「瞬息 …… 彼/此」
展覽作品簡介
Doreen Chan 陳泳因
HalfDream is an ongoing 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. Chan’s contribution to ‘signals…here and there’ moves beyond the acts of collecting and reading to take on a more personal dimension that connects participants together through their dreams. The presentation includes an expanded body of work that focuses on dreams, including a video featuring cocktails based on the artist’s and other dreamers’ coming-of-age experience and emotional memories, be they in dreams or in reality; clay objects made by dreamers in artist-led workshops during ‘signals…folds and splits’; as well as her earlier work Melting as Usual (2017). HalfDream serves as a powerful reminder of the interconnection among human experiences, offering a temporary space that inspires deeper understanding and empathy unhindered by identity, age, class, race, or geography.
《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，藝術家期待把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。第三章的 呈現將項目的意念從收集與閱讀延伸至做夢者的個人 層面，讓夢與夢之間連繫到彼此的共同與交 會處。是次展出藝術家持續發展與做夢有關的其他創 作，包括由藝術家與發夢者深入探索夢境與現實中， 發生的個人成長經歷或情感記憶作為藍本的雞尾酒影 片；第二章展覽期間藝術家所帶領的互動工作坊中， 發夢者製作的與各自夢境相關的黏土物件；以及舊作
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《如常融化》（ 2017 年）。《半夢》 強調即使是陌 生人，也能透過共同的經驗找到彼此的聯繫，不受身 份、年齡、階級、種族、地域所侷限，為身處不同時 空的參與者激發出更深層次的理解和同理心。
作為一種「稍縱即逝檔案」形式， Merv Espina 是次 委託創作的人工智能生成的聲音作品讓人聯想到雨 的隨機發生。作品基於梅雨和颱風的田野錄音數據 與來自世界各地的抗議音樂檔案庫相融合。跨越展 覽空間的路徑，將異議聲音表達透過人工智能的機 器學習轉譯為新的天氣秩序。在這一抽象表述中， 振動、 频 率和音調對應了不同的強度和情境。作品 將抗議視為日常生活中存在的自然斷奏，突出其預 示變革和復興的潛力。分散在展場不同角落的家庭 盆栽植物，代表了最近離開或將要離開香港的個 體，也暗示了這座城市更廣義的移民和遷徙史。
HASS Lab
Doreen Chan, HalfDream, 2020 – present, mixed media, public engagement, dimensions variable. Courtesy of the artist. Installation view of ‘signals…folds and splits’, Para Site, Hong Kong, 2023. Photo: South Ho / 陳泳因，《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。「瞬息 展與接」展覽現場，
Para Site藝術空間，2023年。攝影：何兆南
Merv Espina
As a form of ‘ephemeral archiving’, Merv Espina evokes the spontaneous occurrence of rain in a newly commissioned AI-generated sound work. Datasets based on field recordings of monsoons and typhoons converge with an archive of protest music from around the world. Mapping a path that glides across the exhibition space, sonic expressions of dissent have been translated by machine-learning AI into new weather patterns. The vibrations, frequency, and tonality correspond to various intensities and situations through this abstraction. The work reflects on the existence of protests as natural staccatos in daily life, signifying its potential as a harbinger for change and renewal. A congregation of potted houseplants is strewn across the gallery in different nooks and crannies. The plants are proxies of individuals who recently left or are about to leave Hong Kong and act as metaphors for a wider history of migration and displacement in the city.
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. Simultaneously, the series of events titled HASS Lab02 #There Are Many of Us that began in ‘signals…folds and splits’ will continue into ‘signals…here and there’ as five quirky, small-scale brainstorming sessions. In HASS Lab’s continuous commitment to a socially conscious practice, they have collaborated with artists, social workers, teachers, social entrepreneurs, and art collectors from various backgrounds to explore and imagine the possibilities of future social development. In their subsequent interdisciplinary collaborations, HASS Lab will seek ways for us to understand each other’s thinking and, consequently, build a new creative potential that breaks out of existing frameworks. The ideas and proposals from the five sessions will be presented in ‘signals…here and there’ as they are born.
Merv Espina, A Season of Storms / Migration Studies, 2023, AI-generated multichannel sound, houseplants, dimensions variable. Courtesy of the artist. Photo: Helen Leung / Merv Espina，《暴風雨 的季節／遷徙研究》，2023年，人工智能生成的多聲道音頻、室內盆栽， 尺寸可變。由藝術家提供。攝影：梁晞藍
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，横跨「瞬息 展與接」與「瞬息……彼／此」展覽期間舉辦的一系
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列活動《HASS Lab02 #我地就係人多》，由五個小 型又古怪的腦力激盪活動組成。HASS Lab團隊致力 於社會創作的長跑路上，透過與不同類型、界別的藝 術家、社工、教師、社會企業家以及藝術收藏家合 作，與眾人探索岀一個良好的起點，以啟動更多對社 會未來發展的各種想像和可能。接下來的跨界連結與 合作中，HASS Lab團隊將提出以下問題：如何讓彼 此理解大家的思維方式？如何在理解彼此的特質之 餘，以創意打破舊框架、開創新的可能？五個活動所 爆發岀的想法和建議將持續於第三章展場內呈現。
never experienced forest life in their ancestral domains. Presented on Para Site’s roof terrace are the results of these recording sessions and workshops, along with the names of the recently martyred—forest of sounds made by displaced human voices, documenting a place they no longer can return to, a landscape in disappearance.
HASS Lab,
#Anything
2023
Site for this exhibition. Installation view of ‘signals…folds and splits’, Para Site, Hong Kong, 2023. Photo: South Ho /《HASS Lab01 #任何嘢》，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。「瞬息 展與接」
展覽現場，Para Site藝術空間，2023年。攝影：何兆南
Kulagu Tu Buvongan
Activated from above the main exhibition space to reverberate on the roof of the Industrial Building where Para Site is situated, For every name, a forest (Mgo ngaran, puwason) (2021–2023) is a multichannel sound installation with human voices. Created by Kulagu Tu Buvongan, a collective of mostly Indigenous members from the Pantaron Range, the work was produced through organising recording sessions and workshops focused on forest calls and non-lexical vocables, non-words used in their daily forest life, that mimic forest fauna sounds. Home to endangered flora and fauna and the source of several rivers, the Pantaron Range has been usurped by large-scale monocrop plantations, mining, and logging operations, disrupting the most important watershed and biodiversity corridor in Mindanao. Some Indigenous groups vocally critical of this injustice are now displaced in refugee camps and sanctuaries across the Philippine archipelago, some even driven to hiding due to fear for their lives. Close to 100 Indigenous activists alone have already been killed during Duterte’s presidency from 2016 to 2021. Several Indigenous elders in refugee camps in Davao City have re-created forest sounds from memory with explanations of their meaning and use. Some sacred and others for play, these sounds are taught to children in the camps, many of whom were born in the camps and have
多聲道聲音及人聲裝置《每一個名字，都是一片森林 （ Mgo ngaran, puwason ）》（ 2021 至 2023 年）從 主展場空間上方啟動，迴盪在 Para Site 所在的工業 大廈天台。作品由來自帕塔倫山脈的原住民團體 Kulagu Tu Buvongan 集體創作，經過數次錄音會議 和工作坊製作而成，關注森林呼喊和非語彙語詞，以 及在森林生活的日常中模仿動物聲音的非詞彙。帕塔 倫山脈是許多瀕危動植物的家園，也是多條河流的源 頭。但近年來，山脈被大規模單一化農作物種植、採 礦和伐木業侵佔，棉蘭老島這片最重要的流域及其生 物多樣性和生態循環系統遭到破壞。一些對這種不公 現象提出強烈抗議的原住民群體被迫遷移，分散在菲 律賓群島不同的難民營和庇護所中，甚至有些因為擔 憂生命安全被迫隱匿。 2016 至 2021 年杜特爾特掌權 期間，被殺害的原住民社運人士就接近一百人。達沃 市難民營中的幾位原住民長者根據記憶重塑了吟唱森 林的聲音，並解釋它們的含義和用途。有些聲音是神 聖的，有些是玩樂的。他們將這些聲音教給難民營中 的小孩；很多孩子在此出生，從未在祖先的領地上體 驗過森林生活。是次在Para Site大廈天台上播放的是 這些錄音會議和工作坊的成果，以及最近殉難的同胞 名字——這些森林之聲由流離失所的人發出，記錄他 們再也無法返回的地方，一片正在消失的土地。
Kulagu Tu Buvongan, For every name, a forest (Mgo ngaran, puwason), 2021– 2023, Human voices in multichannel sound, LED signage, dimensions variable. © Kulagu Tu Buvongan. Courtesy of Kulagu Tu Buvongan. Photo: Kulagu Tu Buvongano / Kulagu Tu Buvongan，《每一個名字，都是一片森林（Mgo ngaran, puwason）》， 2021至2023年，多頻人聲裝置，發光二極體標示牌，尺寸可變。
© Kulagu Tu Buvongan。由Kulagu Tu Buvongan提供。攝影：Kulagu Tu Buvongan
Billy HC Kwok 郭浩忠
On display are a series of photographs and documents, which represents various aspects of Yu Lai Wai-ling’s daily struggle for answers in relation to her son, Yu Man-hon, a teenager who disappeared at the Lo Wu border in 2000. Polaroids of disabled children wandering the streets taken by Yu Lai Wai-ling are pinned to a map with their locations matched to various leads connected to her search in Shenzhen.
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HASS Lab01
,
– present, mixed media, public engagement, dimensions variable. Commissioned by Para
She has since viewed thousands of cases in other provinces as far away as Fujian, Jiangxi, Guangxi, and Hunan. Based on a relationship of trust the artist Billy HC Kwok has established with Mrs. Yu, he is able to capture an intimate scene of their household, displayed alongside an image of Shenzhen in the present. Throughout her search, hundreds of demands for ransom and rewards have arrived as fraudulent letters and anonymous phone calls. Even psychics have appeared to proffer extortionate services to bring her son home. Against a backdrop of rapid changes, Kwok attempts to return the focus of the story to the mother as he contemplates the role of documentary photography and its ability to represent both her love and determination for the truth and justice for her son.
has been the only work to have stayed rooted in its original position. Adopting a transdisciplinary approach and regularly shapeshifting between identities of artist, academic, curator, and as founding member of collectives such as Floating Projects, Linda Chiu-han Lai regularly recycles her ideas and documentary materials into radically new forms to resist reductive readings of lesserknown historical events. Hanging adjacent to this installation and closer to the exhibition entrance is Bamboo Percussive (2023), an interactive mobile installation created in response to the migratory themes of ‘signals…here and there’. Based on material originally part of 1906 –1989 – 2012: Guangzhou – Hongkong – Shanghai – Anji, a major installation commissioned by Shanghai Biennale (2012–13), this latest re-working of fragments from previous artwork by Lai draws our attention to the women and children of families separated during the Cultural Revolution, Hong Kong’s postal history, and the artist's autobiographical experience with domestic moonlighting activities during this period.
60 × 80 厘米。© 郭浩忠。由藝術家提供
是次展出的相片和文件反映了庾黎慧玲自2000年兒 子庾文翰在羅湖邊境失蹤後尋子多年來多方面的日 常掙扎。庾母以寶麗來相片所拍攝的身處街頭流浪 的身障兒童被釘在一張地圖上，對應她在深圳搜索 過程中獲得的地點線索。此後，她還查看了遠至福 建、江西、廣西和湖南等省份的數千起案例。基於 與庾母建立的信任關係，藝術家郭浩忠捕捉到庾家 家中的私密場景，這些相片與現代深圳的圖像並 置。多年來，庾母收到了數以百計索要懸賞或贖金 的欺詐信件和匿名電話。甚至還有靈媒出現，推銷 能讓兒子回家的高價護身符。時過境遷，郭浩忠希 望將故事的焦點重新放在這位母親身上，同時思考 紀實攝影在表現她對兒子的愛與她在追求真相和正 義的決心上的角色。
Linda Chiu-han Lai 黎肖嫻
Tree of Life is a totemic assemblage of objects, sounds, text, and moving image fragments. Throughout the transition between chapters, this
Linda Chiu-han Lai, Tree of Life iteration 2023, 2023, mixed media sculpture, dimensions variable. Courtesy of the artist. Installation view of ‘signals…folds and splits’, 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。由藝術家提供。「瞬息 展與接」展覽現場，香港
Para Site藝術空間，2023年。攝影：何兆南
《物語生命樹》是由物件、聲音、文字和流動影像 碎片組成的圖騰式集合體。在展覽的三個章節中， 這是唯一一件自始至終紮根於原始位置的作品。 時常在藝術家、學者、策展人和Floating Projects等 自發團體創始成員身份之間遊走，黎肖嫻採用跨學 科方法定期將她的想法和文獻材料以全新形式循環 創作，以抵制對少數鮮為人知的歷史事件的簡化解 讀。與該裝置相鄰、靠近展覽入口的《扁擔鳴》 （ 2023 年）是一件互動性移動裝置作品，以回應是 次展覽關於遷移的討論。作品的創作材料來自 2012 年受上海雙年展（ 2012 至 13 年）委約創作的大型裝 置《 1906 1989 2012 ：廣州－香港－上海－安 吉》。這件重新再現的舊作聚焦於因文革被迫分離 的家庭中的女性和兒童、香港的郵政歷史，以及藝 術家在這段時期的個人經驗。
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Billy HC Kwok, For So Many Years When I Close My Eyes, 2022, inkjet print on archival paper, 60 × 80 cm © Billy HC KWOK. Courtesy of the artist / 郭浩忠，《覓》，2022年，收藏級噴墨打印，
Jaffa Lam 林嵐
Known for her large-scale site-specific sculptures and installations, Jaffa Lam predominantly makes 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.
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。
songs from the same period. In May 1967, a year after the nationwide Cultural Revolution began in China, large-scale anti-colonialist riots broke out in Hong Kong. As these events unfolded, Maoist slogans and music were broadcasted from the loudspeakers at the Bank of China Building to be heard across Central, Hong Kong. As a response, the Hong Kong government installed six large military speakers on the roof of the nearby Government Information Services office building, playing loud jazz and western pop music to counter the oppositional propaganda. The paper plane floats to a shifting rhythm to two songs from across the ideological divide: Long Live Chairman Mao (1966), and Yesterday (1965) by the Beatles. Fashioned from a cover story featured in an issue of Life Magazine from the same year, the story of the famous cross-border escape of composer and violinist Ma Sicong (1912 –1987) is folded into the body of the plane to complete the circular narrative of the work.
‘signals…folds and splits’, Para Site, Hong Kong, 2023. Photo: South Ho / 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厘米。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。「瞬息……展與接」展覽現
場，Para Site藝術空間，2023年。攝影：何兆南
Leung Chi Wo 梁志和
Leung Chi Wo is interested in the deviations and overlooked side stories that occur within the narration of key historical events as they unfold. In the kinetic installation Silent Music Plane 1967 (2016), a paper plane glides while attached to a piece of string, moving at variable speeds synced to the tempo and contrasting melodies of two
Leung Chi Wo, Silent Music Plane 1967, 2016, LIFE magazine cover (2 June 1967), 1967 five-cent Hong Kong coins, sound recordings of Long Live Chairman Mao (Central Ensemble of Songs and Dances, 1966) and Yesterday (The Beatles, 1965), motor, media player, earphones, electronic controller, tripod, 178 × 132 × 132 cm. Courtesy of the artist and Blindspot Gallery / 梁志和，《寧靜音樂飛
機 1967》，2016年，美國《生活》雜誌封面 (1967年6月2日)、1967年 香港五仙硬幣、《萬歲！毛主席》(1966年中央歌舞團) 及《Yesterday》 (1965年披頭四) 歌曲錄音、摩打、媒體播放器、耳機、電子操控器、 三腳架，178 × 132 × 132 厘米。由藝術家及刺點畫廊提供
梁志和對重要歷史事件敘述過程中出現的偏差和被 忽視的次要敘事線感興趣。在動態裝置《寧靜音樂 飛機 1967 》（ 2016 年）中，一架紙飛機在一根繩子 的牽動下以不同的速度滑行，速度與來自同一時期 的兩首歌曲的節奏和旋律同步。 1967 年五月，全中 國大陸展開文化大革命一年後，香港爆發了大規模 反殖民主義暴動。當時，中銀大廈的揚聲器播放毛 澤東思想的口號和音樂，響徹中環。與此同時，香 港政府在附近的政府新聞處辦公樓樓頂安裝了六個 大型軍用揚聲器，大聲播放爵士樂和西方流行音 樂，反擊中方的政治宣傳。紙飛機跟隨兩首意識形 態迥異的歌曲變化的節奏飄動：《萬歲！毛主席》 （1966年）和披頭四的《Yesterday》（1965年）。 用來折疊紙飛機的是同一年出版的《生活》雜誌中 關於作曲家兼小提琴家馬思聰越境逃亡故事的一篇 報導，作品以此完成敘事的循環。
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Jaffa Lam, The past from the ruins, 2023, abandoned football, concrete, thread and UV light, 20cm in diameter. Commissioned by Para Site for this exhibition. Courtesy of the artist and Axel Vervoordt Gallery. Installation view of
》，
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HASS Lab, HASS Lab01 #Anything, 2023
–
present, mixed media, public engagement, dimensions variable. Commissioned by Para Site for this exhibition. Installation view of ‘signals…folds and splits’, Para Site, Hong Kong, 2023. Photo: South Ho /《HASS Lab01 #任何嘢》，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。「瞬息 展與接」展覽現場，Para Site藝術空間，2023年。攝影：何兆南
Nibha Sikander, Entomology Script 3, 2023, coloured paper, archival paper, paper- cut, 38.1 × 50.8 cm © Nibha Sikander, 2023 / Nibha Sikander， 《昆蟲學手稿 3
2023 年，彩色紙，檔案紙，剪紙，38.1 × 50.8 厘米 © Nibha Sikander，2023年
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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…folds and splits’, 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。由藝 術家提供。「瞬息……展與接」展覽現場，香港Para Site藝術空間，2023年。攝影：何兆南
Jaffa Lam, The past from the ruins, 2023, abandoned football, concrete, thread and UV light, 20cm in diameter. Commissioned by Para Site for this exhibition. Courtesy of the artist and Axel Vervoordt Gallery. Installation view of ‘signals…folds and splits’, Para Site, Hong Kong, 2023.
South Ho / 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厘米。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。「瞬息 展與接」展覽現場，Para Site藝術空間，2023年。攝影：何兆南
Merv Espina, A Season of Storms / Migration Studies, 2023, AI-generated multichannel sound, houseplants, dimensions variable. Courtesy of the artist. Photo: Helen Leung / Merv Espina，《暴風雨的季節／遷徙研究》，2023年，人工智能生成的多聲道音頻、室內盆栽，尺寸可變。由藝術 家提供。攝影：梁晞藍
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Photo:
Kulagu Tu Buvongan, For every name, a forest (Mgo ngaran, puwason), 2021– 2023, Human voices in multichannel sound, LED signage, dimensions variable. © Kulagu Tu Buvongan. Courtesy of Kulagu Tu Buvongan. Photo: Kulagu Tu Buvongano / Kulagu Tu Buvongan，《每一個 名字，都是一片森林（Mgo ngaran, puwason）》，2021至2023年，多頻人聲裝置，發光二極體標示牌，尺寸可變。© Kulagu Tu Buvongan。
由Kulagu Tu Buvongan提供。攝影：Kulagu Tu Buvongan
2022年，收藏級噴墨打印，60
0 厘米。
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Billy HC Kwok, For So Many Years When I Close My Eyes, 2022, inkjet print on archival paper, 60 × 80 cm © Billy HC KWOK. Courtesy of the artist / 郭浩忠，《覓》，
× 8
© 郭浩忠。由藝術家提供
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Tang Kwok Hin, Critical Vacancy, 2006 – 23, mixed media, dimensions variable. Commissioned by Para Site for this exhibition. Installation view of ‘signals…folds and splits’, Para Site, Hong Kong, 2023. Photo: Tang Kwok Hin / 鄧國騫，《姿態》，2006至2023年，混合媒介，尺寸可變。
受Para Site藝術空間委託為本次展覽製作。「瞬息 展與接」展覽現場，Para Site藝術空間，2023年。攝影：鄧國騫
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Berenice Olmedo, CsO, 2020, polyurethane, plaster protectors, fibreglass bandages. Courtesy of the artist and Jan Kaps, Cologne.
Photos by Paul Schöpfer / Berenice Olmedo，《CsO》，2020年，聚氨酯、石膏保護套、玻璃纖維繃帶。由藝術家及Jan Kaps畫廊提供。
攝影：Paul Schöpfer
Doreen Chan, HalfDream, 2020 – present, mixed media, public engagement, dimensions variable. Courtesy of the artist. Installation view of ‘signals…folds and splits’, Para Site, Hong Kong, 2023. Photo: South Ho / 陳泳因，《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。「瞬息……展與接」展覽現場，Para Site藝術空間，2023年。攝影：何兆南
Ghislaine Leung, Flags, 2019, score: All internal doors painted gloss black, edition 3 of 3 + 2 APs. Courtesy of the artist. Image courtesy of the artist and Maxwell Graham, New York / 梁芝蘭，《旗幟》，2019年，指示：將所有室內的門塗以光面黑色油漆，版數：3/3 + 2 APs。由藝術家提供。
圖片由藝術家及紐約Maxwell Graham畫廊提供
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POWER NAPS WANTED. Wanted–hidden tracks, power naps, an orangutan dozing off amongst the trees, a limbo cinema, a walk in the misty city, a romance, and a farewell. 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，尋一隻林中打盹的紅毛猩猩、一間未境戲院、一趟迷霧城市中的步行、一次浪漫及一場送別。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。
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Photo credit: South Ho / 攝影：何兆南
Ghislaine Leung 梁芝蘭
Flags (2019) is based on the simple instruction to paint all the doors inside the gallery space gloss black. The use of gloss black draws a sharp focus on the imperfections underlying the artifice of white walls that seek to maintain a pristine façade of an exhibition space. Taking the form of an instruction-based score, this conceptual intervention can be applied to multiple locations and contexts once activated. The title implies a parallel between the body of an art institution and a nation state: entities that are both governed by borders, entrances, and exits, which are by nature places of contestation and subject to change. Through this simple gesture, Leung exaggerates and embellishes these gateways almost to the point of caricature. What was previously discreetly concealed is now accentuated and visible to the public.
or CsO). Developed by Antonon Artaud, the concept was later adopted by the philosophers Gilles Deleuze and Félix Guattari to reflect on the idea of bodies operating free of organisational structures imposed on its constituent parts. Suspended from the ceiling, CsO is a series of sculptures hovering in an ambiguous state of weightlessness assembled with polyurethane forms sculpted after human body parts, often limb stumps, to form an open-ended vocabulary of body sculpture. Originally shaped either by hand or machine-made by prosthetic manufacturers in Mexico City, these objects are reused by Olmedo and are attached with plastic collars used to protect a cast during the washing of a patient. Through these assemblages, Olmedo looks to recast the stigma associated with non-abled communities, the transformation of subjectivities through experiences of trauma, and ideals associated with the human body.
「在我提出的世界中，沒有殘疾的污名，只有 存在的變異、運動的變異、速度的變異。」
—Berenice Olmedo
Ghislaine Leung, Flags, 2019, score: All internal doors painted gloss black, edition 3 of 3 + 2 APs. Courtesy of the artist. Image courtesy of the artist and Maxwell Graham, New York / 梁芝蘭，《旗幟》，
2019年，指示：將所有室內的門塗以光面黑色油漆，版數：3/3 + 2 APs。
由藝術家提供。圖片由藝術家及紐約Maxwell Graham畫廊提供
《旗幟》（ 2019 年）基於藝術家的一個簡單指令， 即將展廳內所有門塗上亮黑色油漆。作品選用亮黑色 使人們突然關注在白牆這樣的人工表面下所隱含的不 完美，也或可視為一間機構（或展場）試圖維持的光 鮮形象。這件基於指令的觀念作品一旦啟動，即可以 應用於多個地點和情境。標題意味着藝術機構和民族 國家之間的平行關係：它們都受邊界、入口和出口的 管轄，而這些地方本質上亦是具爭議和變幻莫測的場 所。梁氏透過一個簡單的動作，以幾近滑稽的方式將 這些原本低調匿藏的門戶赤裸裸地暴露於人前。
Berenice Olmedo
“In the world I propose, there is no stigma of disability, only variations of existence, variations of movement, variations of slowness and speed.” —Berenice Olmedo
In her publications, kinetic sculptures, installations, and performances, the Mexican artist Berenice Olmedo often engages with the concept of ‘Body Without Organs’ (in French: corps sans organes
墨西哥藝術家Berenice Olmedo在她的出版物、動態 雕塑、裝置藝術和表演中，常常關注「無器官的身 體」（法文： corps sans organes或縮寫為CsO） 的概念。這個概念最初由安東南．阿圖德提出，後 來由哲學家吉爾．德勒茲和費利克斯．瓜塔里進一 步發展，用於反思身體在無需依附組織結構的情況 下如何運作。《 CsO 》是一系列懸掛在天花板上的 雕塑，模仿人體部位（通常是斷肢）以聚氨酯製 成，處於一種曖昧的無重狀態，並形成一種開放式 的身體雕塑詞彙。這些物體最初由墨西哥城的義肢 製造商手工或機器製作，獲藝術家重新利用並使用 塑膠圈固定——這種塑膠圈通常是病人沐浴時所 用，可固定石膏。通過這些裝置，藝術家試圖洗脫 殘障社群的負面形象，以創傷經歷改變主觀意識， 並重新定義與人體相關的理想狀態。
Berenice Olmedo, CsO, 2020, polyurethane, plaster protectors, fibreglass bandages. Courtesy of the artist and Jan Kaps, Cologne. Photos by Paul Schöpfer / Berenice Olmedo，《CsO》，2020年， 聚氨酯、石膏保護套、玻璃纖維繃帶。由藝術家及Jan Kaps畫廊提供。
攝影：Paul Schöpfer
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Nibha Sikander
The viewers at first glance might mistakenly perceive the lifelike ‘specimens’ (butterflies, moths, and other insects) in Sikhander’s work as part of an entomology collection. Known for her intricate paper cutting practice, Sikhander meticulously layers coloured paper, to preserve and document her everyday encounters and occasionally venture into imaginative depictions of extinct species. According to the artist, the medium of paper mimics nature in its versatility— soft, stiff, malleable, and flexible, not unlike wings, feathers, and antennae. Paper’s fragility which also mirrors the ephemeral nature of the subject matter Sikander chooses to depict. The delicate existence and short lifespans of moths and other insects serve as a symbol of transformation, growth, and transience. Her work re-creates species which are on the edge of extinction and serves as a reminder of their vulnerability. Through the detailed representations and deconstructed forms of her choice of insects, the artist attempts to confront the violence inflicted upon other species on the planet and prompt the viewers how the biodiversity of insects play a vital role in the increasingly challenging climate crisis. Entomology Script 3 (2023) is methodically laid out like a coded message from nature, while the colourful fragments and isolated (body)parts draw on the beauty of nature and the relationship among Islamic decorative motifs, nature, and science. Creatures as small as insects also have specific ways of communication, and these overlooked hidden channels and languages may pass through the meteorological borders. Negative 32 (2022), on the other hand, shows the stencil-like coloured paper from which the artist cuts out the shapes. The frame focuses on the light and shadow of the fragmented, abstract patterns, which, under the shifting light sources throughout the day, look as though they were ghostly wavering.
疊疊，拼湊 、記錄她每天的邂逅。對藝術家而言，剪 紙媒介本身在其多物質性上模仿大自然——柔軟、堅 硬、可塑和靈活，和翅膀、羽毛和觸角幾無二異。紙 張轉瞬即逝的特質也反映了藝術家選擇描繪的主題的 短暫性。飛蛾和其他昆蟲的弱小和短暫的壽命象徵了 轉化、成長和無常。她的作品重現了瀕臨滅絕的物 種，並提醒了人們生命的脆弱。藝術家以解構的方 式，鉅細靡遺的表現這些經她精挑細選的昆蟲，試圖 呈現人類對地球其他物種所施加的暴力，並提示觀眾 生物多樣性如何在當前日益嚴峻的氣候危機中佔有一 席之地。《昆蟲學手稿 3 》（ 2023 年）有條理的佈局
彷彿來自大自然本身的加密信息，而色彩繽紛、支離 的「殘骸」，讓人關注大自然的美以及傳統伊斯蘭裝 飾圖案、自然和科學之間的關係。像昆蟲這樣微小的 生物也有其獨特的溝通方式，而這些被忽視的隱藏通 道和語言能穿越氣象的邊界傳遞。同時展出的還有《 負面 32 》（ 2022 年），展示了藝術家用來剪裁碎片 的彩紙。畫框將焦點集中在碎片抽象圖案的光影交錯 上，像幽靈般隨着日光不斷閃動。
Wing Po So 蘇詠寶
Wing Po So’s series of commissioned installations in ‘signals… 瞬息 ’ uses air filter material and powdered Indian gooseberry as its main mediums. Throughout the three chapters of the exhibition, the artist explores the relationship between the material and the body, environment, and nature. In the first chapter, she folds the air filter material into an arched passage resembling a human respiratory tract, inviting the audience to cross through the work to experience a purifying journey with the scent of Indian gooseberry. The presentation in the second chapter incorporated moulds made of polyurethane foam, resembling the dust filters in industrial ventilation systems and the spinal cord. This structure, installed next to a window overlooking King’s Road and nearby office buildings and housing estates, magnified the boundary between the exhibition space and the external environment through a metaphor of the body. In the third chapter, the artist re-adapts the air filter material, creating an unknown species that appears to gradually open and close. The four tiers of the work interact with each other, sometimes folding and linking in unison, sometimes stretching like cells going through mitosis division. The new rendition also connects material memory, with the traces accumulating on the air filters over time. The entire series thus reviews the interconnectivity between individuals and other life forms at a microscopic scale, weighing the effects of shared characteristics at a cellular level with other species and air particles in human life.
觀眾初見可能會錯認為 Sikhander
「標本」（蝴蝶、蛾和其他昆蟲）是昆蟲學收藏的一 部分。藝術家以其精湛的剪紙技藝聞名，將彩紙層層
蘇詠寶在「瞬息…… signals 」中一系列委約裝置作 品裡，運用空氣濾網的材料和中藥材「餘甘子」粉 末作為主要物料。在三個章節期間，藝術家持續探 索物料與身體、環境和大自然之間的關係。第一章 內，她以摺紙的方式建構出形似人體氣管的拱形通 道，透過餘甘子的氣味引導觀眾進入裝置中去經歷 一場淨化的旅程。第二章的呈現則加入用聚氨酯發 泡材料特製的模具，模仿工業通風系統設施中的過 濾隔塵網，裝置在展場俯瞰英皇道和矗立兩旁的商
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作品中再現的逼真
Nibha Sikander, Negative 32, 2022, coloured paper, paper-cut, 21.1 × 29.7 cm. © Nibha Sikander, 2022 / Nibha Sikander，《負片 32》， 2022年，彩紙，剪紙，21.1 × 29.7 厘米。© Nibha Sikander，2022年
廈和住宅群的窗戶上 ，以身體內外的意念暗喻展場 內外空間的邊界。第三章，藝術家重新沿用空氣濾 網材料，創造出一種似乎緩緩閉合的未知物種。作 品的四個層次互相牽引，有時統一地摺疊連結，有 時像細胞分裂一樣伸展。空氣濾網材料上累積的痕 跡，亦可用以連接物質上的記憶。整個系列作品從 微觀的角度來反觀個體與其他生命體之間的聯結， 衡量諸如空氣中的懸浮微粒與和與其他物種在細微 之處的雷同，帶給人類生活的影響。
（Yves Klein）和丁格利（Jean Tinguely）交流，也 深受和他交往的「跨掉的一代」的作家的影響 ，包括 南非詩人貝里斯（ Sinclair Beiles ）、美國作家柏洛 茲（William Burroughs）、美國詩人柯索（Gregory Corso ）、美國作家堅士堡（ Allen Ginsberg ）和英 國藝術家吉辛（ Brion Gysin ）。自 1955 年起，塔基 斯開始創作一系列類似天線的「信號」雕塑，著名的 Signals 畫廊（ 1964 至 66 年）的名稱和創始理念即源 於此。 Signals 畫廊由策展人基勒（ Paul Keeler ）和 藝術家梅達拉（David Medalla）共同領導，是六十
年代交流藝術和科學想法的重要場所。塔基斯希望將 重力、磁力、聲波或光波等作為第四維度融入作品 中。這些雕塑雖然看似靜態，卻隨時可能動起來。細 桿上的原料碎片和其他機械零件受到細微的觸動而移 動，哪怕只是空氣中微微的氣流振動一旦運作起來， 這些組件就仿若空間中的抽象書寫。作品模擬自然和 人造的天線，企圖成為宇宙訊號的接收器，與周圍的 環境交流。
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，Para Site藝術空間， 2023年。攝影：何兆南
Takis 塔基斯
Exchanging ideas with experimental artists of his time such as Yves Klein and Jean Tinguely, Takis was also influenced by his association with Beat Generation writers, including Sinclair Beiles (1930 – 2000), William Burroughs (1914 –1997), Gregory Corso (1930 – 2001), Allen Ginsberg (1926 –1997), and Brion Gysin (1916 –1986). In 1955 Takis began producing his Signals sculptures, a series of antenna-like sculptures, which inspired the name and founding philosophy of the Signals Gallery (1964 –1966). Directed by curator Paul Keeler and artist David Medalla, the gallery soon became an important meeting place, a hotbed for the transmission of ideas. Takis incorporated such elements as gravity, magnetic fields, acoustic, and or light waves as a fourth dimension in his work. His sculptures are suggestive of movement even while static. Shattered fragments of raw material attached to delicate rods and other machine parts move in response to touch or even slight vibrations in the air. Once in motion, the components resemble abstract writing in space. Referencing natural and humanmade antennae, the works are intended to act as receivers of cosmic information with the ability to communicate with their surroundings.
作為動態藝術的早期先驅，塔基斯（本名Panayiotis Vassilakis ）透過雕塑、表演和聲音作品探索物理、 自然和科技元素。他曾與當時的藝術家如克萊因
Takis, Signal, 1982, painted iron, 61 × 10 × 10 cm. Courtesy of the artist and White Cube. Image credits: Takis Foundation/ADAGP, Paris and DACS, London 2022. Photo: White Cube (Fabrice Gousse) / 塔基斯，《信號》，1982年，彩繪鐵，61 × 10 × 10 厘米。由藝術家及 白立方畫廊提供。圖片由巴黎Takis Foundation/ADAGP以及倫敦DACS 提供，2022年。攝影：白立方畫廊（Fabrice Gousse)
Tang Kwok Hin 鄧國騫
Across the three chapters of ‘signals… 瞬息 ’, Tang Kwok Hin rehearses different creative techniques using the same collection of material consisting of past work and ready-made objects. In ‘signals…storms and patterns’, with Shoulder to Shoulder, the artist’s past creations were organised neatly between vertical layers of plywood; whereas in ‘signals…folds and splits’, materials in Critical Vacancy were suspended and disseminated horizontally among the display structure. In the earlier two chapters, the artist opted for an anti-presentation technique to erode, dilute, and precipitate the significance of the old objects used, treating them as memories to be avoided and forgotten, in a relatively intuitive
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approach to material and space. In ‘signals… here and there’, Parasite employs a more fluid deconstruction and reorganisation process to disperse fragmentary forms throughout different corners of the exhibition space. The Chinese title of the work, which means ‘golden cicada’, evokes metamorphosis, whereas the English title refers to the interdependence and mutual influence between entities—both emphasise the continuous transformation of the work as well as our ongoing social transactions.
Parasite
The golden cicada is also known By its onomatopoeic name. It’s golden brown all over with Translucent front and rear wings.
The family Cicadidae is widely spread across The world’s tropical and temperate zones, In deserts, grasslands, and forests, Subsisting on tree sap.
They lay their eggs in trees, And when the nymphs hatch in autumn, They descend into the ground, Where they moult multiple times. It will take them over a decade, Before the adults emerge from the dirt.
After the nymph has Metamorphosised Into adulthood, it has But a month to live
The husks that the cicada Sheds so often Can be used in Cuisine, medicine, and poetry
Does the cicada recognise What it used to look like, As it buzzes on and on?
—Tang Kwok Hin
在「瞬息 signals 」的三個章節期間，鄧國騫以 不同的創作手法重複使用了同一批舊作與現成物，作 為委約裝置作品的實踐與演練。在第一章的《肩擦 肩》中，舊作被有序而筆直地排列於層層木板結構之 間；過渡至第二章，《姿態》以另一水平角度將物料 漂浮並滲透於支撐的結構中。前兩個章節的創作方式 傾向於通過隱藏的展示手法來消磨、淡化 、沈澱舊作 的原有背景和意義，就像無法直面、難以言狀的過去 和記億一樣。藝術家持續以直觀的手法處理物料和空 間，並試圖尋找新的觀看方式和摸索與現場的關係。 是次第三章的《金蟬》運用更具流動性的解構與重組 作為呈現方式，將碎片的姿態分散至展場的不同位置 和角落。作品中文題目《金蟬》象徵着蛻變的概念， 英文題目中的「寄生」則指涉物體之間互相依附或影 響的狀態，兩者都強調了作品持續轉化和我們與社會 之間相互交割的狀態。
金蟬
金蟬俗稱知了， 通體呈褐帶金， 前後翅薄而透。
蟬科分佈廣泛， 全球溫帶熱帶， 沙漠草原森林， 吸取樹汁作食。
蟬卵產於樹上， 秋季孵出幼蟲， 落到地鑽入地， 土裡多番 蜕 皮， 最後一次蟬蛻， 蟲由污泥探出， 已經過十數年。
脱 離若蟲階段， 枝頭羽化成蟬， 餘個多月時光。
金蟬 脱 殼乃常， 處處 脱 下的殼， 入饌入藥入詩。
每一個舊模樣， 金蟬知了知了？ 知了知了鳴叫。
——鄧國騫
藝術空間委託為本次展覽製作。「瞬息
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Tang Kwok Hin, Critical Vacancy, 2006 – 23, mixed media, dimensions variable. Commissioned by Para Site for this exhibition. Installation view of ‘signals…folds and splits’, Para Site, Hong Kong, 2023.
Photo: Tang Kwok Hin / 鄧國騫，《姿態》，2006至2023年，混合媒 介，尺寸可變。受Para Site
…… 展與接」展覽現場，Para Site藝術空間，2023年。攝影：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. Her sitespecific installations, public programmes, 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).
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。
Merv Espina
Merv Espina is an artist and researcher based in Quezon City, Metro Manila. His practice involves moving images, sound, performance, and text, to play with the lapses of cultural institutions, mistakes of current historiography, and the anxieties of archives. His interests span the half-life and migration of ideas, images, sounds and spices, and how they sometimes become an essential part of localities and specific cultural landscapes. Traversing 60s Pop Yeh Yeh ecologies to failed nation states, spycraft and espionage
to the white rajahs of Sarawak, Badjao gypsy electro to distilling the scents of cities, his projects attempt to tease out propositions and alternatives, through off-tangents and fuzzy juxtapositions, aimed at new knowledge production.
Merv Espina是生活於馬尼拉大都 會奎松市的藝術家兼研究員。其 實踐涉獵流動影像、聲音、行為 與文本，從中把玩文化機構的失 誤、當代史料編篡的過失，以及 隱含於文獻庫內的種種焦慮。他 的興趣範圍跨越思想、影像、聲 音、香料的半衰期及遷移，並探 討它們有時如何成為特定場所與 文化景觀不可或缺的組成部分。
從六十年代馬來西亞及新加坡流 行樂到民族國家的衰退、間諜活 動到沙撈越的白人王公、巴瑤族 吉普賽電子音樂到城市的氣味， 他的項目旨在從模稜兩可的離題 討論中梳理出非主流的方案，從 而引導嶄新的知識生產模式。
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, 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 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。
Kulagu Tu Buvongan
Kulagu Tu Buvongan is a collective focused on environmental justice and sonic ethnography of the nature and the peoples of the Pantaron Mountain Range in the Central Cordillera region of Mindanao, Philippines. The collective’s name roughly translates to ‘Kulagu of the Mountains’. Kulagu is a bird, sacred to the Ata-Manobo and Tinananun peoples endemic to this region. Composed of indigenous and non-indigenous members, the collective aims to raise awareness of the ongoing struggle to preserve the Pantaron habitat and its stewards through its projects.
Kulagu Tu Buvongan為一團體， 專注於環保公義，以及菲律賓 棉蘭老島科迪勒拉行政區帕塔倫 山脈的聲音民族誌。團體名稱大 致意為「山上的聖鳥」（ kulagu 為一種該地區土生、對於 AtaManobo 及 Tinananun 族人有神 聖意義的鳥類）。團體成員包括 原住民及非原住民，其項目旨在 關注保護帕塔倫生態環境過程中 的持續鬥爭。
Billy HC Kwok 郭浩忠 Billy HC Kwok tells stories through photography. He worked in the media industry before pursuing a career in photography. He has travelled back and forth between Hong Kong and Taiwan since 2015, and has worked as a photographer for various international media. The images he makes reveal rapid shifts in the geopolitical relationships and various forms of power structures present in China and its neighbouring region.
郭浩忠通過攝影述說各種故事。
在專職從事攝影之前，他曾服務 於媒體圈。自 2015 年起，他往返 於香港和台灣之間，為多家國際 媒體拍攝故事。他拍攝的圖像揭 示了中國及其周邊地區不斷迅速 改變的地緣政治關係和各種形式 的權力結構。
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. In her moving image practice, she is a materialist interested in humanmachine co-agency. She prefers an anthropological reading of art and cinema, drawing from speculative theories. Most of her works, whether video or installation, are historiographic experiments that examine narrativity. She has had her video art retrospectives at C3A, Cordoba (2021); 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 founded the new-media-based Writing Machine Collective in 2004. 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 multiple issues of the D-Normal/V-Essay online video zine (2020 – present), a winner of Ars Electronica’s ‘State of the ART(ist) 2022’. She was the Hong Kong Arts Development Council Artist of the Year in Media Art 2017. After 25 years of research, teaching, and curriculum leadership at the City University of Hong Kong’s School of Creative Media, she is now an independent scholar.
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，並 以唯物法為依歸進行創作，對電 影和藝術的研究強調人類學和思 辨哲學的理念資源。她的創作， 無論是錄像創作或裝置藝術，都 離不開歷史書寫的實驗以至敘述 的探索。她的錄像作品個人回顧 展曾於西班牙科爾多瓦當代藝術 館（ 2021 年）、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）舉行；作品也由上海 當代藝術博物館以及香港 M+ 博 物館收藏。她是文字機器創作集 的創辦人。 2015 年發起的「據 點。句點」是她的參與性藝術的 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》網上影像雜誌 （ 2020 年至今），後者為奧地利 《電子藝術節》的「藝術（家） 最先進狀態 2022」得獎者。她是 2017 年香港藝術發展局年度媒體 藝術家，於香港城市大學創意媒 體學院從事教學與研究 25 年，現 為自由身學者及藝術家。
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 Japan, Kenya, Taiwan, Bangladesh, mainland China, the United States, France, and Canada. 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
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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 年日本瀨戶內三年 展、，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。她於 2017 年獲香港 民政事務局局長嘉許計劃畫嘉 獎。 2010 年，《 Perspective 》 雜誌將她列為 40 位 40 歲以下傑 出人物。 2006 年，她獲得了亞 洲文化協會的 Desiree and Hans Michael Jebsen 獎。
Leung Chi Wo 梁志和
Leung Chi Wo uses photography, texts, found objects, performance, and installation to combine historical exploration with conceptual inquiry, to reinforce our doubts about memory, power systems, and the ambivalence of history. By synthesising and collecting vintage objects, archival materials, and images, Leung juxtaposes quotidian events with parallel moments of political instability. His research-based practice often addresses the fissures and ambiguities existing within historiography, and proposes that history is written by those in power. His recent research has focused on the colonial history and postcolonial reality of Hong Kong. In 2001, Leung Chi Wo together with his long-time collaborator Sara Wong represented Hong Kong for its inaugural participation in the Venice Biennale. He is also one of the co-founders of Para Site, one of Hong Kong’s longest standing independent art institutions founded in 1996.
梁志和透過攝影、文字、現成 物、行為及裝置，融合歷史資料 搜集及概念化的探究，驅使我們 對記憶、權力體系和歷史矛盾產 生懷疑。他收集和拼合現成舊 物、檔案資料和影像，從而將微 不足道的日常事件與政治事件並 列和對照。他的研究式創作時常 關注歷史編纂學中的裂隙與曖昧 性。對梁氏來說，歷史總是由當 權者所書寫的。他近期的研究和 創作以香港殖民歷史及後殖民現 實為重點。 2001 年，梁志和與他 的長期拍檔黃志恒代表香港參加 威尼斯雙年展，作為香港館於威 尼斯雙年展的首次呈現。此外， 梁氏亦於 1996 年共同創立了香港 存在時間最長的獨立藝術機構 Para Site。
Ghislaine Leung 梁芝蘭
Ghislaine Leung is a 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 published a book titled Partners (Cell Project Space, 2018), with a new title Bosses (Divided Publishing, 2023) forthcoming.
梁芝蘭是一位居於倫敦的觀念藝 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 一本書是《 Partners 》（ 2018 年 由 Cell Project Space 出版）， 新書《 Bosses 》將於 2023 年由 Divided Publishing 出版。
Berenice Olmedo
Berenice Olmedo is known for her sculptures and kinetic objects, which she often integrates with prostheses and orthotics. Her fusions of body parts challenge the notion of human wholeness and draw attention to the political dimensions of disability, illness, and care. The artist engages with standardised expectations of our bodies and explores the extent to which external aids are essential to human existence. By reusing forms and materials from the medical field, she challenges the pursuit of efficiency and seamless perfection in favour of a more physical, political, and existential contemporary experience. Her works have been exhibited at the Kunsthalle Basel (2022); ICA Boston (2022); the TEA Tenerife Espacio de las Artes, Candelaria (2022); Riga International Biennial (2020); Museum für moderne Kunst, Frankfurt (2021); and the Museo Tamayo, Mexico City (2020).
Berenice Olmedo 以其雕塑及動 態作品著稱，並時常於創作中融
入義肢及矯正學元素。她透過融 合不同的身體部位，對人體完整 性的概念作出挑釁，並誘導觀者 關注傷健、疾病以及看護的政 治。藝術家以我們對身體的常規 預期為參照，進一步探索外在輔 助設施對於人身存在的重要性。 她在重複使用醫療器具與物料的 過程中，挑戰着社會對於效率及 完美的追求，從而提倡一種更注 重身體、政治及存在感的當下體 驗。其作品曾於巴塞爾美術館 （ 2022
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.
年）、波士頓當代藝術
機構（ 2022 年）、聽那臘飛島 藝術空間（ 2022 年）、法蘭克 福現代藝術博物館（ 2021 年） 以及墨西哥城塔瑪約博物館 （ 2020 年）展出。
Nibha Sikander
Nibha Sikander employs a self-taught paper-cut technique to create intricate, layered objects, in both abstract and lifelike forms, often inspired by insects. Her interest in these mystic critters stems from her childhood memories and family history, as her ancestral homes were in the Maharashtra’s Raigad district in India, surrounded by nature. In 2019, Sikander presented her first solo exhibition at TARQ, Mumbai. She has been part of several group exhibitions, including at the Jehangir Nicholson Art Foundation, Mumbai (2023); Kiran Nadar Museum of Art, Noida (2022); and the Whitworth, Manchester (2017–18). She has taken part in artist residencies around India).
Nibha Sikander 是一位以自創的 剪紙方式創作出細緻、層疊的紙 雕塑的印度藝術家，她受昆蟲啟 發的作品既抽象又栩栩如生。她 對這些小生命的興趣可以追溯至 童年在老家馬哈拉施特拉邦賴加 德縣度過的時光，此處被大自然 所環抱，對她有潛移默化的影 響。 2019 年，她於孟買 TARQ 藝 術空間舉辦了首次個人展覽。她 曾於多間機構參與聯展，包括孟 買 Jehangir Nicholson 藝術基金 會（ 2023 年）、諾伊達 Kiran Nadar 藝術博物館（ 2022 年）、 以及曼徹斯特大學美術館（ 2017 至 2018 ）。她曾參與許多位於印 度的藝術家駐留計劃。
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
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》。
Takis
Panayiotis Vassilakis (1925 –2019), also known as Takis, spent more than seventy years expanding the understanding of art, and taking it into domains previously belonging to experimental physicists. A leading figure in the kinetic art movement of the 1960s, he made sculptures, paintings, performances, and sound works incorporating invisible forces as a fourth dimension— especially magnetics, his lifelong subject. He drew on technological discoveries, ancient philosophy, and Zen Buddhism to develop unique and oftentimes mystical forms embodying time, space, and energy. Takis was an autodidact and self-professed ‘instinctive scholar’, and served as a researcher at the Massachusetts Institute of Technology in 1969. The same year, he co-founded the Art Workers’ Coalition in New York, pushing for more artist’s rights and diversity in museums. Until his death, the artist headed the Takis K.E.T.E., a research centre for the arts in Athens. Takis has participated in numerous international exhibitions, including Documenta in Kassel (1977 and 2017); the Venice Biennale (1995); and the Paris Biennale (1985). His work was featured in important solo exhibitions at Tate Modern, London (2019); Palais de Tokyo, Paris (2015); and the Menil Collection, Houston (2015). His works are in the collections of the Centre Pompidou, Paris; the Museum of Modern Art, New York; the Solomon R. Guggenheim Museum, New York; the Menil Collection, Houston; Tate, London; and Peggy Guggenheim Collection, Venice. Panayiotis Vassilakis （生於 1925年；卒於2019年），又名塔 基斯，花了逾七十年時間將藝術 實踐拓展至原本屬於實驗物理學 的範疇。身為 1960 年代動態藝術 的先鋒，他慣於將無形的作用 力——尤其是他畢生致力研究的
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磁力——融入到雕塑、繪畫、行 為與聲音作品當中。他自科技發 現、古老哲學及禪宗汲取靈感， 發展出別樹一幟、充滿神秘感的 作品型態，為時間、空間及能量 賦予實體。塔基斯是一名自學者 並自稱「本能學者」， 1969 年麻 省理工學院邀請他擔任研究員。 同年，他於紐約參與創辦了藝術 工作者聯盟，促進博物館內的藝 術家權益以及多元性。塔基斯生 前為雅典「塔基斯 K.E.T.E. 」藝 術研究中心的領導人。塔基斯世 界各地參與展覽，包括德國卡素
文獻展（1977及2017年）、威尼 斯雙年展（ 1995 年）及巴黎雙年 展（ 1985 年）。他亦曾於倫敦泰 特現代藝術館（ 2019 年）、巴黎 東京宮（ 2015 年）以及休斯頓曼 尼爾收藏館（ 2015 年）舉辦個人 展覽。其作品被收藏於巴黎龐比 度中心、紐約現代藝術博物館、 紐約古根漢美術館、休斯頓曼尼 爾收藏館、倫敦泰特藝術館以及 威尼斯佩姬．古根漢美術館。
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。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、移動影像、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。
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.or g。 《叉電報》是她和一眾朋友為 「瞬息 signals 」展覽而創 作的延伸讀物。
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); PHOTOFAIRS, San Francisco (2018); Centre for Heritage, Arts and Textile, Hong Kong (2018); Para Site, Hong Kong (2018); LOOK/17 Liverpool International Photography Festival (2017); and Museum Folkwang, Essen (2015). 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).
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）、香港藝 術中心（ 2019 年）、三藩市現 代藝術博物館（ 2018 年）、三
藩市PHOTOFAIRS（2018年）、 香港六廠紡織文化藝術館
（2018年）、Para Site藝術空間 （ 2018 年）、英國利物浦國際攝 影節( 2017 年)、德國 Museum Folkwang 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)。
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何兆南的藝術創作始於攝影， 並持續發展至行為、繪畫及混
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 … here and there 瞬息 彼／此
8.12 – 9.29.2023
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
Feng Yau 馮優
Catalogue Print and Production 場刊印刷製作
Allion Printing Co., Ltd
雅聯印刷有限公司
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
Ethan Joshua Luk 陸浩弘
HG Masters
Maxwell Graham Gallery
Georgia Messervy
Masahiro Nakamura
Izumi Nakayama
Ngai Long Hin 倪朗軒
Ng Kai Fung 吳啟峰
Ng Sing Yiu Stanley 伍昇耀
Bill Nguyen
Paredon Records
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
Additional Support for ‘signals ... here and there’ 「瞬息 彼／此」
協力贊助 Dina Shin 申睿智 Dayea Yeon 延黛叶
Logistics Partner 物流贊助
Alongside artist fees to all participating artists, Para Site is offering medical and dental 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 供醫療和牙科津貼。
Special thanks to all the artists, as well as 特別鳴謝各位藝術家，以及
Aaron d’Aquino 杜卓璣
Hena Agarwal
Khyam Allami
Antares
Arrow Factory 箭廠空間
Shane & Keri Aspegren
Bartolome III
Blindspot Gallery 刺點畫廊
Cabinet Gallery
André Chan 陳子澂
Chan Ching Man 陳正文
Chan Hon Lam 陳翰琳
Chan Lai Ki June 陳麗琦
Chan Lok Hin 陳樂軒
Siriwan Chan 陳穎琳
Kelvin Cheng 鄭耀曦
Julee Chung
Chung Yen Chak 鍾昕澤
Commonwealth and Council
Cosmin Costinas 康喆明
Barbara Dane
Deng Peiyuan 鄧培原
Özge Ersoy
Faina Derman
Fondazione between Art/Film
Qu Chang 瞿暢
Carsten Recksik
Alice Rensy
Rodeo London/Piraeus
Sandugo
Angge Santos
Shen Chen 沈宸
Paola Sinisterra
So Ho Man 蘇浩文
John Tain 譚鴻鈞
Tang Hoi Ying 鄧海盈
Vincent Keane Tang
TARQ
Tom Chung Man 譚頌汶
TOY Meets Art
Gan Uyeda
Wang Weiwei 王慰慰
Wang Xindi 王新迪
White Cube Gallery 白立方畫廊
WHITE SPACE 空白空間
Wong Ka Ho 王嘉豪
Michelle Wong 黃湲婷
Cici Wu 武雨濛
Wu Lok Hang 胡樂行
X Museum X 美術館
Trevor Yeung 楊沛鏗
Yang Hao 楊浩
Yang Tian 楊添
Yip Kin Bong 葉建邦
Iris Zhu Sicong 朱思聰
PARA SITE TEAM
PARA SITE 團隊
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
Doris Poon 潘韻怡 Exhibition Manager 展覽經理
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
Virginia Yee
Ethan Yip
FOUNDING FRIENDS 始創好友
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
Lawrence Chu & Natalie
Chan Chu
Jane DeBevoise
Yan Du
Jacobo Garcia Gil
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
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 the 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 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
Stella Fong 方詠甄
François Ghebaly
Galerie Isabella Bortolozzi
gb agency, Paris
Alexandre Goffin
Andrew Goodhouse
Inti Guerrero
Zong Han 韓縱
Hey Heung 向梓晞
Christopher K. Ho 何恩懷
Daniel Szehin Ho 何思衍
Amanda Hon 韓宛筠
Scarlett Sijia Huang 黃思嘉
Fei Hung
Michelle Yeonho Hyun 玄蓮昊
Jan Kaps, Cologne
Katribu
Sylvia Kouvali
Lan Xin 蘭星
Esther Lau
Herman Lau 劉志鏗
Lau Wai 劉衛
Alysha Lee
Ken Leong
Li Jinghu 李景湖
Marlene Lieu 呂瑪琳
Elaine Lin 林亦凌
Lin On Yeung 連安洋
Kara Liu 廖幗賢
Kel Lok Man Chung 駱敏聰
Luk Chun Wang 陸俊宏
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
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
ShanghART
Angelle Siyang-Le
Tabula Rasa Gallery
Bonnie & Darrin Woo
Dayea Yeon
Kelly Yip
CONTACT 聯絡我們
www.para-site.art
22/F, Wing Wah Industrial
Building, 677 King’s Road, Quarry Bay, Hong Kong
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
香港鰂魚涌英皇道 677
榮華工業大廈 22 樓
號
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
