In Search of Miss Ruthless

IN SEARCH OF MISS RUTHLESS 尋求無情小姐

7/2 - 9/10, 2017

( ... )

Not Yet Titled (Strategies of the Pageant Queen) It is said that seven friends swore themselves to be sisters for life—to never get married and die on the same day. From Para Site’s front windows, you would be able to see them playing in the old streets of Hong Kong, when there was a village here of Hakka people.

Eventually, one of the sister’s parents promised her hand to another and this sister did not voice dissent.

A day before the wedding, the seven sisters commit suicide by sea. At the bay appeared seven rocks, which have since been buried in 1934 due to reclamation for urban development (continued...)

Much later, in 1946 and a block away from the seven sisters, the first unofficial beauty contest in Hong Kong was staged at the Ritz Garden Nightclub. Miss Hong Kong Beauty Contest was organized by club owner and Shanghai crime boss protégé Lee Choi Fat. He was well-connected in political circles in China. It had been less than ten months after the Imperial Japanese Army surrendered to the Allied Forces in Hong Kong.

Some of the early pageant winners disappeared from Hong Kong along with the old coastline, only to appear on the silver screens of Hollywood. 1952 Miss Hong Kong Beauty Contest winner Judy Dan participated in the first ever Miss Universe, placing third runner-up. Years later, we chase the stories of our own diasporic pageant queens. Now, in an exhibition space, the search for the titleholder of Miss Ruthless begins. As narrative fiction, Miss Ruthless is guided by the inherited tradition which recalls the sentimentality of Chinese culture. As Rey Chow describes the sentimental in modern Euro-American humanities, it is “the enduringly fraught ethics of human sociality as mediated by art and fiction.” From 1930s Shanghai-based actress Wang Ying to 1972 Miss Chinatown New York Patricia Moy, we have seen queens mobilize emotional ambivalence in their visible positions of subjugation to show who is actually in control. In drawing from the depths of diasporic souls, while taking pageantry as a method, we seek to find a Miss Ruthless that will pursue the freedom to survive the harsh conditions of her environment. A public persona from the future, Miss Ruthless is a figure of popular support that can represent “our beautiful Hong Kong up on the world stage,” as the lyric from Hong Kong Our Home indicates. Following poet Hélène Cixous, we ask of Miss Ruthless: What if she were alive?

What if, in looking at her, we animated her?

In the 1970s, Hong Kong saw the simultaneous rise of broadcast television and the formation of Miss Hong Kong and later Miss Chinese International—which incorporated existing overseas pageants—connecting the diasporic communities through mainstream culture in a network of attachment. Pageants

NOT YET TITLED (continued) HERA CHAN DAVID XU BORGONJON

尚未揭曉 （選美王后的戰略） 陳思穎、許大小

曾經有個傳說，七位好友結拜為金蘭姊 妹，發誓此生此世不嫁，雖未能同年同月同日 生，但願同年同月同日死。從ParaSite藝術空 間的前窗望去，你能看見一個客家村落，七姊 妹在村中老街玩耍。後來，一位姊妹的父母將 她許配他人，她不敢違抗父母之命；而在大喜 前夕，七姊妹相偕尋海自殺。後來在海灣中出 現了七塊礁石，這些礁石因1934年城市發展工 程填海被掩埋在地裡。多年後，1946年第一屆 民間香港小姐選美競賽在離七姊妹區一條街外 的麗池花園夜總會舉行，舉辦者李裁法是上海 幫派首領的門生，與中國政界關係密切。那時 離日本軍隊在香港向同盟國投降，還不滿十個 月。 早年那些選美王后與香港昔日的海岸 線一同消失了，後來僅出現於荷里活的電影 上。1952年香港小姐選美冠軍但茱迪參選第一 屆環球小姐，榮獲第四名。多年後，我們追溯 海外華人選美王后的故事，在展覽空間中尋找 「無情小姐」的桂冠得主。無情小姐作為一個 虛構人物，以中國文化所繼承的多情傳統為精 神嚮導。正如周蕾所描述現代歐美人文傳統中 的多情：「由藝術與文學所介導的人類社會性 之險性倫理。」從1930年代的上海女演員王瑩到 1972年的紐約華埠小姐梅月蓮，我們看到選美 王后從明顯屈從的地位上運用情感的複雜和不 確定性施予影響，以示誰才真正掌控了大局。 我們深入僑民歷史，以選美競賽為方法，找尋 一位能夠以自由之姿絕處逢生的無情小姐。她 將是一位來自未來的公眾人物，擁有廣大觀眾 的支持，並能如《香港．我家》的歌詞一般，「 讓美麗香港拓闊世界空間」。關於無情小姐， 我們跟隨詩人艾蓮·西蘇的腳步，繼而提問：「 假如她真的活了？假如我們的注視賦予了她生 命？」 在七十年代的香港，廣播電視與香港小 姐競選同時興起。而後，華裔小姐作為海外選 美的集大成者，通過主流文化連繫華人社區對 故土的依戀。早在五十年代，作為籌款慈善活 動的選美比賽以現場演出的方式將海外華人及 亞裔社區團結在一起。大眾傳播技術，尤其是 廣播電視的發展增強了集體身份認同感。1958

The Ritz rested on the coastline before the 1950 phase of North Point’s reclamation project.

1950年北角填海前，座落海邊的麗池花園夜總會。

that functioned primarily as fundraisers and took the form of live performance brought together overseas Chinese and Asian communities as early as the 1950s. The shift in communications technology with broadcast television expanded notions of collective identity. The first Miss Chinatown brought together contestants from across the United States in 1958 for the finals in San Francisco. As Judy Tzu-Chun Wu quotes one contestant from Glendale, Arizona, “To me, San Francisco’s Chinatown is China.” The imagination of what is Chinese and what is Asian is mediated through the power of network communication and mirrors that of the pageant network. By the 1960s, young Chinese-Americans accused the San Francisco-based Miss Chinatown pageant of orientalism and instead looked to the PRC’s Iron Girls as a model for productivist feminism.

The queen, as a political figure, represents the social body.

As the necessary condition for sentimentality, ruthlessness is the unrelenting fighting spirit in a field of emotional ambivalence. It is what allows for sentimentality to endure.

Miss Ruthless stands between right and wrong, mainstream and populist. Ruthlessness is the antidote for those who hold marginalized positions in society to interpret social life. Perhaps the search for Miss Ruthless can also hold space for queer life and illumi-

年，第一屆華埠小姐讓全美各地佳麗齊聚三藩 市。正如學者吳字君引用一位來自亞利桑那州 格蘭岱爾市的佳麗所言：「對我而言，三藩市 的華埠即是中國。」。關於「什麼是中華，什麼 是亞洲」的想像通過了電視網絡與選美競賽傳 播開來。到六十年代，美國華人青年斥責三藩 市的華埠小姐選美競賽為東方主義，他們轉而 以共產主義中國的「鐵姑娘」為女性主義生產 論的榜樣。選美王后作為一名政治人物，是社 會身體的體現。 無情成全多情，無情是矛盾情緒中不屈奮 戰的鬥士；無情更令多情長存。無情小姐立足 在是非對錯，主流民粹之間的中間地帶。無情 是社會邊緣人用以詮釋社會生活的一味良藥。 對「無情小姐」的找尋抑或能為酷兒生活和無 形勞動擴展空間。選美競賽常被認為是去政治 化的場域，卻能孵化政治參與的別種樣本。雖 然今年的特首選舉並未採用「一人一票」制， 但在2015年取消了對參賽佳麗的事先篩選程序 之後，TVB舉辦的香港小姐競選成為了香港第 一次的普選。麥明詩在22萬香港身份持有人中 贏得13萬6千票封后。她運用選美王后的影響 力為政治現狀與女性際遇的發聲者，甚至表示 願意參選香港特首。選美與抗議互為構造，彼 此生成。 紫荊花，俗名香港蘭，本名紅花羊蹄甲， 為了去殖民化省略了原有的「洋」字。這朵在 1997年回歸時被正式定為區旗的混種花不具有 繁殖能力──正如維持這座城市日常生活的基 礎設施，它面臨著社會再生產的危機，不斷與 夢想失之交臂的可能。23位參展藝術家帶來未 曾展出的作品以及委託新作，揭示選美競賽所

Left Right 左 右

“One person, one vote” advertisement for Miss Hong Kong pageant 2012.

Hong Kongers criticise the pre-screening of Miss Hong Kong contestants, likening it to the pre-screening of Hong Kong Chief Executive elections. 「一人一票選港姐」2012 香港小姐競選廣告 港人批評香港小姐競選並非真正普選，並與特首選舉做比較。

nate histories of invisible labour. As pageants are perceived as apolitical spaces, they allow for prototyping of alternative forms of political participation. Though this year’s Chief Executive election did not use a “one person, one vote” system, Hong Kong people did have a chance to exercise universal suffrage in 2015. By dropping some of the pre-screening process for Miss Hong Kong winners, TVB hosted the first popular election ever in Hong Kong. Louisa Mak won 166,000 out of 231,000 votes from Hong Kong ID-holders. In recent memory, she has used her platform as a newly crowned queen to voice discontent with the political situation of her city and the status of women at large. She has even expressed interest in becoming Chief Executive. Pageantry and protest are mutually constitutive—they produce each other.

The Hong Kong Orchid, adopted as the official state symbol in 1997, is a cross between the bauhinia variegata and bauhinia purpurea, an illusory hybrid of two species made strange to each other. The flower is infertile.

Like the infrastructure supporting the civic life of the city itself, it faces a crisis of social reproduction, constantly wending away from

許諾的飛黃騰達背後的階級治理與種族生成。 當代藝術家探索選美中的政治訴求，並以此作 為在競爭激烈的藝術界中的生存策略。在形式 上，選美競賽是一種為政治選舉進行綵排的基 礎建設。選美競選過程貌似一場優生學盛事， 但其機制卻並非自然選擇。參賽佳麗必須造 作地扮演一個充滿矛盾的理想形象，能否完美 地達到廣播電視所需要的表演則成為評判的標 準。如果你想要贏得選美，就必須掌握勝利者 的微笑。

the dream of what could be. The commissioned and previously unexhibited work by 23 artists interpret pageantry as a promise of mobility that both regulates class and engenders ethnicity. Contemporary artists explore moments of political contestation in beauty pageant history as stratagems for the highly competitive art worlds they occupy. Formally, beauty pageantry is an infrastructure that rehearses political election. In the selection process, pageantry can feel like a spectacular eugenic project. Yet, it is not governed by a process of natural selection. Pageant requires contestants to act unnaturally, to perform an ambiguous ideal. Contestants are judged on their ability to appear as if they seamlessly inhabit the modes of performance required by broadcast television. If you want to win a beauty pageant, you’ve got to smile as if you’ve already won.

www.ruthless.international Facebook @ruthlessfans Instagram @ruthless.international

Valerie Soe’s Cynsin: An American Princess (1991) narrates memories of a university friend who entered Hollywood via a Miss Chinatown pageant. 蘇杏娟之 《Cynsin: 一個美國公主》（1991）敘述了對於一位通過華埠小姐的選美比賽進入好萊塢 的大學同學的回顧。

The annual calendar of a pageant repeats with familiarity, almost with inevitability. Even as the names and faces in the procession change, the poses they strike and the regalia they bear endure. For this exhibition we have plotted a historical archive that contests and contrasts episodes of beauty pageantry. The people, institutions, and documents that comprise this history set the stage for Miss Ruthless.

BEFORE MISS RUTHLESS

無情小姐之前

選美年曆總是老套地重複其相似性。即使佳麗 姓名及面孔常新，她們的儀態、后冠仍如其 舊。展覽中我們提供了不同時期各種選美競賽 的文獻，相互比較。這些歷史人物，機構與檔 案為無情小姐佈置好了舞台。

Courtesy of Alex Castro 圖片由Alex Castro提供

Queen of the Orient Manila, 1908, 1968, 1971 Pageantry in the Philippines is a political spectacle, going back to its roots. One of the earliest modern pageants—the Manila Carnival—crowned two queens every year, one local and one foreign. The first “Queen of the Orient,” Pura Villanueva Kalaw, was a noted suffragette. Unlike her American counterpart, she was not given transportation to her own carnival and headlines interpreted this mistreatment as resistance: “Queen and court on strike?” The long tradition of Filipina queens as activists includes later queens like Maita Gomez (Miss Philippines 1967) and Nelia Sancho (Queen of the Pacific 1971), who fought in the anti-Marcos resistance.

東方王后 馬尼拉，1908 、 1968 、 1971 菲律賓選美競賽的起源就是一場政治盛 事。馬尼拉嘉年華作為最早的現代選美競賽之 一，每年選出一位本地人、一位外國人共兩 名王后。第一任「東方王后」Pura Villanueva Kalaw是位著名的婦女參政論者。當年， 與她共同當選的美國白人選美王后獲得差別待 遇， Kalaw 小姐因無車接送而缺席了自己的典 禮。媒體將這一不平等對待解讀為對美國殖 民統治的反抗，並寫下此頭題：「選美王后與 宮廷共同罷工？」菲律賓選美王后參與社會活 動的傳統延續至今，1967年菲律賓小姐 Maita Gomez以及1971年太平洋王后Nelia Sancho都 曾參與針對馬可斯獨裁政權的抗爭。

Clutario, Genevieve. The Appearance of Filipina Nationalism: Body, Nation, Empire. University of Illinois at Urbana-Champaign, 2014.

Courtesy of Paul Wong 圖片由Paul Wong提供

Miss Chinatown(s) Vancouver, 1954, 1977-1997 Many pageants began as fundraisers for public services within marginalized communities. In the case of Vancouver, as early as 1954, overseas Chinese organized a school fundraiser around the search for the “Queen of Cathay,” the contestant who sold the most tickets. (Although it was the men in community associations who were the primary salespeople: “he did all the talking and then I just wrote down the names of the ticket buyers for him.”) Years later, in 1977, the completely unrelated Miss Vancouver Chinatown was founded, inspired not by local histories but by Honolulu’s Chinese-American communities. Twenty years later, it was taken over by Hong Kong-based TVB and integrated into the media empire of Miss Chinese International.

華埠小姐們 溫哥華，1954、1977-1997 許多選美競賽在舉辦之初是為少數族裔就 公共事務慈善募款而存在。譬如早在1954年， 海外華人在溫哥華為辦學籌款舉辦的「華夏女 皇」比賽中，售出最多票數的參賽者便獲得勝 利 ， 而售票的主要成員多為社區會館的男性： 「他 幫 我 談 成 生 意 ， 我 只 是 寫 下 買 票 人 的 名 字。」。到了1977年，出現一個名為「溫哥華華 埠小姐」的選美比賽，然而其並非受到本地歷 史的啟發，卻是受到檀香山華人社區的影響而 誕生。20年後，香港TVB電視台收購了溫哥華 華埠小姐，將其整合到國際華裔小姐競選的商 業版圖中。

Poon, Joanne Mei-Chu. Miss Queen of Cathay (1954): Chinese women, families and associations in Vancouver. Diss. University of British Columbia, 2009.

Courtesy of Nhi Lieu 圖片由Nhi Lieu提供

I’m Real Houston, 2003 The pageant is often a space where the artificiality of identity is not only visible, but welcome. Contestants train arduously to walk with poise, smile with ease, and speak with clarity. However, as broadcast television is replaced by technologies like social media, community pageants have begun to experiment with more commercial genres closer to reality shows. When Agatha Le, a contestant of Miss Vietnam Free World (a diasporic pageant/media company connected to a beauty product line), aired her opinions in an online forum, she shocked viewers with her directness: “One contestant stated that i said i was doing it all for the money, if you honestly think about it, you either join a pageant for fame or fortune, what else will u join for? [...]

I’m faking it or giving ‘pageant answers'. I’m real and that’s how I’m going to stay.”

真我 休斯頓，2003 選美競賽中，身份的刻意重塑並不罕見， 這種做法甚至廣受歡迎。參選佳麗努力學習行 走儀態，展現自然笑容，應答伶俐。當社交媒 體取代電視廣播，地區選美競賽也開始嘗試向 真人秀的商業模式靠攏。Agatha Le是一位來自 自由世界越南小姐（一個由美妝品牌組織的海 外越南裔選美大賽及傳媒公司）的參賽佳麗， 她在網絡論壇中的大膽直言令觀眾震驚。她寫 道：「另一位佳麗提到我曾說參賽是為了錢。如 果你認真想想，參加選美無非是為名為利。不 然為何參賽？...這是我在講大話或給出一個「選 美標準答案」。我是一個很率真的人，這就是我 的秉性，我抱持真我。」

Lieu, Nhi T. "Beauty queens behaving badly: gender, global competition, and the making of post-refugee neoliberal Vietnamese subjects."

Frontiers: A Journal of Women Studies 34.1 (2013): 43.

Courtesy of Zhao Ke 圖片由 趙珂 提供

Valentine’s Day Beijing, 2009 The mere public presentation of certain kinds of joy can have a powerful effect on public discourse. On Valentine’s day in 2009, LGBTQ activists staged two same-sex weddings in the busy shopping street of Qianmen. They shared their personal stories with the public, and handed out roses with Valentine’s day wishes to passersby. The event provoked vigorous discussion on the street and online. Sina, a leading online news site, published photos of this event, along with reports from many popular newspapers.

Within days, 20,000 comments were left on the site. The message the activists were spreading: “Everyone is born equal. Love has no boundaries.”

情人節快樂 北京，2009 公開展示的喜悅有時能夠左右輿論。2009年的 情人節，LGBTQ行動主義者在北京繁華的商 業區前門大街上組織了兩場同性婚禮。兩對新 人與圍觀群眾分享他們的故事，並向路人分發 玫瑰花，送上情人節的祝福。事件激發了街頭 與網上的大似討論。主流網絡媒體新浪網刊登 了他們的照片，隨後各大報章皆有陸續報導。 幾日內，新浪網文章的留言超過了兩萬則。這 些行動主義者成功傳達了一個信息：「人生而平 等。戀愛無國界。」

Zheng, Bo. “Performance as Strategy: Qianmen Wedding Photo Shoot,” in Discovering Socially Engaged Art in Contemporary China: A Workbook (Hong Kong: SEACHINA Centre, 2017): 31.

1 25

5

Archives

2

4

8 9 3

6

7 21

23 22 1 X/O (ETERNAL DRAGONZ) — #1 無情 Orchid (06:00) 2 XIAOSHI VIVIAN VIVIAN QIN 覃小詩, Unsent Messages 未發送

— #2 Sentimentality and Ruthlessness 無情勝有情 (01:10) 3 COME INSIDE 來了, I sing my HEART for you 唱出我的心 — #3 Dream (01:19) / #4 夢中人 (03:09)

4 AMNA ASGHAR, Women Prefer Soft Colors (Tints) 女 性偏愛淺色系 (色調), Stick On Confidence 貼近自信, Twenty Three Weeks to a Fairness Like Never Before 距離史無前 例的公平尚餘二十三週

7 HƯƠNG NGÔ, New Women 新女性 — #8 Đàn bà mới, trích đoạn (03:15) / #9 New Women, excerpt (03:08) / #10 新女性, 節選 (03:07)

— #5 ‫( ُلبنا اور ڈیبی‬03:37) / #6 Lubna & Debbie (03:37) / #7 黛比與陸卜納 (03:16)

8 JES FAN, Disposed to Add 義肢 — #11 Kisses for Miss Ruthless 無 情小姐之吻 (05:01)

5 MA QIUSHA 馬秋莎, Avatar 化身

9 DOREEN CHAN 陳泳因, Melting as Usual 如常融化 — #12 About “Melting As Usual” (01:03) / #13 關於「如常融 化」 (01:01)

6 XIYADIE 西亞蝶, Door 門

20

19

10 WONG KIT YI 黃潔宜 — #14 DNA (Reversing the Arrow of Time) 脫氧核糖核酸（逆轉時 間箭頭） (04:09) 11 CHRISTOPHER K. HO 何恩懷, I Personally Believe 我個人相信 — #15 Spinning Dress (00:21) / #16 旋轉的裙子 (00:20) — #17 Architectural Model (00:25) / #18 建築模型 (00:27) — #19 Teardrop (00:22) / #20 淚珠 (00:24) — #21 Stacked Rocks (00:09) / #22 石堆 (00:10)

WORKS AND AUDIO GUIDE TRACKLIST 作品與語音導覽列表

27

26

15 EISA JOCSON, A Doll’s House 玩偶之家 16 KA-MAN TSE 謝嘉敏, Untitled (Mirror: Fei) 無題（鏡子：飛）

24 14

13 12 15

17 LINDA C.H. LAI 黎肖嫻 Blasting Modernities 1930s: Techniques of the Self 「摩登」法寶：眾聲喧鬧 1930s

11 16

10

(01:45) 19 YU SHUK PUI BOBBY余淑培, Miss Perpetual: Form Piece 不朽小姐： 申請表格

— #48 About “Miss Perpetual: Form Piece” (04:42) / #49 關於「摩登不朽小姐： 申 請表格」(03:37)

17 11 CHRISTOPHER K. HO 何恩懷 (CONTINUED) — #23 BOC Tower (00:23) / #24 中銀大廈 (00:25) — #25 Ermine (00:16) / #26 貂皮 (00:18) — #27 Princess Di (00:17) / #28 戴安娜王妃 (00:19) — #29 Sphere (00:13) / #30 球體 (00:15) — #31 Crowd (00:22) / #32 群眾 (00:20) — #33 Blind Drawings (00:27) / #34 盲畫 (00:21)

18 WONG KIT YI 黃潔宜 — #47 Soliloquy: Underneath Fei-fei (Lydia Shum Din-ha) 獨白: 肥肥背後（沈殿霞）

18

9

Untitled (La Chiquitta) 無題 （La Chiquitta） — #38 Tranny in the House

by La Chiquitta (04:13) — #39 Party Responsibly

by La Chiquitta (03:21) — #40 The Dog Song

by La Chiquitta (02:42) Untitled (Embrace) 無題（相擁） — #41 Embrace (01:45) / #42 相 擁 (01:53) — #43 To Challenge Myself, by Charlie Drizzle (03:30) / #44 挑戰自己，Charlie Drizzle 作 (04:27) Untitled (Water) 無題 （水）, 2016 — #45 水 (03:18) / #46 Water (03:05) Untitled (Bones) 無題（骨頭） Untitled 無題

12 MA QIUSHA 馬秋莎, Lovers — #35 Statement 陳述 (00:36) 13 WONG KIT YI 黃潔宜 — #36 Beauty Election (Miss Hong Kong 2015, Louisa Mak, on revising the contestant contract) 選·美（香港小

姐2015, 麥明詩, 修正選美報名表 格）(04:31)

14 RENEE SO, Woman I 女人Ｉ — #37 Birth Preparation

by Margaret Howell (40:30)

20 SALOTE TAWALE — #50 Celebrations And Sympathies, studies in culture, part 5 慶祝與同情，文化研究，第5 (07:49) 21 DACHAL CHOI 崔大察, Days You Need Love, Fortune, and Money: 需要愛、運 氣和金錢的日子

— #51 In Search of Miss Ruthless Day (00:36) / #52 尋求無情小 姐日(00:33) — #53 Double 7th (1) (00:52) / #54 七夕之一 (00:39) — #55 Double 7th (2) (00:33) / #56 七夕之二 (00:26) — #57 Chinese National Day (00:27) / #58 中國國慶日 (00:26)

21 DACHAL CHOI 崔大察

(CONTINUED) — #59 Mid Autumn (00:11) / #60 中秋節 (00:08) — #61 Chung Yeung (00:24) / #62 重陽節 (00:19) — #63 Christmas Day (00:33) / #64 聖誕節 (00:25) 22 WONG KIT YI 黃潔宜 — #65 I Am Two People 我是兩個 人 (04:25) — #66 Ugly Beauty 醜陋美 (02:52) 23 NGOC NAU, She dances for desire 她為慾望起舞 24 KRISTINA WONG 黃君儀, Fannie Wong, Former Miss Chinatown Second Runner Up 前唐人街小姐季軍 — #67-70 About Fannie Wong (~02:30) / #71-74 關於黃肥妮 (~01:30) — #75 Chinatown Stories by Steve Wong (05:18) / #76 華埠往事，王遙祺作 (01:07) 25 HIRAM TO 杜子卿, Design For Community Tent Card (I, II, III) 為社區設計枱面紙板廣 告 (I, II, III) — #77 Cry Me A River by Julie London (02:51) 26 VIOLA CHEN 陳宜晴, Miss Ruthless Intl 國際無情小 姐 (@ruthless.international) 27 FIONA LEE 李穎姍, tide.hong kong : in transit 潮.香港: 過渡 — #78 another side of moon (1:20)

X/O (ETERNAL DRAGONZ)

"無情 Orchid," 2017 Sound For In Search of Miss Ruthless, audiovisual artist x/o composed an exclusive theme song highlighting the paradox of ruthless sentimentality.

A piano composition, “無情 Orchid” displays sparkling sentimental melodies that contrast with heavy distortion in x/o’s distinct style, both delicate and destructive.

The title riffs on the Hong Kong Orchid, an infertile hybrid flower that serves as a metaphor for the uncertain, floating future of the city.

無情 Orchid, 2017 聲音

x/o, the project of audiovisual artist Veron Xio, is a member of Eternal Dragonz, a global Asian art collective of music producers, artists, designers, writers and curators.

Their collaborative work engages with community and Asian identity, while attempting to address and reconcile hegemonic Western influences.

音像藝術家x/o為「尋找無情 小姐」撰寫一首獨家主題曲，以此 突 顯 無 情 亦 有 情 的 矛 盾 。《 無 情 Orchid》是一首鋼琴曲，洋溢出刺 激官感的律韻，與x/o風格獨特的 重度破音效果形成對比，既細膩又 具破壞性。曲名引用香港特區區 花，並借這種不具繁衍能力的植物 比喻香港不確定的未來。 x/o是音像藝術家 Veron Xio 的 一個創作項目。他同時也是全球亞 洲藝術團體 Eternal Dragonz 的成員 之一，該團體由音樂製作人、藝術 家、設計師、作家及策展人組成。 他們通過協作實踐關注在地社區及 亞洲身份議題，並嘗試指涉及糾正 西方覇權的影響。

12

XIAOSHI VIVIAN VIVIAN QIN 覃小詩 Unsent Messages, 2017 Nylon flowers, metal chain, stand, clay, metal 30 x 50 x 150 cm Unsent Messages is a flower stand designed for the celebration of the Miss Ruthless inauguration. Playing with notions of genre and gender within wuxia novels, Qin presents a reinterpretation of the traditional celebratory salutations of a flower signs.

The form draws on the traditional headpieces of Cantonese opera, and is completed by a calligrpahed couplet in lasercut metal: All brothers are sisters, Ruthlessness over sentiment.

Qin, as the Ruthless Director of Communications, will be conducting a performance for the duration of the exhibition including unusual experiments such as writing fake news, seeding gossip, and staging of celebrity appearances. 未發送, 2017 尼龍花、鐵鏈、台座、 黏土、金屬

30 x 50 x 150 cm 《未發送》是一座為慶祝無情 小姐開幕而設計的花架。根據武俠 小說裡有關流派及性別的論述，藝 術家為往往扮演慶祝功能的花卉符 號賦予了玩味的全新詮釋。主體花 藝設計以傳統粵劇頭飾作為藍本， 並配上一副金屬鐳射切割的對聯： 四海兄弟皆姊妹, 天下無情勝有情。 覃小詩作為無情小姐的宣傳 總監將展開長達整個展期的行為創 作。其中包括撰寫偽新聞、散播謠 言及倪造名人登場等一系列實驗性 行為。

13

COME INSIDE 來了

I sing my HEART for you, 2017 Wood, steel, velvet cloth, microphone stand, balloons, feathers 2.2 x 3 x 2 m

I sing my HEART for you is a romantic-depressive stage designed by COME INSIDE. Both a sculpture and a provisional space for intimate public events like karaoke, dancing, and toasts, the stage accumulates the wear and tear of external forces over time; balloons deflate, surfaces dirty, and the speakers fall silent. They sing: My heart is bleeding and I can't talk. My love for you is unspeakable.

唱出我的心, 2017 木 、 鋼 、 絨布、麥克風座、 氣球、羽毛

2.2 x 3 x 2 m

We danced together and you stepped on my toes.

I wish I could always be flawless and charming, shining on the stage. I stand right in front of you.

There must be hundreds of people in the audience but you are not one of them. You’ve left me no choice. I can only sing a number or two by Billie Holiday and pray that someday you will come see me again.

《唱出我的心》是一座由藝 術組合「來了」設計的憂鬱浪漫舞 台。作品既為雕塑，亦是私密公眾 活動的臨時場地，如卡啦 OK 、舞 蹈及敬酒等。外部力量積年累月地 磨損著舞台，氣球於是洩了氣、檯 面污蹟斑斑，而台上的麥克風亦已 失聲。尤如「來了」撰寫的歌詞: 我的心在淌血而我亦無言。 我對你的愛乃千言萬語難以 形容。你我共舞間你曾踏到 我的腳上。我渴望永遠都 在舞台上閃耀，展現著我 無瑕的絕代風華。我站於

你面前。過百名的觀眾，你必 定不在其中。你讓我別無選 擇，我只能唱出一兩首比莉· 霍利戴的歌曲並祈求終有一天 你會再來看我的演出。

14

AMNA ASGHAR Women Prefer Soft Colors (Tints), 2017 Acrylic and screen print on canvas 25 x 51 cm Stick On Confidence, 2017 Acrylic and screen print on canvas 32 x 46 cm Twenty Three Weeks to a Fairness Like Never Before, 2017 Acrylic and screen print on canvas 32 x 46 cm Asghar presents a series of periodical-sized paintings drawing on Pakistani diasporic beauty culture. These post-minimalist appropriative surfaces are developed through a history of conversations that the painter shares with her mother.

Interested in how images hit one another when placed together, Asghar slices them together like remixed sonnets: Beauty ads, excerpts of love stories, distilled Disney skies. Subcontinental graphics, song lyrics, advertisements with English exclamations, and Urdu text coming from digest magazines and cassette tapes. Like the gutter of a magazine, what happens in the infinitesimal space in between these panels? 女性偏愛淺色系（色調），2017 布面丙烯及絲網印刷

25 x 51 cm 貼近自信, 2017 布面丙烯及絲網印刷

32 x 46 cm 距離史無前例的公平尚餘二十 三週, 2017 布面丙烯及絲網印刷

32 x 46 cm Asghar將呈現一系列期刊尺寸 並關於巴基斯坦離散者美容業的畫 作。這些後極簡主義風格的作品從 藝術家與母親的對話中發展。於被 挪用的畫面上能觀察到Asghar 對影 像如何相 互衝擊的興趣及她用影像 代替文字來 寫詩的創作手法： 美容廣告、愛情故事的片 段、迪士尼卡通中純淨的天 空、次大陸圖像、歌詞、帶 英文驚嘆詞的廣告、讀者文 摘及錄音帶中的烏爾都語。 如同雜誌的書溝，這些圖像 間細微的間隔裡究竟會發生 什麼？

15

MA QIUSHA 馬秋莎 Avatar, 2013 3-channel video 4’00” Three women lounge on a beach. They have the things we think of as cool: sunglasses, bikinis, flip-flops. At the same time, they hold bibles and prayer beads. She doesn’t look like a contradiction. It all looks like an advertisement, like sunny, lazy, carelessness.

As the three synchronized videos come to a stop, an image lingers on the middle screen.

The camera pulls back, and in just three seconds, the spell is released and we see the full picture: a truck filled with sand, driving down an abandoned road. Their props are left behind, littering the sand. 化身, 2013 三頻道視頻

4’00” 三個女孩在沙灘上曬太陽。她 們穿戴著我們覺得酷炫的衣物，有 眼鏡、比基尼、人字拖，還手持著 聖經和佛珠。這些看來似乎並不顯 得格格不入，而類似一種形象廣 告：陽光、慵懶、漫不經心。三頻 同步视频結束後，只有中間的屏幕 還有影像。這時鏡頭開始往後拉， 短短三秒內，幻象消失了，我們看 到場景的全貌：一輛載滿砂礫的卡 車在荒廢的道路上行走，一路漏著 沙，道具散落一地。

Lovers, 2009 Hair, toothbrushes 15 x 30 cm Hairs are one of my raw materials, because every day new ones will leave my body. If you don’t do something with it, this hair is destined to be thrown away in the trash.

I gather these raw materials, marrying them to toothbrushes. I hope they will survive forever that way. They won’t be lonely.

Lovers, 2009 頭髮、牙刷

15 x 30 cm 頭 髮 是 我 一 直 在 更 新 的 「素 材」，因為每天都會有新的頭 髮離開身體。如果不拿來做點 什麼，它們的命運就是被丟進 垃圾箱。我繼續將這些源源不 斷的「生活素材」轉嫁到兩根 牙刷裡面。希望他們可以被永 遠存留下來，不再孤單。

Courtesy of the artist and Beijing Commune

作品由藝術家與北京公社提供

16

XIYADIE 西亞蝶

Door, 2016 Cut paper 140 x 140 cm A door is a threshold.

When closed, it provides security. When open, freedom.

Imprisonment and emancipation. This large folk papercut depicts, on the left, two men engaged in oral sex, and on the right, a woman in a house with a cradled baby. This family is divided by a door and the interplay between social pressure and individual identity. A folk artist who only came out late in life on leaving his home in rural Shaanxi, Xiyadie composes his work improvisationally.

His name is an pseudonym that means “Siberian Butterfly,” chosen in light of the ability of a little bit of beauty to persevere in even the coldest and most barren of environments.

門, 2016 剪紙

140 x 140 cm 門是一個檻，當關上了，就能 提供安全感。當門打開了，就是自 由。囚禁與解放。這張大型民間剪 紙的左側描繪的是兩名正在進行口 交的男性，畫面右側則是一個女人 在屋內，懷裡抱著個嬰兒。分隔這 一家庭的不僅是一扇門，還有社會 壓力及個人身份認同間的角力。藝 名「西亞蝶」的民間藝術家在晚年 離開陕西鄉下的家鄉後公開自己的 性取向，以即興的方式創作作品。 「西亞蝶」，源自西伯利亞蝶，生於 極寒的嚴峻環境，卻依然能保留自 然界中的一抹美麗。

17

HƯƠNG NGÔ New Women, 2017 Installation and performance Dimensions variable In 1944, Vũ Đình Long, the first playwright to introduce Western style spoken plays "théâtre parlé" to a Vietnamese audience, published Đàn bà mới or New Women. It dramatizes the story of a writer who is preyed upon by the male publisher of a women’s magazine. A cautionary tale, it links the pursuit of a career and modernist ideals of independence and self-determination to her downfall and disgrace. Coincidentally, just nine years earlier, a silent Chinese film was released with the same name and message, but with an entirely different plot, starring Ruan Lingyu, a Chinese star who committed suicide shortly afterwards in strange parallel with the writer that she played in the film. 新女性, 2017 裝置及行為表演 尺寸可變 作為第一位將西方口述式劇 場介紹給越南觀眾的劇作家， Vũ Đình Long 於1944年出版話劇《新 女性》。劇中描述一名女作家被某 女性雜誌的男性出版人窮追不捨的 求愛故事，藉以隱喻職場上的新女 性若是追求獨立自主或抱持現代主 義理想，便只會為她們帶來墮落與 污名。無獨有偶，一齣傳達同樣訊 息、片名相同但情節截然不同的默 劇在《新女性》問世的九年前於中 國上映，戲中女作家主角最終自殺 身亡。叫人詫異的是，飾演該女主 角的著名電影女星阮玲玉，亦於電 影上映後不久自殺身亡。

18

JES FAN Disposed to Add, 2017 Silicone barbell, silicone weight plates, testosterone-based soap hand weights, bath towels, iPad, performance Dimensions variable Disposed to Add speculates on the relationship between bodybuilding culture and queer self-definition.

The objects usually hang around a wall like tired detached limbs. But occasionally, they are activated in a performance following this script: A soft silicone barbell lies in the center of a stage, surrounded by a handful of other disassembled barbell parts. Two masculine performers approach the barbell, unscrewing the weight plates from the bar. Holding opposite ends, the performers begin to walk away from each other.

Balanced on their heels, leaning back and pulling the barbell taught, poised as if they are in a game of tug-o-war. Stretched tight, just to let go. The barbell flops back to the center of the space. This is repeated five times. 義肢, 2017 矽膠槓鈴、矽膠槓片、 含睪丸素的肥皂手槓鈴、 浴巾、iPad、行為 尺寸可變 《義肢》基於藝術家有關健美 文化與酷兒群體自我定義間的關係 所展開的思考。這些物件通常都被 掛在牆上，有如疲憊的義肢。但在 指定的時間，它們會依照以下的劇 本被激活，成為行為中的道具： 一只柔軟的矽膠槓鈴放置於舞 台的中央，被零星散落的槓鈴 零件所包圍。兩名陽剛氣質的 表演者步入舞台，將槓片從中 央的槓鈴卸下。他們各持長槓 的一端，朝反方向前進。兩名 表演者以腳跟為重心，身體往 後傾，雙手緊緊地拉著長槓。 這姿態如同拔河比賽的選手 般。當伸展到達臨界點，便隨 即放手。槓鈴即刻墜落在舞台 中央。流程將連續重覆五次。

19

DOREEN CHAN 陳泳因 Melting as Usual, 2017 Acrylic on plaster, inkjet print, and sponge 60 x 180 x 90 cm Melting as Usual is a site-specific installation and also a framework for inquiring into the role of food in everyday life. Made up of a series of plaster blocks in the nipple-like shape of packaged butter weighing down and crumpling a large abstract photograph, the artwork plays with sensuality through form, size, and packaging. Beneath the photographic print, a sponge gives. What is the difference between the butter we see in our mind, and the one in shared reality?

Speculating on the ruined landscape of our memory, we see a compart-mentalized and mass produced form of butter that will also be subject to inevitable melting. In her words: I spread, as usual Always spreading, always spreading Not yet melted, not yet melted The usual me, can’t wait, as usual Always spreading, always spreading 如常融化, 2017 丙烯、石膏、噴墨打印、 洗碗海綿

60 x 180 x 90 cm 《如常融化》是一件探討食 物於生活中定位的場域特定裝置作 品。藝術家把外形如同乳頭般的獨 立包裝牛油製成一系列石膏塊，並 把它們壓在大尺幅的照片上。作品 以形式、尺寸及包裝對感官進行調 侃。而墊在照片下的洗碗海綿則把 整個作品的沉重感有所放鬆。 到底我們印象裡的牛油與真 實生活中的有何不同？在我們荒廢 的回憶中徘徊，雖然能看到的是被 大量生產及井井有條地排列的牛 油，但其實它們都不能迴避終有一 刻要溶化的現實。以藝術家的話來 說: 我如常的塗 一直在塗 一直在塗 還沒有融化 還沒有融化 如常的我 如常的等不了 一直在塗 一直在塗

20

CHRISTOPHER K. HO 何恩懷 I personally believe, 2017 Pedestals, found drawings, frames, paper pulp 30 x 30 x 140 cm each, 10 pieces I personally believe, consists of 10 sculptures cast using paper from different pads of Strathmore paper found at an art school at the end of the Spring semester 2017.

The volume of paper in each pad determined the size of each sculpture. Below the sculptures are framed covers of the corresponding pads, matted to include the technically proficient and conceptually mediocre cover art (determined through an annual contest), and a swathe of the iconic Strathmore yellow, green, or brown. The frames are tinted the color of the paper.

Based on beauty pageants like Miss Hong Kong, the ten cast paper sculptures represent the ten “finalist” ideas for artworks arrayed and presented together in a staggered lineup of slim, tall plinths.

Accompanying each sculpture is an audio track in English and Cantonese, for why they should be the winning artwork. The sculpture of the Bank of China building states “I personally believe that great architecture expresses the ingenuity of human beings and that our great cities on this Earth show the wondrous civilization that we, all of us as humans, have arrived at and that architects, for instance like I.M. Pei, can be models for all young children.” 我個人相信, 2017 展枱、現成繪畫、畫框、 紙漿

30 x 30 x 140 cm 共10件

《我個人相信》共包括十件 雕塑作品。雕塑的原料來自2017 年春季學期結束後，藝術家在羅 德島設計學院商店購買的Strathmore畫簿紙。每本畫簿紙的厚度 決定了每件雕塑的大小。不同系 列的畫簿紙封面上印有不同年份 的繪畫比賽選出的得獎作品及該 品牌標誌性的黃、綠或棕色帶。 這些圖畫雖然畫功細膩，可惜概 念上平淡無奇。藝術家把封面畫 進行裝裱，放置於對應的雕塑 下，並將畫框染上與畫紙一樣的 顏色。十個窄長的展台交錯地排 列，如同香港小姐或其他選美比 賽的最後十強般，列隊於觀眾面 前。 作品同時伴隨語音導賞。錄 音將以英文及廣東話解說每件作 品的致勝關鍵。中銀大廈的雕塑 上寫道：

我個人相信偉大的建築能表 現出人類的創造力，地球 上偉大的城市則展示著我們 人類一同創建的、令人讚嘆 的文明，而如貝聿銘這樣的 建築師，便是年輕一代的榜 樣。

21

WONG KIT YI 黃潔宜

DNA (Reversing the Arrow of Time), 2017 Beauty Election (Miss Hong Kong 2015, Louisa Mak, on revising the contestant contract), 2017 Soliloquy: Underneath Fei-fei (Lydia Shum Din-ha), 2017 Laser-etched UV plexiglass, archival inkjet prints, custom sliding frame 90 × 45 × 12 cm Ugly Beauty, 2017 I Am Two People, 2017 Laser-etched plexiglass, archival inkjet prints, double sided frame 45 × 45 × 7 cm Lyrics: Wong Kit Yi Music: Kyle Oppenheimer An extended investigation in beauty as an out-of-body experience, Wong’s series of five commissioned works touch

on genetic, activist, and legalistic aspects beyond the female body per se. While DNA (Reversing the Arrow of Time) posits the possibility of genetically modified beauty and Ugly Beauty characterizes the elusize qualities of attraction. Works such as Beauty Election (Miss Hong Kong 2015, Louisa Mak, on revising the contestant contract) and Soliloquy: Underneath Fei-fei (Lydia Shum Din-ha) work with the public personas of two famous Hong Kong figures.

Each printed photograph has lyrics written by Wong engraved on a UV plexiglas surface, including lyrics inspired by a recent interview with Louisa Mak herself. These works are also paired with a song, made in collaboration with Kyle Oppenheimer. A doppelgänger exists between the real person and the mediated one, skin and genes. Fittingly, Wong Kit

Yi’s own ideas and practice are often informed by collaboration and discussion with curator Ali Wong. The two have never been seen in the same room.

DNA （逆轉時間箭頭）, 2017 選·美（香港小姐2015，麥明詩, 回看選美報名表格）, 2017 獨白: 肥肥背後（沈殿霞）, 2017 雷射雕刻UV有機玻璃、收藏級 噴墨打印、訂制滑動框

90 × 45 × 12 cm 醜陋美, 2017 我是兩個人, 2017 雷射雕刻UV有機玻璃、 收藏級噴墨打印、兩面框

黃潔宜呈現的系列由五件委託 作品組成，是將美感視為體外經驗 展開的深入调查，並觸及超越女性 身體本身的基因、行動主義與法律 層面。《DNA（逆轉時間箭頭）》 提出由修改基因而獲得美的可能； 《醜陋美》讨论難以捉摸的吸引 力；《選·美（香港小姐2015，麥明 詩, 修正選美報名表格）》及《獨白: 肥肥背後（沈殿霞）》則聚焦兩名 香港娛樂圈名人的公眾形象。 每張打印的照片前都放有一塊 用激光刻上藝術家撰寫歌詞的有機 玻璃，而歌詞的內容啟發自近期與 麥明詩本人的訪問內容。每件作品 都各自配上一首與 Kyle Oppenheimer 合力創作的歌曲。分身在真 人與被媒介化的替身的外表與基因 中現形。同時，黃潔宜的想法及實 踐亦常得益於她與自己的分身—策 展人 Ali Wong—的合作與討論，儘 管她們從未同時在一個場合出現。

45 × 45 × 7 cm 歌詞 : 黃潔宜 音樂 : Kyle Oppenheimer

22

RENEE SO Woman 1, 2017 Stoneware 50 x 30 x 30 cm Courtesy of Kate MacGarry and the artist This stoneware sculpture is one of a series of new ceramic works based on primitive fertility idols, like the Venus figurines of the Upper Paleolithic period and tripod jars characteristic of Chinese antiquity.

Instead of utility, however, these sculptures offer a blank and defiant expression. Like much of So’s work, Woman I draws on classical forms—past work has drawn on the Bartmann jugs of 17th century Europe and Assyrian bas-relief. The rounded shape of the body, and the handles which double as arms, continue So’s playful approach to figuration and interest in the history of styles of selfpresentation. 女人 I, 2017 炻器

50 x 30 x 30 cm 作品由藝術家與

Kate MacGarry提供 這件石器雕塑乃藝術家最新 創作的陶瓷作品系列之一。該系 列創作參考了舊石器時代出土的 維納斯雕像等原始生育神像，以 及中國古代特色的三足罐。然而 它們卻被去除了石器一貫的功能 性，成為一個空白或具挑釁的載 體。藝術家的作品一向關注歷史 經典物件的形態，例如歐洲十七 世紀的巴特曼壺及亞述人的淺浮 雕。延續藝術家對自我表現風格 歷史的興趣，雕塑《女人I》擁有 圓潤的身軀及同时作為雙臂的一 對手柄，這也保留了藝術家颇具 玩味的塑形手法。

23

EISA JOCSON

A Doll’s House, 2017 Video 06’19”

A Doll’s House takes its title from Henrik Ibsen’s threeact play that premiered in Copenhagen in 1879. It caused an outrage. Following the play's story of a married women who couldn’t find opportunities in a patriarchal world, Eisa Jocson superimposes the audio track of the last dialogue from the 1973 film adaption by Joseph Losey with slow close-ups of princess toys. Challenging the narratives embedded in the representation and reproduction of princess toys, Jocson adds a sardonic seriousness to made-for-children playthings with the voiced struggle of a woman. As bad copies of the princess empire that some call the Disney-fication of female performance, Jocson explores the commercial model of Walt Disney that is used to create a monopoly on happiness. From theme parks to films with never ending sequels, Jocson thinks about how happiness is manufactured and made into knockoffs — the plastic stuff that happiness is made of.

玩偶之家, 2017 視頻

06’19” 《玩偶之家》取名自劇作家亨 利.易卜生的同名三幕劇作品。該 作講述一名已婚女性於當時的父權 社會中無法獲得生存空間的故事， 在1879年哥本哈根的首演曾一度引 起公憤。藝術家Jocson把1973年基 於該劇作改編的電影中最後一幕的 對白音轨與一群公主玩偶的慢鏡頭 特寫並置。借在兒童玩具的呈現中 加入女性於社會掙扎的吶喊，藝術 家為其注入了一股帶譏諷意味的嚴 肅，並挑戰公主玩偶的再現及再造 中隱含的敘事。某些人認為「迪士 尼化」的女性演出是一種公主帝國 的壞榜樣，藝術家則探索了快樂如 何被華特·迪士尼的商業模式所壟 斷。從主題公園到永無止盡的電影 連載，Jocson亦在思考快樂如何在 現今社會被製造及生產成一個個塑 料質地的複製品。

24

KA-MAN TSE 謝嘉敏 Untitled (Mirror: Fei) 無題 （鏡子：飛）, 2016 41 x 51 cm Photography Untitled (La Chiquitta) 無題（La Chiquitta）, 2015 51 x 41 cm Photography Untitled (Water) 無題（水）, 2016 51 x 41 cm Photography 攝影 Untitled (Bones) 無題（骨頭）, 2017 41 x 51 cm Photography 攝影 Untitled 無題, 2017 41 x 51 cm Photography 攝影 Narrow Distances is an ongoing investigation surrounding notions of home, family, identity and community.

Tse’s image-making is informed by the intersections and negotiations of the LGBTQ and Asian-Pacific Islander community. The photographs are based on the tension between longing and belonging in Hong Kong’s public and private spaces.

Tse recasts this world out of a desire to see it repopulated and re-imagined with her protagonists, a family that is both chosen and inherited. 《Narrow Distances》為一系列 於香港取景的攝影作品，呈現了藝術 家關於家庭、身份、社區以及圍繞著 渴望與歸屬展開的持續思考。謝嘉敏 的影像創作以社會中LGBTQ社群及 亞太島民社群之間的交涉與磨合為中 心。作品以香港的公共空間與私人空 間中生發的渴望及歸屬感之間的拉鋸 為起點。當逃離這一非線性旅程，藝 術家憑藉著想要看到世界被她認定為 家人的人物填滿和重新想像的真摯願 望，對世界進行了一場重演。

Untitled (Embrace), 2017 41 x 41 cm Photography The end of a pageant is a rare chance for the contestants to touch, express and comfort, after a choreographed test of endurance. This photograph, staged with seven AsianPacific Islander women in New York (including a crown holder of Miss Vietnam New Jersey) re-enacts this final embrace.

Elation, exhaustion, camaraderie, and disappointment wash over them. This gesture can be read as tender or violent, tinged with joy or with rage. Is it just another performance? The

contestants merge into a single body with a mass of heads and arms like a deity or a demon, at the moment when the pressure to embody ideals of gender and nation is finally released.

無題（相擁）, 2017

41 x 41 cm 攝影

在一場漫長且精心綵排的 競爭過後，選美比賽結果的誕生 是罕有的讓各參賽佳麗以肢體語 言去表達、慰藉、觸摸對方的機 會。照片邀請七位居住在紐約的 亞太島國女性重回選美比賽落幕 時百感交集的一刻，其中一名演 員在現實生活中更是新澤西州越 南小姐的后冠得主。當大家相擁 時，她們有如化身為傳說中多頭 多手的神明或魔鬼。傾刻之間， 體現性別及國家的完美標準的壓 力亦全然消失。

25

LINDA C.H. LAI 黎肖嫻 Blasting Modernities 1930s: Techniques of the Self 1930s, 2017 Photography, video, lightboxes, collages, newspaper excerpts Dimensions Variable In Blasting Modernities 1930: Techniques of the Self, Lai draws from a panoply of movie ads, newspaper columns, celebrity posters, calendar illustrations, and film fragments, to investigate the year 1934, a moment of temporary peace. Modernity ‘blossomed’ in the quotidian. This ensemble of stills, sketches, and moving images draw on 1930s Shanghai modern femininity to highlight daily confessions and playedup dramaticity in the domain of leisure. It is an assemblage of looks, personas, objects and confessions, forming a mindmap to envision a world in which things and humans are co-agencies of equal status. 「摩登」法寶： 眾聲喧鬧 1930s, 2017 攝影、錄像、燈箱、拼 貼、新聞剪報 尺寸可變 黎肖嫻在《「摩登」法寶： 眾聲喧鬧1930s》中以一套完備 的資料來研究1934年這一特別的 年份，當中包括電影廣告、新聞 專欄、明星海報、日曆插畫及 電影選段。香港歷史中，1934年 是短暫、平靜且供人喘息的一段 時間。現代性曾在這一時間節點 的日常中綻放。作品中的影像、 草稿及視頻均描繪了1930年代上 海現代女性特質，並強調在休閒 娛樂中的日常自白及誇大的戲劇 性。《「摩登」法寶：眾聲喧鬧 1930s》為一系列人物誌、小說人 物、物件及自白集合成的一幅心 智圖，建構出一個人與物擁有同 等地位的世界觀。

26

YU SHUK PUI BOBBY 余淑培 Miss Perpetual: Form Piece, 2017 Paper, LED Screen 190 x 110 x 40 cm The core of Miss Perpetual: Form Piece consists of the TVB application documents for Miss Hong Kong over the last ten years. Their evolution reflects changes in the cultural ideals of Hong Kong femininity. that form. These forms are bookended by future and past editions of Miss Hong Kong. A framed form shows Yu’s application this year to participate in the 2017 pageant, and a video replays archival documentation of the 1985 Miss Hong Kong pageant. Her work often involves creating social situations that employ the bodies, voices, and skills of others.

This project instead transforms her own social status through the manipulation of her public appearance. For her application photographs, Yu worked with Simon C, a noted Hong Kong fashion photographer, and celebrity makeup artist Angel Mok. 余淑培 永恆小姐： 表格, 2017 紙, LED 屏幕 190 x 110 x 40 cm 《永恆小姐：申請表格》乃 取材自過去十年香港電視廣播有 限公司（TVB）舉辦的香港小姐 參賽表格。表格中對參賽者的要 求一直經歷微妙轉變，這正反映 香港女性特質的文化理想亦同樣 在不斷變遷。這些表格夾雜的正 是過去與未來的香港小姐。藝術 家於2017年申請香港小姐的參賽 表格被隆重其事地裝裱展示。而 在旁亦播放著1985年香港小姐的重 播片段。藝術家的作品多以動用 身體、聲音或其他技能的社交情 境為主軸。此項計劃則以改變她 的公眾形象作手段，並轉化她現 有的社會地位。與她一貫對名人 文化的興趣相連，藝術家這次參 賽的硬照特別邀請到著名時尚攝 影師 Simon C 及名人化妝師 Angel Mok 參與。

27

DACHAL CHOI 崔大察 Days You Need Love, Fortune, and Money, 2017 In Search of Miss Ruthless Day Double 7th National Day Mid Autumn Chung Yeung Christmas Day LED lightboxes 85 x 60 cm each Poster design: Min Hee Lee Days You Need Love, Fortune, and Money is a selective calendar series that highlights special days—of celebrating, gathering and sharing.

By inserting photographic portraits of people listed on companion-rental services into a traditional Chinese calendar, Choi examines how relationships are regimented and estranged. As she writes: Renting your time only, not your body. The sharing economy now extends beyond our services to our relationships. Adults have become a new kind of product: hourly parents, husbands, friends, wedding guests for hire. They deliver themselves in order to fulfill another’s fiction. Every special day becomes an opportunity for plausible lovers waiting to be hired. Building relationships is not necessary here. The union is as disposable as you wish. Capital has opened a door for you. You won’t be alone. 需要愛、運氣和金錢的日子,

2017

尋求無情小姐日 七夕 國慶節 中秋節 重陽節 聖誕節 燈箱 每件 85 x 60 cm 設計指導 : Min Hee Lee 《需要愛，運氣與錢的日子》 是一份甄選日曆系列，將焦点置于 用以慶祝、聚會及分享的特殊日 子。藝術家把伴侶出租服務中的個 人肖像照插入傳統中式日曆裡，藉 此檢視人際關係被嚴格管制與疏離 的社會現象。崔寫道： 出租的只限於您的時間，並不 包括您的身體。現今共享經濟 的延伸已經超越了我們能提供 的服務，並侵入人際關係。成 年人變成一種新的商品：時租 父母、時租丈夫、時租朋友、 時租婚禮嘉賓。他們將自己送 達客戶面前，以助完成他人的 故事。每一個特別的日子都成 為每一位疑幻似真的愛人被租

用的機會。關係的建立在這種 服務中並非必要，而彼此之間 的連接也可以隨時拋棄。資本 之門已為您打開。您不會再孤 單。

28

SALOTE TAWALE Celebrations and Sympathies, studies in culture, part 5, 2017 Performing bodies, tarpaulin, cardboard, paint, raffia, gaffer’s tape, discarded food containers, folding chairs, dance score Dimensions variable Sound designed in collaboration with Hayley Forwardz Celebrations and Sympathies, studies in culture, part 5 is an installation of discarded costumes and masks created for a performance directed by Tawale. Dressed as totemic versions of Tawale, the performers dance to the sounds of Fijian lali drums and hip hop beats, forming a self-portrait of the artist dispersed across bodies. Questioning what it means to embody an identity, Celebrations and Sympathies animates a sense of cultural heritage through taking dance as an ethnographic mode. 慶祝與同情，文化研究， 第5部, 2017 表演中的軀體、防水布料、 紙板、油漆、拉菲亞草、 封箱膠紙、食物容器、摺疊椅 子、舞蹈樂譜 尺寸可變 聲音設計與 Hayley Forwardz共同創作 裝置作品《慶祝與同情，文 化研究，第5部》由被丟棄的戲服 及面具所組成，這些訂製物品曾 用於Salote Tawale所執導的一次行 為表演。表演中，演員穿上模仿 Tawale的特製戲服，隨著斐濟樹縫 的鼓聲及嘻哈節拍舞動著身軀， 一同創作了在多具身體間傳遞的 一副藝術家肖像。藝術家透過該 作品思考體現不同身份的意義， 並以舞蹈作為民族誌的研究方法， 為文化遺產注入生機。

29

NGOC NAU

She dances for desire, 2017 Single-channel video, holographic film, projector, metal, LED light, poly cashew paint, wormwood, PVC, velvet 3x2x5m Sound in collaboration with Dustin Ngo

She dances for desire is a hologram depicting the performance of the Len Dong ritual, a mother goddess religion that was banned in the early years of communism in Vietnam, but has returned as a social phenomenon in the digital age. Mischievously dancing in traditional Vietnamese clothing, this figure is part of a long term research project centered on Ngoc Nau’s home in Thái Nguyên, a province in the northeast region of Vietnam. Created by the Kinect for DepthKit software, the hologram draws from old forms of media illusions such as Pepper’s Ghost in mapping the process of industrialization in her hometown. It is experiencing a shift from an agricultural village life to becoming a destination for foreign electronics manufacturing plants. The playful goddess ghost dances a ritual in response to the governing forces of home.

她為慾望起舞, 2017 單頻道視頻、全息薄膜、 投影儀、金屬、LED燈、油 漆、蒿木、絲絨 3x2x5m 聲音與Dustin Ngo共同創作 《她為慾望起舞》是一件展 示越南上童儀式的全息錄像裝置 作品。上童是越南民間母系女神 信仰的儀式之一，這一信仰曾在 越南共產黨執政早期遭嚴禁，如 今又在數字時代化作一種文化現 象回歸。作品中身著傳統越南服 飾歡欣起舞的人物是 Ngoc Nau 根據她位於越南東北部的家鄉 太原省展開的長期研究項目的一 環。該全息錄像裝置採用 Kinect for DepthKit 軟件作為創作的核 心技術，援引佩珀爾幻象等古老 舞台幻象形式，以呈現藝術家家 鄉由農村演變成國外電子零件公 司的生產基地的變化。生動的女 神利用舞蹈儀式回應家園的主宰 力量。

30

KRISTINA WONG 黃君儀 Celebrity Appearances, 2002-2012 Single channel video

Chinatown Stories: Realizing the Imagined, 2003 Postcards, 6” x 4” each Produced in collaboration with Steven Wong Chinese New Year Parade, 2012, Enlarged framed photo A Celebrity Career, 2001-2012 Single channel video Costume and Ephemera, 2001-2012 Cheongsam salvaged from yard sale, two name badges, a tiara, sneakers, white gloves, cigar, glasses, autograph pen, whiskey bottle, vagina puppet These works document the decades-long project by comedian and performer Kristina Wong of Fannie Wong, a boisterous persona she devised to represent the Chinatown beauty queen she might have been. As a third-generation Chinese-American from San Francisco, this proposed persona serves as a tool to subvert both Orientalism in mainstream American culture and the proper gender roles prescribed to Asian-Americans.

People often received her as the real deal, although sometimes security would also escort her out. Fannie Wong’s appearances live on in many forms: as postcards, Facebook snaps, newswire images, ephemera, and warmly confused memories. 名人事業, 2001-2012 單頻視頻 華埠往事：實現夢想 2003 明信片 與王遙祺共同製作 農歷新年巡遊, 2012 裝裱放大照片 名人事業, 2001-2012 單頻視頻 服飾及賤價物件, 2001-2012 從友人二手攤搜刮的旗袍, 派對造型眼鏡、自製選美肩 帶、后冠、手套、雪茄、球 鞋、白手套、威士忌瓶、明 星簽名鋼筆、陰道傀儡

這些作品紀錄喜劇演員及 表演者黄君儀過去十年喬裝為虛 構人物黄肥妮（Fannie Wong） 的各式演出。黄肥妮被設定為一 個性格喧鬧且曾幾何時有機會坐 上唐人街小姐寶座的人物。作為 三藩市長大的第三代美籍華人， 黃氏以該虛構人物作為顛覆主流 美國文化中的東方主義勢力及亞 裔美國人約定俗成的性別角色的 工具。雖然有時保安員會請她離 去，但觀眾對她的身份普遍都信 以為真。黄肥妮的形象將一直以 不同形式延續：明信片、臉書快 拍、新聞圖片、瞬逝的痕跡及混 淆但卻溫暖的回憶。

31

HIRAM TO 杜子卿

Design For Community Tent Card (I, II, III), 2008 Printed Foil on Card 23 x 29.5 x 8 cm Created in collaboration with Lai Ying Tin Courtesy of private collection In reverence for the material sensuality of mass culture, To’s Design For Community Tent Card (I, II, III), made in collaboration with Lai Ying Tin for the launch of C for Culture Magazine, reflects on the construction of an artist’s persona using the techniques of popular communication.

The three reflective cardboard tent cards feature the words “Quid Pro Quo,” indicating that an item or service has been traded in return for something of value.

Like most of To’s work, there is an embedded criticism about the art world and its practices. As in the common legal usage of quid pro quo, the mutually beneficially agreement is often reached through manufactured consent.

A work familiar with the visual language of fashion and the politics of cultural production, Design For Community Tent Card (I, II, III) questions the role of artists as socially-sanctioned producers of images.

為社區設計枱面紙板廣告 (I, II, III), 2008 紙上打印薄膜 23 x 29.5 x 8 cm 與Lai Ying Tin共同製作 作品由私人藏家提供 杜子卿的《為社區設計枱面紙 板廣告 (I, II, III)》是與Lai Ying Tin合 作，為C for Culture雜誌創刊而製作 的作品。該作品像大眾文化中的物質 崇拜致敬，使用大眾通訊手段反思藝 術家形象的構造過程。作品由三塊印 有「Quid Pro Quo」的反光枱面紙板 廣告所組成，字句意思為以物件或服 務換取有價值的東西。與藝術家大部 份其他創作一樣，這件作品對藝術界 與其操作模式有所批判。正如「Quid Pro Quo」於一般法律用途的意思， 雙贏的協議通常都經過人為的妥協而 達成。作為一件洞悉時裝的視覺語言 及文化生產之政治性的作品，《為社 區設計枱面紙板廣告 (I, II, III)》對藝 術家作為社會認可的影像生產者的身 份發出質疑。

32

VIOLA CHEN 陳宜晴

Miss Ruthless Intl. 2017 Web

國際無情小姐, 2017 網絡

A series of explorations on Instagram, Miss Ruthless Intl. examines the gendered life courses, emotional identities, and racialized surfaces of Miss Ruthless. She places fragmented prayers from her family on top of the seams of her qipao and then touches herself on the pile. Being Ruthless is a cultural thing. Her one flaw is that she wants to be post- but still posts on—

作品《國際無情小姐》通過一 連串在Instagram上發起的探 索，圍繞無情小姐的性別角 色、生命歷程、情感認同及激 進表述展開深入的思考。她將 家中的掛念一片片地繡在旗袍 的縫口上，也會隔著絨緞撫摸 自己。「無情」是一個文化現 象。而她唯一的缺點是渴望徹 底釋懷，但又不斷積極地上 傳 ...

This project is initiated by Viola Chen, a mediator, student, and artist based in Tio'tia:ke. Her thoughts and works circulate around the idea of missing something.

項目發起人陳宜晴為一名 中介、學生，也是居住及工作在 Tio’tia:ke的藝術家。她的作品及思 考往往縈繞于對某些事物的依戀。

33

FIONA LEE 李穎姍 tide.hong kong : in transit, 2017 Sound performance

tide.hong kong : in transit is based on sensations of the sights and soundscapes of Victoria Harbour. The seashore platform in Whampoa is punctuated by holes which produce harmonic tones that shift with the tides. Lee’s works of art are derived from the intersection between installation and performance, and draw on a practice of listening to the world. 李穎姍 潮.香港: 過渡, 2017 聲音表演 《潮.香港: 過渡》源自維多利 亞港的視覺景觀及聲境帶來的感官 刺激。於黄埔海岸邊的堤道上注滿 小孔，在潮汐漲退間產生各種和諧 的音調。藝術家的作品介於裝置與 行為表演之間，並從其聆聽世界的 實踐中獲取靈感。

34

Miss Ruthless: A Press Conference July 2, 6:30 pm – 11 pm Spring Workshop 3/F Remex Centre, 42 Wong Chuk Hang Road, Aberdeen, Hong Kong A performance in the style of a pageant press conference with participating artists as contestants—whether they appear as themselves or send representatives—hosted

by Ruthless Director of Communications Xiaoshi Vivian Vivian Qin. Followed by a party celebrating this debut with Eternal Dragonz, featuring x/o (producer of Miss Ruthless theme song), V Kim (producer, co-founder of Eternal Dragonz), and T0C1S x Tsalal (Absurd Trax/ HKCR).

Miss Ruthless With A Smile July 9, 4:00 – 7:00 pm Ullens Center for Contemporary Art 798 Art District, No. 4 Jiuxianqiao Lu, Chaoyang District, Beijing, China 100015 “Pageantry as Curatorial Method,” discussion between Hera Chan, Alvin Li, and David Xu Borgonjon; lecture performance by Dachal Choi; screening by Ma Qiusha; and special event by Jack Tan. In a world where friends are available for hourly rentals, where happiness is a business model, and where means of escape are harder to find by the day, we invite you to a rewarding afternoon framed by the idea of Miss Ruthless, a fantasy figure from the future.

tide.hong kong : in transit July 23, 10:00 am – 12:00 pm Harbourfront Whampoa Sound performance by Fiona Lee In this site-and-time specific performance, the composite of the sound-making objects and human voices narrates subtle changes in environment and the prototypical experience of Hong Kong in transit.

PROGRAMMES 活動

無情小姐：新聞發佈會 7月2日下午6:30 – 11:00 Spring Workshop 香港香港仔黃竹坑道42號利美中心3樓 部分參展藝術家以及藝術家指定的替身以無 情小姐候選人的身份出席一場選美比赛新聞發 佈會形式的表演性派對。活動特邀無情宣傳總 監覃小詩擔任主持，隨後 x/o（Eternal Dragonz）、 V Kim （Eternal Dragonz）和T0C1S x Tsalal（Absurd Trax/ HKCR）將演出。 無情小姐之笑 7月9日下午4:00 – 7:00 尤倫斯當代藝術中心 北京市朝陽區酒仙橋路4號798藝術區4號路 演出：崔大察與租友 放映作品：馬秋莎 特別活動：陳捷棋 討論：陳思穎、李佳桓、許大小 當下的世界，友情以小時計費，快樂儼然 成為商業模式，逃脫的方式也愈發難以尋覓。 我們邀請你加入一場豐富的下午聚會，活動靈 感取自《無情小姐》，一位來自未來的虛構人 物。 潮浪 - 香港 ：中途 7月23日上午10:00 – 下午12:00 海濱廣場一座 聲音藝術演出 藝術家：李穎姍 本件作品將在特定的場域及時間內舉行。作 品由物件發出的聲響以及人聲根據環境中細微 的變化、香港城市變遷等經驗而喃喃唸出的敘 事所組成。 抬舉無情小姐 8月12日上午11:00 – 下午5:00 Spring Workshop 香港香港仔黃竹坑道42號利美中心3樓 《雌性》雌激素化學合成工作坊，組 織：Jes Fan，曾瀞瑩；《肌（肉媒）體》健身 工作坊，教練：小風；《義肢》舞蹈演出，導 舞：Jes Fan ，舞者：李偉能、盧敬燊

Heavy Lifting With Miss Ruthless August 12, 11:00 – 5:00 pm Spring Workshop 3/F Remex Centre, 42 Wong Chuk Hang Road, Aberdeen, Hong Kong

Curator Tours July 23, 2:00 pm (English) August 19, 1:00 pm (English) August 26, 1:00 pm (Mandarin) September 10, 1:00 pm (Cantonese)

“Feminine Essence,” estrogen workshop with Jes Fan and Mary Maggic; “Muscle as Medium,” body building workshop taught by Siufung Law; “Disposed to Add,” performance with Joseph Lee and King San Lo, directed by Jes Fan

新女性 8月26日下午3:00 – 5:00 Para Site藝術空間 Hương Ngô 改編劇本演讀

This tripartite day-long event mobilizes ideas around the body as an always in-process project. As a keystone event of a multi-year project called Miss Ruthless, this program subverts the format of the beauty contest preparations.

New Women August 26, 3:00 – 5:00 pm Para Site Reading of an adapted play by Hương Ngô Using her installation as a set and its objects as props, Ngô adapts Vũ Đình Long's play New Women for new audiences. This version excises all the male voices.

Pièce Touchée September 10, 3:00 – 5:00 pm Para Site Screening curated by Alvin Li with works

by Shen Xin, Tao Hui, Wang Haiyang, Evelyn Taocheng Wang Celebrating the closing of In Search of Miss Ruthless, Para Site presents the special screening program Pièce Touchée, highlighting moving-image works by four contemporary Chinese artists that are affectively informed by their experiences and observations of various modalities of queerness and femininity.

Closing Reception and Unveiling of the Crown September 10, 6:00 – 8:00 pm Para Site

將裝置作品變身為物件及道具，Ngô為觀眾 全新改編了Vũ Đình Long的《新女性》，而在此 版本中，一併刪除了所有男性人物的對白。

Pièce Touchée

9月10日 下午 3:00 – 5:00 Para Site 藝術空間 策劃：李佳桓 放映作品：沈莘、陶輝、王海洋、王韜程 為慶祝《尋求無情小姐》圓滿閉幕， Para Site藝術空間呈現特別放映項目Pièce Touchée，聚焦四位華人當代藝術家的移動影 像作品。這些影像創作在情感上所呈現出的氣 質，均來自藝術家對不同形式的酷兒或女性特 質的體驗和觀察。 閉幕式與皇冠揭幕 9月10日，下午 6:00 – 8:00 Para Site藝術空間，香港 策展人導賞 7月23日下午 2:00 (英語) 8月19日下午 1:00 (英語) 8月26日下午 1:00 (普通話) 9月10日下午 1:00 (粵語)

Write to Miss Ruthless!

Dear Miss Ruthless, We have been chasing the stories of diasporic pageant queens. There is something ruthless about their stories, something that recalls the sentimentality of Chinese culture. Allow us to paraphrase Rey Chow in writing that sentimentality is an attachment premised on adaptation and resilience. Romance that endures.

We are building a community to welcome you. And really, a community is just a group of people who are capable of holding a pageant. The stage has been set.

Yours truly, Hera Chan and David Xu Borgonjon, Curators 向無情小姐寫信吧！ 致無情小姐： 我們追溯華僑選美王后的故事，她們的故事如 此無情，暗喻著中文流行文化濫情中隱藏的一 顆狠心。文學家周蕾曾寫道，所謂濫情，是基 於應變與忍耐之上的一種戀戀不捨，是一部持 久的言情小說。我們的社群正在聚集，我們迎 接妳的到來。也許任何一個社群都只不過是一 些能舉辦選美競賽的人。舞台已佈置好，就等 你出現。 祝好 策展人 陳思穎 許大小

Write now to nominate the next Miss Ruthless: 為下一位無情小姐提名：

miss@ruthless.international

Para Site 22/F, 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

Team 團隊 Executive Director/Curator 執行總監/策展人 Cosmin Costinas 康喆明 Deputy Director 副總監 Claire Shea 謝清 Curator of Education and Public Programmes 教育與公共項目策展人 Freya Chou 周安曼 Associate Curator 副策展人 Qu Chang 瞿暢 Assistant Curator 助理策展人 Olivia Chow 周宛昀 Project Coordinator/ Curatorial Assistant 項目經理 / 策展助理 Fanny Chan 陳趣源

Development and Communications Coordinator 發展及傳訊統籌 Apoorva Rajagopal Gallery Manager 畫廊經理 Jenny Tam 譚蔚廷 Board 董事局 Chair 主席 Alan Lau Ka Ming 劉家明 Co-Vice Chairs 聯合副主席 Jehan Pei Chung Chu 朱沛宗 Mimi Chun Mei-Lor 秦美娜 Treasurer 司庫 Bonnie Chan Woo Tak Chi 胡陳德姿 Secretary 秘書 Sara Wong Chi Hang 黃志恆 Board Members 董事局成員 Kurt Chan Yuk Keung 陳育強 Alan Y Lo 羅揚傑 Mina Park Yana Peel

Leading Corporate Sponsor THE OUTNET.COM Founding Friends Shane Akeroyd Mimi Brown and Alp Ercil Burger Collection, Hong Kong Kevin and Reina Chau Stephen Cheng Mimi and Chris Gradel Inna and Tucker Highfield K11 Art Foundation Wendy Lee Edouard and Lorraine Malingue marc & chantal design Mina Park Yana and Stephen Peel Stefan Rihs SUNPRIDE FOUNDATION Honus Tandijono Sarina Tang Currents Art and Music Susanne and Gregor Theisen Virginia Yee Friends Nick and Cordula Adamus-Voegtle Christine and James Boyle Doryun Chong Lawrence Chu Andrew L. Cohen Patricia Crockett, Sprüth Magers Jane DeBevoise Faux Amandine and Edouard Hervey IEs Collection William Lim, CL3 Elaine W. Ng and Fabio Rossi Jay Parmanand and Diana d'Arenberg Esther Schipper Virginia and Daniel Weinberg Bonnie & Darrin Woo

PROJECT TEAM 項目團隊

Curators 策展人 Hera Chan 陳思穎 David Xu Borgonjon 許大小 Art Direction 平面設計 Eric Hu 胡師堯 Matthew Tsang 曾頌恩 Programming 網站設計 Eric Hu 胡師堯 Exhibition Text Design 展覽文字設計 Matthew Tsang 曾頌恩 Typeface 字體 Julius Hui 許瀚文 Motion Graphics 動態圖像 Grace An Videography and Editing 錄像及編輯 MetaObjects 元物 Translation 翻譯 Morgan Wong 黃榮法 Xiaoshi Vivian Vivian Qin 覃小詩 Copyediting 審稿校對 Connie Kang 康康 Alvin Li 李佳桓 Exhibition Coordination 展覽 Olivia Chow 周宛昀 Exhibition Assistants 展覽助手 Mandy Chan 陳嘉蔚 Claudia Jim 詹惠恩 Sami Lee 李心怡 Dawn Luk 陸奡恩 Exhibition Support 展覽支持 Fully Advertising 富怡廣告公司 JR Construction Lonely Lau and company 劉兆聰及團隊

THANK YOU 特別鳴謝

Shormi Ahmed Mimi Brown 貝明湄 Dircea Arroyo Buganza Alex R. Castro Rachel Catanach Alan Chan 陳建濃 Mandy Chan 陳希雯 Phoebe Chan 陳善雯 Vince Chan 陳允琦 Kevin Chu Genevieve Clutario Fan Popo 范坡坡 Paul Fonoroff 方保羅 Jihyun Han Ho Rui An 何銳安 Mingwei Huang Evelyn Hu-DeHart

胡其瑜 Hu Fang 胡芳 Jessica Kong 江卓姿 Deborah Lam 林美紅 Davina Lee 李國瑜

Lee Kai Chung 李繼忠

Joanne Lee-Young 李瑞琪

Christina Li 李綺敏 Shirley Jennifer Lim Edwin Lo 羅潤庭 Lok Siu Janet Lumb 林瑞貞

Yue Ma 馬越 Kate MacGarry Paola Michelle Oliver Rebecca King O’Riain Darius Ou 歐大豪 Ellen Plouffe Deborah Rudolph Rosanne Sia Valerie Soe 蘇杏娟 Jack Tan 陳捷棋 Vince Tao 陶敬賢 Philip Tinari 田霏宇 AJ Vicente Paul Wong Cici Wu 武雨濛 Judy Tzu-Chun Wu 吳字君

Liliana Xu 許文 Susan Xue 薛燕 Christina You 游驍 Henry Yu 余全毅 Yuan Yuan 袁園 Zhao Ke 趙珂 Zheng Bo 鄭波 Zhuang Zheng 莊正

PARA SITE

22/F, 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 t. +852 2517 4620 e. info@para-site.art www.para-site.art Wednesday to Sunday, 12:00 –19:00 pm Closed on Monday, Tuesday, and Public Holidays 星期三至星期天，下午12時至晚上7時 星期一，星期二與公共假期休息

Founded in 1996, 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. 成立於1996年，ParaSite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。

Facebook @parasite.hk Instagram @parasite.hk WeChat

This exhibition is the third in the annual Para Site Emerging Curators Program, a platform devised to provide the opportunity for an emerging curator to develop one of their first major projects benefiting from all the resources, support, guidance, and infrastructure made available for other Para Site exhibitions, as well as to foster a spirit of collaboration with artists active in Hong Kong. 本展為第三屆的ParaSite年度新晉策展人項 目，該項目旨在協助新晉策展人透過 ParaSite 的平台、資源、指導並協助個人首次重要展覽 項目同時促進與香港本地藝術家的合作。