel 經過一 chambers of the through various reading of minimalist mediation年半的醖釀和籌備，又 Hong Kong SAR government— between mind and matter,因新冠疫情數次延宕，「溢流 exdespite ongoing public opposiperience and objecthood,地」終於開幕。同時，持續遭遇 Alice tion—towards its actualisation. 公眾反對的「明日大嶼願景」亦將 Wang’s new sculpture employs With the ground on which we mirrored reflections成為現實，已由香港特區政府各部門層 and porcestand erratically shifting, new lain fragments inlaid with gold 層審批後通過。我們所站立的地基遭逢激烈 choreographies must be constantly rehearsed to catch its to weave an allegory for imper變動，因而我們也必須時刻編排新的行動，來 manence. In a適應大地的脈動。我們希望此次多方合作的集 similar vein, the rhythm. It is our hope that this aforementioned work by Lee Kai collective effort will engage 體努力，能夠吸引和動員公眾在日益惡化的 Chung expands環境中，締結全新的團結網絡，邁向一 on the idea of and mobilise the public to forge 塊建基於為發展設立限度，並尊重 the ‘non-site’ developed

by Land new networks of solidarity in a Art pioneer Robert地方歷史、祖先知識、物質 Smithson deteriorating environment, and 能動性和多物種纏結 in the late 1960s. Through site/ towards a commons founded on non-site dialectics, Smithson的公地。 the necessity of limits to growth, attempted to represent the enof respect for local histories, tanglement between there and ancestral knowledge, material 李佳桓與 here, open and closed, natural agencies, and multispecies 馮駿原 and human-made: the site was entanglement. ‘the physical, raw reality’ of a specific locale, while the nonAlvin Li and Junyuan Feng 1. 可持續 site was a sample of that reality 大嶼辦事處：明日大 5 嶼願景〉，https://www.lantau. displayed elsewhere. Adopting gov.hk/tc/lantau-tomorrow-vision/ a comparable strategy, Lee’s index.html 2. 周穎、蔡旻傑：〈West Kowloon, Hong Kong: 1.

Sustainable Lantau Office—Lantau Tomorrow Vision, www. multimedia installation, which A Transport-Oriented Development with Cullantau.gov.hk/en/lantau-tomorrow-vision/index.html. ture〉，《The Grand Projet: Towards Adaptable unfolds around a pile of salt 2. Zhou Ying, and Desmond Choi. “West Kowloon, Hong Kong: and Liveable Urban Megaprojects》，Kees ChrisA Transport-Oriented Development with Culture”. The Grand tiaanse、Anna Gasco與Naomi Hanakata編輯，阿姆 crystals, reveals the hideous Projet: Towards Adaptable and Liveable Urban Megaprojects, 斯特丹：NAi Publishers，2019，頁149–98 edited by Kees Christiaanse, Anna Gasco, and Naomi Hanaka鍾華楠，《大國不崇洋》，中國建築工業出版 extraction happening at 3.sand ta, Amsterdam: NAi Publishers, 2019, p149–98. 社，2008，頁214。 3. Chung Wah Nan, 大國不崇洋, China Architecture Building mining sites while bringing a 4. 有關「街頭標誌」展覽的更多信息，請參閱現代藝術博物館 Press, 2008, p214.

Felicity D. Scott 對已故建築師和策展 4. For more information on ‘Signs in the Street’, refer to the excorresponding sense網站上的展覽新聞稿。 urgency 人of Bernard Rudofsky 的研究，以及Rudofsky對現代主義的 hibition press release on the MoMA website. See also Felicity Felicity D. Scott：《Disorientainto the white cube. 批判使我們受益匪淺。 D. Scott’s study of the late architect and curator Bernard tion: Bernard Rudofsky in the Empire of Signs》, 柏 Rudofsky, to whose critique of modernism we owe a great 林：Sternberg Press，2016。 One and a half years in5. the deal. MoMA’s modernist legacy for this recontextualization of Robert Smithson：〈A Provisional TheoHo Rui An’s work. Felicity D. Scott, Disorientation: Bernard ry of Non-sites〉，《Robert Smithson: making and postponed severRudofsky in the Empire of Signs, Berlin: Sternberg Press, 2016.

The Collected Writings》，Jack 5. Robert Smithson, “A Provisional Theory of Non-sites.” Robert al times due to the Covid-19 Flam編輯，加州大學出版 Smithson: The Collected Writings, edited by Jack Flam, University of California Press, 1996, p364. pandemic, ‘Liquid Ground’ has 社，1996，頁364。 17

1. Cui Jie, Rainfall Pavilion 2. Alice Wang, Untitled 3. Zheng Mahler, Bubalus bubalis 16–40,000Hz 4. Yi Xin Tong, Petrified Sea: Aquatic Dragon 5. Yi Xin Tong, Rolling Eyes 6. Yi Xin Tong, The Birth of

Julung-julung: The Aquatic Dragon 7. Travis Jeppesen, The Sagosian Markmakers: An Anthropological Interlude 8. Riar Rizaldi, Tellurian Drama 9. Ho Rui An, Shell Revolution 10. Leelee Chan, Absorber #2

11. Lee Kai Chung, Sea-sand Home 12. Zheng Bo, Drawing Life (Xin Chou, Grain Rain) 13. The Centre for Land Affairs, Installation 1: On Art and Developer Hegemony 14. Gary Zhexi Zhang, Poyers!

15. Jessika Khazrik for The

Society of False Witnesses, Klub Interments 16. Future Host (Tingying Ma & Kang Kang), Worlding Hands 17. Heidi Lau, The Fountain 18. Heidi Lau, Resentment Sleeve

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潔，《聽雨亭》 崔 王 凝慧，《無題》 Z heng Mahler，《水牛16 – 40千赫》 童 義欣，《石化海：蛟龍》 童 義欣，《翻白眼》 童 義欣，《蛟龍誕生》 Travis Jeppesen， 《薩戈西亞標註者：一段人類學插曲》

8. R iar Rizaldi，《地球戲劇》 9. 何鋭安，《蜆殼革命》 10. 陳麗同，《吸收體 #2》 11. 李 繼忠，《海砂屋》 12. 鄭 波，《寫生（辛丑 穀雨）》 13. 土 地關係中心，《裝置一：藝術與發展商霸權》 14. 張哲熙，《Poyers!》 15. J essika Khazrik for The Society of False

Witnesses，《埋葬俱樂部》 16. 未 來主人（馬汀瀅與康康），《媧世紀》 17. 劉 慧德，《泉》 18. 劉 慧德，《怨恨之袖》

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Cui Jie Born in 1983 in Shanghai; lives and works in Shanghai

崔潔

Rainfall Pavilion, 2021 Acrylic on canvas H. 150 × W. 100 cm Courtesy of the artist and Antenna Space Co-commissioned by Para Site and UCCA Center for Contemporary Art for this exhibition

《聽雨亭》， 2021

1983 年生於上海；現生活並工作於上海

布面丙烯 高 150 × 寬 100 cm 由藝術家及天線畫廊提供 作品由 Para Site 藝術空間與 UCCA 尤倫斯 當代藝術中心為本次展覽共同委託創作

In this newly commissioned painting, Cui Jie revisits the overlooked legacy of the late architect Chung Wah-Nan (1932 – 2018) to explore a lost architectural idealism that once graced the city of Hong Kong. Most active in the 1970s and 1980s, Chung dreamed of a balanced eclecticism between Chinese traditional architecture and Western modernist ideals. Not many of Chung’s architectural creations still stand today, with the Lakeside Pavilion in Junction Road Park, Kowloon, being one of the few that remain. When first built, the pavilion stood in the middle of an artificial lake as an homage to traditional Chinese garden design. Its roof was marked by hollow openings through which rain could fall, giving the structure an airiness, and it earned the structure the nickname ‘Rainfall Pavilion’. At the turn of the century, by order of the Hong Kong government, both the lake and the roof’s hollows were filled in—a utilitarian alteration in response to Hong Kong’s land shortage. What once floated in water now stands on solid ground. In Cui’s painting, the pavilion is restored to its original glory and appears suspended over a field of violets, juxtaposed with the statue of a goddess typical of the style that arose, overnight, in 1990s Mainland China as a state-endorsed symbol of progress and development. Despite its provocative potential, this fin-de-siècle vernacular architectural eclecticism never equalled Chung’s academic rigour and high concept, and ended up giving way to the faceless, placeless urban style of real estate developments that dominates Chinese cities today.

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在這幅全新委託創作的畫中，崔潔回顧了常被忽視的 已故建築師鍾華楠（生於 1932 年；卒於 2018 年）的 創作，以考量一種曾於香港出現過、現已失落的建築 理念。鍾氏活躍於七十及八十年代，致力於追求中國 傳統建築及西方現代主義兼容並蓄的理想風格。鍾氏 的建築作品現所剩無幾，九龍聯合道公園的湖邊涼亭 為僅存之一。修建之初，涼亭佇立於人工湖中央，風 格向傳統中式園林致敬。涼亭屋頂鏤空，通風不擋雨， 故有「聽雨亭」之稱。踏入廿一世紀，香港政府為了 彌補土地資源短缺，出於功利考慮決定將人工湖填平， 並封補了涼亭的屋頂。原本浮於水面的涼亭就此立於 實地。在崔潔的畫作中，這座涼亭回復了昔日的輝煌， 彷彿懸浮於一片紫羅蘭花海之中，與一女神雕塑糾纏 於一起。此雕塑的風格在九十年代中國大陸一夜之間 盛行，並在國家認可下標誌着進步與發展。儘管潛力 可嘉，這種世紀末的本土建築折衷主義從未能與鍾華 楠作品的學術嚴謹性與高概念相比，最終只能讓步予 現時在中國城市稱霸的、毫無辨識度的城市房地產開 發風格。

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Alice Wang Born in 1983 in Xi’an; lives and works in Los Angeles and Shanghai

王凝慧

Untitled, 2021 Two-way mirror, metal stand, porcelain with gold overglaze H. 135 × W. 125 × D. 125 cm Dimensions of porcelain pieces variable Courtesy of the artist and Capsule Shanghai Co-commissioned by Para Site and UCCA Center for Contemporary Art for this exhibition

《無題》， 2021

Drawing from astronomy, geology and mythology in the language of minimalism, Alice Wang incorporates a rich array of materials throughout her sculptural practice, from rare-earth minerals and astronomical debris to moss and plants, probing the ineffably sensual spirit of nature. This newly commissioned work is inspired by a section of the Los Angeles River the artist frequented last summer, where the reflection of stones and plants prompted her to look beyond the physical properties of what lies beneath the river in its superficial sense—that of a body of water coursing through earth—to instead consider it as a space of infinity, open to imagination. As visitors move around the sculpture, the porcelain fragments inlaid with gold arranged atop the two-way mirror begin to form crisscrossing tunnels, interacting with the reflection of Hong Kong’s cityscape outside the window. A sci-fi take on the exhibition theme, Wang’s formal play with material structure and physical law extends the notions of surface and ground beyond the urban context into the cosmological and the illusionistic. Within the infinite space of myriad reflections, the visitor is invited to travel through different timescales and ponder the evanescence of the built from the vantage point of the universe.

Image caption: Los Angeles River, Summer 2020.

Photo: Alice Wang

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1983 年生於西安；現生活並工作於洛杉磯及上海

雙向鏡、金屬支架、釉上金彩陶瓷 高 135 × 寬 125 × 深 125 cm，瓷塊尺寸可變 由藝術家及膠囊上海提供 作品由 Para Site 藝術空間與 UCCA 尤倫斯 當代藝術中心為本次展覽共同委託創作

王凝慧的創作極簡地從天文學、地質學及神話學中汲 取資源。她將豐富多樣的材料融入雕塑創作——從稀 土礦物，到天體碎片，再到苔蘚與植物……以探索大 自然無可言喻的感官靈力。這件新委託作品靈感來自 於藝術家去年夏天經常流連的洛杉磯河段，河中石頭 與植物的倒影讓她的思考視野超越了河流表面意義上 的物理屬性——即將流經大地的水體視為一個開放想 像的無限空間。當觀眾在雕塑周圍移動時，排列在雙 向鏡面上的嵌金瓷片就會形成縱橫交錯的隧道，與窗 外的香港都市景觀反射交疊。王凝慧以科幻的手法介 入展覽主題，在形式上對材料結構和物理規律的遊戲 實驗，將表面與地面的概念從都市神遊到宇宙與幻象 之中。在這個反射變幻無窮的無限空間里，藝術家希 望參觀者體驗穿越不同時間尺度的感覺，從宇宙的宏 大視角，思考建築環境的消亡。 圖註：洛杉磯河，2020 年夏。攝影：王凝慧

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Zheng Mahler Established in 2015 in Hong Kong; lives and works in Hong Kong

Zheng Mahler

Bubalus bubalis 16 – 40,000Hz, 2021 Aixed media (audio, sculpture, chladni plate, video, book); Dimensions variable Courtesy of the artist Co-commissioned by Para Site and UCCA Center for Contemporary Art for this exhibition Special thanks to Dr. Alvaro Cassinelli for his valuable advice and technical support for the work

《水牛 16 – 40 千赫》， 2021

This newly commissioned project by Lantau Island-based artist duo Zheng Mahler (Royce Ng and Daisy Bisenieks) is informed by Bisenieks’ graduate thesis in anthrozoology, which looked into ways Lantau Island’s geography and wetland ecology have been shaped by bovid populations.

Once known as the ‘rice basket’ of Hong Kong, Lantau Island suffered agricultural decline in the 1970s and 1980s, when water buffalo and cattle once kept for agricultural labor were released into the wild and became feral. These nonhuman agents—water buffalo (Bubalus bubalis) in particular—have terraformed their landscape, turning abandoned farmland into biodiverse wetland ecologies. The delicate, spontaneous web of life thus created will soon fall under siege as land reclamation in Lantau Island continues its course.

The exhibition room features a sound sculpture consisting of field recordings the artists collected by following the wandering buffalo on the island. A binaural microphone was constructed replicating the forms of buffalo ears to capture the sonic perception of an animal physiognomy.

The recordings are split into two sets: the ultrasonic frequencies only the buffalo hear are presented visually through the Chladni plate’s intricate patterns of water ripples; the frequencies within human hearing range can be experienced through headphones connected to the binaural buffalo mic in a spatialised manner. The artist’s background research and field notes is documented in a companion booklet. The work initiates a developing series of multi-species sensory ethnographies around Lantau Island’s ecosystems, and is an attempt to acknowledge the limitations of human sensory capacities as well as to embody more-than-human experiences.

這個全新委託項目是由居於大嶼山的藝術家組合

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2015 年於香港成立；現生活並工作於香港

混合媒介（聲音、雕塑、克拉尼金屬板、錄像、書）； 尺寸可變。由藝術家提供。作品由 Para Site 藝術空間 與 UCCA 尤倫斯；當代藝術中心為本次展覽共同委託 創作；特別鳴謝 Alvaro Cassinelli 博士為作品提供寶 貴意見及技術支持

Zheng Mahler（Royce Ng 和 Daisy Bisenieks）基於 Bisenieks 的「人與動物關係學」研究生論文完成的， Bisenieks 的論文追溯了大嶼山的地理和濕地生態被

牛群塑造的過程。大嶼山曾經被稱為香港的「糧倉」， 但在二十世紀七、八十年代遭遇了農業衰退，在此期 間，曾經為農業生產而飼養的水牛被放歸到野外，成 為「野生動物」。這些非人類行動者——尤其是亞洲 水牛（ Bubalus bubalis）——重塑了此地的景觀，將 荒蕪的農田變成了生物多樣性豐富的濕地生態。隨着 「明日大嶼願景」這一大型填海造地工程的繼續進行， 在此創造的微妙、自發的生命之網很快將面臨被圍困 的處境。 裝置作品展示了藝術家調研時用到的器物組合， 包括一聲音雕塑，播放着藝術家跟蹤島上漫遊的水牛 時收集的田野錄音。藝術家製作了一個水牛頭形狀的 一個雙耳麥克風，通過 3D 掃描與打印水牛的頭部構 造來準確地捕捉其聲學感知。錄音被分成兩部分：只 有水牛能聽到的超聲波頻率通過克拉尼金屬板直觀地 呈現出來，該設備可將振動轉化為生動、復雜的水波 圖案；人類聽覺範圍內的頻率則通過連接到雙耳水牛 麥克風的耳機播放，觀眾能沉浸在水牛聽覺的空間化 體驗中。藝術家的其餘背景研究和田野筆記被記錄在 了一本小冊子上。這個項目是 Zheng Mahler 正在進 行的圍繞大嶼山生態系統的多物種感官民族誌系列的 一部分，作品試圖觸及人類感知的局限性，探討如何 表徵超越人類的感官經驗。

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Yi Xin Tong Born in 1988 in Mount Lu; lives and works in Chilliwack

童義欣

The Birth of Julung-julung: The Aquatic Dragon, 2019 – 20 HD video with sound, 24’52” Courtesy of the artist and Vanguard Gallery

《蛟龍誕生》， 2019 – 20

Petrified Sea: Aquatic Dragon, 2021 (p. 24) Air-dried clay, epoxy resin, CD case fragments, earplug, bamboo leaf, Pink Dawn viburnum bud, watercolour H. 15.5 × W. 19.5 × D. 3 cm Courtesy of the artist and Vanguard Gallery Rolling Eyes, 2021 (p. 25) Air-dried clay, pigment H. 7 × W. 14 × D. 2.5 cm Courtesy of the artist and Vanguard Gallery

1988 年生於廬山；現生活並工作於奇利瓦克

高清有聲錄像， 24 分 52 秒 由藝術家及 Vanguard 畫廊提供

《石化海：蛟龍》， 2021（p. 24） 風乾黏土、環氧樹脂、 CD 盒碎片、 耳塞、竹葉、粉紅黎明莢蒾花蕾、水彩 高 15.5 × 寬 19.5 × 深 3 cm 由藝術家及 Vanguard 畫廊提供

《翻白眼》， 2021（p. 25） 風乾黏土、顏料 高 7 × 寬 14 × 深 2.5 cm 由藝術家及 Vanguard 畫廊提供

In this travelogue-cum-video essay, artist and fisherman Yi Xin Tong travels to Dinawan Island in Malaysia, a popular tourist destination, where his encounter with a fish locally referred to as Julung-Julung leads to a series of investigations and his eventual crafting and gifting of a lucky charm to the island. The phonetic resemblance between the fish—a major source of nutrition for the local fishermen—and jiaolong, an aquatic dragon in Chinese mythology, becomes the departure point from which Tong ruminates on the changing ecology and spirit world of Southeast Asia. Rather than taking the conventional route, which is to research whether the dragon indeed travelled across the waters from China, the artist builds a percussion instrument made of metal and wood in the shape of Julung-Julung, which now overlooks the sea with an unsympathetic gaze akin to the shots of human eye-rolling that recur throughout the film, and juxtaposed with the sculpture Rolling Eyes on view.

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於這則遊記錄像散文內，藝術家兼漁夫童義欣旅行到 遊客如織的馬來西亞金之島，邂逅了當地名為「 Julung-Julung」的魚類，於是開啟一系列調查，最終藝

術家製作了一個幸運符贈予這座島嶼。作為當地漁民 主要食物來源的「 Julung-Julung」名稱發音近似中國 神話內的「蛟龍」，讓童氏開始思索東南亞處於變化 當中的生態及精神世界。藝術家並無遵循傳統調查方 式去探究蛟龍到底是否從中國游到當地，而是用金屬 及木材製作了一個「 Julung-Julung」形狀的敲擊樂器。 它現時冷漠地遠眺着海面，好比錄像內反覆出現的翻 白眼鏡頭，以及雕塑《翻白眼》中的那雙大眼。

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Travis Jeppesen Born in 1979 in Fort Lauderdale; lives and works in Shanghai

Travis Jeppesen

The Sagosian Markmakers: An Anthropological Interlude, 2021 Ink on paper; audio, 8’12” (CN), 8’35” (EN) H. 30 × W. 21 cm (1 piece), H. 32 × W. 24 cm (2 pieces), H. 54 × W. 39 cm (4 pieces), H. 200 × W. 109.2 cm (1 piece) Courtesy of the artist Co-commissioned by Para Site and UCCA Center for Contemporary Art for this exhibition

《薩戈西亞標註者：一段人類學插曲》， 2021

1979 年生於羅德岱堡；現生活並工作於上海

紙面墨水，紙面墨水；音頻， 8 分 12 秒（中）， 8 分 35 秒（英）。高 30 × 寬 21 cm（ 1 件），

高 32 × 寬 24 cm（ 2 件），高 54 × 寬 39 cm （ 4 件），高 200 × 寬 109.2 cm（ 1 件） 由藝術家提供 作品由 Para Site 藝術空間與 UCCA 尤倫斯 當代藝術中心為本次展覽共同委託創作

In The Sagosian Markmakers: An Anthropological Interlude, writer and artist Travis Jeppesen transforms the exhibition space into a display room of a faux-archaeological museum housing a series of calligraphic works of purportedly Sagosian origin.

Sagosia, a fictional island in the Indian Ocean, features in Jeppesen’s forthcoming novel Settlers Landing as a pirate colony, originally founded by a mixed group of Creole and southern Chinese pirates and which later fell under British rule.

The quintessential art form of Sagosia is a kind of mark-making performed in quasi-ceremonial style after the Sagosians imbibe rum and enter a trance-like state. As one enters the display room, the audio guide boasts about the history of Sagosia and the provenance of this set of works on view, in language fraught with colonial undertones. Through this satirical narrative, the artist ridicules with both humour and acuity the colonial fetishisation of indigenous cultures preserved out of context in encyclopedic museums, a peculiar phenomenon of Western modernity. This fictional narrative and its indecipherable works on paper exude a wildness that could be considered the artist’s paean to the anarchic nature of many extant island cosmologies worldwide and throughout history.

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作者兼藝術家 Travis Jeppesen 的作品將展覽現場改 造成一間偽考古博物館的展示廳，裡面陳列出號稱來 自薩戈西亞的一系列書法作品。薩戈西亞是印度洋的 一座虛構島嶼，在 Jeppesen 即將出版的小說《 Settlers Landing》（移居者着陸）內是一處由克里奧爾

及南中國海盜建立的殖民地，後落入英國人的統治下。 薩戈西亞典型的藝術形式是一種標註，是薩戈西亞人 暢飲冧酒後進入近乎催眠狀態時進行的儀式性創作。 觀眾進入展示廳時，語音導覽開始以殖民者的語氣鼓 吹薩戈西亞的歷史以及展出作品的來頭。在充滿黑色 幽默的敘述內，藝術家尖銳地諷刺殖民者對於原住民 文化的戀物式膜拜，例如將原住民藝術品從其語境中 抽離，於百科全書式的博物館中陳列展示，是現代西 方獨有的現象。這則虛構敘事及一系列難以解讀的紙 上作品滲透着不羈，可被視為藝術家對存在於全球歷 史上的多種無政府島嶼宇宙觀的一首謳歌。

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Riar Rizaldi Born in 1990 in Bandung; lives and works in Indonesia and Hong Kong

Riar Rizaldi

Tellurian Drama, 2020 HD video, 26’23” Courtesy of the artist

《地球戲劇》， 2020

In this work, Riar Rizaldi invokes indigenous cosmology as an intellectual resource and enriches it with elements of speculative fiction, in a reflection on the entanglements of technology, nature, and colonialism in the history of Indonesia. About a century ago, Malabar Radio Station was established by the Dutch colonial regime on Mount Malabar in West Java, Indonesia. It used the most powerful arc radio transmitter available at the time, capable of radio-linking intercontinentally with the Netherlands, thanks to the mountain’s unique topography. The radio station was abandoned by the Dutch during WWII under the threat of Japanese invasion, and was subsequently looted by local residents. For indigenous communities, however, the mountain itself is and has always been a medium for spiritual communication—their cosmology holds an alternative view of nature, one vastly different from the extractivist perspective of the colonial regime.

The tension between the coloniser’s technological repurposing of the mountain and indigenous animistic beliefs preoccupies the film, which is built upon Rizaldi’s meticulous archival research into the history of Malabar Radio Station, offering a poignant and poetic critique of the modern instrumental approach to nature from the colonial era to the present day.

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1990 年生於萬隆；

現生活並工作於印尼及香港

高清錄像， 26 分 23 秒 由藝術家提供

Riar Rizaldi 在這部作品中喚起原住民宇宙觀並視其

為一種知識來源，加入推想小說元素以思考科技、自 然及殖民主義於印尼歷史內的糾葛。大約一世紀之前， 荷蘭殖民政府於印尼西爪哇馬拉巴爾火山設立馬拉巴 爾無線電發射站。當時最先進的弧形發射器加上火山 的獨特地理優勢，使發射站得以與荷蘭進行洲際無線 電溝通。二戰時期，受日軍威脅之迫，發射站遭荷蘭 人棄置，後為當地居民掠奪。然而，對於原住民社群 而言，這座火山一直都是靈性溝通的媒介——他們的 宇宙觀對於自然的理解，與殖民政府以榨取為重的視 角截然不同。這種殖民者對火山的科技改造與原住民 的泛靈信仰之間的角力貫穿着影片。與此同時，影片 奠基於 Rizaldi 對馬拉巴爾發射站一絲不苟的文獻考 察，向殖民時期到現今自然界遭受的現代化工具主義 改造提出淒美的批判。

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Ho Rui An Born in 1990 in Singapore; lives and works in Singapore

何鋭安

Shell Revolution, 2018 HD video, 1’10” Courtesy the artist

《蜆殼革命》， 2020

In this silent 3D animation, a naturalistic, voluminous seashell lying flat on the screen gradually turns upright and morphs into the current, flattened version of the Royal Dutch Shell logo.

The high-speed aerial shot in Shell Revolution is borrowed from Shellarama (1965), an ideologically-laden documentary short celebrating the legacy of the multinational oil and gas company.

This ‘supermajor’ was formed in 1907 through the merger of the Royal Dutch Petroleum Company of the Netherlands and the Shell Transport and Trading Company of the United Kingdom, the latter of which started as a family business that imported and sold seashells. A century later, Shell is actively reshaping the planet through rampant extraction while polluting our air, water, and soil for profit. While the original sequence was intended to eulogise oil as the fuel of globalisation, Ho Rui An’s juxtaposition of found footage against 3D animation succinctly exposes what lurks behind the oil industry’s dream of speed and acceleration—the total abstraction of the natural world.

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1990 年生於新加坡；現生活並工作於新加坡

高清錄像， 1 分 10 秒 由藝術家提供

在這部無聲 3D 動畫短片中，一塊逼真、厚實的貝殼 平躺在屏幕中央，接着一邊緩緩轉身立起，一邊變成 荷蘭皇家殼牌代表性的扁平商標。作品內的高速升降 鏡頭引自 1965 年的《 Shellarama》，一部宣傳這間 跨國石油氣公司的紀錄短片。此石油巨頭於 1907 年 由荷蘭皇家石油與英國殼牌兩間公司合併組成​​，後者 靠入口並出售貝殼起家。一個世紀後，荷蘭皇家殼牌 透過瘋狂地開採資源改變着地球的面貌，假盈利之名 污染空氣、水源及土地。雖然原本的影片旨在頌揚石 油是全球化的燃料，何鋭安將尋獲片段與 3D 動畫並 置，精闢地揭示了石油企業追求急速發展的理想背後 對自然界的徹底榨取。

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Leelee Chan Born in 1984 in Hong Kong; lives and works in Hong Kong

陳麗同

Absorber #2, 2017 Found asphalt pieces, glitter, screws, and glue H. 157.48 × W. 157.48 cm Courtesy of the artist and Capsule Shanghai

《吸收體 #2》， 2017

As an ideal road building material, asphalt is capable of absorbing noises and bearing the weight of cars and lorries. Compared to the lifespan of humans, asphalt does indeed seem more durable.

However, asphalt does not function indefinitely, as it eventually crumbles and falls apart, too.

The asphalt pieces in the Absorber series were collected by the artist from various sites in Hong Kong in 2017 and have been left unaltered—apart from the addition of glitter to provoke a sense of desire—before being incorporated into the sculpture. The fossil- and precious stone-like quality of these fragments is a reminder of the perishable materiality of the built environment, and the unavoidable entropic process driving everything to an eventual end. The deep time scale hinted at by the sculpture contrasts squarely with the rapid pace of urban renewal and fleeting trends of modern consumerism.

瀝青能夠吸收噪音、承受汽車的重量，是修建道路的

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1994 年生於香港；現生活並工作於香港

拾獲瀝青碎片、閃粉、螺絲、膠水 高 157.48 × 寬 157.48 cm 由藝術家及膠囊上海提供

理想物料。與人的壽命相比，瀝青的生命週期顯得十 分持久。雖然如此，瀝青亦非恆久不衰——它亦有分 崩離析的一日。《吸收體》系列作品內使用的瀝青碎 片是藝術家 2017 年時自香港各地拾獲的。除了加入 亮粉來挑起觀者的慾望，藝術家在將這些瀝青碎片融 入雕塑前並沒有進行其他加工。化石及寶石般的碎塊 既彰顯建築環境的物質性容易腐敗，亦提示觀眾熵力 正將一切推向無可避免的盡頭。作品所隱喻的深遠時 間尺度，與城市的急速翻新、現代消費主義稍縱即逝 的潮流，形成鮮明對比。

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Lee Kai Chung Born in 1985 in Hong Kong; on the road since 2020

李繼忠

Sea-sand Home, 2021 Metal and salt sculpture, publication Dimensions variable Courtesy of the artist Commissioned by Para Site for this exhibition

《海砂屋》， 2021

Recently, a series of infrastructure projects in Hong Kong have been in full swing, culminating in the large-scale land reclamation project Lantau Tomorrow Vision. Lee Kai Chung observes the paradoxical fact that the sand used for this reclamation does not come from Hong Kong, and what was originally Hong Kong’s land is being slowly integrated into a larger sovereignty thereby.

It is simultaneously a process of encroachment and transfusion, depletion and replenishment, leading towards a nebulous future—a geopolitical process manifesting itself as a landscape. Delving into government archives, Lee tracked one of the major sources of sand for Hong Kong’s land reclamation projects to Qinzhou in Guangxi, and tried to navigate the supply chain that facilitates this rapid development and integration process.

The work’s title derives from the construction industry, in which sea sand must undergo a desalination process before it can be incorporated into construction materials. The chloride ions contained in the salty sea sand have the tendency to erode steel structures, causing buildings to disintegrate over time. The architecture industry commonly refers to buildings built with high chloride sand as ‘Sea Sand Houses’, a phrase that belies danger with beauty.

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1985 年生於香港； 2020 年起開始旅途生活

金屬及鹽製雕塑，出版物 尺寸可變 由藝術家提供 作品由 Para Site 藝術空間為本次展覽委託創作

近期香港一連串基礎建設項目如火如荼地進行，以大 型填海工程「明日大嶼願景」最為人知。藝術家李繼 忠留意到，此項工程所用的砂諷刺地並非來自香港， 而原屬香港的土地亦就此逐漸被納入另一個更大的主 權地區。這既是侵蝕亦是灌輸，是消耗亦是補給，使 朦朧的未來更加迷茫——地緣政治的進程正以景觀的 型態展現。透過深入閱讀政府文獻，李氏追溯香港填 海工程使用的砂來自廣西欽州，並嘗試釐清這一助長 快速發展與融合的供應鏈。作品題目引用土木工程中 使用海砂前必經的去鹽工序。海砂內的氯離子會腐蝕 鋼材，長期下來會導致建築物崩塌。建築業稱以含氯 量高的海砂建造的房屋為「海砂屋」，詩意中暗藏危 機。

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Zheng Bo Born in 1974 in Beijing; lives and works on Lantau Island

鄭波

Drawing Life (Xin Chou, Grain Rain), 2021 Drawing on paper H. 21 × W. 29.7 cm (15 works) Courtesy of the artist and Edouard Malingue Gallery Commissioned by Para Site for this exhibition

《寫生（辛丑 穀雨）》， 2021

An ongoing series, Drawing Life was born from a daily drawing practice the Hong Kong-based artist started in 2020, in reaction to the deceleration forced upon him by COVID-19. A resident on the south side of Lantau Island, Zheng Bo started climbing a nearby hill each morning during lockdown and sketched the flowers, leaves, and stems of small plants that caught his attention, using tools as minimal as a piece of paper and a 6B pencil. The fifteen previously unexhibited drawings on view were completed by the artist on Lantau Island in spring 2021, upon the invitation by the curators. Zheng considers his sketching practice a kind of meditation that keeps him aware of the plant community in his surroundings.

The series also serves as a detailed portrait of Lantau Island’s oftentimes unnoticed subtropical plant life, and a testament to the multi-species diversity of Hong Kong. In late September, Zheng will be leading a walking-and-sketching exercise on Lantau Island. Please follow updates on the Para Site website and social media channels for more information.

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1974 年生於北京；現生活並工作於大嶼山

紙面鉛筆 高 21 × 寬 29.7 cm（ 15 幅） 由藝術家及馬凌畫廊提供 作品由 Para Site 藝術空間為本次展覽委託創作

新冠肺炎疫情迫使社會步伐放慢之際，在香港生活的 藝術家鄭波於 2020 年起持續創作其《寫生》系列作 為對當下的回應。鄭氏於大嶼山南側居住，於隔離期 間每日早晨爬山，並僅用紙張及 6B 鉛筆畫下吸引他 注意的小棵植物的花、葉及莖。藝術家受策展人之邀， 2021 年春季於大嶼山完成了此十五幅未曾展出過的

畫作。鄭氏視其素描創作為一種冥想，讓他更為留意 周遭的植物群體。此系列作品同時為大嶼山常被忽視 的亞熱帶植物的寫照，見證香港的生物多樣性。九月 底，鄭波將會帶領一次大嶼山遠足素描活動，詳情請 留意 Para Site 網站及社交媒體發佈的最新資訊。

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The Centre for Land Affairs Established in 2021 and based in Hong Kong

土地關係中心

Installation 1: On Art and Developer Hegemony, 2021 Installation, H.180 × W. 300 × D. 200 cm Courtesy of the artist Commissioned by Para Site for this exhibition

《裝置一：藝術與發展商霸權》， 2021

Installation 1: On Art and Developer Hegemony is the first public presentation of the newly founded Centre for Land Affairs, a Hong Kong-based research group that investigates the dispossession of land by property developers, governments and other hegemonic entities. Resembling a workstation or carrel, the multimedia installation includes a wide array of research materials the group has collected over the years detailing Hong Kong conglomerate New World Development’s dealings in the New Territories, from the questionable acquisition and commodification of arable land to forced evictions of villagers. These materials are displayed alongside found objects and artworks from displaced villagers, as well as two zines published especially for this occasion. By exposing the social and environmental injustices wrought by a local developer widely known for their artistic patronage, this presentation places in sharp contrast the actions and distractions of real estate organisations—artwashing and greenwashing on the one hand, rapacious land abuses on the other—while urging art practitioners to reflect on their own complicity and power to resist.

Image caption: New World Development plan, Wing Ning Village, Wang Chau, 22 September 2020. Extract from government document.

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2021 年於香港成立，於香港運作

裝置，高 180 × 寬 300 × 深 200 cm 由藝術家提供 作品由 Para Site 藝術空間為本次展覽委託創作

《裝置一：論藝術與發展商霸權》是土地關係中心首 次面向公眾的呈現。此中心是一個基於香港的研究小 組，旨在檢視地產商、政府和其他霸權對土地的剝奪。 此多媒介裝置以近似工作站或研習室的方式呈現中心 多年來搜集的各種研究資料，詳細向公眾介紹香港的 地產巨頭——新世界發展有限公司在新界的各種情況， 從極具爭議的農地收購及地產發展，到迫遷村民等等。 這些材料將與由被迫遷村民所提供的物件與藝術作品， 以及兩本專為本展覽製作的小誌一同展出，共同揭露 了因慷慨藝術贊助而聞名的香港地產巨頭在香港社會 與環境造成的不公義，暴露其表面形象與實際行徑之 間的鮮明對比——一方面是借用環保和藝術來裝扮自 己，另一方面是不知饜足地濫佔土地。作品敦促藝術 實踐者反思自己與霸權的共謀關係，同時思考反抗的 力量與可能。 圖註：新世界發展計劃，橫洲永寧村， 2020 年 9 月 22 日。 摘自政府文件。

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Gary Zhexi Zhang Born in 1993 in Suzhou; lives and works in London

張哲熙

Poyers!, 2021 Game engine video, continuous loop; translation booklet. reissued Poyais dollar, 4-colour lithograph on paper Co-commissioned by Arts Catalyst, Bloc Projects and Para Site

《 Poyers!》， 2021

Poyers! is a multi-media installation comprising a video simulation, a contract, and a currency.

The work draws on the short history of Poyais, a Caribbean nation on the Mosquito Coast formed amidst the colonial wars of the early 19th century and the collapse of the Spanish Empire.

Emerging not long after the birth of the London Stock Exchange, Poyais was sold to investors as a verdant land of opportunity featuring an opera house, plentiful gold deposits, and a climate that ‘agreed admirably with the constitution of Europeans’. Poyais, however, was entirely fictitious.

Hundreds of British would-be Poyers set sail for an imaginary colony on what turned out to be uninhabitable land, in fact a remote part of Honduras—nearly all of the eager settlers died in the end. Poyers! examines this scam of colonial and economic history through a video simulation and found objects, including Fiat, a reprint of Poyais’s sovereign currency, which will be sold during the exhibition period through participation in a contractual performance linking buyers (devised in collaboration with JWSS Law LLP). Half of the sales proceeds from Fiat will be donated to Medical Aid to Palestinians (MAP). For more information, visit map.org.uk.

多媒介裝置《 Poyers!》由一段模擬影片、一份合約

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1993 年生於蘇州；現生活並工作於倫敦

遊戲引擎錄像，循環播放；譯文小冊子； 重製 Poyais 貨幣，紙本四色印刷 由 Arts Catalyst、 Bloc Projects 及 Para Site 共同委託創作

及一種貨幣組成，並以加勒比海蚊子海岸國家 Poyais 的歷史為背景。該國成立於十九世紀初的殖民戰爭以 及西班牙帝國沒落之際，在倫敦證券交易所創立後不 久出現。 Poyais 在投資者眼中，是個蓊鬱的機遇之地： 有歌劇院、豐富的金礦，還有「極其適宜歐洲人居住」 的氣候。然而， Poyais 純屬虛構。數百名來自英國的 準 Poyais 人（ Poyers）航向這片子虛烏有的殖民地時， 才發現那裡其實是洪都拉斯境內一處偏遠的不毛之 地——這些滿懷希望的殖民者後來幾乎全數罹難。作 品透過模擬影片及拾獲物件審視這一殖民及經濟史上 的騙局，包括 Poyais 貨幣「法幣」的再版。展覽期間 將會出售這些貨幣，透過參與簽約行為連繫買家（與 JWSS Law LLP 律師事務所合作策劃）。售賣「法幣」

所得的一半收入將捐予 Medical Aid to Palestinians （簡稱 MAP，為巴勒斯坦人提供醫療協助的慈善機 構）。如欲了解更多機構詳情，請瀏覽 map.org.uk。

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Jessika Khazrik for The Society of False Witnesses Born in 1991 in Beirut; lives and works in Berlin and Beirut

Jessika Khazrik for The Society of False Witnesses 1991 年生於貝魯特；現生活並工作於柏林及貝魯特

Klub Interments, 2021 Multimedia installation, 8 channels sound, 11’ H. 43 × W. 200 × D. 200 cm Courtesy of the artist Commissioned by Para Site for this exhibition

《埋葬俱樂部》， 2021

Jessika Khazrik’s practice as a visual artist, writer and electronic musician is deeply rooted in the search for collective remediation, environmental justice and club culture. This multi-channel sound installation for The Society of False Witnesses consists of a trapezoidal platform onto which the audience is invited to step barefoot and experience an interspecific lamentation dedicated to the Normandy Landfill in Lebanon.

In 1925, the French Mandate paved the north coast of Beirut creating ‘L’Avenue des Français’, a prominent touristic promenade. During the ‘Battle of the Hotels’ at the beginning of the Lebanese Civil War in 1975, many of the abandoned hotels were occupied and transformed into battlefields.

One of these was the Normandy Hotel, whose rubble remained in place for long, eventually harbouring debris from other sites and growing into the Normandy Landfill, the main garbage dumping site in Beirut from 1976 to 1994. During the neoliberal reconstruction of Beirut, the horrid receptacle of municipal and military refuse, missing bodies, and fallen architecture was ironically turned into a commercial club area from which methane gases still secretly fume.

Emitted by pulsing transducers installed beneath the hidden strata of the platform, Klub Interments’ inaugural lamentation grapples with decades of denied collective grief, dispossession, and surreptitious interments witnessed on Beirut’s coast.

作為視覺藝術家、作者和電子音樂人，Jessika Khazrik

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多媒體裝置 高 43 × 寬 300 × 深 200 cm 由藝術家提供 作品由 Para Site 藝術空間為本次展覽委託創作

的藝術實踐致力於追尋集體救贖、環境正義和探討夜 店文化。這件以 The Society of False Witnesses 為名 義創作的多頻聲音裝置《埋葬俱樂部》架設了一座梯 形平台，邀請觀眾赤腳踏在平台之上，體驗這一支獻 給黎巴嫩諾曼底堆填區的跨物種哀歌。 1925 年，法國託管當局在貝魯特北海岸鋪設了一

條「法國大道」，後來變成著名的觀光長廊。在 1975 年黎巴嫩內戰伊始的「酒店之戰」中，那裡許多倒閉 的酒店被軍人佔領並成為戰場。其中之一是諾曼底酒 店，而它的殘垣斷壁在戰後很久也沒有被清理，最終 收容了其他地方運來的瓦礫，變成了諾曼底堆填區， 在 1976 年至 1994 年間是貝魯特最主要的垃圾堆填區。 諷刺地，這個由市政垃圾、軍事廢棄物、失蹤屍體和 倒塌建築廢墟糅合成的大熔爐，卻在貝魯特新自由主 義式的重建過程中，變成了一個商業夜店聚集區，哪 怕甲烷仍不時悄悄滲出。 安裝在平台隱藏層中振動的換能器發出的悲鳴縈 繞觀眾周身，與貝魯特海岸數十年來的見證纏鬥—— 被否定的集體悲痛、驅逐和偷偷進行的埋葬。

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Future Host (Tingying Ma and Kang Kang) & Heidi Lau Kang Kang, born in 1992 in Beijing; lives and works in Chicago Ma Tingying, born in 1988 in Chengdu; lives and works in New York City Heidi Lau, born in 1987 in Oakland; lives and works in Macao and New York City

Future Host (Tingying Ma and Kang Kang) Worlding Hands, 2021 Two-channel video, 7’32” Courtesy the artist Co-commissioned by Para Site and UCCA Center for Contemporary Art for this exhibition Heidi Lau The Fountain, 2021 Glazed ceramics H. 91.44 × W. 58.42 × D. 58.42 cm Resentment Sleeve, 2021 Glazed ceramics, thread, wire H. 243.84 × W. 30.48 × D. 1.27 cm Courtesy the artist and Matthew Brown Los Angeles. Photo: Nancy Paredes Co-commissioned by Para Site and UCCA Center for Contemporary Art for this exhibition

未來主人（康康與馬汀瀅）與劉慧德

康康， 1992 年生於北京； 現生活並工作於芝加哥

馬汀瀅， 1988 年生於成都； 現生活並工作於紐約市

劉慧德， 1987 年生於加州奧克蘭； 現生活並工作於澳門及紐約市

未來主人（康康與馬汀瀅） 《媧世紀》， 2021 雙頻錄像， 7 分 32 秒 由藝術家提供 作品由 Para Site 藝術空間與 UCCA 尤倫斯 當代藝術中心為本次展覽共同委託創作

劉慧德 《泉》， 2021 色釉瓷 高 91.44 × 寬 58.42 × 深 58.42 cm

《怨恨之袖》， 2021 色釉瓷、線、金屬線 高 243.84 × 寬 30.48 × 深 1.27 cm

由藝術家及 Matthew Brown Los Angeles 畫廊提供

攝影： Nancy Paredes 作品由 Para Site 藝術空間與 UCCA 尤倫斯 當代藝術中心為本次展覽共同委託創作

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To whom does the Earth belong? How does planetary flourishing appear to precolonial eyes? Future Host and Heidi Lau’s collaboration Worlding Hands returns to Shanhaijing (The Book of Mountains and Seas), an ancient Chinese classic of mythical geography, cosmology, and ecology that registers a world in which all species are provided with the resources to thrive. Cross-pollinated species, transmutable beings, androgynous beasts and humans thrive in the infinite space between heaven and earth, where matter and phenomena are in a constant flow of exchange.

In the video by Future Host, a solo performer reenacts the Chinese creation myth in which the goddess Nüwa molds the human race out of mud and repairs the broken sky with molten stones.

The performance mobilises the five elements of Chinese cosmology in interchangeable forms: glazed and fired ceramic toys, water, clay, baby reptiles, and the human body, reenacting a primordial cosmological (anti-)genesis. Heidi Lau’s voluminous ceramic sculptures—bearing orifices, chains, inserts and plugs—reimagine the body as a vessel that transcends the dualities of inside and outside, yin and yang, prehistory and posterity. Invoking imagery of the primordial ocean, these ceramic sculptures are sites of simultaneous creation and ruination, individuation and coalescence.

The video and the sculptures together belong to a larger collaborative project between Future Host and Heidi Lau consisting of three parts: ceramic sculpture, performance, and speculative fiction (corresponding to ‘Mountains’, ‘Seas’, and ‘Scripture’ respectively). Each part, through embodiment, reincarnation and retelling, traces a path of return.

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地球屬於誰？在人類殖民前，這個星球是如何繁盛？ 劉慧德與未來主人的合作項目《媧世紀》重訪中國古 典地理、宇宙及生態神話《山海經》，此書描述的世 界中，所有物種都有資源去茁壯成長。異花授粉、變 化多端及雌雄同體的物種與人類一起在天與地之間的 無垠空間共生，在這裡，物質與現象不斷相互交流。 未來主人的錄像作品內，表演者獨自一人重演着 女媧造人及補天的創世神話，行為表演挪用了中國宇 宙觀內的五行元素，並讓它們互相置換——上釉並燒 製過的陶瓷玩具、水、黏土、幼小的爬行動物及人 體——以上演一場原始的（反）創世神話。劉慧德的 大型雕塑作品承載着孔洞、鏈條及插入堵塞物，將身 體重新想像成一具超越內外、陰陽及古今的容器。這 些陶瓷雕塑令人想起原始的海洋，作品既在創造亦在 毀滅，有的個體被賦予形象，有的則與其他融合為一。 展出的錄像及雕塑是未來主人與劉慧德大型合作 項目的其中一部分。項目分為三部分：陶瓷雕塑、行 為及推想小說（分別代表「山」、「海」、「經」）。 每一部分透過化身、轉生及重述去勾勒出回歸的路線。

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LEELEE CHAN’s sculptures reflect her experience with the extreme urbanisation in Hong Kong and are almost always comprised of dumpster detritus, household ephemera, and mundane objects. To interrogate these objects’ status and value, Chan imaginatively explores their transformative potential and reconfigures each item according to its unique quality. By purposefully integrating these objects with natural and industrial elements, her sculptures evoke Modernist architecture and anthropomorphic shapes with meticulous details that slowly unfold upon close inspection.

CUI JIE creates paintings that, by incorporating diversely real and fantastical layers, explore the heterogeneous perspectives in various fields and geopolitical contexts. For the artist, the cities she depicts are closely associated with her personal history: one can identify in the subject matter Bauhaus architectural principles, ideologies of Chinese propaganda art, Soviet communist aesthetics, and the Japanese Metabolism architecture movement, among others. In rendering specific cities, architectures, structures, and landscapes, Cui explores the embedded histories of perspectives, and shrewdly proposes the political meanings of distance, angles, and time.

Founded in New York in 2016 by Ma Tingying and Kang Kang, FUTURE HOST considers the world emotive and sentient, and that it can only be processed through epistemic inquiries. Their current performances and writings interrogate the contemporary issues of yellow bodies besieged by neo-orientalism, technocratic capitalism, and ethno-nationalism. In this unprecedented time of crises and in the midst of mass movements against white supremacy and police violence, they evision an alternative way of being.

HO RUI AN is an artist and writer working at the intersections of contemporary art, cinema, performance, and theory. Working primarily across the mediums of lecture, essay, and film, he probes the ways in which images circulate, disappear, and are produced within contexts of globalism and governance.

TRAVIS JEPPESEN is a writer, artist, and currently Assistant Professor at the Institute for Cultural and Creative Industry at Shanghai Jiaotong University. His books include Victims (2003), The Suiciders (2013), and Bad Writing (2019). In addition, he is known as the creator of object-oriented writing, a metaphysical form of writing-as-embodiment that attempts to channel the inner lives of objects. Jeppesen’s calligraphic work, rooted in his notions of ‘scrawl’ and ‘bad writing,’ has been featured in numerous solo and group exhibitions.

JESSIKA KHAZRIK is an artist, technologist, musician and writer whose interdisciplinary practice ranges across composition, ecotoxicology, machine learning, cryptography, and the history of science and music. Khazrik holds BAs in Linguistics and Theatre from Lebanese University and an MS in Art, Culture and Technology from MIT where she was awarded the Ada Lovelace prize. Her work has been exhibited and performed internationally, and she was a fellow at Ashkal Alwan, Digital Earth and SHAPE Platform.

HEIDI LAU’s highly textured and expressive ceramic work is modelled after tokens of remembrance—ritual objects, funerary monuments, and fossilised creatures—which

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Artists’ Bio

are infested, deconstructed, and rebuilt by hand. Reconfiguring fragmented personal and collective memories, she makes collections of symbolic artifacts and zoomorphic ruins as materialisation of the archaic and the invisible. Taoist mythology, folk superstitions, and colonial history provide essential source material for her exploration of transcendental displacement and nostalgia as the condition of contemporary and future existence.

LEE KAI CHUNG performs artistic research on history and historiography, systems, and ideology. Dissatisfied with the lack of proper governance over public records in his early years, Lee later developed his archival research methodology as a key artistic practice. Through research, social participation, and engagement, Lee’s work resonates with historical narratives and demonstrates the individual gesture as a transition between politics and art. Lee has been on the road since 2020.

RIAR RIZALDI works as an artist and filmmaker. His main focus is on the relationship between capital and technology, extractivism, and theoretical fiction. His works have been shown at Locarno Film Festival, BFI Southbank London, International Film Festival Rotterdam, NTT InterCommunication Center (Tokyo), Centre Pompidou (Paris), Times Museum (Guangzhou), and National Gallery of Indonesia (Jakarta), amongst others.

Established in 2021, THE CENTRE FOR LAND AFFAIRS is a research group based in Hong Kong that investigates land dispossession by property developers, governments, and other hegemonic entities. The heterogeneous group invites researchers and creative workers to compost (with and around) dispossession, art/greenwashing, extraction, and colonial-thinking.

YI XIN TONG creates objects, moving images, and sound to understand himself, to study human culture’s dynamic relationship with nature and, with a wry sense of humour, to intervene in societal beliefs in value, decency, and rationality. This year, he has been making art models in the kitchen during the day and shooting videos in the wilderness at night.

Over the past several years, ALICE WANG has been working with the mantra ‘planet Earth is plummeting towards the Sun while just missing it.’ Bringing together physics, geology, astronomy, phenomenology, Eastern metaphysics, and the practices of meditation and yoga, Wang examines ontological questions related to the nature of being through a materialist conceptual approach in sculpture and film.

As an artist, GARY ZHEXI ZHANG is interested in unstable knowledge. Over the past few years, his research has been concerned with parafictions, systems theories, and planning technologies. As a writer and editor, he is currently working on a book about financial fiction and catastrophic times, to be completed in 2022.

He co-runs the collaborative studio Foreign Objects and is a resident at Somerset House Studios.

Committed to more-than-human vibrancy, ZHENG BO investigates the past and imagines the future from the perspectives of marginalised communities and marginalised plants. He creates weedy gardens, living slogans, eco-queer films, and wanwu workshops to cultivate ecological wisdom beyond the Anthropocene extinction.

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ZHENG MAHLER are artist Royce Ng and anthropologist Daisy Bisenieks’s collaborative examination of global trade, the relational networks connecting nature, technology, and more-than-human geographies, exploring their flows of mutual influence and the environmental architectures they produce. Utilising digital media, performance and installation, they develop speculative scenarios and immersive, sensory encounters that explore the limits and potentials of their respective disciplines.

ALVIN LI is a writer, a contributing editor of frieze magazine, and The Adjunct Curator, Greater China, supported by the Robert H. N. Ho Family Foundation, at Tate, London. He currently serves as Artistic Advisor for the 59th International Art Exhibition of La Biennale di Venezia. Li’s writing on contemporary art and culture has appeared in international publications such as frieze, Artforum, e-flux Architecture, Mousse, Art Agenda, and Spike Art Quarterly, as well as in catalogues published by institutions including New Museum, New York. He has curated exhibitions at UCCA Center for Contemporary Art, Beijing; and Antenna Space, Shanghai, among others.

JUNYUAN FENG is an artist and writer based in Shanghai. He received his BS in physics from Fudan University and MFA from the University of Pennsylvania.

His recent projects and exhibitions include ‘An Impulse to Turn,’ Inside-Out Art Museum, Beijing, 2020; ‘Hic sunt leones,’ 798 Art Center, Beijing, 2019; ‘Building Code Violations III: Special Economic Zone,’ Times Museum, Guangzhou, 2018. He co-curated the exhibition ‘Whatever works, whatever it takes’ with Zhihui Zhang at Goethe-Institut China in 2019. His writing has appeared in e-flux architecture, frieze, Heichi Magazine, LEAP Magazine, Artforum and Flash Art.

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Curators’ Bio

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陳麗同的雕塑反映了她在香港極端城市化過程中的體驗，大多由瑣碎的家庭棄物和她日 常生活中普遍認為不值得保留的平凡物件組成。出於對這些物件的狀態和價值提出疑問 的衝動，藝術家富有想像力地探索各種物件的可變性，並根據它們各自的特質進行改造。 陳麗同刻意將這些物件與天然或工業元素融合在一起，其雕塑作品帶有現代主義建築和 擬人的影子，充滿了俏皮和精密的細節，仔細觀察就會慢慢顯現。 崔潔的繪畫通過融合真實與幻想的不同層次，探索不同領域與地緣政治背景下的異質視 角。她描繪的城市與她的個人歷史密切相關：人們可以從她的作品中辨認出包豪斯建築 原則、中國宣傳藝術的意識形態、蘇聯共產主義美學及日本的新陳代謝主義建築運動等 主題。在描繪特定的城市、建築、結構及景觀時，崔潔探索嵌入的歷史視角，並巧妙地 提出距離、角度與時間的政治意義。 未來主人由馬汀瀅與康康在 2016 年於紐約創立。未來主人認為，世界有情感、有知覺， 並且我們只能通過認識論上的探索來認知世界並與之互動。未來主人目前的表演與寫作 拷問於當代被新東方主義、技術官僚資本主義及民族—國族主義圍困下，黃色身體面臨 的問題。在這個前所未有地危機四伏的時代，在反對白人至上主義與警察暴力的人民運 動中，他們描繪出另一種生存及抵抗的可能。 何銳安是一名藝術家與作者，創作涉及當代藝術、電影、表演及理論等範疇。他以演講、 論述、影像等多元形式，探討圖像在全球主義及統治的語境下如何產生、傳播與消失。 Travis Jeppesen 是一名作者與藝術家，同時任上海交通大學文化創意產業學院助理教

授，著有《受害者》（ 2003）、《自殺者》（ 2013）、《壞書寫》（ 2019）等書。他提 出了指向客體的寫作方式——一種「寫作作為具身體現」的形而上學形式，旨在嘗試去 通達客體的內在生命。他書法作品的創作理念來自他提出的「塗寫」與「壞書寫」概念， 曾於多場個人及群體展覽中展出。 Jessika Khazrik 身兼藝術家、科技人員、音樂人及作者數職，其跨領域實踐涵蓋作曲、

生態毒理學、機器學習、密碼學與科學史、音樂史。 Khazrik 於黎巴嫩大学獲得語言學 及戲劇本科學位；於麻省理工學院獲得藝術、文化與科技碩士學位，並獲頒 Ada Lovelace 獎。她的作品曾於國際展出及表演。她曾經是 Ashkal Alwan, Digital Earth 以及 SHAPE Platform 的成員。

劉慧德極具紋理及表現力的陶瓷作品取材於紀念的標誌物——如儀式祭器、喪葬碑碣、 生物化石等等，再經由人手來擾動、解構並重建。通過重構破碎的私人與集體記憶，劉 氏創作出一系列具象徵意義的物品及獸形廢墟，為遠古及不可見之物賦形。她以道家神 話、民間信仰以及澳門的殖民歷史為創作的源泉，探索當下與未來生存境況的先驗流離 與鄉愁。

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藝術家簡介

李繼忠的研究式創作主要關於歷史與編纂，系統及意識形態。從早年開始，李氏有感於 香港歷史檔案管理上乏善足陳；其後他發展以檔案研究方法為基礎並延伸至創作與研究 實踐。李氏透過一系列研究、社會參與及行動介入來回應歷史論述，以個體實踐作為對 政治與藝術的轉化。除了個人創作外，他未來將致力建立不同的公共檔案庫。李氏自 2020 年開始旅途生活。 Riar Rizaldi 是一位藝術家兼電影製片人。他主要關注資本與技術的關係、採掘主義及理

論小說。他的作品曾於盧卡諾電影節、倫敦 BFI 南岸影院、鹿特丹國際電影節、東京 NTT 國際通信中心、巴黎蓬皮杜中心、廣州時代美術館及雅加達印尼國家美術館等展出。 土地關係中心創立於 2021 年，是一個香港的研究小組，旨在檢視地產、政府及其他霸 權對土地的剝奪。這個多元異質的小組邀請研究者及創意工作者來一同將那些直接或間 接剝奪、用藝術或環保洗白（或稱藝術洗滌、漂綠）、榨取與殖民思維等諸多問題通通 送去堆肥。 童義欣透過創作各種物體、影像及聲音以理解自身、研究人類文化與自然間的動態關係， 並以一種狡黠的幽默感介入社會對價值、禮道及理性的信念。在這一年中，他日出時在 廚房裡製作藝術模型，日落後在荒野中拍攝視頻。 王凝慧過去幾年的創作圍繞着「地球在隕落中與太陽擦肩而過」這句偈語。她的創作結 合物理學、地質學、天文學、現象學、東方形而上學以及冥想與瑜伽的修行，並通過物 質論的概念方法，以雕塑與電影的形式來檢視與存在本質相關的本體論問題。 藝術家張哲熙關注不穩定的知識，過去幾年的研究一直圍繞類小說、系統理論及規劃技 術展開。作為作者與編輯，他目前正在創作一本關於金融想像及浩劫時代的作品，有望 於 2022 年成稿。他合作創立了 Foreign Objects 工作室，現於薩默塞特宮駐留。

鄭波關注不止於人類的萬物生機，從邊緣社群及邊緣植物的視角探察歷史、想像未來。 他的創作包括野生花園、生長的標語、生態酷兒影像、「萬物」工作坊，嘗試培育人類 世大滅絕後的生態智慧。 Zheng Mahler 是藝術家 Royce Ng 和人類學家 Daisy Bisenieks 合作發起的藝術團體。

他們共同檢視全球貿易下，連接起自然與技術以及超越人類的地理生境的關係網絡，探 索它們彼此相互影響的流動，及其創生出的環境構造。他們以數字媒體、表演和裝置等 藝術形式，創造出思辨性的場景，和沉浸式的感官接觸，探求藝術與人類學所具有的極 限和潛力。

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李佳桓是一位寫作者、策展人，並擔任英國泰特美術館大中華區副策展人及《 Frieze》 雜誌特約編輯。他目前是 2022 年第五十九屆威尼斯雙年展的藝術顧問。李氏的當代藝 術評論見於各大國際期刊，包括《 Frieze》、《 Artforum》、《 e-flux Architecture》、 《 Mousse》、《 Art Agenda》與《 Spike Art Quarterly》，也曾為紐約新美術館等機構 出版的畫冊撰文。他曾在北京尤倫斯當代藝術中心、上海天線空間等機構策展。 馮駿原是一位生活在上海的藝術家、寫作者。曾獲復旦大學物理學士與賓夕法尼亞大學 藝術碩士。他近期參加的展覽與項目包括「忍不住轉身」（中間美術館，北京， 2020）、 「此地有獅」（ 798 藝術中心，北京， 2019）、「長征計劃：違章建築 III——特區」 （廣東時代美術館，廣州， 2018）等。 2019 年於北京歌德學院德國文化中心與張植蕙 共同策劃展覽「還要什麼自行車」。其寫作見於《 e-flux architecture》，《 frieze》， 《黑齒雜誌》，《藝術界》，《 Artforum》和《 Flash Art》.

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策展人簡介

Liquid Ground Public Programmes

Sat 28 Aug, 3 – 4pm Field Report from Lantau Island with Zheng Mahler Language: English As part of their project Bubalus bubalis 16 – 40,000Hz, Zheng Mahler presents field recordings the artists collected by following the wandering buffaloes on Lantau Island. The project initiates a developing series of multispecies sensory ethnographies around Lantau Island’s ecosystems, and is an attempt to acknowledge the limitations of human sensory capacities and how technology can be used to ‘mediate’ these constraints and embody more-than-human experiences.

Sat 25 Sep, 4 – 6pm Drawing Plants Practice with Zheng Bo Lantau Island, Hong Kong RSVP-required (for 16 participants) Language: Mandarin and English Artist Zheng Bo will lead a walking and drawing exercise on Lantau Island and introduce the participants to his plant neighbours, some of which are portrayed in Drawing Life (Xin Chou, Grain Rain), the group of fifteen drawings on view in the exhibition. A bus will pick up the RSVP’d attendees from Para Site. For more information please visit the Para Site website in early September.

Sat 9 Oct, 2 – 3:30pm Lee Kai Chung in Conversation with Ying Zhou Language: English Participating artist Lee Kai Chung joins Dr. Ying Zhou, Assistant Professor at University of Hong Kong, to present their respective research on land reclamation in Asian contexts, followed by a conversation moderated by the exhibition curators.

During the exhibition period there will be several online guided tours with the curators and select participating artists. Please refer to the Para Site website for more information.

「溢流地」公共項目 8 月 28 日 週六，下午 3:00 – 4:00 Zheng Mahler：大嶼山田野報告

語言：英語 作為 Zheng Mahler 作品《水牛 16 – 40 千赫》的一部分，藝術家將為我們帶來他們在大 嶼山追蹤野化水牛時錄下的聲音。本作品開啟了 Zheng Mahler 正在進行的圍繞大嶼山 生態系統的多物種感官民族誌系列項目，試圖觸及人類感知的局限性，探討技術如何可 能調和這種局限並表徵超越人類的感官經驗。 9 月 25 日 週六，下午 4:00 – 6:00

鄭波：共繪植物 地點：香港大嶼山 須提前預約（限 16 名參與者） 語言：普通話與英語 藝術家鄭波將會帶領活動參與者共同漫步大嶼山，介紹參與者認識他的植物鄰居並一起 展開繪圖練習。這些植物有不少被描繪在他十五幅《寫生（辛丑 穀雨）》系列繪畫作品 內，於本展覽中展出。預約成功的參與者將在 Para Site 共同乘坐一輛小巴前往大嶼山。 更多信息敬請您在九月初關注 Para Site 網站。

10 月 9 日 週六，下午 2:00 – 3:30

李繼忠對談周穎 語言：英語 參展藝術家李繼忠將與香港大學助理教授周穎博士分享各自對亞洲語境中「填海」的研 究，並就此議題展開對談，由策展人主持。

展覽期間將有數場策展人和部分參展藝術家的線上導覽。請訪問 Para Site 網站獲得更 多信息。

Para Site is Hong Kong’s leading contemporary art centre and one of the oldest and most active independent art institutions in Asia. It produces exhibitions, publications, discursive, and educational projects aimed at forging a critical understanding of local and international phenomena in art and society.

Para Site 藝術空間為香港首屈一指 的當代藝術中心，亦是亞洲歷史最悠

The curatorial proposal of ‘Liquid Ground’ was chosen from Para Site’s international open call for exhibition proposals from emerging curators, now in its sixth year. ‘Liquid Ground’ is a collaboration between Para Site and UCCA Center for Contemporary Art. Select works in the exhibition have been developed and co-commissioned with the UCCA Center for Contemporary Art.

久、最活躍的獨立藝術機構之一。成 立宗旨在透過展覽、出版刊物及教育 項目等活動，促進在地與國際間的對 話，希冀打造一個對當代藝術、社會 現象提出批判性論述及理解的平台。

「溢流地」展覽提案甄選自 Para Site 藝術空間 2020 年第六屆新晉策 展人公開招募。「溢流地」由 Para Site藝術空間與 UCCA 尤倫斯當代藝 術中心聯合呈獻，展覽中部分作品由 Para Site 藝術空間與 UCCA 尤倫斯 當代藝術中心共同委任製作。

Liquid Ground 溢流地 Curators 策展人 Alvin Li, Junyuan Feng 李佳桓、馮駿原 Project Manager and Assistant Curator 項目經理及助理策展人 Cusson Cheng 鄭家醇 Graphic Design 平面設計 Studio Pianpian He & Max Harvey 何翩翩、麥石 Spatial Design 空間設計 Liu Yang 劉洋 Select Shipping 部分運輸 Light Logistics 後勤慢遞

‘Liquid Ground’ is supported by Goldman Sachs Gives. 「溢流地」獲 Goldman Sachs Gives 資助。

‘Liquid Ground’ is financially supported by the Project Grant of the Hong Kong Arts Development Council. The Hong Kong Arts Development Council fully supports freedom of artistic expression. The views and opinions expressed in this project do not represent the stand of the Council. 「溢流地」獲香港藝術發展局計劃 資助。香港藝術發展局全力支持藝 術表達自由，本計劃內容並不反映

Editor 編輯 Jason Chen 陳子岳 Translation 翻譯 Jason Chen 陳子岳 Ye Han 葉晗

generously made possible by Sagiri Dayal, Joyce Ng, and Kirsten Wang. 除了參展藝術家薪酬， Para Site 藝術空間為參展的香港藝術家 提供醫療和牙科保險，由 Sagiri

Dayal、 Joyce Ng 及 Kirsten Wang 慷慨支持。

Acknowledgements 鳴謝 Antenna Space 天線空間 Lukas Brasiskis Dr. Alvaro Cassinelli Cami Hui 許韻瑜 Jackson Kwong 鄺俊軒 Aaron Lam 林國鑫 Damon Lam 林遠圖 Kaman Lam 林嘉文 Carmen Lau 劉嘉汶 Gabriel Lee 李濬生 Joanne Lee 李穎欣 Sherman Lee 李雪汶 Teeda Lee 李銘義 Anqi Li 李安琪 Qu Chang 瞿暢 Cynthia Tai 戴鳳妤 Sylvia Tan 譚欣然 Macy Tse 謝銘思 Vanguard Gallery Miranda Yin 尹依茗 Zhou Ying 周穎

Para Site Team Para Site 團隊 Cosmin Costinaș 康喆明 Executive Director / Curator 執行總監 /策展人 Kelly Ma 馬元中 Deputy Director 副總監

本局意見。

Supported by

Alongside artist fees to all participating artists, Para Site is offering medical and dental insurance coverage for Hong Kong artists in the exhibition,

Celia Ho 何思穎 Curator 策展人 Joseph Chen 陳敬元 Project Manager / Assistant Curator 項目經理 /助理策展人

Cusson Cheng 鄭家醇 Project Manager / Assistant Curator 項目經理 /助理策展人 Kobe Ko 高穎琳 Project Manager / Assistant Curator 項目經理 /助理策展人 Jason Chen 陳子岳 Communications Manager 傳訊經理 Jacqueline Leung 梁婉揚 Development Manager 發展經理

Alan Y Lo 羅揚傑 Young Kar Fai Samson 楊嘉輝

Global Council 環球協會 Shane Akeroyd Mimi Brown & Alp Ercil Jehan Chu Samantha & Jamie Goodman Benedicta M Badia Nordenstahl Vanessa Ying Xu Virginia Yee Ethan Yip

Founding Friends 始創好友

Contact 聯絡我們

www.para-site.art 22/F, Wing Wah Industrial Bldg.’

677 King’s Road Quarry Bay Hong Kong 香港鰂魚涌英皇道 677號 榮華工業大廈 22樓

t. +852 25174620 e. info@para-site.art Wednesday to Sunday, 12:00 – 19:00 hrs Closed on Monday, Tuesday, and Public Holidays 星期三至星期日 下午 12 時至晚上 7 時

Kelly Tang 鄧曉妍 Gallery Manager 畫廊經理

Para Site Board Para Site 董事局 Alan Lau Ka Ming 劉家明 Chair 主席 Mimi Chun Mei-Lor 秦美娜 Vice Chair 副主席 Bonnie Chan Woo Tak Chi 胡陳德姿 Treasurer 會計 Sara Wong Chi Hang 黃志恒 Secretary 秘書 Nick Adamus Shane Akeroyd 安定山 Kurt Chan Yuk Keung 陳育強 Antony Dapiran 戴安通

AllRightsReserved and DDT Store Burger Collection, Hong Kong Stephen Cheng CMBB Cultural Organization A. Gaw Mimi & Chris Gradel Inna & Tucker Highfield IEs Collection Alan Lau Wendy Lee James Lie Edouard & Lorraine Malingue Schoeni Projects SUNPRIDE FOUNDATION

Friends 好友 Nick & Cordula Adamus-Voegtle Christine & James Boyle Rachel Catanach & David Boyce Lawrence Chu Jane DeBevoise Yan Du Kwai Fung Foundation Alan Lo Ingrid Lok & Tim Li Kenneth K Loo Elaine W. Ng Justin Ng Arjuna Rajasingham Stefan Rihs Fabio Rossi Angelle Siyang-Le Bonnie & Darrin Woo Kelly Yip

星期一，星期二與 公共假期休息

Facebook / Instagram: @parasite.hk Wechat: @parasitehongkong

8.14 – 11.14.2021

溢 流 地

陳麗同

Leelee Chan

崔潔

Cui Jie

未來主人

Future Host

（馬汀瀅與康康）

(Tingying Ma & Kang Kang)

何銳安

Ho Rui An

Travis Jeppesen

Travis Jeppesen

Jessika Khazrik for

Jessika Khazrik for

The Society of

The Society of

False Witness

False Witness

劉慧德

Heidi Lau

李繼忠

Lee Kai Chung

Riar Rizaldi

Riar Rizaldi

土地關係中心

The Centre for Land Affairs

童義欣

Yi Xin Tong

王凝慧

Alice Wang

張哲熙

Gary Zhexi Zhang

鄭波

Zheng Bo

Zheng Mahler

Zheng Mahler

策展人

CURATORS

李佳桓、馮駿原

Alvin Li & Junyuan Feng

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