Soft breath
We are very honoured to present ‘Soft breath’, Trevor Yeung’s rst solo exhibition at Para Site, co-commissioned in partnership with Gasworks, London; and Aranya Art Center, Qinhuangdao. Taking queer experiences that have shaped multi-species entanglements as a starting point, ‘Soft breath’ evokes the uid interplay between night and day, public and private life, and hidden and visible ritualistic desires of our cities.
Following ‘Soft ground’
presented at Gasworks in 2023, the artist continues to expand on his new thematic directions. With a focus on mechanisms that govern and sustain life, Yeung often draws inspiration from botanic ecology and aquaculture. His experimental practice incorporates a diverse world of natural and arti cial environments found in daily life including sh tanks, underground saunas, museological displays, gardens, and public parks. In the artist’s meticulously arranged installations, plants have often served as a medium to explore notions of normativity and control. At the centre of this exhibition is a life-size replica of the Fuck Tree an oak tree crucial to the existence of a historic cruising area in London’s Hampstead Heath.
Within the seclusion of a woodland clearing, the original the Fuck Tree is an infamous natural landmark for nocturnal gatherings. Di ering from the other trees of this ancient heath,
the tree has cultivated a particularly intimate relationship with humans since the nineteenth century. The bark of this ageing tree has been gradually worn down and polished by the friction of numerous human bodies over time. A large portion of the trunk lies almost horizontal to the ground at a convenient height of the waist. The torso-like tree trunk contorts in a reclining position, before an abrupt 45-degree upturn to the canopy.
Using 3D scanning techniques, every detail of the tree’s distinctive features has been meticulously captured and cast into an exact 1:1 scale replica made of soap. This deliberate choice of material foregrounds the tree as an object that can be consumed or left to degrade over time, adding to the sculpture a sense of impermanence and transience. The tree permeates the 10/B annex space with its fragrance, a unique blend of musk, soil, moss, and wood. As Yeung contemplates the precarious health and uncertain future of the tree, he employs light and scent as guiding elements to arouse the natural monument’s memory.
As the project evolves to its present iteration at Para Site, ‘Soft breath’ sees Yeung reinterpret the sculpture in dialogue with the traditional ‘wishing tree’ native to the New Territories in Hong Kong. In Lam Tsuen, four wishing trees stand devoted to aspirations connected to material wealth, academic success, career productivity, and marriage. Wishes written on joss paper are tied to an orange
and thrown on the trees with the belief that if the paper successfully hangs onto a branch, these desires will be ful lled. Breaking from tradition, the most recently anointed tree is manufactured entirely from plastic, serving as a substitute for earlier incarnations that succumbed to a combination of natural disasters, poor health, and the accumulative pressure of local aspirations their branches broken by the weight of too many wishes.
Playing with this seriality, Yeung proposes a new wishing tree one that serves more broadly as a vessel for the collective desires of Hong Kong. The walls and ceiling of the gallery surrounding the sculpture is painted in gradients to evoke the melancholic atmosphere of the woodlands in the moments just before sunrise. In this darkened theatrical setting, Yeung o ers a stage to consider desire on the fringes of society, set against a backdrop where the future of embattled public spaces is de ned by struggles related to a city’s changing self-image.
Within this liminal space, identity bound to traditional beliefs and kinship to other normative social structures start to disperse. To move viewers away from passive observation, Yeung has choreographed the space around the sculpture using discreetly placed objects, aromas, seating, and other elements scattered on the soft oor surface to elicit di erent emotions and
responses. By emphasising the ambiguity and vulnerability associated with these private moments of change, the artist encourages a deeper exploration of identity, connection, and transformation within both personal and collective contexts. Seeking to intensify a moment of psychic obscurity— a sensation often experienced in secluded spaces of removed intimacy and during the shift from one persona to another Yeung's work provides a quiet sanctuary for viewers to engage with this transition.
‘Soft breath’ is organised by Billy Tang in collaboration with Jessie Kwok and Doris Poon.
我們十分榮幸呈獻楊沛鏗於 Para Site 藝術空間 的首場個展「微息」，與倫敦 Gasworks 藝術空 間以及秦皇島阿那亞藝術中心聯合委託製作。 展覽受多物種聯繫以及塑造它們的酷兒經歷啟 發，游弋於日與夜、公共與私人生活，以及隱 蔽與袒露的儀式性都市情慾之間。
繼 2023 年於倫敦 Gasworks 藝術 空間展覽「Soft ground 」，藝術家進一步拓展 其創作方向。楊氏著眼於支配並維繫生命的機 制，時常自植物生態及水族飼養汲取靈感，他 實驗性的創作方式涉及多類型常見的自然與人 工場域，包括魚缸、地下桑拿、博物館、花園 及公園。在藝術家別出心裁的裝置裏，植物成 為媒介，剖白出人際關係中的規範與掌控。橫 臥於展覽中央的「啪啪樹」為一棵橡樹樹幹實 際尺寸的複製品——這棵樹在倫敦漢普斯特德 荒野（Hampstead Heath）見證了當地同性巡 行尋歡勝地的歷史。
位於林間空地的隱密處，這棵樹是 人們夜間密會的天然地標。與生長於同一荒 野的其他樹不同，這棵「啪啪樹」與人類的不 解之緣可以追溯到十九世紀。上了年紀的樹皮， 在無數胴體的反覆摩擦下逐漸磨蝕，變得光 滑。其中一截樹幹更幾乎與地面平行，恰恰 與成人腰部同高。這截樹幹傾斜扭曲，仿若 躺倒的軀體，又戛然以四十五度角再次向樹冠 伸展。
藝術家運用立體掃描技術，一絲不 苟地再現樹幹的原貌，以肥皂塑造出一比一的 複製品。刻意選擇這個材料，提醒觀者樹木作 為物件，本身會隨時間流逝而消耗、腐朽的特 質，如同肥皂，寄予作品無常、稍縱即逝的寓 意。混合麝香、土壤、青苔以及木材的獨特幽 香，瀰漫整個十樓 B 室的擴建空間。楊氏藉助 光線與氣味，喚醒人們對於這座天然紀念碑的 記憶，思索這棵樹堪憂的安危與前途。
「微息」於 Para Site 的呈現重新詮
釋了參展作品，將香港新界的許願樹傳統代入 展覽對話。在大埔林村有四棵保佑財富、學 業、事業與婚姻的許願樹。人們將願望寫於寶 牒，繫在橙子的一端，拋上許願樹，祈求願望 成真。但是，最近一棵被封為「許願樹」的是 一棵塑膠樹，其前身因自然災害、疾病及不斷 累積的寶牒而塌斷——許願樹的主枝幹終於因 人們過於熱切的願望而不勝重負。
楊氏串聯這些故事，想像出另一棵 許願樹——一棵足以承載香港集體欲望的許願 樹。展廳牆身及天花的漸層暈染漆還原了林地 破曉前幽靜的氛圍。在此充滿戲劇張力的昏暗 場景中，楊氏將遊走於社會邊緣的欲求請上了 舞台，在公共空間如臨深淵的背景下，爬梳在 滄海桑田的都會自我映像中所受到的牽制。
與傳統信仰結合的身分認同、與其 他標準社會結構密不可分的親緣關係，在展 廳閾限空間內逐漸失焦。為了誘導觀者擺脫被 動的觀展模式，楊氏精心設計了雕塑四周的空 間，在柔軟的地板上謹慎地佈置了物件、香 氣、座席等元素，讓觀者得以從作品中感受到 各種情感，或產生共鳴。透過強調在這些轉變 之中，個人觀感的曖昧與脆弱，藝術家鼓勵觀 眾更加深入地探詢自身及群體的身份認同、連 結和轉化。楊氏的作品嘗試將精神上的模糊地 帶放大，讓觀者在靜謐的庇護所中體會這樣的 轉變，這往往是在僻靜的場合或是人格之間的 轉換，會感受到的一種有隔閡的親密氛圍。 「微息」由曾明俊策劃，郭芷凝、潘 韻怡協作。
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Fornoreasonatall—as the world’s most repeated lie would have us believe—I found myself waking up on the first day of Lunar New Year in a hotel coincidentally located between my childhood home, which I haven’t visited in 25 years, and the Lam Tsuen Wishing Tree, a place I would hear about each Lunar New Year in Hong Kong but never had the chance to see. I thought I had a plan, but at the last moment, I chose the unfamiliar platform on the East Rail line, venturing onto a route I had never before taken. The distance between stops on this part of the train line is far enough to make you think, ‘Oh shit,’ if you miss your station. I almost went ohshit until the Citymapper app reassured me there was a connecting bus to Lam Tsuen at the next stop.
1 GertrudeStein, Tender Buttons, 1914.
The better thing to say, as Gertrude Stein already did, is ‘in the morning there is meaning’ 1. On the bus ride to the village, I pictured the way I will make my life meaningful again: I will spend red packet money from grandma on a plastic tangerine; I will pray to the tangerine for a ceremonious and accomplishable wish; I will be my most earnest self submitting my hopes and dreams to the tree. It will make me feel connected to culture, to heritage, to community, to life, to something.
Once a year, Lam Tsuen comes alive: a festival ground filled with shiny, kaleidoscopic rows of windmills and paper offerings for good fortune, songs and dance, and a food market. All these
attractions are centred around the village temple and the two—now ‘four’—trees that are said to be good for luck. On the first day of the Lunar New Year, the eponymous Wishing Tree was mostly surrounded by children, eagerly throwing their plastic tangerines onto its ersatz, rootless body. The legend dictates that your wish will only be considered if your tangerine charm catches and hangs from a branch. While I wasn’t familiar with all the rules, it seemed like there was no limit to the number of attempts one was allowed. (I am not sure if any god that denies the feebleness of children is worth worshipping.) Making a wish this way appeared simple to follow and difficult to achieve. A village committee staff member roamed the area to gather wishes that had fallen to the ground, forgotten, or unclaimed.
2 In 1982 the artist Jenny Holzer made a text work that was displayed on a large electronic sign at the busy intersection in Times Square, it simply said, ‘protect me from what I want.’
Maybe the adults let their kids do this because as an adult, you start to think about things like, ‘Do I make a wish that has a chance of coming true, or do I make a wish that runs with my wildest imagination?’ There is a Chinese saying: Your wish will come true as long as you are sincere. Jenny Holzer says, ‘Protect me from what I want.’ 2 On some days, my only wish is a text from my crush. But then they do text me, and then I would have to reply, and then I would wish they hadn’t texted me in the first place. Mostly, I go around asking whether it is more realistic—within
our lifetime—to abolish borders or to abolish intellectual property. I keep the act of wishing to myself, because I am afraid of being punished for not wanting what everyone else wants.
Every year around this time, the local news becomes obsessed with the queue at the Wong Tai Sin Temple. Being the first in line—the first of 7.4 million people, plus whatever number of tourists the government makes up—to make a wish at the precise moment the Lunar New Year begins is coveted for the belief that dedication will yield its proportionate potential for blessings that change lives. In comparison, the pedestrian chaos of the Wishing Tree appears far more democratic—an even stranger term to associate with the anachronistic, patrilineal land rights of indigenous villages that awkwardly testifies against the mythical benign neglect of colonial rule. But I suspect it is in the interest of the majority that historical justifications must come to an end somewhere for how things came to be in the New Territories.
Before the Wishing Tree tradition took hold in Lam Tsuen, a rural administrative district (heung) of Punti villages scattered across the valley since the Song dynasty, two giant camphor trees in Fong Ma Po village had been enshrined and worshipped by the villagers to ask for protection by the deity Pak Kung. The camphor tree became the Wishing Tree during the Qing dynasty when it was given credit for answering a father’s prayer
for his son’s academic success. Local lore became legend; people from near and far tried their devotion by writing their wish on a piece of joss paper tied to an orange and submitting the token of prayer to the tree: the higher it hangs, the closer to divinity. When the camphor tree died from a fire one year, a bauhinia tree grew in its place. In the Lunar New Year of 1998, the bauhinia tree, too, was burned down, from the burning of paper offerings nearby.
‘No more wish-throwing,’ the government said as the Year of the Monkey gave way to the Year of the Rooster in 2005. The branches of the bauhinia tree had already been hollowed out by termites and fungal infections and had fallen under the weight of its collective burden and injured two visitors. There are more laws to regulate the non-fungibility of temples, the zoning of village properties, the minutes-taking of the District Council Working Group on Boosting Local Economy, the insurance policy for performance stages on festival grounds, the expanding bus lines, and the supply of artificial hearts and plastic roses than there are for the rights of living trees.
3 Viktor Shklovsky, ‘Art as Technique’, 1917.
‘And so life is reckoned as nothing,’ according to Viktor Shkolvsky. ‘And art exists so that one may recover the sensation of life; it exists to make one feel things, to make the stone stony.’ 3 Do the trees make the wishing closer to truth-making or does the wishing make the trees more palpable as trees? In 2009, the village
committee commissioned a plastic tree from Guangzhou to continue the line of replacement tree succession that marks the heritage of the village. Instead of using real oranges, visitors to the New Year festival must now purchase plastic tangerines from dedicated vendors at the festival grounds.
For years, the original, larger banyan tree at the village gate was anointed for prayers concerning personal prosperity, while its twin located further inside the village was entrusted with bringing good luck in marriage and family life. The new tree would answer for anything. In spite of the artificial appearance of the verdant plastic material, the plastification of the wish-making ritual felt befitting of an accelerationist evolution, like switching to digital payments for red packets is more likely to save time or save face than to save the environment. If according to science, plastic never truly decomposes or integrates into the earth, then the concept of a plastic deity can even approach romantic in the way romance hinges on a fiction of the forever and a hollowing of time—the way we can forgive the idiocy of a lover but not the naivety of an idealist. In the foundational lores of this city, Hong Kong billionaire Li Ka Shing’s early self-made wealth from his plastic flowers manufacturing is suspended as a singular mould cast in the Sisyphean language of hard work. Meanwhile the vanished archives of the working class movements 4 and forsaken factories 5—histories that might actually have something more
4 When Connie Lo Yan Wai, filmmaker of the documentary Vanished Archives(2017), began to do research on the 1967 riots, she found that much of the historical records during that period had disappeared from the government archives.
5 The 1950s and 1960s saw the booming of Hong Kong’s plastic industry. With the rising cost of land and labour in Hong Kong and Open Door Policy in the 1980s, the production of plastic goods moved to mainland China.
meaningful to say about the collective labour of maintenance—are defenceless as spectres of their own gutted survival. As for a better future, the burden of proof always falls on the futile ‘plastic left’, but never the excess of plastic neoliberals. Instead of participating in the wish-making economy, I called my dad in California. Wondering for the first time in my life, I asked him why our family always saves the big family lunch for the second rather than on the first day of Lunar New Year. ‘It’s just the way it always has been,’ he said. ‘You spend the first day with the people closest to you, and then you look for other people to celebrate with on the second day.’ What I heard was youmake sureyoumakeitthroughthefirstday . I didn’t end up visiting my childhood home that day as I had wished to all along. Back in my current home, I spent the rest of the Lunar New Year holiday watching the TV adaptation of Sakaomi Yuzaki’s manga series She LovestoCook,andSheLovestoEat . Two neighbours, Nomoto and Kasuga, became friends because Nomoto loves to cook and Kasuga loves to eat. One day, they make temaki together at home, which, according
to Kasuga’s hometown ritual, they are supposed to eat together in silence facing the direction of sunrise as they make a wish in silence. The silence is broken when Nomoto becomes desperate to express herself. Once the silence has been broken, Nomoto decides she might as well ask:
‘What did you wish for?’ ‘Health and longevity, for you and me,’ Kasuga says. She just couldn’t help herself.
大年初一的早上，我無緣無故在碰巧座落於兒 時住所和大埔林村許願樹之間的一家酒店醒 來。「無緣無故」也許是世上最常用又令人屈 服的謊言。我已經有二十五年沒有重訪出生後 的第一個家。每逢農曆新年總會聽人談論許願 樹，但我從來沒有祈福的緣由。在東鐵線的兩 個月台之間，我本以為心裏已經有所計劃，卻 在最後一刻跳上以前沒有去過的方向。東鐵線 這一段，站與站之間的距離的那種遠，一不留 神坐過了站，心裏便會暗自不妙大叫「該死」。
我幾乎也叫了一聲「該死」，幸好根據 Citymapper 應用程式指示，在下一站也能坐上去 林村的巴士。
1 葛楚 · 史坦 （Gertrude Stein） 《軟鈕扣》，1914 年。
或者應如葛楚 · 史坦所 言：「早晨有的是意義。」1 在開往林
村的巴士上，我腦中比劃着即將為 生命重新注滿意義的步驟：用外婆給我的利是 （壓歲錢）買一套祈福寶牒，誠心地寫下一個不 失儀式感又可能實現的願望。拋寶牒的一刻， 我會成為最認真、最懇切的自己。我會感受到 和身邊一切的連結——家、傳承、社區、生活， 還有某些其它東西。
農曆新年的林村很熱鬧。許願節的 廣場到處是各式各樣金光閃閃的祈福風車和寶 牒。中午未到，舞台上的中年女人表演梅豔芳的 〈夢伴〉，邊跳邊唱又要帶動氣氛。旁邊還有美食 攤位，新年原來還能吃得到泰式串燒。一切環 繞着天后廟和兩棵——現在是「四棵」——許願 樹發生。年初一，人造而無根的那棵許願樹被一 群踴躍拋寶牒的小孩子包圍。相傳寶牒只有掛上 樹枝，願望才有機會被神明看見。我不太清楚 具體的規矩，但似乎拋寶牒的次數沒有限制（不 體諒孩童軟弱的神明或許也不值得託付）。如此 許願方式，看起來不難，實踐起來卻也不易。 村委會的職員在樹的四周徘徊，注意到墜落的 寶牒，便彎身逐一拾起那些已被遺忘或無人認 領的願望。
2 1982 年，藝術家珍妮 · 霍 爾澤（Jenny Holzer）創作 了一件文字作品，展示在紐 約時報廣場繁忙十字路口 的一個大型電子廣告看版 上，上面只寫着：「 Protect me from what I want。」
（別讓我要得太多。）
大人把拋寶牒的任務交給小孩，可能是因為成年 人會開始思考一些問題，例如：到底應該許一個 有可能成真的願望，還是一個 最天馬行空的願望？常言道： 心誠則靈。藝術家珍妮 · 霍爾 澤則道：「別讓我要得太多。」 2 有時候，我唯一渴望的是某 人發來一條短訊，然而收到短 訊的話就意味着我需要回覆， 這時候我倒寧願那人一開始就沒有給我發短訊。 更多時候，我向周圍的人提問：你認為，在我 們有生之年，廢除邊界還是廢除知識產權比較 現實？
每年這個時候，新聞報導都對黃大 仙廟的通宵隊伍特別感興趣。城市裏有七百多 萬人，加上政府公布的那些不可考的遊客數字， 可以從中爭取到頭炷香的位置是足以改變生命 的福分。相比之下，林村許願樹的平等無序居 然就顯得民主——雖然在這裏，這個字眼還是 顯得格格不入。從舊社會父權制度流傳的丁權 尷尬地指證着英國殖民時期中「善意的忽視」： 究竟是誰的善意和忽視了甚麼？但我懷疑對多數 人來說，追究新界歷史的因由還是適可而止。
自宋代以來散佈在大埔山谷中的村 落，後來組成了鄉，叫作林村。許願樹傳統盛 行之前，放馬莆的兩棵大樟樹就已經被村民供 奉，祈求平安和神明伯公的保佑。相傳清朝年 間，一名父親為兒子的學業到此拜過樟樹，後 來兒子果然得志，樟樹從此被稱為許願樹。當 地的軼事成為了傳奇；來自遠近各方的人們都 將願望寫下，並綁上一個橙，一扔把心願交 託給樹：寶牒掛得越高，便越接近神靈。有一 年，樟樹因火災而燒死，在同一位置上又長了 一棵洋紫荊。1998 年農曆新年，洋紫荊也被 燒毀。當時附近在焚燒紙供品。
猴年過去，到了雞年，政府於 2005 年表示：「夠了」，禁止人再拋寶牒。那時候洋
紫荊樹已經被白蟻和真菌感染掏空，樹枝無法 承受集體的重壓而崩斷，壓傷兩名到訪者。這 些年頭，法例多的是，規範着寺廟的獨特性、 鄉村的產權分配、區議會振興地方經濟工作 小組的會議記錄、節日場地演出舞台的保險條 文、為應付訪客而擴展的公共交通路線，以及 塑膠玫瑰和心型掛飾的供應鏈。沒有一條提到 活樹的權利。
「於是生命被視為虛無，」維克托 · 什 科夫斯基寫道。「藝術的存在是為了讓人找回 生活的感覺；它的存在是為了讓人們感受到事 物，讓石頭更像石頭。」 3 是樹木
3 維克托 · 什科夫斯基 （Victor Shklovsky） 《藝術作為技巧》， 1917 年。
使願望更接近真實，還是許願突 顯了樹木的本質？ 2009 年，林 村村委會在廣州委託人造了一棵 塑膠樹，「移植」到林村。替代的習慣也成為了 這條村傳承的文化遺產。今天，來許願的遊客可 以在廣場的攤檔購買塑膠寶牒，不再用真橙。
多年來，村口牌坊旁那棵較大的 榕樹被慣用來祈求個人前途、財運和身體健 康，姻緣和子嗣則靠村內較遠處的那棵。這棵 新來的塑膠樹也沒有說過有甚麼問題不輪到它 （TA）來解決。儘管翠綠的塑膠質料掩飾不了 人造的本質，但膠化的許願儀式也許應驗了加 速進化的年代。正如轉用電子利是，與其說是 保護地球，更多是為了節省時間或為了面子。 又如果，如科學定性了塑膠永遠不會真正完全 分解、融歸塵土，那麼供奉一名膠製的神靈甚 至可以是浪漫的——如果浪漫建基於虛構的永 恆和掏空的時間：我們願意原諒情人的愚笨， 但無法原諒理想主義者的天真。在這個命不該 絕的城市裏，李嘉誠白手興家，早期製造膠花 累積財富的故事被懸置成薛西弗斯式「多勞多 得」的語言、鑄成一個獨一無二的模具；而被 消失的工人運動檔案 4 和被遺棄的工廠 5 就像劫 後餘生的幽靈，毫無防禦能力。實際上，這些 為了維護而付出的勞動歷史也許比那些所謂成
4 紀錄片《消失的檔案》 (2017 年）製片人羅恩惠 研究六七暴動時，發現那 段時期的許多歷史記錄都 從政府檔案中消失了。
5 上世紀五十年代至六十年 代是香港塑膠業的繁榮時 期。隨着香港土地和勞動 成本上升以及 1980 年代的 開放門戶政策，塑膠製品 的生產轉移到中國大陸。
功的楷模更加有意義。至於 對更美好未來的想像，舉證的 責任總是落在徒勞無功的左膠 身上，氾濫的新自由主義卻總 是能全身而退。
做不成許願經濟的 一分子，我在樹下打電話給身 在加州的父親。我問他：「為 甚麼我們家總是留待初二才 開年？」他答道：「因為一直 以來都是這樣。」我再問：「為甚麼一直以來 都是這樣？」他說：「一般來說，初一是和身 邊的至親一起過的。過好了，初二再找其他人 慶祝。」當時我的理解是，先過好第一天再說。
那天，我沒有如願重訪當年住過的 屋苑。回到現在的家，我用餘下的假期追完改編 自遊佐季．坂尾見（暫譯；Yuzaki Sakaomi ） 同名漫畫的日劇《想做料理的她與愛吃美食的 她》。野本和春日是鄰居，一次晚飯後，喜歡做 飯的野本和胃口很好的春日成為了朋友。某天 她們相約在野本家做手卷，按照春日家鄉的習 俗，兩人在面朝太陽升起的方向許願並吃掉手 卷，整個過程最好盡量保持不語。一開始肅靜 的儀式感很快便被按捺不住的野本打破。既然 已經開了口，她便順勢問春日：「你許了甚麼 願？」春日說道：「健康長壽，我和你的。」她 情不自禁。
Trevor Yeung (b. 1988 in Guangdong; lives and works in Hong Kong) uses botanic ecology, horticulture, and aquarium systems as metaphors for emancipation from the expectations inherent in human relationships. Yeung draws inspiration from intimate and personal experiences, culminating in works that range from image-based works to large-scale installations. Yeung had his rst institutional solo exhibition in the United Kingdom, ‘Soft ground’, at Gasworks, London, in 2023. He was nominated for the Sigg Prize 2023. In 2024, Yeung will represent Hong Kong at the 60th Venice Biennale. Previously, he has participated in Singapore Biennale (2022); Kathmandu Triennale (2022); Lyon Biennale (2019); the 4th Dhaka Art Summit (2018); and the 10th Shanghai Biennale (2014). Yeung has also exhibited at M+, Hong Kong (2023); Blank Canvas, Penang (2023); Musée d’Art Moderne de Paris (2022); Tai Kwun Contemporary, Hong Kong (2022); Jameel Arts Centre, Dubai (2022); Para Site, Hong Kong (2020, 2018, 2017, 2015, 2014); Museum of Modern Art, Warsaw (2018); and OCAT, Shenzhen (2016).
楊沛鏗（1988 年生於廣東；現生活並工作於香港）以植物生態、園 藝及水族系統隱喻人與人之間的寄望，並從中尋求解放。由圖像至 大型裝置 , 楊氏自私密體驗中汲取靈感，發展其創作實踐。2023 年，他在倫敦 Gasworks 藝術空間舉行了他在英國的首場個展「Soft ground」，並成為該年希克獎的入圍藝術家之一。2024 年，楊 氏將代表香港參加第 60 屆威尼斯雙年展。他曾參與新加坡雙年 展（2022 年）、加德滿都三年展（2022 年）、里昂雙年展 (2019 年 )、 第四屆達卡藝術峰會（2022 年 ) 以及第十屆上海雙年展（2014 年 )。他亦曾於香港 M+（2023 年 )、 檳城 Blank Canvas（2023 年 )、巴黎現代藝術博物館（2022 年 )、香港大館 (2022 年 )、杜拜 Jameel Arts Centre（2022 年 )、香港 Para Site 藝術空間 (2020、 2018、2017、2015、2014 年 )、華沙現代藝術博物館 (2018 年 ) 以及深圳 OCT 當代藝術中心（2016 年 ) 參與展覽。
01–04
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。
Soft breath 微息
16.03–26.05.2024
Trevor Yeung 楊沛鏗
Curator 策展人
Billy Tang 曾明俊
Assistant Curator 助理策展人
Jessie Kwok 郭芷凝
Exhibition Manager 展覽經理
Doris Poon 潘韻怡
Assistant Exhibition Manager 助理展覽經理
Miki Hui 許彥彤
Graphic Design 平面設計
Fibi Kung 孔曉晴
Translation 翻譯
Jason Chen 陳子岳
Kelly Ma 馬元中
Supported by 贊助 Pamina Foundation
Thanks to 鳴謝
Blindspot Gallery 刺點畫廊
Co-commissioned in partnership with 聯合委託製作
Para Site would like to thank the artist and the following
Para Site 藝術空間感謝藝術家以及
Alessio Antoniolli
Arco Fine Art Framing Co.
藝高畫架公司
Johnny Au 歐健韋
Joel Austin
Aaron Cezar
Chan Ching Man 陳正文
Cheong Man Ha 張敏霞
Doryun Chong 鄭道鍊
Olivia Chow 周宛昀
Jaime Chu
Mimi Chun Mei-Lor 秦美娜
CPAK studio
Excellent Colour Ltd.
The Fuck Tree
Helen Gale
Galerie Allen
Sabel Gavaldon
Good Night
Ho Chi Wing 何知穎
Karen Hui 許嘉荍
Kopo Production
Alison Lai 黎祉寧
Jims Lam 林志恒
Lee Ho Ming 李浩銘
Lee Ka Wai 李嘉慧
Li Hiu Wa 李曉華
Kevin Ling 凌中雲
Lok Man Chung 駱敏聰
Magician Space 魔金石空間
Alberto Minello
Ng Kai Fung 吳啟峰
Clinton Pang 彭慆
Qu Kejie 曲科傑
Tom Chung Man 譚頌汶
TR Concept and Visual Atelier
Salma Tuqan
Rosa Tyhurst
Alice Wang 王小丫
Esme Wong 王楚怡
Joyce Wong 黃熙婷
Xiao Wenyan 蕭文衍
Yip Kin Bon 葉建邦
Recia Yu 余健雄
Yun Hok Lun 甄學倫
Eleni Zachariou
Damien Zhang 張震中
Para Site Art Space is nancially 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, ndings, conclusions or recommendations expressed in the materials/activities (or by members of the Para Site team) are those of the organiser(s) of the exhibition only and do not re ect 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 轄下計劃小組成員）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。
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
Jessie Kwok 郭芷凝 Assistant Curator 助理策展人
Doris Poon 潘韻怡
Exhibition Manager 展覽經理
Miki Hui 許彥彤
Assistant Exhibition Manager 助理展覽經理
Jason Chen 陳子岳 Communications Manager 傳訊經理
Holly Leung 梁皓涵 Gallery Manager 畫廊經理
Lynna Lam 林珊
Development Intern 發展部實習生*
* 2023/24 Arts Talents Internship Matching Programme supported by the Hong Kong Arts Development Council 藝術人才見習配對計劃2023/24由香港藝術發展局資助
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
Sara Wong Chi Hang 黃志恒
Secretary 秘書
Nick Adamus
Shane Akeroyd 安定山
Bonnie Chan Woo Tak Chi 胡陳德姿
Dr. Yeewan Koon 官綺雲博士
Alan Y Lo 羅揚傑
Adeline Ooi 黃雅君
Federico Tan 陳奕明
Honus Tandijono 陳松正
Yuki Terase 寺瀨由紀
Young Kar Fai Samson 楊嘉輝
Global Council 環球協會
Shane Akeroyd
Mimi Brown & Alp Ercil
Jehan Chu
Mimi Chun & Chris Gradel
M Art Foundation
Dina Shin
Virginia Yee
Founding Friends 始創好友
Stephen Cheng
COLLECTIVE Studio
David Zwirner Gallery
Alan Lau
Wendy Lee
Edouard & Lorraine Malingue
Schoeni Projects
SUNPRIDE FOUNDATION
Yuki Terase
Friends 好友
A Pipeline
Almine Rech Gallery
Nick & Cordula Adamus-Voegtle
Nicolas & Delphine Canard-Moreau
Lawrence Chu & Natalie Chan Chu
Jane DeBevoise
Yan Du
Hawk He
Reimi Imaizumi
Jina Lee & Jae Won Chang
Je Li & Chuanwoei Lim
Lisson Gallery
Alan Lo
Kai-Yin Lo
Ingrid Lok & Tim Li
Magician Space
Elaine W. Ng
Justin Ng
Stefan Rihs
Fabio Rossi
Roman Ruan & Freda Yang
Angelle Siyang-Le
Tabula Rasa Gallery
Bonnie & Darrin Woo
Dayea Yeon
Contact 聯絡我們
www.para-site.art
22/F & 10B, Wing Wah Industrial Building, 677 King’s Road, Quarry Bay, Hong Kong
香港鰂魚涌英皇道 677 號榮華工業大廈 22 樓及 10 樓 B 室
t. +852 25174620
e. info@para-site.art
Wednesday to Sunday, 12:00–19:00
Closed on Monday, Tuesday, and Public Holidays
星期三至星期日下午 12 時至晚上 7 時 星期一、星期二與公眾假期休息
Facebook/Instagram: @parasite.hk
Wechat: parasitehongkong