Introduction 引言
Jessie Kwok 郭芷凝
Artworks 作品
Sketchbook 素描
Michele Chu 朱凱婷
Dialogue (Fragments) 對話片段
Michele Chu 朱凱婷 × Florence Lam
Dialogue as Space 對話作為空間
Florence Lam
Notes 筆記
Monique Yim 嚴穎嘉
Dialogue (Fragments) 對話片段
Monique Yim 嚴穎嘉 × Florence Lam
Collage 拼貼
Bunny Cadag
Dialogue (Fragments) 對話片段
Bunny Cadag × Florence Lam
About 簡介
Acknowledgements 鳴謝
This exhibition examines the complex relationship between host and guest as a framework to explore questions of intimacy and hospitality during times of transition and displacement. A host embraces, cares for and remains, while a guest arrives, adapts and departs. In the physical or metaphorical sense as a body, home or a place the host-guest dynamic is marked by co-dependency, negotiation and sometimes conflict. This dynamic is prone to instability, with beginnings and endings that can occur abruptly, often evoking a mixture of emotions. This interaction can be joyous and comforting, but also fraught with anxiety and tension.
Reflecting on these nuanced experiences, the four artists featured in the exhibition Michele Chu, Florence Lam, Monique Yim and Bunny Cadag present newly commissioned works in sequence. By designing an immersive installation that envelops the senses, intervening with the tenth-floor space at Para Site, Chu assumes the role of host and welcomes the audience into an interactive stage for performances and happenings. Lam, Yim and Cadag will present live works throughout the duration of the exhibition, both within and beyond Chu's installation, reimagining the role of the guest. The three artists will take turns occupying or activating various elements from within the installation, showing performance-based works characterised by choreographic instructions, body movements, improvisation, audience participation and connecting the spaces with the external world.
Each artist weaves their unique perspectives and lived experiences into a dialogue of exhibition-making, narrative shifts and performance within a constantly evolving environment. Seeing the host-guest relationship through the lens of the mother and child, Chu hosts a space for grief, a hybrid realm that is both a domestic habitat and a disorienting void. In inviting the audience to navigate these intertwined worlds, she transforms the personal pain of losing her mother into a collective site of mourning. Lam's improvisation using her own
body explores the ambivalence between presence and absence, rooting and clearing. Showing a trajectory from a contained space to the boundless ocean, she reflects on her own experience with abortion, considering the female body as a vessel that nurtures life, but is also susceptible to loss of life. Meanwhile, Yim, who is an artist and a psychotherapist, instigates personal encounters in various forms, offering a respite of stability within the inherent unpredictability and transience of our lives. Yim sees each interaction as an opportunity to hold space for audience members to unload emotional baggage, transforming pain into strength. Lastly, Cadag considers territories as fluid and arbitrary concepts. In her collaboration with migrant communities, Cadag draws connections between the experience of traversing geopolitical borders and navigating bodily boundaries to provide a sense of connection and solace, offering an opportunity to find belonging in adopted homes.
Together, the four artists in the exhibition mediate and adapt, demonstrating essential gestures of coexistence. They engage in dialogue with each other, asserting individual voices through intersubjectivity. Audiences breathe life to the artists' ideas by participating in their field research, rehearsals and performances. The seemingly dominant structure is ever-redefined by the elements introduced by those who occupy it, taking into account the push and pull between the personal and the social, the local and the foreign. As the exhibition unfolds and pages turn, relationships and perspectives intertwine and shift, deconstructing the host-guest binary. In one view, everyone is a guest on this earth, holding no eternal claim; in another, when boundaries are disrupted, the guest may gain power, and the host may be liberated.
是次展覽聚焦主客之間交錯的關係 ， 在流離失所普遍 的當下 ，探問迎接他人的尺度和可能 。題目中的「 棲 」 與「 渡 」分別指向作主和作客的兩種狀態：主人棲身 、
接納 、顧守 ，而客人到臨 、徘徊 、過渡 。無論在身體 、 家庭或地方的脈絡中 ， 主與客都要相互依存 、 不停磋 商 ， 甚至分歧 。 這關係變幻無常 ， 或始或終都不由人
所掌控 。 它往往觸動雜陳的情緒 ， 不一定讓人愉悅寬 慰 ， 亦會令人綳緊焦慮 。
四位藝術家將循序呈現新的委約作品 ， 反思這些微妙 的經驗 。 朱凱婷首先代入 「 主人 」 的角色 ， 設計一個 介入 Para Site 十樓空間的裝置 ， 喚起各種感官 ， 引 領觀眾進入一個身臨其境的舞臺 ， 迎接展演和互動 。
Florence Lam 、 嚴穎嘉 、 Bunny Cadag 則分階段在
裝置內外展示現場作品 ， 重新想像 「 客人 」 的角色 。
藝術家們輪流佔據或啟動裝置內的各種元素 ， 創作編 舞指令 、 身體律動 、 即興行為或觀眾參與 ， 也從不同 面向連接這個空間與外在的世界 。
在這變動不居的環境裏 ， 每位藝術家彙集其獨特觀點 和生活經驗 ， 造就一場融合展覽創作 、 敘事轉換和行 為展演的對話 。 朱凱婷以母子的視角來思量主客關 係 ， 將其喪母之痛轉化為一個哀悼的空間 。 她請觀眾 穿梭於一個零落的家居和一個迷茫的虛空 ， 兩個盤互 的境地成為讓人共同安放悲傷的場所 。 Florence Lam 以一己之身來構思即興行為 ， 踏上從幽室轉移至無垠 大海的軌跡 。 她以此回顧自己墮胎的經歷和女性身體 作為生命容器的角色 ， 探討存在與缺席 、 植根與清空 之間的矛盾 。 嚴穎嘉邀約不同形式的相遇 ， 在我們瞬 息萬變的生命歷程中提供安身喘息的機會 。 她身兼 藝術家與治療師 ， 希望每次的相處都為人保存一個
暫卸包袱的無形空間 ， 將個體的苦楚重塑成力量 。
Cadag 視疆域為流動和隨意的概念 。 透過與移民群 體合作 ， 她把逾越地緣邊境與測度人際界限的經驗 相結合 ， 再以集體創作來連結和慰藉彼此 ， 覓得不 同意義的容身之所 。
各人之間的共鳴 、 協調與適應 ， 皆展示了共存於世 所必要的行動 。 藝術家們彼此對話 ， 在同情共感之 中彰顯個人的聲音 。 觀眾參與藝術家的實地考察 、 排練與展演 ， 為其構想賦予生機 。 隨着展覽和篇章 的開展 ， 關係與視野交織轉換 ， 解構主客之間的二 元對立 。 看似牢固的結構 ， 會因諸眾所帶來的一切 而不斷重新定義 ， 或將不必再區分個體與群體 、 本 土與外在 。 畢竟 ， 每人都是世上的過客 ， 無從掌握 永恆的權力 ； 但當界限擾動不定 ， 來客或能蛻變壯 大 ， 而主事者則可從中尋得解放 。
'Rehearsal: Notes for a Future Project', 7 August, 2024, Para Site, Hong Kong. Photo: Li Chuqi
Michele Chu
rocking cradles, wet blankets
2024
Mixed media
On view: 2.11.2024–23.2.2025
Location: Para Site
Participatory performances
Happening: 6–8.12.2024
Location: Para Site
Michele Chu's work revolves around creating spaces and rituals that transform gestures and deepen emotional connections with oneself and others. The installation reflects Chu's personal journey through grief, using intangible elements temperature, bodily awareness, scent and time to guide the visitor's experience. Entering through a bluelit hallway, which echoes both the nearby funeral home and bodies of water, visitors step into a transitory space that sets the mood and tone. Beyond this threshold lies a dimly lit living room, where visitors are welcomed to take off their coats, put down their bags and make themselves at home. The air is warm, carrying the subtle traces of past interactions a recently vacated seat, a table that still bears the remnants of a meal evoking a blend of absence and presence. As they pass through the two cut-out openings in the room, visitors fall into a chilling and unsettling space where each step starts to sink, becoming harder to take. Deep in the installation is a sanctuary of remembrance where water vibrates and drips, light shifts, muffled voices linger and piles of salt invite guests to participate in a ritual of grieving and reflection. In this immersive work, the artist's vulnerable inner landscape, shaped by a year of grieving, is transformed into a shared, communal experience.
Chu also reimagines and develops the installation in a series of participatory performances that engage all five senses, using food, which becomes an intimate medium, to amplify different aspects of the installation. Chu is drawn to food's role in community bonding, its healing qualities and its power as a sensory portal to memories and cultural experiences. Through this multisensory journey, the performance opens a space for collective mourning.
《 搖籃 ． 濕被 》
2024 年
混合媒介
展出 ： 2.11.2024–23.2.2025
地點 ： Para Site
參與式展演
日期 ： 6–8.12.2024
地點 ： Para Site
朱凱婷專注創造空間及儀式 ， 從而塑造新的身體姿態 ， 並 加深自我及他人的情感聯繫 。 展出的裝置作品映照着其個 人傷痛經歷 ， 運用溫度 、 身體感受 、 氣味與時間等無形元 素引領觀眾 。 走廊的過渡空間映照着藍光 呼應展場附 近的殯儀館和水體 ， 為展覽奠定基調 。 觀眾進入展場後置 身於昏暗的客廳 ， 可以像回到家一樣除下外套 、 擱下包 袱 。 這裏的空氣溫熱暖和 ， 有一個像是空置未幾的席位 ， 檯面上有用膳痕跡 ， 存在與缺席曖昧難分 。 穿過展場的洞 口 ， 觀眾則陷入不安的境地 ， 甚至舉步維艱 。 在這個懷緬 聖地的深處 ， 流水潺潺 、 影影綽綽 ， 還彷彿能聽見竊竊私 語 。 四散的鹽堆邀請到訪者參與悼念與自省的儀式 。 在此 沉浸的裝置內 ， 藝術家將過去一年所經歷的哀悼袒露於人 前 ， 蛻變成為與人共享的經驗 。
一系列參與式展演透過聽覺 、 觸覺 、 視覺 、 味覺與嗅覺多 重感官 ， 重新想像裝置空間 。 藝術家相信食物能連繫和療 癒人心 、 啟動回憶及文化經歷 。 她引用食物成為親密的媒 介 ， 突顯裝置中的不同元素 ， 以一次多重感官歷程 ， 開闢 集體悼念的場域 。
Florence Lam
There is a cocoon, but nobody is inside 2024
Happening: 13–14.12.2024
Location: Para Site
Ocean Birth 2024
Happening: 21.12.2024
Location: seaside
Florence Lam often improvises with her body and uses mixed media to conjure vivid, corporeal and animistic subjects. Across two distinct sites, the artist explores hostguest dynamics that emerge from within, like a cocoon that encases an insect before being discarded, or a mother's body nurturing a foetus until it detaches. In There is a cocoon, but nobody is inside, Lam occupies Michele Chu's constructed environment overnight, arriving at Para Site shortly before closing and departing soon after reopening. The enclosed space becomes Lam's stage for performance and evolution, a stage that evades physical attendance and allows only for a mediated audience via a livestream. Traces of her presence are left behind, signalling the absent artist, like a short-lived moth in Chinese belief, incarnated from a deceased loved one, visiting the living.
Departing from this constructed environment, the artist then turns towards the water for Ocean Birth, a continuation of her earlier work Maternal Water (2022). In the boundless yet dense space of the ocean, Lam imagines submersion while simultaneously striving to break free. Inside a womb, fluid sustains the foetus, yet, once born, the same element holds the potential for drowning. Through this exploration of water's duality, the artist's metamorphosis reflects both fertility and its deliberate cessation. Along this trajectory between land and sea, she invites companions to help counter the solitude of existence.
《 這裏有一個繭 ， 但沒有人在裏面 》
2024 年
日期 ： 13–14.12.2024
地點 ： Para Site
《 海誕 》
2024 年
日期 ： 21.12.2024
地點 ： 海邊
Florence Lam 常以其身體與混合媒介即興創作 ， 以鮮明 的題材探討肉身與靈性 。 藝術家於兩個迥異的場域 ， 探索 由內而生的主客關係 例如昆蟲及其蛻變後棄置的繭 ， 或是胎兒及其脫離的母體 。
於 《
這裏有一個繭，但沒有人 在裏面 》， 藝術家在朱凱婷構建的環境中渡過一晚 ， 在展 場臨關閉前到達並在翌日重開後不久離去 。 密閉的空間成 為藝術家演出及演變的舞台 這個舞台謝絕現場觀眾 ， 只允許觀眾透過現場直播見證 。 藝術家於展場留下蛛絲馬 跡 ， 暗示她曾經在場 ， 像中國傳說中生命短暫的飛蛾 ， 背 負着故人的靈魂造訪人間 。
《 海誕 》 為藝術家 2022 年作品 《 母水 》 的延續 。 藝術家 離開人造的棲息地 ， 投身於自然水體 。 在大海無垠卻稠密 的空間內 ， 藝術家想像淹沒的景像 ， 但同時嘗試掙脫束 縛 。 在子宮內 ， 液體維持胎兒的生命 ， 但在出世後 ， 液體 卻能把人溺斃 。 藝術家以水的二元和自身的蛻變探討生育 以及其終止 。 她穿梭陸地與海洋 ， 邀請同伴與她一起抗衡 存在於世的孤寂 。
2024
Happening: 4.1–9.2.2025
Location: Para Site
2024
Happening: 12, 18–19, 26.1.2025
Location: Para Site & a hotel
Harmonic Flows 2024
Happening: 25.1.2025, 9.2.2025
Location: Para Site
Monique Yim's recent works have expanded from exploring identity politics through her own body to examining the intersection of psychotherapy and art. With Echoing Contemplation, she presents a voice recording to accompany visitors through their journey. As both a guided participation and meditation, the work creates a sense of resonance, inviting visitors to be performers and contributors in the space, while remaining free to own their space and time.
In Moments of Encounter, Yim hosts one-on-one interactions and conversations with visitors. These encounters take place across two transient venues where things are in constant flux. At Para Site's exhibition space, Yim reimagines the visitors' path through Chu's installation, filling the staged absence. In contrast, at a hotel common area, she engages with the audience in a social setting, intervening in real-life contexts. Communicating with participants through the five senses, she fosters reflection, connection, support, empowerment and, ultimately, self-transformation.
Harmonic Flows is a lecture-performance that doubles as a guided mindfulness meditation, initiating imaginative journeys in the mind and spirit. Yim serves as a conduit for life's flowing state, grounding awareness in the present moment as participants immerse themselves in multimedia, translating these elements into body movement and co-creation.
《 觀止之間 》
2024 年
日期 ： 4.1–9.2.2025
地點 ： Para Site
《 期遇之會 》
2024 年
日期 ： 12, 18–19, 26.1.2025
地點 ： Para Site 及酒店空間
《 流轉之境 》
2024 年
日期 ： 25.1.2025, 9.2.2025
地點 ： Para Site
嚴穎嘉一直透過己身探討身分政治 ， 近來則引申探究藝術
與心理治療的交匯 。《 觀止之間 》 的冥想導航將伴隨觀眾 的腳步 。 不在場的藝術家以聲音邀請自我觀照與介入 ， 讓 觀眾在展覽內同時成為體驗者和表演者 。 而觀眾在共鳴共 振之餘 ， 亦自由掌握自己的時間與空間 。
《 期遇之會 》 為藝術家與觀眾的一對一互動和對話 ， 在人 事物變動交織的場地相遇 。 在 Para Site 展覽空間內 ， 嚴穎 嘉重新想像觀眾穿越朱凱婷裝置的路徑 ， 填補刻意營造的 空置 。另一邊廂 ，藝術家亦在酒店中的休憩空間與人互動 ， 介入現實場景 。 在每一場展演中 ， 藝術家以五感邀請觀眾 參與當下的交流 ， 透過連結 、 承載和賦權 ， 啟發自我轉化 。
《 流轉之境 》 同時為講座展演和靜觀冥想體驗 ， 由藝術家 主持 ， 開啟想像中的精神歷程 。 藝術家猶如擺渡人 ， 承載 他人探索生命的流動 、 喚醒內在的覺察 ， 沉浸於多媒介元 素 ， 並以身體動作和共同創作來詮釋 。
Happening: 22–23.2.2025
Location: Para Site
Negotiating the frontiers of territories and bodies is the point of departure for Bunny Cadag's work. Identifying with marginalised, queer and transgender communities and recognising the violence of social structures, Cadag empathises with the traumatic experiences of others, drawing inspiration for these rapports from pre-colonial and Indigenous culture. In particular, she looks at the Filipino native legacy of shamans who heal and communicate with natural spirits, and has created an alter ego, Vera Maningning, who is a faceless, transcendent being cloaked in white lace. These fabrics, iconic in Filipino households, might go unrecognised for their cultural significance by the people of Hong Kong despite the fact that many residents share a home with Filipino migrant domestic workers, who form the city's largest ethnic minority group.
Drawing on the symbolism associated with Filipino culture and domesticity, the artist taps into the cordial and generous nature of Filipino communities. By visiting and collaborating with them in their adopted home in Hong Kong, she facilitates a collective performance through voice and body movements, cultivating connection, comfort and agency through a practice of reclaiming spaces where shared stories converge.
Please refer to the exhibition webpage for details and updates on all live performances.
《 門 》
2024 年
日期 ： 22 – 23.2.2025
地點 ： Para Site
Bunny Cadag 的創作汲取遊移在疆域與人際界線之間的 身體經驗 。 她與活在社會結構暴力下的邊緣 、 酷兒及跨 性別群體感同身受 ， 並希望透過前殖民和原住民文化慰 藉他者的創傷 。 她尤其受菲律賓民間傳統中能夠療癒他 人並與自然神靈溝通的巫醫啟發 ， 創造了其分身 Vera Maningning 一個沒有真實樣貌 、 披着純白蕾絲 、 超 越身分的人物 。 白色蕾絲在是菲律賓幾乎是每家每户都常 用的布料 。 但在香港 ， 儘管很多人與菲律賓移民家庭傭工 同住 ， 這些家庭傭工亦是香港佔數最多的少數族裔 ， 白色 蕾絲的文化意義仍然相當陌生 。
藝術家自菲律賓文化及家居環境的象徵汲取靈感 ， 突顯菲 律賓社群在家園內外怎樣發揮其親切好客之道 。 她拜訪這 些社群和邀請協作 ， 促成一場嗓音與動作的集體展演 ， 開 墾一個每人都可述說故事的空間 。
This collage combines my photographs, and pastel sketches with words taken from my diary scans to reflect on my past year of grief. It loosely captures my bodily sensations and emotional landscape throughout the four seasons: summer, autumn, winter, and spring.
此拼貼融合了我的照片 、 粉蠟筆速寫 ， 以及掃描自日記的文字 。 它 回顧了我過去一年哀悼的過程 ， 零碎地反映我在春 、 夏 、 秋 、 冬的 不同身體感悟與情緒景觀 。
除了懷緬她 、 在照片和腦海中回憶一切 ， 我不知道還能做甚麼
我孤身一人 。 那是我經歷過最寂寞的聖誕 。
颱風季節 ， 潮濕 、 黏糊 。 天氣在酷熱 、 桑拿般的 陽光與雷暴之間反覆 。 聽着附近地盤不停的鑽地 聲 ， 我不知怎去形容這令人窒息的天氣……或者 是因為母親的忌日快到了 。
F: It was as if we switched positions
M: Switched positions, but with a similar gaping space a negative space of loss, bounded by an invisible force
F: Gasping, paced in solitude and similitude. Without knowing, lost and found. I guess our feelings of loneliness are quite universal anyway.
F ： 我們彷彿交換了位置
M ： 交換了位置 ， 但是空置的距離依舊存在 一個充滿失落 的負空間 ， 被無形的力量界限 F ： 在相近的寂寞節拍下喘息 。 不明所以 ， 失去又再尋獲 。 我 想我們的孤獨還是共相的 。
M: How do you part with someone you've grown inside of, someone who has made you a home both inside and outside their body?
How do you say goodbye to your home?
I'd like to believe that instead of disappearing, their energy remains. Energy never dies; it is never created or destroyed. Likewise, your love, memories, and emotions never fade.
M ： 你要如何與這樣一個人永別 ？ 你於她體內成長 ， 而她則在
體內體外為你建造了一個家 。
你要如何與你的家永別 ？
我選擇相信 ， 她的能量永遠不會消失 ， 不會死去 ， 也永遠不能 被創造或消滅 。 同樣地 ， 你的愛 、 回憶及情感也永不會消失 。
F: How to part with someone who had grown inside you, someone who didn't want to part? How do you part with someone who saw you as home? ⋯
Water has drowned my eyesight, it created weight for me to bear on my shoulders when I submerge myself in the pain in where I lay, unconscious, it also washes away the painted camouflage on my face, dying into the depths of my body. It can easily be polluted, charged with complexity, and the only way to purity is for it to change form and leave, to incarnate. It floats up into the air up high but it stays within the ozone layer, we don't see it anymore but it didn't just vanish, perhaps just closer to where our parted ones are. Embracing them on behalf of us. If I'm qualified enough to.
21:30–00:00
Listening to My Love Mine All Mine by Mitski (on loop) 反覆聆聽着 Mitski 的 《 My Love Mine All Mine 》
F ： 你要如何與一個曾在你體內生長 、 不想離開你的人永別 ？ 如 何與一個視你為家的人永別 ？ ……
水淹沒了我的視野 ， 當我沉浸在痛苦中 ， 昏迷不醒時 ， 它為我創 造了肩上的重量 ， 也洗去了我塗在臉上的偽裝 ， 消逝於我身體的 深處 。 它很容易被污染 ， 錯綜複雜 ， 其純淨的唯一途徑就是化身 離開 。 它飄上高空 ， 卻停留在臭氧層內 ， 我們再也看不見 ， 但它
並非就此消失 ， 也許只是更接近我們離別的人所在的地方 ， 代替 我們伸手擁抱 。 如果我還有資格的話 。
M: This duality of water. Something that could be so peaceful and serene, yet violent. Something that gives us life, yet can also kill us. Something that comes out of our bodies when we cry, something that we live in when we're still forming. It hits, slaps, envelops, mists ⋯ Something that when in mist form, makes you lose your sense of time and space. Something that you can never predict, like grief. Like a tap that isn't properly closed, drip ⋯ drip drip ⋯ drip.
'Rocking cradles, wet blankets' was a line from a poem I wrote last year. Wet blankets remind me of childhood, but also of the days leading up to death. A certain discomfort, of wet skin, wet socks, wet blankets. Of body excretion, of the connection between mother and child.
M ： 這就是水的二元 如此平和靜謐卻如此殘暴 。 它能孕育生 命 ， 亦能將其奪走 。 哭泣時 ， 它自我們體內湧出 ； 在我們尚未成 形時 ， 它浸育着我們 。 它碰撞 、 拍擊 、 包圍 、 霧化……霧化時 ， 它令你失去時空感 。 正如傷痛一樣 ， 它難以捉摸 。 如同關不緊的 水喉 ， 滴滴滴滴……
「 搖籃 、 濕被 」 是我去年寫的一句詩 。 濕被令我聯想起童年 ， 又 令我聯想起死亡來臨前那些日子 。 濡濕的肌膚 、 濡濕的襪子 、 濡 濕的被 一種無以名狀的不自在 ， 仿似分泌物 ， 又仿似母子之 間的聯繫 。
F: ⋯ I didn't expect it to be so heavy, I could barely stand on my legs, it dragged me to the ground but I refused to kneel down, the weight of life and the weight of guilt, the pressure from society, but I'm free of regret. I wrapped the watered
blanket around myself, engulfed myself in it and squeezed. Water gushing out like a waterfall. My limbs were not enough, so I pressed my face into it to squeeze all the water out. My maternal water. The water that made me 'mother'.
⋯ Ironically, ironically, so ironically ⋯ I understood that crying was a love language of my body to myself. It is in the DNA of our body that carries love and the ability to love. Perhaps I would have never understood this and felt this so vividly in my body without the presence of life within me, though short lived. This is what a child could give to a mother. It protects, it's much more capable of loving than me. I think I am extremely grateful, but I feel ashamed and wrong to say it Gratefulness is too reductive of a word to express how I felt and am still feeling, the weight and the levitating power, it is too immense to be carried by a single entity, the strength it generates and multiplies ⋯ It must be carried by actions, by lived time and space, by images, by poetry.
So vividly, but I am. I'm so sorry. I'm so sorry.
F
： ……我無法預料到那感覺之沉重 。 我幾乎不能直立 ， 它把我 扯往地面 ， 但我拒絕下跪 。 那是生命的沉重 、 負罪感的沉重 ， 以 及社會的壓力 ，但我無悔 。我用濕透的被子包裹自己 、淹沒自己 ， 然後擠壓 。 水流像瀑布 。 我的四肢已不夠用了 ， 所以我把臉也埋 進去來擠出水 。 我的母水 。 那些賦予我 「 母親 」 之名的水 。
……諷刺 ， 諷刺 ， 真諷刺……
我體會到哭泣是我的身體向我表達的愛意 。 愛與去愛的能力存在 於我們的 DNA 。 如果我體內未曾存在過生命 縱使短暫 我或許永不會如此真切地領會 。 這就是孩子所能給予母親的東 西 。 孩子保護母親 ， 而且比我更能勝任愛 。 至少我是這如此感受 ……我無比感恩 ， 但說來又深感慚愧 感恩一詞不足以形容我 一直以來的感覺 。 那重量及令人懸浮的力量 ， 無法由一個個體獨 自承擔 ， 那力量不斷生成和放大……必須由行動盛載 ， 由活過的 時空盛載 ， 由影像和詩歌盛載 。
感覺如此鮮明 ， 但我真的 ， 真的很抱歉 。 真的很抱歉 。
M: There's this clip from Midnight Gospel I really like that talks about grief and heartbreak. At one point Duncan asks 'How do you stop a heartbreak?' and his mom says 'You cry'.
Something so simple yet true. When I cry, I let the tears roll down slowly onto my cheeks and then to my mouth. I taste saltwater. The more you cry, the saltier your mouth gets.
That's when I started to use salt in my works, in the form of sculptures and installations. And then later as a sound and
taste element in my performances. Thinking of salt as tears, but also preservation of memory. There's this participatory performance I did, where I wanted to build a flute out of salt and play it. After some trial and error, I resorted to making a digital instrument instead where I used mics and hydrophones to capture the gestures I did with salt like stepping into salt, licking the salt pipes, washing people's hands with salty water. At the end of the performance, I gave the audience salt cups I baked, poured water into them, and we drank this salty water together, almost like a tea ceremony ritual. After the performance, people texted me messages like 'I still have your tear-salt in my mouth', or that it made them feel emotional that 'now an object being a compression of time and movement and salt as a metaphor of tears now pressed into a cup that holds water'.
I really hope to continue to make space for these personal and universal experiences of grief, to hold space for people to grieve and to care for each other.
F: Is it possible for us to hold each other this time?
M ： 我很喜歡 《 午夜福音 》 中有一段落講及哀痛的對白 。 鄧肯 問道 ：「 你如何停止悲傷 ？」 他媽媽答道 ：「 哭吧 。」
一個簡明的真理 。 當我哭泣時 ， 我任由眼淚淌過我的臉頰到嘴 邊 。 我舔舐那鹹味 。 我越哭 ， 嘴裏就越鹹 。
自此 ， 我就開始用鹽創作 ， 用在雕塑及裝置裏 ， 後來也成為我 行為作品中的聲音及味覺元素 。 如果將鹽視為眼淚 ， 它就是記 憶的防腐劑 。 我曾經在一次參與式行為演出中 ， 嘗試以鹽製作 一支笛來吹奏 。 幾番嘗試與失敗後 ， 我只好轉向電子樂器 ， 用 咪與水聽器捕捉我與鹽的互動 ， 例如踏入鹽裏 、 舔舐鹽笛 ， 或 者用鹽水替人洗手 。 演出過後 ， 我向觀眾派發我烘焙的鹽杯 ， 將其注水 ，一起以像茶道的儀式飲用 。過後 ，人們傳簡訊給我： 「 我口中還有你淚水的鹹味 」， 或者他們很觸動 ， 因為 「 這物 體壓縮了時間與動作 ， 鹽作為淚水的隱喻被濃縮進一隻裝着水 的杯 。」
我真的很希望可以繼續為這些私密又普羅的傷痛經歷開闢空 間 ， 讓大家哀悼及看顧彼此 。
F ： 我們這次能依偎彼此嗎 ？
Dialogue as Space: A series of one-to-one collective writings,
The idea of connecting and collaborating through conversations occurred when Jessie invited me to be part of this project. I know that Michele, one of the participating artists, has been working with creating spaces for grief, about her mother's passing. For myself, I have been contemplating on the idea of female fertility, stemming from my abortion that happened 6 years ago. In early June, Michele and I spent an afternoon sharing our memories and how we navigate the emotions that we experience through our artistic practices. During our conversations, it was as if we momentarily abandoned our identity as artists and took on new matching ones: Michele, a child grieving about the loss of her mother, and me, the 'mother' grieving about the 'loss' of the 'child'. We didn't initiate our encounter, but it seems to fall in place so coincidentally and eerily. This conversation has thus built some sort of foundation (at least for myself) towards approaching this project.
When Jessie proposed the idea of artists contributing to the pages of the catalogue in the form of a scrapbook, I immediately recalled my conversation with Michele and thought how wonderful it would be to create in the same way with Monique and Bunny. Although we might not be collaborating face to face, there is a shared sense of intimacy among all of us, which could become the base to manifest into something special. Recently I have been thinking a lot about human connections, their meaning, and possibilities, about what a dialogue can create that a monologue can't. Sometimes one plus one does not equal two, but six, seven, eight, minus ten, or zero. How do we map that out?
I want to think of the scrapbook as a shared safe space between other artists and I, where you can keep something precious, like a treasure box that stores a moment of space and time, shared thoughts, emotions, and energy flow. They can not only exist in the form of a verbal dialogue but be it poetry, textual images, and even rhythms. By creating, gathering, and responding to others freely that allow this shared treasure box collection to grow even more, it's also a good way to learn about each other's aesthetics.
Presence and absence: presence as a way to hold space, absence as a way to make space. How do we balance the two? This notion of the host and the guest Though I'm a 'guest' in the exhibition, can I also create spaces where I 'host'? What are the power dynamics within? I've heard this saying about support and maintenance, explaining that the best maintenance is when its presence goes unnoticed. Like when the metro runs so smoothly that you forget every night after the station closes, workers will go through every track and carriage to ensure everything works fine. Or when you sit and relax on a sofa for long enough that you forget about its physicality, leaving you in a state of pure relaxation. The world seems to urge us to grow quieter, ever quieter. Can silence become a voice? This notion has been on my mind, perhaps due to my increasing involvement in curation. How do people create and share space, when there is no physical space, where you can feel safe and vulnerable and access a state of mind seldom reached in solitude?
Below are the instructions I shared with the fellow artists prior to writing:
- We go online and write on this shared document simultaneously, while listening to the same playlist by one musician (music without understandable lyrics) of your/my choice.
- Can take on any tone of speech or language, no need to worry about grammar or logic, treat it as a free flow of dialogue-making, using words and sentences as a tool or as material. The poem doesn't have to be cool or good, just a record of a moment of exchange.
- Estimated duration of each session: 60 minutes
Full versions of all three conversations are available online on the exhibition webpage. Do take your time to read them! Thank you, Michele, Monique, and Bunny for participating in this experiment with me. hosted by Florence
當 Jessie 邀請我參與這次展覽 ， 我就萌生了以對話來連結 與合作的念頭 。 我知道其中一位參與藝術家 Michele 因為 母親的離世而開始創造哀悼的空間 。 而我就在六年前經歷 墮胎之後 ， 一直在關注女性生育的議題 。 今年六月初 ， 我 和 Michele 花了一個下午互訴這兩段經歷 ， 也分享了大家 如何透過各自的藝術實踐來梳理當中的種種情緒 。 在對話 之中 ， 我們彷彿暫時放下了藝術家的身分 ， 換上了相對應 的身分 ： Michele 是因為母親的逝去而痛苦的孩子 ， 而我 是因為 「 失去 」 了 「 孩子 」 而痛苦的 「 母親 」。 我們的相 遇並非由我們自己促成 ， 而是一個奇異的機緣 。 至少對我 而言 ， 這次對話建立了一個基礎 ， 讓我進入並展開這次展 覽的創作 。
Jessie 後來提出每位藝術家以剪貼本的形式參與展覽圖錄 的編寫 ， 我立刻回想起與 Michele 的對話 ， 並十分希望也 可以與 Monique 和 Bunny 用這種方式交流 。 雖然我們四 人在展覽中未必有親身合作 ， 但我們共享了一種親密感 ， 也許能孕育出新的靈感 。 最近我一直在思考人與人之間的 聯繫 、 其意義與可能 ， 思考對話如何可以創造出獨白所無 法創造的東西 。有時一加一並不等於二 ，而是六 、七 、八 、 負十或甚至是零 。 我們如何理解和呈現 ？
在我的設想中 ， 這剪貼本是我和另外三位藝術家之間共享 的安全空間 ， 像一個寶箱 ， 儲存我們分享的瞬間 、 想法 、 情感和能量 。 它們不僅以語言 、 對話的形式存在 ， 也可以 是詩歌 、 文字圖像 、 甚至是節奏 。 透過創作 、 在不同時空 回應彼此 ， 我們不斷豐富這個共享寶箱的收藏 ， 亦更了解 彼此的審美和創作手法 。
存在與缺席 ： 存在是保有空間的一種方式 ， 缺席則是騰出
空間的一種方式 。 我們該如何平衡兩者 ？ 主與客 ： 我在展覽中擔任 「 客人 」 的角色 ， 但我也能創造出 主持的空間 ？ 當中有甚麼權力架構 ？ 我聽説過 ， 隱 身的維護就是最好的維護 。就像鐵路一直流暢運轉 ， 以至於人會忘記每晚末班車之後 ， 職員都會檢查每 條軌道和每節車廂 ， 確保一切正常 。 或是當你在梳 化上坐久了 ， 你會全然放鬆 ， 忘卻梳化在你身下存 在 。 世界似乎在不知不覺中要我們愈來愈安靜 ， 要 我們不發一言 。 但沉默也可以變成一種聲音嗎 ？ 或 許是因為我愈來愈多參與策展工作 ， 這個想法徘徊 在我的腦海中 。 即使沒有實體空間 ， 人如何創造與 分享空間 ， 讓個體可以安心展露脆弱 ， 並進入獨處 時不會到達的心境 ？
在我與幾位藝術家共同寫作之前 ， 我跟她們分享了 以下指示 ：
- 我們在網上開啟一個共享文件 ， 一起寫作 ， 同時聆 聽彼此挑選的一位音樂人作品 （ 歌曲不包含聽得懂 的歌詞 ）。
- 可以採用任何語言或寫作方式 ， 以詞句為工具或素 材 。 不需擔心語法或邏輯 ， 只需將其視為自由流暢 的對話 。 不需好文采 ， 只需記錄我們交流的時刻 。
- 每次共同寫作的預計時間 ： 60 分鐘
三組文字的完整版本存放在展覽網頁 。 希望你可花 點時間閲讀 ！ 感謝 Michele 、 Monique 和 Bunny 與 我一起參與這次實驗 。
# Psychotherapy, Meditation and Art
Common aesthetic elements:
Imagination, (co-)creativity and (co-)creation
An interactive experience, a shared relational field here and now
# The 'Aesthetics of Disturbance 1 ' in Performance Art
Art isn't always about beauty and harmony; it can also be a radical, even conflicting gesture. I move across this spectrum, inviting introspection, dialogue, and connection with the world. By unsettling sensory perceptions, consciousness, and familiar understandings, I aim to provoke reflection, challenge mainstream perspectives, and disrupt social norms, opening up new possibilities.
# Relational Aesthetics Oriented Toward Healing
Using interactive relationships as an aesthetic element, this process allows people to explore and reshape their relationships with themselves, others, and the world potentially even transforming trauma. It follows a path of encounter, connection, emotional containment, transition, and transformation, leading to self-transcendence.
# Host-Guest Relationship [ Embrace ] Encounter → Connect → Contain → + [ Passage ] Transit → Transform → Transcendance =Healing
# Guest-Host Relationship
To be embraced and passaged → To embrace and to pass
To be hosted → empowered → to host → social sustainability
To be healed → empowered → to self-heal → social change
1 Originated from 'Aesthetics of Disturbance Monique Yim' by Lam Samwai, MING'S, Issue 79 / March 2021, published in Chinese.
# The Greatest Fear of Humankind
Death and bidding farewell symbols of loss and life's impermanence.
# Inner Potential: Transforming Trauma
Re-define meaning → transform trauma into a gift for life → embrace new choices → nurture a better self → life impacting life
# 'The Queer Art of Failure 2 '
Failure applies to everyone. Even in the face of constant failure, human beings bear the capacity to try and reach a utopia of their own definition. How do you define success and failure? Success is simply a representation of the dominant values that social norms celebrate.
# Themes and Ultimate goal
From private to public sphere (the personal is political), from the personal to the collective experience/history, from queer or any kind of marginalised subject (the Other) to the human condition of everyone even in the mainstream.
# Works and Meanings
Some reflect our times, others raise awareness and inspire social change. Some commemorate personal or collective trauma, while others offer a space to express, process, and transform feelings into healing, fostering empathy, connection, and togetherness.
# Artist-Audience Relationship
How do we push the boundary of performance art? What if the audience becomes the active subject, decision maker, performer and the work itself? What if the artist becomes an initiator, inviter, be open and even absent?
2 Jack Halberstam, The Queer Art of Failure, 2011.
To explore diversity and fluidity, collectiveness and common ground; to investigate reactions triggered by interactions with others and the environment: success/failure, security/vulnerability, intimacy/loneliness, ideality/reality, familiarity/strangeness. The essence of power power that shapes discourse, power dynamics, decentralisation, and subjectivity.
Relationships of host and guest, artists and audiences, locals and immigrants, or any kind, is a two-way adventure of ushering in the other, of taking risks.
Full text: www.bit.ly/4dYmMRS
# 心理治療 、 靜觀和藝術
相通的美學元素 ：
想像 、（ 共同 ） 創意 、（ 共同 ） 創造 、 互動經驗
此時此地的共享場域
# 行為藝術的 「 干擾美學 1 」
以文化涵義 、 態度和美學經驗出發 不必然呈現美好與和諧
更可能是激進的姿態 、 異化的形式
我在創作 、 教育和社群實踐中遊走這光譜兩極
想讓人觀照自身 、 打開對話 、 連結世界 透過擾動人的感知 、 意識 ， 喚起反思
意圖挑戰約定俗成的主流認知 、
社會教化 、 規範和常態 ， 發現新的可能性
# 療癒式關係美學
以互動關係的療癒經驗成為美學元素 讓人探索和重塑與自己的內在 、
與他人 、 與世界的關係 ， 甚至轉化創傷 當中包括我所重視的 ： 相遇 、 連結 、 承載 、 過渡和轉化 ， 以致自我超越的過程
1 引自 「 干擾美學 嚴穎嘉 」， 林三維 ，《 MING'S 》， 第 79 期 ／ 2021 年 3 月號 ， 香港 。
# 主對客
[ 迎接 ]
相遇 → 連結 → 承載 → +
[ 過渡 ]
過渡 → 轉化 → 超越 = 療癒
# 客對主
被迎接 、 被過渡 → 主動迎接 、 過渡
被款待 → 充權 → 款待 → 社會參與和永續
被療癒 → 充權 → 自我療癒 → 社會轉型和變革
# 人性的最大恐懼
死亡和別離 ： 代表失去和無常
# 內在潛能 ： 從創傷到禮物
重新定義創傷 → 轉化創傷 → 作為生命的禮物 → 重新做 出選擇 → 成為更好的自己
# 「 酷兒的失敗藝術 2 」
也許存在於每一個人
就算不斷失敗 ， 也可以繼續追尋烏托邦 ， 屬於自己的自由
「 再嘗試 、 再失敗 ， 失敗得更好 」
怎樣定義成功與失敗 ？
成功只不過是成為主流價值
2 引自朱迪斯 霍伯斯坦 《 酷兒的失敗藝術 》， 2011 年
# 主題與終點
從私人領域到公共領域 （ 個人的就是政治的 ） 從個人到集體經驗 ／ 歷史
從酷兒到任何邊緣主體 （ 他者 ）
到包含每個人的人類共同處境
# 作品與意義
有些作品反映了我們的時代
有些喚起公衆意識 ， 推動社會變革
有些紀念個人或集體創傷
有些讓人表達與處理感受 ， 轉化為療癒的過程 、
或創造一個共情與團結的空間 ， 一個連結的媒介
# 藝術家與觀眾
突破行為藝術的邊界
觀眾可以變為執行者 、 主動者 、 決策者 、 表演者 ， 乃至
創造者 、 創作本身嗎 ？
藝術家可變為促成者 、 邀請者 、 完全開放甚至缺席嗎 ？
# 移位 ／ 離散 ／ 錯置
探索多樣性和流動性 、 集體性和共同點
與他人和環境的互動引發的 ：
成功 ／ 失敗 安全 ／ 脆弱
親密 ／ 孤獨 理想 ／ 現實 熟悉 ／ 陌生
權力本源 、 話語權 、 權力關係 、 去中心化和主體性
# 冒險
主與客 、 藝術家與觀眾 、 本地人與移民 ， 或任何類型的 關係 ， 都是一場雙向的冒險
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Trace Record (2022). Photo: LOVE+ Awakenings, Gay Games Hong Kong 2023 《 痕跡記錄 》（ 2022 年 ）。 攝影 ： LOVE+ Awakenings, Gay Games Hong Kong 2023
Queer Series No.16 (2021), 135 YCS, Hong Kong, 2021. Photo: Gustav Lindgren
'Rehearsal: Notes for a Future Project', 7 August, 2024, Para Site, Hong Kong. Photo: Li Chuqi 「 排演 ： 未來計劃筆記 」， Para Site ， 香港 ， 2024 年 8 月 7 日 。 攝影 ： 李楚琪
My Mandarin is Limited (2024), Shenzhen, 2024.
Photo: Shenzhen Sand International Performance Art Festival 2024 《 我的普通話很爛 》（ 2024 年 ）， 深圳 ， 2024 年 。 攝影 ： 深圳沙灘國際行為藝術節 2024
⋯
F: What if we have been taught and conditioned to endure discomfort for a long period of time? Like long durational performances that work with endurance. We were made to believe that the discomfort is necessary for something bigger. Or maybe it is? How do we let go and allow ourselves to transform? Like ice melting into water, then becoming clouds, then rain, then a river, and then the sea, becoming part of the snow in the Japanese Alps, the Ganges River, a part of Victoria Harbour, the water that flows out of a living being's eyes. Seeds sprout and bloom, embracing the sun and the nutrients, wilt, and become part of the soil again.
M: Unlearning is an important kind of learning. Unlearn the need to confront all your life's substances on your own with the 'impermission' of fragility, and learn to let yourself be open, giving yourself unconditional love and divine compassion. When you have experienced what it feels like to be contained by someone or by nature then you are empowered to expand your inner resources, to contain yourself, and to transform your discomfort. Nature is one of our role models and a great teacher, full of divine compassion. Life is like a circle birth, ageing, illness, death ⋯ there is transformation. Life is oneness ⋯ as birth is everywhere and comes from death. What if everything is empty, but everything is love?
F: We usually relate love to a kind of wholesomeness, or being full of something. How is it love when it is a kind of emptiness? Where do the feeling of love and love itself travel? Is nature full or empty? Perhaps, like you said, nature is full of compassion but empty of ego there is no pride, no regret or guilt, no hatred. But I'm also curious, what made you interested in healing the collective and the individual?
M: Emptiness is the nature of life and self. To understand emptiness is to understand the nature of love and self-love,
and healing and self-healing as well. Emptiness is when we realise everything is equal, fluid, flowing, and flexible, and keeps transforming with different possibilities. We will then realise there are no standard answers, fixed goals, identities, or norms. After all, you will find that everything is non-binary not good or bad. What if your trauma is a gift to your life, allowing you to become a better self? Fortunately, you possess the absolute power to (re)define meaning, and excitingly, you could freely live out your personal 'hero's journey' of achieving a higher level of selfawareness and inner integration, as Carl Jung suggested! The power of emptiness inspires us to forgive the person, the event, and the object that cause discomfort, and to let go of up ā d ā na, which traps us our beliefs, our choices in life, every action and feeling, our relationships with others and the world, including our traumas. Then, let love and compassion return to our lives.
⋯
F: It's beautiful how the prompts of healing and therapy are often facilitated by visualising emotional transformation with spatial qualities: like you said, emptiness as forgiveness, compassion and self-compassion as keys to enter this room to transform discomfort. A house that is built for our souls and love to live together like a family. I'm still searching for ways to heal my traumas, traumas of the body, of loss, of betrayal. I feel the warmth, calmness, stability, and clarity when writing with you. A kind of non-invasive but welcoming embrace, a generosity that is capacious. I admire and respect therapists a lot. The world needs to slow down and let itself heal.
F ： 我們會否已被教育去習慣長時間忍受不適呢 ？ 就像需
要耐力的長時間行爲展演一樣 。 我們被灌輸去相信不適是 獲得更大成就的必經之路 。 或許的確如此 ？ 我們該如何放
手 ， 讓自己轉化 ？ 就像冰融化為水 ， 然後成雲 、 致雨 ， 落 河 ， 向海 ， 變成日本中部山岳 、 印度恒河 、 和香港維多利 亞港的一部分 ， 變成從一個生物的眼中流出的淚 ？ 就像種 子發芽 、 開花 、 擁抱陽光和養分 、 枯萎 、 再次成為土壤的 一部分 ？
M ： 歸零學習也是一種重要的學習過程 。 放下在面對世間 萬物時對自身生命脆弱性的否定 ， 學習打開自己 ， 給自己 無條件的愛與永恆不變的慈悲 。 當你體會過被承載的意義 和感覺 ， 無論是被人或大自然所支持 ， 你就會被賦予力 量 ， 擴大你的內在容量與資源來承載自己 ， 並轉化自己的 不安 。 大自然充滿慈悲 ， 是我們的榜樣與老師 。 生命就像 一個循環……生 、 老 、 病 、 死……不斷流轉 。 生命是一體 的……因為生命無處不在 ， 並且源自死亡 。 萬物皆空 ， 但 同時 ， 萬物皆有愛 ？
F ： 我們通常把愛與完整或圓滿的狀態聯繫在一起 。 但當 愛是空無一物的時候 ， 它還可以是愛嗎 ？ 愛的感覺和愛本 身是如何游走 ？ 大自然是圓滿還是空虛 ？ 或許就如你所
言 ， 大自然充滿了憐憫與慈悲 ， 同時無我 ， 沒有自傲 、 沒 有悔疚 、 沒有仇恨 。 但我也很好奇 ， 是甚麼促使你去關注 集體與個人的治癒 ？
聆聽着 Sat-Chit 的 《 當下力量的靜心導引 》
M ： 空性是生命與自我的本質 。 了解空性 ， 就能了解愛
與自愛 ， 還有療癒與自我療癒 。 空性是當我們領悟到一 切都是平等 、 流動 、 靈活 ， 並且在不斷轉化可能性時 ， 我們就會發現世上沒有標準答案 、 固定目的和身分 、 或 規範 。 最終 ， 你會發現一切都是非二元的 ， 不是非黑即 白 、 非好即壞 。 也許你所經歷的創傷是生命的禮物 ， 讓 你成為更好的自己呢 ？ 慶幸的是 ， 你擁有為任何事重新 定義的絕對權力 。 就如榮格所言 ， 你可以成為自己的內 在英雄 ， 創造和更新自我意識與認同 。 空性的力量啟發 我們寬恕讓我們不安的人 、 事 、 物 ， 放下困住我們的執 念 我們的信念 、 對生活的選擇 、 每個行爲和感受 、 與他人和世界的關係 ， 也包括我們的創傷 然後讓愛 與慈悲回歸我們的生命 。
F ： 以空間的特質來想像情緒轉化 ， 再由此思考療癒和 療法 ， 這真是很美麗的想像 。 就如你所言 ， 空性就是寬 恕 。 同情和自我憐憫像一把鑰匙 ， 通往一間房子 ， 讓我 們的靈魂和愛可以如一家人般棲息 ， 從中轉化我們的不 適 。 我仍然在尋找療癒自己創傷的方法 ， 療癒身體的創 傷 、 失落的創傷 、 被背叛的創傷 。 與你一起寫作時 ， 我 感到一種暖意 ， 平靜 、 穩定和清晰 。 仿似一個溫和的擁 抱 ， 一種寬容與大度 。 我非常敬佩治療者 。 這個世界需 要放慢腳步 ， 療癒自己 。
B :
I am here, I can answer the call I can take chances, I can try
I am light, I am my world's half being No body, no bodies
Why do I care so much? Wala namang pakialam ang iba sa'kin?
Hypocrite! This human land is such a hypocrite! They pray everyday only to curse everyday!
Why do I have to be kind?
Why do I always have to be kind?
Why do hurt people work hard to be kind? To heal? To understand? To hold space? To embrace? To let go? To let live? To let flow? Why does it have to be me? Why me?
I am hurt
I am wounded
I am hurt
I am wounded
I am hurt
I am wounded
Dripping with so much tears, sweat, blood
Soaking wet
I am hurt
Never heard
Care is such a lonely world, care is such a lonely word Dapat nga ba?
This world is just not ready, too blinded
Too fake, to much, everywhere, overwhelming, drowning, Of this world, of themselves, of their superficialities
I am tired, of waiting, waiting
Ljkhhfrytryfhvjbhjhfdsrgsfgxzcgfhjgjhgbnbjbhgyfkjfjgljgli
Can we make a little more time to hear, listen to each other
Something is happening to us
It can be a wonderful thing, something everlasting
Can we make a little more time to feel each other
Where is home?
What does it mean to leave home?
What does it mean to create a new home, at somebody else's home?
⋯
When I sing the song again, I'm reminded of the 'I' when I wrote it.
Like pillars that braces the 'house' or the 'temple' of where our soul sleeps
In this 3-dimensional world.
It's the 'I' that builds
The 'I' that obstructs
The 'I' that creates 'You'
U
Two 'I's holding hands and becoming one.
⋯
Kind is not a must
It's not our responsibility
It's no one's responsibility
There's so much pain in this world
Pain that is multiplied and multiplied
Multiplied and manipulated
Manipulated
Manifested
Mourned
I don't need to care
I don't need to be kind
Pain is carried in the body to remember
Remember what needs to be remembered
Kindness is a body memory
Caring is a body memory
It's an ability to feel pain and cause pain
It's a kind of communication
A statement
An expression
When the world is silent
You are not obliged to speak
You can be silent too
Hand in hand
Live together, here and now
Find out what it is for us
Right before the future and right after the past
Our skin have found something right
Can we make a little more time to heal
Heal from within
Heal from here
Heal from now
Is it too late?
For a brighter one
For a lighter one
For a lover
For a friend
For a home
For a chair
For a table
For a pillow
For a blanket
For a sunshine
For a moonlight
For an embrace
Is it too late?
To go back, to return, to turn back, to me as to you
I need my mother
I yearn for her
I never had the chance to feel her
Maybe that is why I work double time to create it
To create such things for me to heal
I never had the chance to be mothered
I have decided to be a mother
To be my own mother
To mother the lost
To mother the disappeared
To mother the hurt
I am hurt
I am mother
I too, am a mother
I I I Ay, ay, ay
I can be silent too
No one is responsible to create balance
When the polar dualities are not meant to be anyway
Garbled, encoded, encrypted into music notes
Cradled in the melody
The vibration in your chest chamber awakens memories stored in my sacred organs
The memories of when water was as pure as diamond and crystals
The air has nothing else but nitrogen, oxygen, argon and Co2
The soil only contained what it needed for growth and life
Way before it was soaked in the blood of souls not ready to leave yet
Blood and tears leaving my body like a calm tide
Quiet and unnoticed, under the soft gaze of Justice
Flooding out the carrier of hope
In exchange for hope.
⋯
The child and the mother is created at the same time
They are the sole evidence of each other's actuality
Our presence and absence
Our duration
Our continuity
Counting each other's heartbeats
Each other's breaths
Each other's footsteps
Four legs walking side by side
Falling and catching oneself
Catching each other
Listening to the sand crushing below their feet
The tide rises as the sun starts to hide itself
Making space for silence
I await your song.
我在這裏 ， 我可以回應呼喚
我可以冒險 ， 我可以嘗試
我是光 ， 我是我世界的一半存在
沒有人 ， 沒有身體
I （ 我 ） I I ……
為何我這麼在乎 ？ 別人有關心嗎 ？
偽善 ！ 這片人類的土地真是虛偽 ！
他們每天祈禱就是為了每天可以詛咒 ！
為甚麼我一定要善良 ？
為甚麼我總是要善良 ？
為甚麼受傷的人要努力去善良 ？ 為了療癒 ？ 為了瞭解 ？ 保存 ？
擁抱 ？ 放手 ？ 放生 ？ 放任 ？ 為甚麼一定是我 ？ 為甚麼是我 ？
我很痛
我受傷了
我很痛
我受傷了
我很痛
我受傷了
淌滿了淚水 、 汗水 、 血水
濕透了
我受傷了
卻從未有過受眾
在乎是個寂寞的世界
在乎是個寂寞的字眼
應該嗎 ？
這個世界還沒準備好 ， 太盲目
太虛假 、 太多 、 無處不在 、 氾濫 、 淹沒 這個世界 ， 他們自己 ， 他們的膚淺
我累了 ， 厭倦了等待 ， 等待 ……
Ljkhhfrytryfhvjbhjhfdsrgsfgxzcgfhjgjhgbnbjbhgytyfkjfjgi
我們可否多花一點時間來聆聽彼此 ？
有些事情正發生在我們身上 可能是美好的 、 永恆的
我們可否多花一點時間去感受彼此 手牽手
何處為家 ？
何謂離家 ？
如何在別人的家裏創造一個新的家 ？
當我再次唱這首歌 ， 我就會想起
寫這首歌時的自己 （ I ）。
就像支柱 ， 支撐着我們靈魂安睡的 「 房子 」 或 「 神殿 」
在這個三維世界裏 。
是 「 我 」 在建造
是 「 我 」 在阻礙
創造 「 你 」 的 「 我 」
U （ 你 ）
兩個 「 我 」 牽手成為一體 。
你不一定要善良 這不是我們的責任 不是任何人的責任
世界充斥着痛苦
倍增再倍增的痛苦
倍增又受操縱
操縱
流露
哀悼
我不需要在乎
我不需要善良
身體承載住痛苦來記住痛苦 記住甚麼需要記住 善良是身體記憶
在乎是身體記憶
是感受痛苦與引來痛苦的能力 是溝通
是聲明
是表述
當世界寂靜
你無需發聲
你也可以寂靜
我也可以寂靜
一起生活 ， 就在此時此地
尋找我們真正需要的
就在未來之前 ， 在過去之後
我們的皮膚找到了對的東西
我們能不能多花一點時間來療癒
從內在療癒
從這裏療癒
從現在開始
會太晚了嗎 ？
對於
更亮的
更輕的
愛人
友人
家園
椅子
桌子
枕頭
被鋪
陽光
月光
擁抱 ……
都太晚了嗎 ？
對於折返 、 回歸 、 沿路 ， 向我向你
我需要母親
我渴求她
我從來沒有機會感受她
可能這就是為甚麼我加倍努力去營造 去營造機會療傷
我從來沒有機會被母親養育
我決定成為母親
成為自己的母親
養育失落的人
養育消失的人
養育受傷的人
我受傷了
我是母親
我也是母親 I I I
哎 ， 哎 ， 哎
當兩極二元無法共存
無人須負責製造平衡
曲解 、 加密的音符
在旋律的搖籃裏
你胸腔的震動喚醒了我神聖器官的記憶 記憶中那時候的水還是像鑽石 、 水晶一般純淨
空氣裏還是只有氮 、 氧 、 氬及二氧化碳 土壤裏還是只有維持生命所需的 那是很久以前 ， 在土壤被未準備好離去的 靈魂的血液滲透之前
血與淚像平靜的潮汐自我身體流去 在正義之神溫柔的目光下 ， 無聲無息地 將希望的載體沖走
換取希望 。
孩子和母親同時誕生 她們是彼此存在的唯一憑據 她們的存在與缺席 她們的時長 她們的延續
數算我們的心跳 我們的呼吸 我們的腳步
四腳並行
墮下然後接住自己 接住對方
聽腳下沙子碾碎的聲音 太陽開始隱藏自己時潮水就漲起 騰出空間給予寧靜 我靜候你的歌
Michele Chu in her practice explores intimacy and human connection, specifically the interplay between sensory elements and space to amplify emotional connection between individuals. Her works contemplate what makes us human, through mediums like performances, sculptures, multi-sensory installations and public interventions amongst others.
Her work has been shown at 1a Space (Hong Kong); Negative Space (Hong Kong); and Tai Kwun Contemporary (Hong Kong). Her debut solo exhibition at PHD Group, 'you, trickling', was featured in The New York Times, Artforum, ArtReview Asia, Frieze, Ocula, and other publications.
She is a recipient of Soundpocket's Artist Support Program from 2020-21 and was in residence at London's Delfina Foundation as part of their 'Performance as Process' program in 2023.
朱凱婷 在她的實踐中探索親密關係和人與人之間的聯
繫 ， 特別是感官元素和空間之間的相互作用 ， 以放大個 體之間的情感聯繫 。 她的作品透過表演 、 雕塑 、 多感官 裝置和公共干預等媒介思考人類的本質 。
她的作品曾在香港 1a Space 、 Negative Space 及大 館當代美術館展出 。 她在 PHD Group 的首次個展 「 you, trickling 」 曾在 《 紐約時報 》、《 Artforum 》、 《 ArtReview Asia 》、《 Frieze 》、《 Ocula 》 等刊物 上獲發表專題報導 。
她是聲音掏腰包 2020-21 年度藝術家支持計劃的 獲得者 ； 2023 年參與倫敦 Delfina Foundation 的 「 Performance as Process 」 駐留計劃 。
Florence Lam is artist, curator, educator, with performance art as the main medium. She grew up in Hong Kong, obtained her MA Fine Art from Iceland Academy of the Arts in 2017 and her BA Fine Art from Central Saint Martins in 2014. She is the co-founder of Per.Platform, Hong Kong-based live art platform founded in 2021. Lam has performed around Asia and Europe, including M+ (Hong Kong 2023), IMPORT/EXPORT (Livorno, Italy 2023), Black Market International–Exploring 2021 (Frankfurt, Germany 2021), ZABIH Performance Festival (Lviv, Ukraine 2019), Reykjavík Arts Festival (Iceland 2018), Performance Platform Lublin (Lublin, Poland 2017) and Manifesta (Zürich, Switzerland 2016) etc. She worked as a re-performer and workshop facilitator for Marina Abramović in 2018-2019.
Florence Lam 是藝術工作者 、 策展人 、 教育者 ， 以行為 藝術為主要媒介 。 在香港長大 ， 於 2014 年在英國倫敦 中央聖馬丁學院獲得純藝學士學位 ， 2017 年在冰島藝 術學院取得純藝碩士學位 。 2021 年成立香港現場藝術 平台 Per.Platform 。 曾於歐洲及亞洲等地展覽及展演 ， 包括香港 M+ （ 2023 ）、 意大利 Livorno IMPORT/ EXPORT (2023) 、 德國法蘭克福 Black Market
International – Exploring 2021 （ 2021 ）、 烏克蘭利沃
夫 ZABIH 行為藝術節 （ 2019 ）、 冰島雷克雅維克藝 術節 （ 2018 ）、 波蘭盧布林行為藝術平台 （ 2017 ）、 歐洲宣言展 Manifesta （ 2016 ） 等 。 2018 – 2019 年為 Marina Abramovi ć 擔任重演者及工作坊帶領者 。
Monique Yim (b.1984, Hong Kong) is an artist, educator and mental health professional as a certified hypnotherapist, gestalt counsellor, and mindfulness and expressive arts instructor. She received her MA from Central Saint Martins, University of the Arts London, UK and studied postgraduate programmes at Zurich University of the Arts, Switzerland.
Yim mainly engages in performance, photography, video, mixed media installation, participatory art, public and community art, as well as film and theatre. Her works address human conditions, including social, cultural, identity, body, gender and queer issues, as well as the experiences of marginalised minorities. Since 2006, she has been featured in over 200 exhibitions, festivals and residencies across more than 30 cities in Asia, Europe and the Americas. She has received international and local awards, including the 'Visual Art Performance Made in Public Space Prize' at Kassak Centre, Europe (2018), shortlist nominations for the 'Human Rights Arts Prize' in Hong Kong (2021) and the 'Colours of Humanity Arts Prize' in Hong Kong (2022 and 2023). She curated 'Performance Art Marathon' at the West Kowloon Cultural District in Hong Kong (2014).
Yim has served as a consultant, lecturer, workshop instructor, speaker at talks and research conferences, and professional trainer at over 100 overseas and local universities, schools, arts and cultural organisations, social services institutions, healthcare institutions, diverse arts events, and community arts projects. She is dedicated to performance art education and has pioneered interdisciplinary practices and teaching methods in performance art in Hong Kong, including cross media art, creative education, cultural and gender studies, general education, life education, mindfulness, expressive arts therapy, psychology and psychotherapy, wellbeing and healing, philosophy, and spirituality.
Yim's practice and works have consistently been featured in the media, cited in academic texts, and selected as research or teaching materials worldwide.
嚴穎嘉 （1984年生於香港）是藝術家和教育者，獲英 國倫敦中央聖馬丁藝術與設計學院碩士，曾到瑞士蘇 黎世藝術大學研究院深造。 她也是精神健康工作者， 為註冊催眠治療師、完形治療輔導員、靜觀和表達藝 術導師。
嚴氏主要從事行為、攝影、錄像、混合媒介裝置、參 與式藝術、公共和社群藝術，以及電影和劇場。她關 注人的處境，包括社會、文化、身份、身體、性別與 酷兒議題，及各種少數邊緣群體的精神面貌。自2006 年，其作品曾展出於亞洲、歐洲及美洲超過三十個城 市，近二百項展覽、藝術節及駐留。 她榮獲香港及國 際獎項，包括歐洲卡薩中心「公共空間行為藝術獎」 （2018）、香港「人權藝術獎」入圍（2021）、香港 「人性的色彩藝術獎」入圍（2022及2023）等，曾 於西九文化區策展「行為藝術馬拉松」（2014）。
嚴氏受邀於超過一百間海外及本地大學、學校、藝術 文化、社會服務及醫療機構，亦在社區和多元社群藝 術項目中擔任顧問、講師、工作坊導師、講座及研討 會講者、專業培訓導師等。
她歷年致力並開拓身體和
行為藝術教育，以及跨學科應用和研究，範疇包括： 跨媒界藝術、創意和設計教育、文化和性別研究、通 識教育、生命教育、靜觀、表達藝術治療、心理學與 治療、身心健康與療癒、哲學及靈性等。
嚴氏的藝術作品和實踐屢被媒體專題報導、撰入藝術 文獻及被選為學術研究與教學材料。
Bunny Cadag is an artist creating at the nexus of craft and performance; within the tensions and transitions between theatre, film as well as installation; and through the voice as a fundamental site of creative resistance and poetic reexistence. Her practice is anchored in indigenous gender diversity and contemporary gender equality, and shared through a trans approach to healing and song, alongside which she nurtures a decolonial composure toward folklore and tradition. Cadag's performances are often participatory and community-based, amplifying voices of the marginalised while thoughtfully navigating defamiliarised shapes and spaces with compassion and generosity. In 2021, Cadag was a recipient of Para Site's No Exit Grant for Unpaid Artistic Labour. Cadag's work titled Munimuni was featured in 'Myth Makers-Spectrosynthesis III' at Tai Kwun Contemporary, Hong Kong (2022). She graduated with a Certificate in Critical Practice in Contemporary Performance at Dance Nucleus Singapore in 2023. She lives and works Nasugbu, Batangas, Philippines.
Bunny Cadag 的創作融匯工藝與演藝 ， 穿梭劇場 、 影像 與裝置之間的張力及轉化 ， 亦以聲線作為創意抗爭以及 詩意再生的媒介 。 她的藝術根植於原住民的性別多元與 當代的性別平權 ， 以跨性別的感知療癒 、 歌唱 ， 藉此在 民俗與傳統中作解殖實踐 。 Cadag 常作參與式社區創 作 ， 突顯邊緣群體的聲音 ， 以同理心遊刃於異化的型 態與空間之中 。 2021 年 ， Cadag 為 Para Site 藝術空間 「 NoExit 無償藝術勞動資助計劃 」 的獲獎者之一 ， 其 作品 《 Munimuni 》 曾於香港大館當代美術館 2022 年展 覽 「 神話製造者 光 ． 合作用 III 」 展出 。 她 2023 年 於新加坡 Dance Nucleus 獲得當代演藝批判實踐證書 。 她現居菲律賓八打雁省 Nasugbu 市 。
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 藝術空間為香港知名當代藝術中心 ， 亦是亞洲歷史最悠 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 。
2.11.2024–23.2.2025
Artists 藝術家
Michele Chu 朱凱婷
Florence Lam
Monique Yim 嚴穎嘉
Bunny Cadag
Curator 策展人
Jessie Kwok 郭芷凝
Exhibition Manager 展覽經理
Miki Hui 許彥彤
Project Assistant 項目見習生
Mui Cheng 鄭泳昕
Graphic Design 平面設計
Lokto
Translation 翻譯
Jason Chen 陳子岳
Li Chuqi 李楚琪
www.para-site.art/exhibitions/the-embrace-and-the-passage
Damian Boylan
Chan Ming Ping 陳銘平
Chan Ting 陳庭
Amandine Vabre Chau
Cheng Hiu Wai 鄭曉蔚
Cheung Wing Yin 張穎賢
Chow Yik Sheung 周易霜
Mark Chung 鍾正
Fong Cheng Woodwork 方正木工
Herman Lau 劉志鏗
Lee Adrienne Ching Kiu 李清翹
Kin Lam 林建霖 Li Chuqi 李楚琪
Kelly Ma 馬元中
Ng Ching Yee 吳靜而 PHD Group
Doris Poon 潘韻怡
Tam Sze Yan 譚詩茵
To Wing Nam 杜泳嵐
Xiao Wenyan 蕭文衍
Winston Yeung 楊俊
Yun Hok Lun 甄學倫
And participants in 'Rehearsal: Notes for a Future Project' 以及 「 排演 ： 未來計劃筆記 」 參與者
Para Site Art Space is financially supported by the Art Development Matching Grants Scheme of the Government of the Hong Kong Special Administrative Region. The Government of the Hong Kong Special Administrative Region provides funding support to 'The Embrace and the Passage' only, but does not otherwise take part in it. Any opinions, findings, conclusions or recommendations expressed in the materials/ activities (or by members of the Para Site team) are those of the organisers of the exhibition only and do not reflect the views of the Government of the Hong Kong Special Administrative Region.
Para Site 藝術空間獲香港特別行政區政府 「 藝 術發展配對資助計劃 」 的資助 。 香港特別行政 區政府僅為 「 棲與渡 」 提供撥款資助 , 並無參 與其中 。 在刊物 / 活動內 （ 或 Para Site 成員 ） 表達的任何意見 、 研究成果 、 結論或建議 ， 純 屬該展覽的推行機構的觀點 ， 並不代表香港特 別行政區政府的觀點 。
'The Embrace and the Passage' is financially supported by the Project Grant of the Hong Kong Arts Development Council. Hong Kong Arts Development Council supports freedom of artistic expression. The views and opinions expressed in this project do not represent the stand of the Counc il.
「 棲與渡 」 獲香港藝術發展局計劃資助 。 香港藝術發展局支持藝術表達自由 ， 本計 劃內容並不反映本局意見 。
Supported by 資助
Team 團隊
Billy Tang 曾明俊
Executive Director and Curator
執行總監兼策展人
Junni Chen 陳君妮 Deputy Director
副總監
Celia Ho 何思穎 Curator 策展人
Jessie Kwok 郭芷凝 Assistant Curator 助理策展人
Yuanyu Li 李沅鈺 Assistant Curator 助理策展人
Miki Hui 許彥彤 Exhibition Manager 展覽經理
Jason Chen 陳子岳 Communications Manager 傳訊經理
Kelly Chan 陳憶文 Development Manager 發展經理
Holly Leung 梁皓涵 Gallery Manager 畫廊經理
Stefan Luk 陸其叡 Project Coordinator 項目統籌
Lynna Lam 林珊 Development Intern * 發展部見習生 *
Mui Cheng 鄭泳昕
Project Assistant # 項目見習生 #
Board 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
Antony Dapiran 戴安通
Treasurer 司庫
Sara Wong Chi Hang 黃志恒
Secretary 秘 書
Nick Adamus
Shane Akeroyd 安定山
Bonnie Chan Woo Tak Chi 胡陳德姿
Dr. Yeewan Koon 官綺雲博士
Alan Y Lo 羅揚傑
Adeline Ooi 黃雅君
Federico Tan 陳奕明
Honus Tandijono 陳松正
Yuki Terase 寺瀨由紀
Young Kar Fai Samson 楊嘉輝
*2023/24 The Arts Talents Internship Matching Programme is supported by the Hong Kong Arts Development Council
藝術人才見習配對計劃 2023/24
#2024/25 The Arts Talents Internship Matching Programme is supported by the Hong Kong Arts Development Council
藝術人才見習配對計劃 2024/25
Shane Akeroyd
ART021 Group
Jean-Marc Bottazzi
Mimi Brown & Alp Ercil
Jehan Chu
Mimi Chun & Chris Gradel
Yan Du
M Art Foundation
Dina Shin
Virginia Yee
Founding Friends 始創好友
Stephen Cheng
COLLECTIVE Studio
David Zwirner Gallery
Alan Lau
Wendy Lee
Edouard & Lorraine Malingue
Elia Mourtzanou
Schoeni Projects
SUNPRIDE FOUNDATION
Yuki Terase
Friends 好友
A Pipeline
Almine Rech Gallery
Nick & Cordula Adamus-Voegtle
Nicolas & Delphine CanardMoreau
Lawrence Chu & Natalie Chan
Chu
Jane DeBevoise
Hawk He
Reimi Imaizumi
Angelle Siyang-Le
Jina Lee & Jae Won Chang
Jeff Li & Chuanwoei Lim Lisson Gallery
Alan Lo
Kai-Yin Lo
Ingrid Lok & Tim Li
Magician Space
Elaine W. Ng
Justin Ng
Stefan Rihs
Fabio Rossi
Roman Ruan & Freda Yang
Tabula Rasa Gallery
T:>Works
Bonnie & Darrin Woo
Dayea Yeon
Contact 聯絡我們
www.para-site.art
22/F & 10B, Wing Wah Industrial Building, 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 樓及 10 樓 B 室
t. +852 25174620
e. info@para-site.art
Wednesday to Sunday, 12:00–19:00
Closed on Monday, Tuesday, and Public Holidays
星期三至星期日下午 12 時至晚上 7 時
星期一 、 星期二與公眾假期休息
Facebook/Instagram: @parasite.hk
Wechat: parasitehongkong
