Introduction 前言
‘signals … 瞬息’ is a group exhibition in three parts curated by Billy Tang & Celia Ho
「瞬息 …… signals」為曾明俊、何思穎策劃， 分三階段進行的聯展
Part 1
signals … storms and patterns
瞬息 風中序
3.18 – 5.28, 2023
Part 2
signals … folds and splits
瞬息 展與接
6.10 – 7.30, 2023
Part 3
signals … here and there
瞬息 …… 彼／此
8.12 – 9.29, 2023
The second chapter of ‘signals…瞬息’, subtitled ‘signals…folds and splits’, features instructionbased scores, installation, sculpture, moving image, and cross-generational dialogues which explore alternative temporalities to inquire into change. The partition structures from the previous exhibition of the first chapter have rotated and shifted into a new configuration. Moving from the concerns of subdivided housing and the politics of space, this intermediate chapter shifts to an emphasis on the liminality of passages, walkways, waiting areas, dancehalls, departure halls, and other transient spaces. In addition to an atmosphere of unpredictability and suspense, the role of anticipation and transformation is highlighted throughout the exhibition.
In the aftermath of a storm of patterns, the second phase of ‘signals… 瞬息 ’ occupies a transitory state. Imagining time as a series of folds and splits, the exhibition drifts and connects to different tempos of artistic practices, including concepts of care, historiography, abstraction, kinetic movement, and community building. A fold is a way of weaving or bending elements of the past in relation to the construction of possible futures together. In contrast, splits refer to intervals, contradictions, or dilemmas. A split is a fork in a path or a rupturing episode in time. Since this spring, the city has returned to a semblance of normalcy that seems to belie the deep divisions and uncertainties of past years. Many of the works in this chapter outline ideas that came into fruition during the momentary lulls of political unrest or social change. In day-to-day acts, folds and splits are the gestures and sleights of hand that redefine how we connect and engage in this climate.
Doreen Chan’s HalfDream is an ongoing participatory project that hovers between the real and the subconscious as a collective space for healing after trauma. The aesthetics of care and access is also foregrounded in Carolyn Lazard’s work. Shadows, afterimages, and strobes of colour merge into a polymorphous sensorial experience, as time unfolds alongside the intimacy of illness. Practising the ancient tradition of kené, Sara Flores uses its healing properties to weave synaesthetic patterns to amplify the spiritual values of the Shipibo nation. Mika Tajima’s Negative Entropy series is a mirror revealing another dimension to abstraction, tracing the evolution of the Jacquard loom into technologically advanced medical adaptations used for the repair or replacement of human organs.
The folds of daily life are found in clothes and a blanket that lie on Li Yueyang’s bed. Li’s poetically charged minimalism takes on extra weight when considered in relation to his friendship with the conceptual artist Li Jinghu. While their life paths have diverged, their destinies have dovetailed with the unpredictable ups and downs of life in the Pearl River Delta. Similarly interested in displacement, Jaffa Lam’s sculpture employs an abandoned football as inspiration for a form that moves constantly as it seeks refuge and occupies various corners of the exhibition space.
Form and logic are folded into a self-reflexive wall painting by Ghislaine Leung. The lines and colour blocks provide a window into the temporality of her studio life as an artist and mother. In another ‘portal’, Pratchaya Phinthong uses ephemeral ink that eventually vanishes, drawing attention to the speculative nature of collective beliefs and fears for the unknown future. Candice Lin presents a seemingly harmless series of plein-air landscape paintings that merge toxic soil, water, air, and rumours. The discernment of what is toxic or innocuous is framed within a wider history of events suppressed, renamed, or regulated by anxieties symptomatic of the colonial past.
Countering the challenges faced in Hong Kong, HASS Lab is a collective of artists and crossdisciplinary producers who look positively beyond the typical exhibition timeframe. They have focused their energies on activities that span a ten-year period to propose social transformation through art with generational change in mind. Tang Kwok Hin shares this methodology in another way. Embracing the idea of osmosis, he works around the negative spaces of found objects and traces of previous works. In her second commissioned work for the exhibition series, Wing Po So transplants the ubiquitous air filter as a membrane to create a series of sculptural interventions. Tree of Life by Linda Chiu-han Lai continues to evolve in this chapter, too. Muffled voices, textures or
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Li Yueyang, Time Spent, 2014. Metal, wood, found objects (blanket, uniform, shoes, books, letters) 200 × 95 × 90 cm. Courtesy of the artist. / 李岳陽，《度》，2014年，金屬、木及現成物（棉被、制服、鞋、書本、信件），200 × 95 × 90 cm。由藝術家提供。圖片由箭廠空間提供。
Li Yueyang, Time Spent, 2014. Metal, wood, found objects (blanket, uniform, shoes, books, letters) 200 × 95 × 90 cm. Courtesy of the artist. / 李岳陽，《度》，2014年，金屬、木及現成物（棉被、制服、鞋、書本、信件），200 × 95 × 90 cm。由藝術家提供。圖片由箭廠空間提供。
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fragments from the past gather briefly to bear fruit and grow into new narratives.
As an experimental ensemble of moving components, the exhibition explores the potential of a small gesture and its ability to slowly accumulate into a wider momentum for change. In the space between scores, portals, and other dreams, the exhibition considers artistic strategies that hold onto the idea of progressive social transformation. The exhibition is both a choreography and a stage to reflect on what is absent as much as what is present, choices of working or resting, gathering or dispersing, prompting us to better anticipate our future actions together.
作為「瞬息 …… signals 」的第二章，「瞬息 ……展 與接」將透過指令、裝置、雕塑、流動影像及跨代 對話探索另類的時間概念，並藉此思考變化。展覽 第一章受「劏房」和空間政治啟發，而隨着展覽空 間建築結構重組，此過渡章節將專注於通道、行人 路、等候區、舞廳、離境大堂和其他短暫空間的閾 限性。展覽散發出一種不可預測和懸疑的氣氛，並 強調期待和轉變在其中所扮演的角色。
過渡期。展覽將時間想像為一系列「展」與「接」， 游弋於不同的藝術實踐節奏之間，包括關懷的概 念、史學、抽象主義、動態作品和凝聚社群。時間 的「展」包括「轉折」與「分展」，亦即間隔、矛 盾或困境，是路徑中的一個岔口或時間上的一個斷 裂點。相反，「接」是「摺疊」與「連接」，是在 某種程度上改寫過去，共同構建可能的未來。自春 天以來，香港恢復了表面上的常態，暫時隱蔽了過 去幾年的深度分歧和不確定性。這一章節的許多作 品闡述了在政治動盪以及社會變動暫時平息期間產 生的想法。在日常行為中，展與接重新定義着我們 如何在這樣的大氣候下參與社會並締造連結。
陳泳因的《半夢》是一個持續式參與項目，徘徊在 現實和潛意識之間，提供一個在創傷後集體療癒的 空間。Carolyn Lazard的作品也突顯了關懷和輔助的 美學。作品中層層陰影、殘像和色彩頻閃融匯成層 次豐富的感官體驗，讓時間得以在疾病的私密之中 舒展。
薩拉．弗洛蕾斯是一位精通傳統工藝緙內（ kené ） 的藝術家，她編織的聯覺圖案發揚着西皮波民族 （Shipibo）的精神價值。Mika Tajima的《負值熵》 系列是一面鏡子，呈現出抽象主義的另一個維度。 她追溯了緹花織機技術如何發展為現今用於修復或更 換人體器官的先進醫療科技。
在李岳陽的床上，一套衣服和一張被子代表着日常 生活中的摺疊。他與概念藝術家李景湖意外的友 誼，更加為作品富有詩意的極簡主義賦予了另一重 涵義。雖然二人走上了不同的人生道路，但他們的 命運卻在珠江三角洲難以預知的起落間再次相遇。
林嵐的作品同樣與聚散有關，以一個在展場內不斷 移位的廢棄足球隱喻尋求庇護的體驗。
形式和邏輯在梁芝蘭自省的壁畫中層疊。這些線條 和色塊讓觀眾瞥見她作為母親和藝術家雙重身份之 間的時間性。巴德差耶．平通使用會消失的墨跡，
引起人們關注信仰的投機性和對未知未來的恐懼。 林從欣呈現了一系列看似無害，但融合了有毒的土 壤、水、空氣和謠言的風景畫。人們判斷一種物質 有毒與否，其實是在長期受壓迫、抹去身份、或受 過去殖民統治造成的焦慮下的自我設限。
HASS Lab 的實踐旨在抗衡香港正面對的難關。他們 是一群藝術家和跨領域實踐者，眼光超越了典型的 展覽時間框架。他們將精力集中在跨越十年的活動 中，提出通過藝術在世代更迭中改造社會。鄧國騫 以另一種方式作下同一承諾。他的委託作品擁抱滲 透的理念，慢慢地圍繞現成物的負空間和舊作的痕 跡繼續轉化。在蘇詠寶受委託創作的第二件作品 中，她使用隨處可見的空氣過濾網進行一系列雕塑 式介入。黎肖嫻的《物語生命樹》也在本章節繼續 演化；來自過去的低沉聲音、紋理或碎片，短暫地 聚集在一起結出果實，生長出新的敘事。
展覽通過一系列實驗性的動態組件，發掘微小的行 徑在累積之下帶來廣泛改變的潛質，在指令、通道 和其他夢想之間，探索有利於社會漸進變革的藝術 策略。展覽既是一場編導，也是一個反思在場與不 在場、工作與休憩、聚集與離散的舞台，藉此引導 我們更好地預測未來的動向。
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第一章的風暴過後，「瞬息 …… signals」現正處於
「瞬息 …… 展與接」
展覽作品簡介
Doreen Chan 陳泳因
HalfDream is an on-going participatory project initiated in 2020, where the artist uses dreams as a medium to explore human connections and communal languages. It was born out of a response to the 2019 political unrest in Hong Kong and to the onset of COVID-19 pandemic restrictions, both of which led Chan to reflect on her own dreams. Her focus also shifted toward shared commonalities amidst an increased climate of political polarisation, as well as psychological turmoil, uncertainty, disconnect, and loneliness that recur with time. The project exists as a virtual archive where participants can contribute memories of their dreams anonymously. Through every dream encounter, the project situates the viewer between personal and collective memories, prompting reflection on our shared subconscious. By creating a resting space for participants to listen, browse, and reflect, Chan’s work allows participants to take a pause and re-establish connections to the psychological realm. HalfDream serves as a powerful reminder of the interconnection among human experiences, offering a temporary space that inspires deeper understanding and empathy.
《半夢》是藝術家陳泳因於 2020 年啟動的持續式參 與項目。藝術家以夢境為媒介，探索建立人際關係和 共同語言的種種可能性。項目為對 2019 年香港政治 動盪和其後新冠疫情隔離措施的回應——這兩者都讓 陳氏反思自己的夢境。藝術家將注意力轉向政治兩極 分化中的共性，以及隨着時間推移反覆出現的內心動 盪、疑惑、斷聯和孤獨。該項目作為一個虛擬檔案 庫，讓參與者匿名分享他們的夢境記憶。通過每一次 閱讀、接觸這些夢境，項目期待將觀眾置於個人和集 體之間，促使人們反思彼此共同的潛意識體驗。作品 為參與者創造一個過渡和休憩空間來聆聽、瀏覽和思 考，並讓他們按下生活的暫停鍵，繼而在心靈世界中 找到聯繫。《半夢》強調即是陌生人，也能透過共同 的經驗找到彼此的聯繫，在短暫的時空中激發參與者 更深層次的理解和同理心。
Sara Flores 薩拉．弗洛蕾斯
《半夢》，2020年至今，混合媒介、公眾參與創作，尺寸可變。
由藝術家提供。
Sara Flores, Untitled (Punté Kené 2, 2019), 2019, vegetal dyes on wildcotton canvas, 141.5 × 140.2 cm. Courtesy of the artist and White Cube. / 薩拉．弗洛蕾斯，《Untitled (Punté Kené 2, 2019)》，2019年，野生 棉花帆布、植物染料，141.5 × 140.2 cm。由藝術家及白立方畫廊提供。
Sara Flores is a master artist practising kené, a highly ritualised tradition of linear and geometric designs passed down by women of the ShipiboConibo people, an Indigenous group that lives alongside the Ucayali River in Peru. Kené is commonly applied to a variety of surfaces, such as fabrics, ceramics, wood, or the human body, and is often painted, woven, or sculpted. Flores hand-applies natural vegetable dyes onto tucuyo, a canvas made from wild cotton, to create images that are fractal in complexity. Flores’s use of colours and techniques mirror shamanic practices, involving cycles of chanting and fasting, which together with the psychedelic herbal decoction ayahuasca, enable the practitioner to envision a connection to otherworldly realms. Believed to possess healing properties, kené serves as a point of contact between the human world and the spirits of the land, water, and plants of the Amazonian rainforest. With deforestation and climate change, the rapid extinction of plants has forced artists like Flores to travel more deeply into the jungle to preserve this tradition of patternmaking using colours derived from the natural flora of the Amazon. Flores strives to continue the ancient synaesthetic journey of kené into the present, drawing awareness to the increasing ecological imbalance of the postindustrial
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Doreen Chan, HalfDream, 2020–present, mixed media, public engagement, dimensions variable. Courtesy of the artist. / 陳泳因，
world, while amplifying the spiritual values of the Shipibo nation.
薩拉．弗洛蕾斯是一位精通傳統工藝「緙內」
（ kené ）的藝術家。緙內是一種高度儀式化的線條 和幾何設計傳統，由生活在秘魯烏卡亞利河沿岸的 西皮波–柯尼波族（ Shipibo-Conibo ）婦女傳承。
緙內常被應用於織物、陶瓷、木材或人體等各種表 面，可以手繪、編織或雕刻而成。弗洛蕾斯在「土 庫優」（ tucuyo ，一種由野棉製成的帆布）上手工 塗抹各種天然植物染料，以創造複雜的分形圖像。
弗洛蕾斯對顏色和技巧的運用與薩滿教的儀式類 似，包括詠唱和禁食的循環，再加上致幻草藥飲料 死藤水，讓人在迷幻中可以感知超脫現世的連結。 緙內被認為具有治療功效，是人類世界與亞馬遜雨 林的土地、水和植物神靈之間的中介。隨着森林砍 伐和氣候變遷，植物的迅速滅絕迫使像弗洛蕾斯這 樣的藝術家深入叢林，以保護這一源自亞馬遜雨林 土生植物的傳統。弗洛蕾斯用她自己獨特的語言將 緙內的古老聯覺傳統帶入當下，喚起人們對我們世 界日益嚴重的生態失衡的重視，同時進一步發揚西 皮波民族的精神價值。
HASS Lab
Since 2022, HASS Lab has engaged with different communities through various activities, intervening in society from the artist’s perspective in search for a more imaginative future. HASS Lab regards this exhibition as an opportunity to visualise and share concepts in the past year generated from cross-disciplinary exchanges between the members. With a focus on marginalised groups, HASS Lab explores the emancipatory capacity of art in relation to communication and memory. The shared beliefs of the collective converge in HASS Lab01 #Anything, in the form of conceptual diagrams made from discarded materials or ready-made objects, which are stacked together, drawn on, and combined into a larger collage. Throughout the process, the collective explores how the weak can triumph over the strong in the current social climate, and how various challenges and difficulties can be recast
into hope for the future. HASS Lab02 #There Are Many of Us is a series of public events, which will be held throughout the exhibition period. Through private, semi-public conversations, and seminars, the objective is to alleviate societal pressures and initiate discussions around the issue of mutual development. HASS Lab has been looking to establish multiple intersection points, which will extend into different branches. The ideas and initiatives generated under HASS Lab will offer a participatory platform for social experiments to occur as a way to offer hope through art in the next decade.
HASS Lab自2022年成立以來，一直致力以各種形式 的活動接觸、連結不同社群，以藝術家思維去介 入、理解社會，並啟發更多對未來的想像。 HASS Lab 成員視此展覽為契機，將過去一年成員之間，以 及與來自不同領域的人互相交流、合作而發酵而成 的組織理念和結構，透過視覺及其他媒介呈現出 來。 HASS Lab 特別關注社會中的邊緣化群體，旨在 利用藝術釋放交流和記憶的潛力。作品《 HASS Lab01 # 任何嘢》將集合團隊的一些信念和方向，以 概念圖表呈現，並收集一些廢物及現成物，於展場 內進行堆叠、繪畫及拼貼，探討在當今的環境下如 何以弱勝強，把各種挑戰和困境重塑為希望。同 時，展期內將定期舉辦的一系列《 HASS Lab02 # 我 地就係人多》傾偈會，將通過私下談天、半公開式 的討論或研討會，讓我們從生活的壓抑之中釋放， 想像未來發展的各種可能。每一次的連結都會建立 眾多的交會點、延伸不同的枝節，為大家帶來新的 啟示。在 HASS Lab 帶領下產生的想法和倡議將為社 會實驗提供一個參與式平台，通過藝術實踐為未來 十年締造希望。
Linda Chiu-han Lai 黎肖嫻
Tree of Life is an anti-monument that counters the mainstream consumerist obsession with the production of the new. The ‘tree’ is a totem-like assemblage of recycled objects, moving images, poetry, and biographical material: plastic tubing, bamboo, electronic gadgets, toys, TV antennas, extension cords, video diaries, sketches, and rolled-up fabric are bundled together by ropes, wires, and white plastic binders. The installation was last exhibited in 2017, and the current iteration has extra significance as Lai enters a new chapter in her artistic journey. The act of recouping these objects and memories symbolises the importance of recognising the existence of what has disappeared or transformed in the last years. Inspired by the fertile possibilities of an archaeological site, images and narratives are layered in an open-ended way as a gathering point inside the exhibition space. Marking Lai’s continuous experimentation with ideas generated by the activation of this installation in Para Site, the assemblage of objects, sounds, text, and moving image will continue to grow both in and around the tree as extended strands of thought throughout the duration of its display.
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HASS Lab, HASS Lab02 #There Are Many of Us, 2023–present, mixed media, public engagement, dimensions variable. Commissioned by Para Site for this exhibition. / HASS Lab，《HASS Lab02 #我地就係人多》，2023年至今，混合媒介、公眾參與創作， 尺寸可變。受Para Site藝術空間委託為本次展覽製作。
Altered objects and other trinkets will be added throughout a series of interventions as the tree evolves as an assemblage. Tree of Life is a congregation of tools, memories, and narratives, which give shape and voice to the inaudible and less visible. Muffled voices from the past, textures or fragments from previous works, office material, and a curious array of Taobao purchases, gather briefly to bear fruit to new associative connections, before slowly dispersing into other areas of the exhibition and beyond.
use of recycled material in her work. The past from the ruins is a newly commissioned work, which appears to be an abandoned football defying Newton’s laws of motion as it temporarily occupies various corners of the exhibition space, seeking refuge at different moments throughout the exhibition. The artist intends to evoke the feelings of isolation, loneliness, and the sensation of being stuck in frozen time. Representing the displacement of migrant groups, the sculpture is intended to be moved around, this gesture with the weight of the sculpture recalling the helplessness and vulnerability felt by those caught between moments in history. Like a wounded body in the process of being stitched together, the sculpture gives form to the unspoken traumas and hardships of histories that are hidden.
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2023 迭代版》，2023年， 混合媒介雕塑。由藝術家提供。「瞬息 風中序」展覽現場，香港 Para Site藝術空間，2023年。攝影：何兆南。
《物語生命樹》是一座反紀念碑，以對抗我們喜新 厭舊的消費慾。這棵圖騰柱一般的「樹」由回收 物、流動影像、詩詞以及有關藝術家生平的素材組 成——塑膠管、竹子、電子儀器、玩具、電視天 線、拖板、錄像日記、素描，以及捲起的布料，被 繩子、金屬絲、塑料繩綑綁在一起。裝置於 2017 年 首度展出，是次的版本標誌着藝術家進入其創作的 新篇章。回收這些物品和記憶的行為旨在肯定過去 幾年消失或改變的事物的存在。受考古遺址的豐富 可能性啟發，作品內的圖像和敘述以開放式層疊， 成為展覽空間內一個聚集點。為了在 Para Site 展場 中激活這件裝置，黎氏進行了持續的試驗。作品內 的物件、聲音、文本和流動影像的組合將在整個展 示過程中作為延伸的思想鏈，在樹的體內和周圍不 斷生長。隨着經改造物件和其他小飾品在一系列介 入中累積，這棵樹也會隨之演變。《物語生命樹》 是工具、記憶和敘事的集合體，為視聽之外的事物 賦予形狀和聲音。過去模糊的聲音、以前作品的紋 理或碎片、辦公材料，以及一堆奇特的淘寶貨，短 暫地聚集在一起，讓新的聯想得以結果，然後慢慢 蔓延到展覽的其他區域和展覽以外。
Jaffa Lam 林嵐
Known for her large-scale site-specific sculptures and installations, Jaffa Lam predominantly makes
Jaffa Lam, The past from the ruins, 2023, abandoned football, concrete, thread and UV light, 20 cm in diameter. Commissioned by Para Site for this exhibition. Courtesy of the artist and Axel Vervoordt Gallery. / 林嵐，《瓦礫堆中的往事》，2023年，棄置的足球、 水泥、線、紫外燈，直徑20 cm。受Para Site藝術空間委託為本次展 覽製作，由藝術家及維伍德畫廊提供。
林嵐以其大型場域特定雕塑及裝置著稱，主要使用 回收物料進行創作。全新委託作品《瓦礫堆中的往 事》看似是一個被遺棄的足球，在展覽期間捉摸不 定地於展廳不同角落尋求短暫的庇護，其行徑與牛 頓運動定律相背。作品詩意地表達世界上許多人共 有的流離失所的經歷，喚起觀者在徬徨、孤獨和被 困在靜止時間中的感受。作品上的傷口看似已在縫 線下逐漸癒合，但是在傷疤下仍有許多無法言喻的 歷史創傷和艱辛，承載着那些陷入移民潮中的人們 所感受到的無助和脆弱。
Carolyn Lazard
In their artwork and writing, Carolyn Lazard explores the political and aesthetic dimensions of care at the intersection of race, gender, and disability. The two-channel moving image installation Red (2021) reflects Lazard’s ongoing concern within the specific lineage of avant-garde phenomenological ‘flicker’ films by artists such as Tony Conrad, Peter Kubelka, and Paul Sharits. Lazard produced the video by rubbing their thumb over the lens of an iPhone camera through a series of movements to create a pulsing, stroboscopic image. The video was made at the
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Linda Chiu-han Lai, Tree of Life iteration 2023, 2023, mixed media sculpture, dimensions variable. Courtesy of the artist. Installation view of ‘signals…storms and patterns’, Para Site, Hong Kong, 2023.
Photo: South Ho.
黎肖嫻，《物語生命樹，
height of the COVID-19 pandemic when the immunocompromised artist was unable to leave their house. Situating the sensorial beauty of ‘flicker’ films through the deeply personal experience of chronic illness, the artist uses minimal gestures to expand the physiological experience of the body. The artist has given the different access needs of each audience member consideration and allows the audience to assess their level of participation. The bodies of the artist and the audience in turn become sites of production through the installation—where shadows, afterimages, colours, and movements, in and outside of the screen, morph into a multisensory experience. The work thus redefines health and productivity in artistic traditions as well as society at large.
artist. Hours (2022) is inspired by the structure of musical scores and conceptual art, and uses the most minimal form as instructions to realise the work. The resulting abstract black-and-white wall painting presents a grid outlining the artist’s home studio wall to scale, and is subsequently divided into hours of the week. The studio hours are marked in black (namely Thursday, 9am–4pm; and Friday, 9am–4pm). Notions of care, for art and for a child, are tied together as a defiant act to bring visibility to the demands and constraints of a professional and a mother hidden from public view. Units of measure, value, and time provide a glimpse into the artist’s studio life. Rather than competing interests, being a mother and artist is framed as an empowered choice by Leung.
Carolyn Lazard, Red, 2021, two-channel video installation, 10'15", © Carolyn Lazard. Courtesy of the artist. / Carolyn Lazard，《紅》， 2021年，雙頻錄像裝置，10分15秒 © Carolyn Lazard。由藝術家提供。
藝術家兼作家的Carolyn Lazard透過其創作和書寫探 討種族、性別和傷健三議題共有的照護政治和美 學。雙頻錄像裝置《紅》（ 2021 年）反映了 Lazard 對 Tony Conrad、 Peter Kubelka和 Paul Sharits等 藝術家創作的「閃光」電影的持續關注。 Lazard 在 iPhone 相機的鏡頭上摩擦拇指，拍攝出有節奏的閃 光影像。這件作品的創作背景是新冠疫情最嚴重的 時期，藝術家作為染疫高風險的免疫力低下人士而 無法離家。為了將「閃光」電影感官上的美，結合 慢性病極為私密的體驗，藝術家使用最基本的手勢 來擴展身體的生理感受。藝術家考慮到不同觀眾的 需求，讓觀眾可以自行決定他們在自身可接受範圍 內參與作品。藝術家和觀眾的身體於是都在裝置中 成為生產場域——屏幕內外的陰影、殘像、顏色和 動作結合成一種多感官體驗，重新定義藝術傳統以 及整個社會的健康和生產力。
Ghislaine Leung 梁芝蘭
‘I do not wish to drop out from my art, I do not wish to entirely outsource care for my daughter. I wish to do both art and care and in doing so change the terms of identity and labour within our industry.’ Ghislaine Leung wrote these words to her gallerist to explain her inability to produce new work for an upcoming exhibition. The text signalled a creative call to redefine the parameters and terms of being an artist based on the economics of being both a mother and an
Ghislaine Leung, Hours, 2022, score: A wall painting the size of the artist’s home studio wall divided into all the hours of the week with the portion of studio hours available to the artist marked in black. Thursday 9AM–4PM, Friday 9AM-4PM. Edition of 3 + 2 APs. Courtesy of the artist. Image courtesy of Maxwell Graham. / 梁芝蘭， 《時刻》，2022年，一幅與藝術家居家工作室牆壁大小均等的壁畫，以 一星期中的時數劃分，填黑部份為藝術家用以工作的時數——星期四、 五，上午9時至下午4時。共三版加藝術家自留版兩版。由藝術家提供。 圖片由Maxwell Graham畫廊提供。
「我不想放棄我的藝術，也不想完全仰賴他人照顧我 女兒。我希望既從事藝術工作又能扮演好照顧者的角 色，並以此重新定義我們業界的身份和勞動。」 梁芝蘭以此向她的畫廊解釋她無法為即將舉行的展 覽創作新作品的原因。這段文字可謂是顧及母親及 藝術家雙重身份的經濟考量以後，重新定義成為藝 術家的條件。《時刻》（2022年）以樂譜和觀念藝 術的框架作為靈感，以極簡的形式作為實現作品的 指令。作品呈現的是一幅抽象黑白壁畫，以網格勾 勒出藝術家家庭工作室牆壁的尺寸，再細分為一週 的小時數。藝術家可用於創作的時間則以黑色區塊 標記（即週四上午九時至下午四時，週五上午九時 至下午四時）。對於藝術和孩子的關懷交織在此， 將平時不為大眾討論的作為職業婦女和母親的要求 和限制，毫不忌諱地赤裸呈現。藝術家工作室生活 中的度量、價值和時間單位，讓觀者有機會一探究 竟。對梁氏而言，身兼母親與藝術家二角是女性找 到自我價值的決定，在無需忽略照護的狀態下，這 並非二選一的問題。
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Tang Kwok Hin, Shoulder to Shoulder, 2023, remnants of previous artwork, digital printing on photo paper, mixed media, sound, plywood, wooden, batten, dimensions variable. Commissioned by Para Site for this exhibition. Installation view of ‘signals…storms and patterns’, Para Site, Hong Kong, 2023. Photo: Tang Kwok Hin. / 鄧國騫，《肩擦肩》，2023年，舊作殘件、數碼相紙打印、混合媒介、聲音、木板、木條。 尺寸可變。受Para Site藝術空間委託為本次展覽製作。「瞬息 風中序」展覽現場，香港Para Site藝術空間，2023年。攝影：鄧國騫。
Pratchaya Phinthong, 2017, 2009, wall painting of a text found on the Internet and realized with disappearing ink. Courtesy of the artist and gb agency, Paris. / 巴德差耶．平通，《2017》，2009年，壁畫，用消失的墨水實現網上找到的文字。由藝術家及巴黎gb agency提供。
Mika Tajima, Negative Entropy (Bioweaving Mill, Brain Stent Production, Magenta, Double), 2018, cotton, polyester, rayon, wool acoustic baffling felt, and white oak, 139.6 × 110.3 × 5.7 cm (framed) © Mika Tajima. Courtesy of the artist. / Mika Tajima，《負值熵 （生物紡織廠，腦支架製造， 桃紅，雙面）》，2018年，棉花、滌綸、人造絲、羊毛隔音氊、白橡木，裝裱尺寸：139.6 × 110.3 × 5.7 cm © Mika Tajima。由藝術家提供。
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Candice Lin, Public sand beach, Tripoli, 2019, oil on canvas, 35.5 × 44.5 cm © Candice Lin. Courtesy of the artist and François Ghebaly Gallery. Photo: Kell Yang-Sammataro. / 林從欣，《Public sand beach, Tripoli》，2019年，布面油畫，35.5 × 44.5 cm © Candice Lin。由藝術家及François Ghebaly畫廊提供。攝影：Kell Yang-Sammataro。
Candice Lin, The quarry between Shnanir and Sahel Alma, 2019, oil on canvas, 30.5 × 35 cm © Candice Lin. Courtesy of the artist and François Ghebaly Gallery. Photo: Kell Yang-Sammataro. / 林從欣，《The quarry between Shnanir and Sahel Alma》，2019年，布面油畫，30.5 × 35 cm © Candice Lin。由藝術家及François Ghebaly畫廊提供。攝影：Kell Yang-Sammataro。
由藝術家提供。「瞬息……風中序」展覽現場，香港
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Linda Chiu-han Lai, Tree of Life iteration 2023, 2023, mixed media sculpture, dimensions variable. Courtesy of the artist. Installation view of ‘signals…storms and patterns’, Para Site, Hong Kong, 2023. Photo: South Ho. / 黎肖嫻，《物語生命樹，2023 迭代版》，2023年，混合媒介雕塑。
Para Site藝術空間，2023年。攝影：何兆南。
Sara Flores, Untitled (Punté Kené 2, 2019), 2019, vegetal dyes on wild-cotton canvas, 141.5 × 140.2 cm. Courtesy of the artist and White Cube. / 薩拉．弗洛蕾斯，《Untitled (Punté Kené 2, 2019)》，2019年，野生棉花帆布、植物染料，141.5 × 140.2 cm。由藝術家及白立方畫廊提供。
Ghislaine Leung, Hours, 2022, score: A wall painting the size of the artist’s home studio wall divided into all the hours of the week with the portion of studio hours available to the artist marked in black. Thursday 9AM–4PM, Friday 9AM–4PM. Edition of 3 + 2 APs. Courtesy of the artist. Image courtesy of Maxwell Graham. / 梁芝蘭，《時刻》，2022年，一幅與藝術家居家工作室牆壁大小均等的壁畫，以一星期中的時數劃分，填黑部份為藝 術家用以工作的時數——星期四、五，上午9時至下午4時。共三版加藝術家自留版兩版。由藝術家提供。圖片由Maxwell Graham畫廊提供。
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Jaffa Lam, The past from the ruins, 2023, abandoned football, concrete, thread and UV light, 20 cm in diameter. Commissioned by Para Site for this exhibition. Courtesy of the artist and Axel Vervoordt Gallery. / 林嵐，《瓦礫堆中的往事》，2023年，棄置的足球、水泥、線、紫外燈， 直徑20 cm。受Para Site藝術空間委託為本次展覽製作，由藝術家及維伍德畫廊提供。
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Wing Po So, Inhale Exhale, 2023, HEPA filter, gooseberry powder, dimensions variable. Commissioned by Para Site for this exhibition. Installation view of ‘signals…storms and patterns’, Para Site, Hong Kong, 2023. Photo: South Ho. / 蘇詠寶，《出入息》，2023年，空氣過濾網、餘甘子粉末， 尺寸可變。受Para Site藝術空間委託為本次展覽製作。「瞬息……風中序」展覽現場，香港Para Site藝術空間，2023年。攝影：何兆南。
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POWER NAPS WANTED. Wanted–hidden tracks, power naps, remedies for everyday invisibility, banana boxes, Harcourt road stories, and AI lyrics translation, and light. Experience preferred. Email ps@thursday-bulletin.art.
周四叉電。誠徵叉電師傅沉默張揚落手落腳優先，尋舒緩隱形症狀配方、透氣香蕉箱、夏愨道故事、人工智能歌詞翻譯，以及光啊唔該。請辦公時間訪 鰂魚涌英皇道六七七號榮華工業大廈密碼呼呼呼呼呼呼呼呼。
Photo credit: South Ho / 攝影：何兆南
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Pratchaya Phinthong 巴德差耶．平通
Pratchaya Phinthong has been working on situational projects that invite the audience to explore the subjectivity of their perceptions and reflect on different systems of cultural, scientific, and epistemological exchanges. 2017 is a mural with text handwritten directly onto the wall using specially formulated ink. The anonymous text suggests an Internet conspiracy theory of a secret scientific experiment conducted by the European Organization for Nuclear Research (CERN) in relation to the location and purposes of a particle accelerator. It draws the viewers’ attention to the speculative nature of their beliefs and fears for the unknown future. The ephemeral ink creates a sense of impermanence with an appealing and uncontrollable visual which vanishes gradually over the course of the exhibition. The work was conceived with intentions to have the text appear and disappear by chance, questioning how viewers cope with uncertainties and emphasising the transitory relationship between memories and speculations. The large circular outline of the work also evokes a time portal, referencing the cosmic connections between the Earth, the Sun, and Mars.
巴德差耶．平通一直致力於情境式創作，邀請觀眾 探索他們感知的主觀性，並反思不同文化、科學和 認識論之間的交流。《 2017 》是一幅壁畫，使用特 殊墨水配方直接在牆上手寫文字。作品的佚名文本 指涉一個互聯網陰謀論，即歐洲核子研究組織 （ CERN ）進行的一項秘密科學實驗，與建造粒子加 速器的地點和目的相關。作品提醒觀者注意存在於 其信仰和對未知未來的恐懼當中的猜疑。轉瞬即逝 的墨跡營造出一種無常感，其誘人之處在於其無法 控制，並在展覽過程中逐漸消失。作品的構思包含 了文本的偶然出現和消失，叩問觀者如何應對不確 定性，並強調記憶和推測之間的短暫關係。作品的 大圓形輪廓也讓人聯想到一個時間通道，以參考地 球、太陽和火星在宇宙之中的聯繫。
Wing Po So 蘇詠寶
The newly commissioned installation Inhale Exhale (2023) is made of folded air filters covered with powdered Indian gooseberry—a material used for its detoxifying and heat-clearing properties in traditional Chinese medicine. In the first chapter of the exhibition, Wing Po So used origami techniques to construct an arched passage resembling a human trachea, guiding the audience through the sense of smell into the installation as a purification experience. The presentation in the second chapter of the exhibition will further elaborate on the binary between the inside and outside of the body, which extends as a metaphor to consider the boundary between the exhibition space and the outside world. The artist reuses the air filter membrane from the previous chapter, and with the addition of custom moulds using polyurethane foam, the material is refashioned to resemble an industrial ventilation system. As the work metamorphosizes from a human windpipe into an industrial ventilation system, a relationship is drawn between the respiratory process of the human body and air filtration systems, and the exhibition space is reimagined as the interior of a machine. Installed by the window of the exhibition space,
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the
Pratchaya Phinthong, 2017, 2009, wall painting of a text found on the Internet and realized with disappearing ink. Courtesy of the artist and gb agency, Paris. / 巴德差耶．平通，《2017》，2009年，壁畫， 用消失的墨水實現網上找到的文字。由藝術家及巴黎gb agency提供。
translucent filters will respond in different intensities with the shifting daylight.
spectrogram of colours, which is embedded directly within the construction of the weave. The Jacquard loom is considered a predecessor to mass automated technology and a prototype for computers, and the artist’s choice in using this technology hints at a longer historical relationship between control and collective human endeavour in connection to technological progress.
Wing Po So, Inhale Exhale, 2023, HEPA filter, gooseberry powder, dimensions variable. Commissioned by Para Site for this exhibition. Installation view of ‘signals…storms and patterns’, Para Site, Hong Kong, 2023. Photo: South Ho. / 蘇詠寶，《出入息》，2023年， 空氣過濾網、餘甘子粉末，尺寸可變。受Para Site藝術空間委託為本次 展覽製作。「瞬息 風中序」展覽現場，香港Para Site藝術空間， 2023年。攝影：何兆南。
全新委約裝置作品《出入息》以空氣濾網摺疊製 成，上面佈滿中藥「餘甘子」粉末——這種藥材具 清熱解毒等功效。蘇詠寶於第一章以摺紙手法建構 出形似人體氣管的拱形通道，通過氣味引導觀眾進 入裝置中去經歷一場淨化。第二章的呈現將延伸身 體內外的意念，暗喻展場內外空間的邊界。藝術家 重複使用上一個章節的空氣濾網，加入聚氨酯發泡 材料特製的模具，形態尤如工業通風系統設施中的 隔塵網。作品由人體氣管演變成工業通風系統，嘗 試把人體內部的呼吸系統和外部空氣的過濾系統進 行比擬，並把展場空間想像成機器的內部。裝置以 展場的窗戶為連接點，而透光的空氣過濾網亦會隨 着窗外的日光而呈現出不同面貌。
Mika Tajima
Negative Entropy is a series of abstract jacquard fabric portraits. In many of Tajima’s works, there is a persistent inquiry into the agency of human subjectivity and the possibilities of the body amidst an increasingly technologically advanced built environment. The series title refers to the relationship between growth and decay to situate the process of the artist’s act of translation and transferral within a global flow of materials, activity, and energy. These portraits are created through field recordings that capture the ambient noise of locations from around the world ranging from server centres to factory floors, radio stations, and the construction site of condominiums. Each composition embodies a network of human mediators in relation to various industrial and information production sites. The process typically involves the conversion of sound waves into a
Mika Tajima, Negative Entropy (Bioweaving Mill, Brain Stent Production, Magenta, Double), 2018, cotton, polyester, rayon, wool acoustic baffling felt, and white oak, 139.6 × 110.3 × 5.7 cm (framed) © Mika Tajima. Courtesy of the artist. / Mika Tajima，《負值熵 （生物 紡織廠，腦支架製造，桃紅，雙面）》，
2018年，棉花、滌綸、人造
絲、羊毛隔音氊、白橡木，裝裱尺寸：139.6 × 110.3 × 5.7 cm © Mika Tajima。由藝術家提供。
《負值熵》是一系列緹花布織成的抽象肖像。藝術 家在作品中一直持續探問人類主觀的動力，以及處 在日新月異的科技和人工環境中的身體的各種可能 性。此系列作品的命名意指成長與衰退間的關係， 並用以定位藝術家在物質、活動與能源的全球流動 中所進行的轉譯和轉移。藝術家在世界各地各種場 所現場收音，包括伺服器數據中心、工廠車間、廣 播電台、公寓建設工地等等，來創作這些肖像。每 件作品的構圖都體現了擔任中介的人類所組成的網 路，與不同工業和資訊生產場地的關係。藝術家的 創作過程通常涉及將聲波轉換成數碼色彩圖譜，而 數碼訊息被轉化並直接嵌入緹花圖案的編織中。緹 花紡織機被認為是大規模自動化科技的前身與電腦 的原型；藝術家透過選用緹花紡織機，暗示在更長 遠的歷史上，人類為科技進步共同所做的努力與控 制之間的關係。
Tang Kwok Hin 鄧國騫
Critical Vacancy is the latest iteration of a moving ensemble of material that merges and recombines previous artworks, digital prints, sound, and found objects. Throughout the process, the artist has compressed, wrapped, buttressed, or slotted material in between a layered structure of plywood. Embracing the idea of osmosis, this experimental approach involves an intuitive way of working around the contours of ideas
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and forms. The original content or message of various items becomes increasingly concealed within the layers of the new structure. An installation that is in a constant movement, the work permutates as he responds as the exhibition series unravels with each chapter.
‘Personal projections are compounded by the entrusted social meaning and the basic characteristics of material existence. Amidst current delusion and numbness, information, memory, and history show that they can be meaningless.
The structure and framework present outlines of various contents that have been emptied. It's like a luxurious mansion that has been vacated. Or do we just hide these familiar things with other things? Or do we not want to see them again?
Disused furniture is more sculptural than any object carved from stone or wood.
Their sudden stillness can suffocate omens, freeze the air, and at the same time reveal the face of utter death.
Will distant latecomers meet and explore them with familiar or lively eyes?
The day is probably not far off. Either they then exist only in ruins. Or change with the decades. All have no choice but to adapt.
While waiting for the future, there are still many in desolation.
Don't let the glamorous party end, and don't let the silence thereafter loom large.’
—Tang Kwok Hin
「個人的投射複合於被寄予的社會意涵與物質存在 的基本特性。
在虛妄與麻木的當下，資訊、記憶、歷史突顯了它 們無關痛癢的一面。
結構及框架空蕩蕩地展現各種抽空掉內容的輪廓。
像遷出所有家當的碩大華麗的宅邸。
抑或我們不過以東西遮擋這些熟悉的物事乍看不 見？還是不願再見？
不再被運用的家具，比刻石鑿木成的立體更像雕塑。
它們突如其來的靜止可以憋住先兆，能凝住空氣， 同時霎眼露出全然死透的面相。
遙遠的後來者會以熟悉不過或活潑的眼光遇見並探 索它們？
大概日子也不遠。
要麽它們接下來只存在被毀壞的形式宛如湮滅。
要麽時代更迭僅僅數十回朝露。
所有人別無選擇轉化為後來的。
在等待後來時，荒涼裡依然人影重重。
不讓碩大華麗的派對完結；不讓狂歡後的靜默真正 彰顯。」
Tang Kwok Hin, Shoulder to Shoulder, 2023, remnants of previous artwork, digital printing on photo paper, mixed media, sound, plywood, wooden, batten, dimensions variable. Commissioned by Para Site for this exhibition. Installation view of ‘signals…storms and patterns’, Para Site, Hong Kong, 2023. Photo: Tang Kwok Hin. / 鄧國騫，《肩擦肩》，2023年，舊作殘件、數碼相紙打印、混合媒 介、聲音、木板、木條。尺寸可變。受Para Site藝術空間委託為本次展 覽製作。「瞬息 風中序」展覽現場，香港Para Site藝術空間， 2023年。攝影：鄧國騫。
《姿態》為一系列持續演化的舊作、數碼印刷品、 聲音以及尋獲物料的最新呈現。創作過程中，藝術 家將這些材料擠壓、包裹、支撐及鑲嵌於層層的木 板結構之間。此具實驗性的創作方式擁抱滲透的概 念，用一種更直觀的手法處理物料及文本，從而勾 勒出意念及形態的輪廓。在展覽第二章的展示結構 中，物件原有的意涵變得愈發隱晦。裝置作品將根 據藝術家在「瞬息 signals 」三個章節期間的觀 察而持續不斷地變化。
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——鄧國騫
About the Artists 藝術家簡介
Doreen Chan 陳泳因
Doreen Chan is a Hong Kongborn mixed-media artist who focuses on social practice. In her work, Chan re-examines the tensions between interpersonal relationships and subject formation. Through collecting, selecting, and reorganising fragments from everyday life, she explores how individuals interact with collective and personal memories. She creates site-specific installations, public programs, virtual projects, and collaborates with a wide range of individuals using images, sculptures, objects, sounds, and performance. In 2023, her commissioned project, Sipping Dreams, was the first to be exhibited at the V Hall at Tai Kwun Contemporary, Hong Kong. The same year, she was listed as ArtReview China’s Future Greats. In 2021, she was shortlisted for the 4th VH Award of Hyundai Motor Group and selected as Cultured magazine’s Young Artists. She has exhibited internationally including the Ars Electronica Festival (2022), Linz (2022); UCCA Center for Contemporary Art, Beijing (2020); Times Museum, Guangzhou (2019); Art Omi, Ghent, New York (2018); and Para Site, Hong Kong (2017). Chan received her MA in Art Education from the School of the Art Institute of Chicago in 2021.
陳泳因於香港出生，是一名專注 於社會實踐的混合媒介藝術家。 其作品重新審視人際關係與主體 形成之間的張力。她透過搜集、 篩選並重組日常生活的零碎片 段，探討個人如何在集體與私密 回憶之間徘徊。她的作品涵蓋場 域特定的裝置以及公共與線上項 目，並時常運用圖像、雕塑、物 件、聲音、行為與他人展開合 作。 2023 年，其委託作品《小酌 一夢》成為大館當代美術館 V 倉 的首個展出項目。同年，她獲 《藝術世界》雜誌選為 Futrure Greats之一。2021年，她入選第
四屆VH Award並獲《Cultured》 雜誌選為年輕藝術家。她曾於 連茨Ars Electronica Festival （ 2022 年）、北京尤倫斯當代藝
術中心（ 2020 年）、廣州廣東時
代美術館（ 2019 年）、紐約州根
特 Art Omi （ 2018 年）以及香港 Para Site藝術空間（2017年）參 與展覽。陳氏 2021年於芝加哥藝 術學院取得文學碩士學位。
Wing Chan 陳穎華
Wing Chan is a cultural worker based in London and Hong Kong. She is an assistant editor of Afterall’s Exhibition Histories book series. Aside from editing and working in publishing, she is a freelance translator. Her research interests include how labour is registered in the context of artist cooperatives and touring art exhibitions. Her personal writing has been
published on the platform m-est.org, exploring how the body becomes a weather forecasting lake and why the walls resist. She makes Power Naps bulletin with friends within the exhibition framework of Para Site’s ‘signals…瞬息’ to continue her explorations.
陳穎華是駐倫敦和香港的文化工 作者。她編輯書籍，又兼職翻 譯。她是 Afterall 研究中心展覽 史叢書的助理編輯，特別好奇勞 動力如何在藝術家合作社和巡迴 展覽中彰顯。近期個人書寫跟身 體與湖泊、魚與牆壁相關，發 表於網上出版平台 m-est.org 。 《叉電報》是她和一眾朋友為 「瞬息 signals」展覽而創作 的延伸讀物。
Sara Flores 薩拉．弗洛蕾斯
Sara Flores lives and works in Peru, and is part of the Shipibo-Conibo People, an Indigenous group spread out along the Ucayali River. She has participated in exhibitions at Inca Garcilaso Cultural Center of the Ministry of Foreign Affairs of Peru and MAC Museum of Contemporary Art of Lima (2022); Drawing Lab, Paris (2020); and Austrian Cultural Forum, New York (2018). Her work is in the collections of the Brooklyn Museum and Museum Voorlinden, the Netherlands.
薩拉．弗洛蕾斯於秘魯生活及工 作，為烏卡亞利河流域的西皮 波-柯尼波族原住民。她曾於秘 魯外交部印加加爾希拉索文化中 心以及利馬當代藝術博物館
（ 2022 年）、巴黎 Drawing Lab （ 2020 年）以及紐約奧地利 文化協會（2018 年）參與展覽。 其作品獲布魯克林博物館及荷蘭 Voorlinden博物館收藏。
HASS Lab
HASS Lab is a creative team that gathers different artists and interdisciplinary practitioners. It was established in 2022 by Pak Sheung Chuen and Cherry Chan. Its members include Yim Sui Fong and Joey Chung from Rooftop Institute, Choi Chi Hau AKA Thickest from Lawnmap, writer Bobo Choy, and young artists Miki Ho and Ling Chung Wan Kevin. HA is a question: How Art? SS is two curves like a river, which symbolizes it can be filled with anything. HASS is trying to use art to combine everything and create solutions to any problem. The art form of HASS Lab is changeable, permeable, and flowing in the present. The team cooperates with different community groups, aiming to explore the possibilities of art intervening in life, and to advocate the understanding, interpretation, and improvement of society with artist thinking. Each collective member has their own professional and
creative background and come together with the hope in achieving great things which contribute to the society.
HASS Lab是一個集合不同藝術 家、跨界製作人的創作團隊，由 白雙全、陳卓卓牽頭在 2022 年成 立，成員有天台塾的嚴瑞芳和鍾 晧怡、草原地圖的蔡志厚、文字 工作者蔡寶賢、年青藝術家 Miki Ho 和凌中雲。 HA 是一個發問： How Art?SS是兩條像河的曲線， 意指可以填上任何東西。而 HASS 就是試圖用藝術去結合任 何事物和創造解決問題的方 案。HASS Lab的藝術形態是可變 的，是具滲透力的，是流動的當 下。團隊跟不同社區團體合作， 旨在開拓藝術介入生活的各種可 能，提倡以藝術家思維來理解、 詮釋及改善社會。HASS Lab成員 各自有自己的專業和創作領域， 凝聚在一起希望能成就大事、對 社會有所作為。
South Ho 何兆南
South Ho Siu Nam’s artistic practice began with photography and has since evolved to include performance, drawing, and mixed media installations. His work encompasses the wonders and helplessness of living, the spirituality of existence, as well as the sociopolitical awareness of Hong Kong. Ho participated in group exhibitions in various international institutions, including Museum of Contemporary Art, Taipei (2021); National Museum of Modern and Contemporary Art, Seoul (2020); Asia Society Hong Kong Center (2019); San Francisco Museum of Modern Art (2018); Centre for Heritage, Arts and Textile, Hong Kong (2018); Para Site, Hong Kong (2018); and LOOK/17 Liverpool International Photography Festival (2017). In 2022, Ho co-founded NewPark, as a revamp of 100 ft. PARK, a non-commercial art space dedicated to providing an open platform for exhibiting and sharing art. In 2009, he was awarded the Hong Kong Contemporary Art Biennial Awards. Ho’s work is in the collections of the Burger Collection, M+, Hong Kong Heritage Museum, the Legislative Council of Hong Kong, Kiyosato Museum of Photographic Arts, and San Francisco Museum of Modern Art. Publications by Ho include Space and Energy (commissioned by Tai Kwun, Hong Kong, 2017), good day good night (2015), and Every Daily (2013).
何兆南的藝術創作始於攝影，並 持續發展至行為、繪畫及混合媒 介裝置。他的作品探討日常生活 的奇妙與無奈、靈性與存在，以 及香港的社會狀態。何兆南曾參 加多個機構與博物館的群展，包 括台北當代藝術館（2021年）、首 爾國立現代美術館（2020年）、亞 洲協會香港中心（2019年）、三藩市 現代藝術博物館（2018年）、香港 六廠紡織文化藝術館（2018年）、
香港Para Site藝術空間（2018年）、 英國利物浦國際攝影節(2017 年) 等。 2022 年，何氏創辦了「新公 園」作為「百呎公園」的翻新， 一個策劃展覽及促進藝術交流 的非牟利藝術空間。於 2009 年， 他獲頒發「香港當代藝術雙年 獎 2009 」年度獎。他的作品被 Burger Collection、M+、香港文 化博物館、香港立法會、清里攝 影美術館和三藩市現代藝術博 物館所收藏。作品集包括《平日 常》( 2013 年)、《早安晚安》 ( 2015 年)及由「大館」委託出版 的《空間與能量》(2017年)。
Linda Chiu-han Lai 黎肖嫻
Interdisciplinary artist Linda Chiu-han Lai works at the intersection of experimental moving images, the history of everyday life, and media archaeology. She is interested in the duality of humans and machines in everyday activities and urban life, historiography, and the visual language and auto-ethnography through cinema. She has shown her video work internationally, including at EXiS Experimental Film & Video Festival, Seoul (2017) and EXiM Macau Experimental Video Festival (2016). Her works are in the collections of Power Station of Art, Shanghai; and M+, Hong Kong. She is the founder of the Writing Machine Collective. In 2015, she started her experiments in participatory art as Floating Projects, with recently published works including Our Manifestos II: Videography, Documentary Impulses (2021) and five video zine issues titled ‘D-Normal/ V-Essay’ (2020–present), among others. She was the Hong Kong Arts Development Council Artist of the Year in Media Art 2017. She is an associate professor at the School of Creative Media at the City University of Hong Kong.
香港跨領域藝術家黎肖嫻的作品 處於實驗性影像、日常歷史以及 媒體考古學的交匯處。她對人與 機械之間的相互作用感興趣，在 日常活動與城市生活中，透過電 影等流動影像找出歷史敘述、視 覺語彙、自主民俗學相關連的痕 跡。她的錄像作品曾於首爾 EXiS 實驗電影與錄像藝術節（ 2017 年）及 EXiM 澳門實驗錄像藝術 節（ 2016 年）等國際場域展出， 也是上海當代藝術博物館以及香 港M+博物館館藏。她是文字機 器創作集的創辦人。 2015 年，她 開始於「據點。句點」進行參與 藝術的實驗，並出版了《我們的 錄像宣言 2 ：記述的衝動》 （ 2021 年）以及《平地數碼》影 像雜誌（ 2020 年至今）。她是 2017 年香港藝術發展局年度媒體 藝術家，現為香港城市大學創意 媒體學院副教授。
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Jaffa Lam 林嵐
Jaffa Lam is a Hong Kong artist specialising in large-scale, site-specific, mixed media projects, frequently making use of recycled material such as wooden planks, vintage furniture, metal scraps, and umbrella fabric. In 2009, she started the community project Micro Economy in Hong Kong, and was invited by Hong Kong Arts Centre to stage the exhibition ‘Jaffa Lam Laam Collaborative: Weaver’ featuring the project outcome. Lam has exhibited internationally and has completed residencies in Bangladesh, Canada, France, Japan, Kenya, mainland China, Taiwan, and United States. She has represented Hong Kong in Manifesta 12 Palermo (2018); Fete Des Lumieres, Lyon (2018); Wuzhen International Contemporary Art Exhibition (2016); and the Setouchi Triennale (2013). In 2017, she was recognized by the Secretary for Home Affairs’ Commendation Scheme. In 2010, she was selected by Perspective magazine as one of ‘40 Under 40’. In 2006, she received the Asian Cultural Council Desiree and Hans Michael Jebsen Award.
林嵐是一位香港藝術家，擅長大 型場域特定和混合媒介的作品， 經常使用回收材料，如板條箱木 材、舊傢俱、廢棄金屬和雨傘織 物進行創作。 2009年，她在香港 發起了一個名為「微觀經濟」的 社區項目，並在香港藝術中心的 邀請下舉辦了「林嵐合作社 ——織織復織織」展覽，作為該 項目的展示。林嵐曾受邀於世界 各地展出，以及參加在日本、肯 亞、臺灣、孟加拉、中國大陸、 美國、法國及加拿大等地的藝術 家駐留計劃。她的作品曾代表 香港參加 2018 年里昂盧米埃爾 展、 2016 年烏鎮國際當代藝術 展、 2013 年日本瀨戶內國際藝 術祭，並受邀作為合作者參加 2018 年意大利巴勒莫的第十二屆 歐洲宣言展。 2017 年獲香港民政 事務局頒發嘉許獎。 2010 年 《 Perspective 》雜誌將她列為 40位40歲以下傑出人物。2006年 獲得了亞洲文化協會的 Desiree and Hans Michael Jebsen獎。
Carolyn Lazard
Carolyn Lazard is a multidisciplinary artist based in New York and Philadelphia. Their work has been exhibited in several institutions including Museum für Moderne Kunst (MMK), Frankfurt; the Museum of Modern Art, New York; Mumok (Museum moderner Kunst Stiftung Ludwig Wien), Vienna; KW Institute for Contemporary Art, Berlin; and the Hamburger Bahnhof, Berlin. Their current solo exhibition is on view at the Institute of Contemporary Art, Philadelphia through 9 July 2023, a co-commission with the Walker Art Center, Minneapolis, and the Nottingham Contemporary. Their work was featured in the 2022 Venice Biennale and the
2019 Whitney Biennial. Lazard is a 2021 United States Artists Fellow and a 2020 Ford Foundation Disability Futures Fellow. They hold a BA from Bard College and an MFA from the University of Pennsylvania.
Carolyn Lazard 是一名居於紐約 及費城的跨領域藝術家。其作品 曾於法蘭克福 MMK 現代藝術博 物館、紐約現代藝術博物館、維 也納 Mumok 博物館、柏林 KW 當 代藝術學院以及柏林漢堡車站美 術館展出。目前正於費城當代藝 術學院舉行個展是由明尼亞波利 斯沃克藝術中心、諾定咸當代藝 術中心共同委託的項目。其作品 曾於 2022 年威尼斯雙年展及 2019 年惠特尼雙年展展出。
Lazard 是 2021 年美國藝術家獎 助金及 2020 年福特基金會身障 未來獎助金得主，自巴德學院取 得學士學位及賓州大學取得純藝 術碩士學位。
Ghislaine Leung 梁芝蘭
Ghislaine Leung is a British conceptual artist living in London. Her work uses musical score-based instructions to radically redistribute and constitute the terms of artistic production. For Leung, limitations, whether personal, institutional, structural, or systemic to the parameters of industry, are engaged as a means to institute different modes of working. Leung has had solo exhibitions in various art nonprofits and regional museums in Europe, and she has participated in group exhibitions at KW Institute for Contemporary Art, Berlin (2022, 2019); The Renaissance Society, Chicago (2022); Institute of Contemporary Arts, London (2019); Stedelijk Museum, Amsterdam (2015); and Tate Modern, London (2013). As a writer, Leung’s writing has been featured in many periodicals and a book titled Partners (Cell Project Space, 2018), with a new title Bosses (Divided Publishing, 2023) forthcoming. She received her MA in Aesthetics and Art Theory at the Centre for Research in Modern European Philosophy at Middlesex University in 2009 and BA in Fine Art from the University of the West of England in 2002.
梁芝蘭是一位居於倫敦的英國觀 念藝術家。她的作品運用基於樂 譜的指令從根本上重新分配和構 成藝術創作的條件。對梁氏而 言，個人、制度、結構或系統對 於藝術行業參數的限制足以建立 不同實踐模式。梁氏曾受邀於歐 洲各地舉辦個展，並在柏林 KW 當代藝術學院（ 2022 年）、芝加 哥文藝復興協會（ 2022 年）、倫 敦當代藝術館（ 2019 年）、阿姆 斯特丹市立博物館（ 2015 年）、 倫敦泰特現代美術館（ 2013 年） 等機構參與聯展。 身為作家，梁 氏經常在報章雜誌發表作品，並 出版了《 Partners 》一書（ 2018 年由Cell Project Space出版）， 新書《 Bosses 》將於 2023 年由
D ivided Publishing 出版。她於 2002 年在西英格蘭大學獲得美 術學士學位，並於 2009 年在米 德爾塞克斯大學現代歐洲哲學研
究中心獲得美學和藝術理論碩士 學位。
Li Yueyang 李岳陽
Born in Dongguan in 1973, Li Yueyang was sentenced to thirteen years in prison in 2000. He was released early based on good behavior and now resides in Dongguan.
李岳陽 1973 年出生於東莞長安 鎮，於 2000 年被判刑入獄十三 年。因在獄中表現良好而被提前 釋放，目前他居住在廣東東莞。
Candice Lin 林從欣 & P. Staff
Candice Lin and P. Staff live and work in Los Angeles and have been collaborating since 2010. The artists’s collaborative practice focuses on the queer potential of herbal practices, hacked technologies, and cross-species interactions. They have presented their work at Institute of Contemporary Arts, NYU Shanghai (2020); Institute of Contemporary Arts, London (2019); Walker Art Center, Minneapolis (2019). Henry Art Gallery, University of Washington, Seattle (2018); and New Museum, New York (2017).
林從欣與P. Staff自2010年起於洛 杉磯展開合作。他們的創作主題 包括草藥的酷兒潛質、技術黑客 以及物種間的互動。他們曾在各 地機構展出，包括上海紐約大學 當代藝術中心（ 2020 年）、倫敦 當代藝術學院（ 2019 年）、明尼 阿波利斯沃克藝術中心（2019）、 西雅圖華盛頓大學亨利美術館 （ 2018 年）、紐約新當代藝術博 物館（ 2017 年）。
Pratchaya Phinthong
Pratchaya Phinthong considers himself an alchemist of economic value and social functions. In his work, financial fluctuations, reactionary media, and the world labour market are translated into matter as it cycles through the physical forms of solid, liquid, and gas. The artist’s conceptual intervention operates according to a logic opposite to that of profit and deals in cultural and value systems, while trafficking in everyday meanings, hopes, and troubles. His recent exhibitions have been presented at the Istanbul Biennial (2022); Hayy Jameel, Jeddah (2021); Silpakorn University Art Center, Bangkok (2021); Centre Pompidou, Paris (2020); Tai Kwun Contemporary, Hong Kong (2020); Bangkok Art & Culture Centre (2013); and Documenta 13, Kassel (2012).
巴德差耶．平通視自己為一名經 濟與社會的煉金術士。其作品將 經濟起伏、傳媒杞憂以及全球勞 工市場實體化，在固、液、氣態 之間循環轉化。藝術家的觀念性 作品摒棄商業利潤邏輯、交易文 化與價值體系，並在其中偷渡日 常的意涵、期望與煩憂。他近期 在各地參與展覽，包括伊斯坦堡 雙年展（ 2022 年）；吉達賈米 爾 Hayy 創意中心（ 2021 年）； 曼谷泰國藝術大學藝術中心 （ 2021 年）；巴黎龐畢度中心 （ 2020 年）；曼谷藝術文化中 心（ 2013 年）；第十三屆卡塞爾 文獻展（ 2012 年）等。
Wing Po So 蘇詠寶
Wing Po So was born into a family of Chinese medicine doctors and grew up surrounded by medicinal ingredients, and therefore chooses to transform these elements into raw materials for playthings and eventually artworks. When natural materials become medicinal ingredients, they are often dehydrated, cut into pieces, infested, and burnt. So's works deal with this process of alienation in nature and the living environment. Incorporating pharmacological herbs and daily objects into large-scale installations and sculptures, So weaves Chinese medical and philosophical thinking into wonders that reconstruct the correlation of matter and being. So has exhibited her works at the Kathmandu Triennale (2022); Para Site, Hong Kong (2020); and Tai Kwun Contemporary, Hong Kong (2018). In 2018 she published an artist book titled From Space to Space
蘇詠寶成長於傳統中醫學世家， 自幼接觸和觀察各種藥材。擅以 其熟悉的中醫藥材及日常物創作 大型裝置和雕塑，將草藥從兒時 的玩物，轉化成現在她藝術創作 的主要媒介。當自然物成為藥用 材料，它們往往被抽乾水份、斬 斷切片、燒焦、蟲蛀——蘇氏的 作品處理這種對自然和環境的陌 生感和疏離感。中醫學源於對自 然的觀察、探索以及想像，她的 藝術創作便是建立於此精神上， 探討生命結構、生存體系的物質 性和關係性。她的作品曾在加德 滿都三年展（ 2022 年）、香港 Para Site藝術空間（2020年）、 香港大館當代美術館（ 2018 年） 等機構展出。 2018 年，蘇詠寶出 版了藝術家書籍《微物萬狀》。
Mika Tajima
Mika Tajima’s practice materialises techniques developed to shape the physicality, productivity, and desires of the human body. Her sculptures, paintings, videos, and installations focus on the embodied experience of ortho-architectonic control and computational life. From architectural systems to ergonomic design to psychographic data, Tajima's works operate in the space between the immaterial
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and the tangible to create heightened encounters that target the senses and emotions of the viewer, underlining the dynamics of control and agency. Selected exhibitions include those at Centre Pompidou, Paris (2022); San Francisco Museum of Modern Art (2022 and 2012); Hawaii Triennial, Honolulu (2022); Whitney Museum of American Art, New York (2018); the 11th Gwangju Biennale (2016); Sculpture Center, New York (2016 and 2010); and Mori Art Museum, Tokyo (2013). Her work is in the collections of Los Angeles County Museum of Art; Hammer Museum, Los Angeles; San Francisco Museum of Modern Art; Dallas Museum of Art; Buffalo AKG Art Museum; and Hirshhorn Museum and Sculpture Garden, Washington, D.C..
Mika Tajima 的創作將塑造人肉 身、生產力及慾望的技巧具象化。 其雕塑、繪畫、錄像及裝置聚焦 在方正知識體系控制下，電腦化 生活的人身經歷。從建築系統、 人體工學到心理數據， Tajima 的 作品運行於無形與有形之間的地 帶，提升觀者接觸作品時的感官 與情緒，並藉此強調操控力與能 動力之間的張弛。她曾在巴黎龐 畢度中心（ 2022 年）、三藩市現
代藝術博物館（ 2022 年）、檀香 山夏威夷三年展（ 2022 年）、 紐約惠特尼美國藝術博物館
（ 2018 年）、第十一屆光州雙年
展（ 2016 年）、紐約雕塑中心
（ 2016 及 2010 年）、東京森美
術館（ 2013 年）等機構展出作 品。其作品藏於洛杉磯郡藝術博 物館、洛杉磯漢默美術館、三藩 市現代藝術博物館、達拉斯藝術 博物館、水牛城 AKG 美術館， 以及華盛頓特區赫尚博物館和雕 塑園。
Tang Kwok Hin 鄧國騫
Tang Kwok Hin is a mixed media artist. Tang’s artistic practice originates from his inquiries into his heritage as an indigenous inhabitant, and is developed through and closely related to his own life experiences. He is always immersed in the complex, contradictory, and struggling present. Through observing his surroundings, he reflects on himself and those around him. Weaving through reality and imagination, and anyone and anything between the old and the new, he applies objects, installations, moving images, performances, and collages as a comprehensive approach to reveal emotions, thoughts, and essences deep down at particular moments amongst chaos. His subject matters deal with growth, inheritance, locality, freedom, urbanisation, consumption, nature, politics, norms, and existence. He was awarded the first prize at the Hong Kong Contemporary Art Biennial in 2009 and was also a grantee of Asian Cultural Council in 2013. He received his MFA from the Chinese
University of Hong Kong in 2008 and BA in fine arts in 2006.
鄧國騫是一位混合媒介藝術
家，2008及06年分別取得香港中 文大學藝術系藝術碩士及文學士 學位。鄧氏的創作始於對其原居 民背景及生活點滴的追問，繼而 發展出緊扣其生命進程與經歷的 探索。他總沉浸於複雜、矛盾、 掙扎的當下裡，從身邊及耳聞目 睹中反思自身與他人、現實與想 像、過去與現在等人事物，繼而 運用物件、裝置、流動影像、行 為、拼貼等綜合手法在混沌的情 境裡呈現某時某刻深埋的情緒、 意念及本質性。其作品主題觸及 成長、承傳、本土、自由、都 市、消費、自然、政治、規範、 存在等。 2009 年獲香港當代藝術 雙年獎優秀獎，亦為 2013 年亞洲 文化協會獎助金得主。
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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。
signals … 瞬息
瞬息 …… signals
18.03 – 29.09.2023
signals…folds and splits 瞬息 展與接
10.06 – 30.07.2023
Curators 策展人
Billy Tang 曾明俊
Celia Ho 何思穎
Exhibition Manager 展覽經理
Doris Poon 潘韻怡
Project Coordinators
項目助理
Harold Chan 陳碩智
Jackson Kwong 鄺俊軒
Helen Leung 梁晞藍
Spatial Design 空間設計
Joel Austin
Graphic Design 平面設計
Geoff Han 韓穎加
Immanuel Yang
Translation 翻譯
Jason Chen 陳子岳
You Feng 馮優
Catalogue Print and Production 場刊印刷製作
Allion Printing Co., Ltd
雅聯印刷有限公司
府僅為該展覽提供撥款資助,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 exhibition is supported by M Art Foundation.
展覽由 M Art Foundation 贊助
So Ho Man 蘇浩文 John Tain 譚鴻鈞
Tang Hoi Ying 鄧海盈
TOY Meets Art
Vincent Keane Tang
Gan Uyeda
Wang Weiwei 王慰慰 White Cube Gallery 白立方畫廊 WHITE SPACE 空白空間
Wong Ka Ho 王嘉豪
Maxwell Graham
Michelle Wong 黃湲婷
Cici Wu 武雨濛
Wu Lok Hang 胡樂行
X Museum X 美術館
GLOBAL COUNCIL 環球協會
Shane Akeroyd
Mimi Brown & Alp Ercil
Jehan Chu
Mimi Chun & Chris Gradel
Samantha & Jamie Goodman
M Art Foundation
Benedicta M Badia
Nordenstahl
Inna Rodchenko-Highfield & Tucker Highfield
Dina Shin
Vanessa Ying Xu
Virginia Yee
Logistics Partner 物流贊助
Yang Tian 楊添
Iris Zhu Sicong 朱思聰
PARA SITE TEAM
PARA SITE 團隊
Ethan Yip
FOUNDING FRIENDS 始創好友
The logistics of Sara Flores’s Untitled (Punté Kené 2, 2019) has received support from White Cube 薩拉·弗洛蕾斯《 Untitled (Punté Kené 2, 2019) 》作品的 物流運輸獲白立方畫廊支持
The audio equipment for the presentation of Doreen Chan’s HalfDream project have received equipment support from CHAT (Centre for Heritage, Arts and Textile), Hong Kong 陳泳因《半夢》作品中展示所用 的音頻電子設備獲香港 CHAT 六 廠（六廠紡織文化藝術館）支持
Alongside artist fees to all participating artists, Para Site is offering health subsidies for Hong Kong artists in the exhibition.
除了參展藝術家薪酬， Para Site 藝術空間為參展的香港藝術家提 供健康津貼。
Special thanks to all the artists, as well as 特別鳴謝各位藝術家，以及
Arrow Factory 箭廠空間
Blindspot Gallery 刺點畫廊
Burger Collection
Cabinet Gallery
Chan Ching Man 陳正文
Chan Hon Lam 陳翰琳
Chan Lok Hin 陳樂軒
Siriwan Chan 陳穎琳
Kelvin Cheng 鄭耀曦
Kel Lok Man Chung 駱敏聰
Chung Yen Chak 鍾昕澤
Commonwealth and Council
Billy Tang 曾明俊 Executive Director and Curator 執行總監兼策展人
Kelly Ma 馬元中 Deputy Director 副總監
Celia Ho 何思穎 Curator 策展人
Cusson Cheng 鄭家醇 Assistant Curator 助理策展人
Kobe Ko 高穎琳 Assistant Curator 助理策展人
Doris Poon 潘韻怡 Exhibition Manager 展覽經理
Jason Chen 陳子岳 Communications Manager 傳訊經理
Juliana Chan 陳辰珠 Development Manager 發展經理
Holly Leung 梁皓涵 Gallery Manager 畫廊經理
Harold Chan 陳碩智 Project Coordinator 項目助理
Jackson Kwong 鄺俊軒 Project Coordinator 項目助理
Helen Leung 梁晞藍 Project Coordinator 項目助理
PARA SITE BOARD
PARA SITE 董事局
Stephen Cheng
COLLECTIVE Studio
David Zwirner Gallery
Alan Lau
Wendy Lee
Edouard & Lorraine Malingue
Schoeni Projects
SUNPRIDE FOUNDATION
FRIENDS 好友
A Pipeline
Almine Rech Gallery
Nick & Cordula Adamus-
Voegtle
Christine & James Boyle
Rachel Catanach & David
Boyce
Jane DeBevoise
Yan Du
Jacobo Garcia Gil
Clarisse & Sean Garman
Jina Lee & Jae Won Chang
Lisson Gallery
Alan Lo
Kai-Yin Lo
Ingrid Lok & Tim Li
Magician Space
Elaine W. Ng
Justin Ng
Arjuna Rajasingham
Stefan Rihs
Fabio Rossi
Roman Ruan & Freda Yang
ShanghART
Angelle Siyang-Le
Tabula Rasa Gallery
Bonnie & Darrin Woo
Dayea Yeon
Kelly Yip
CONTACT 聯絡我們
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 exhibition only, but does not otherwise take part in it. Any opinions, findings, conclusions or recommendations expressed in the materials/activities (or by members of Para Site’s 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
Faina Derman
Fondazione between Art/Film
François Ghebaly
Galerie Isabella Bortolozzi
gb agency, Paris
Zong Han 韓縱
Li Jinghu 李景湖
Christopher K. Ho 何恩懷
Scarlett Sijia Huang 黃思嘉
Michelle Yeonho Hyun 玄蓮昊
Sylvia Kouvali
Herman Lau 劉志鏗
Alysha Lee
Ken Leong
Marlene Lieu 呂瑪琳
Elaine Lin 林亦凌
Luk Chun Wang 陸俊宏
Georgia Messervy
Izumi Nakayama
Ngai Long Hin 倪朗軒
Ng Kai Fung 吳啟峰
Ng Sing Yiu Stanley 伍昇耀
Bill Nguyen
Carsten Recksik
Rodeo London/Piraeus
Shen Chen 沈宸
Dina Shin
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
Fed Tan
Young Kar Fai Samson 楊嘉輝
www.para-site.art
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 25174620
e. info@para-site.art
Wednesday to Sunday, 12:00–19:00
Closed on Monday, Tuesday, and Public Holidays
Facebook/Instagram: @parasite.hk
Wechat: @parasitehongkong
星期三至星期日
下午 12 時至晚上 7 時 星期一、星期二與公共假期休息
