或是幕後 即將發生的 所見之外 未能言表 皮囊之下 不可描繪 卻顯而易見
是美與穢
T he Ob/Scene
簾幕
Curtain
or what can happen beyond the scene besides the eye before language beneath the skin below the image on the surface
Cur tai幕 n 簾
3 8 10 12 14 16 18 20 22 24 26 28 30 32 34 36 38 40 42 44 46 48 50 52 54 56 58 60
Introduction 導言 Chantal Akerman Xyza Cruz Bacani Theresa Hak Kyung Cha 車學慶 Cao Guimarães Ho Sin Tung 何倩彤 Shuang Li 李爽 Gustav Metzger Tan Jing 譚婧 Cici Wu 武雨濛 Stella Zhang 張爽 Jasphy Zheng 鄭亦然 Zhou Tao 周滔 Leigh Bowery Felix Gonzalez-Torres Hu Yinping 胡尹萍 Hu Yun 胡昀 Minouk Lim 林珉旭 Gustav Metzger Ocean & Wavz 洋與浪 Jacolby Satterwhite Daniel Steegmann Mangrané Robel Temesgen Jason Wee 黃漢冲 Wu Jiaru 吳佳儒 Stella Zhang 張爽 Derek Jarman Reading behind Curtain
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Acknowledgements & Colophon
在簾幕後閱讀 鳴謝與版權
過濾光線及聲線 披上身軀與床椅 潤飾家居及肌膚 吸收氣味與聲響 反射陰影 一呼一吸 隨風律動
Cover: Xyza Cruz Bacani, Underpass in Central, Hong Kong, 2019 Inside cover: Chantal Akerman, Walking Next to One’s Shoelaces in an Empty Fridge (Part 2), 2004. 封面：Xyza Cruz Bacani， 《中環人行隧道，香港》，2019 年。 封面裏：Chantal Akerman， 《在空冰箱裡走在自己的鞋帶旁》之二，2004 年。
舒展
得以通行或分隔
Un flded o
allowing passages or separations filtering light, voices clothing bodies and furniture ornamenting a house, a skin absorbing smells, sounds reflecting shadows flowing with the wind breathing
From the mundane materiality of the curtain as a domestic object and its scenographic functions in various cultural contexts, Curtain makes artistic and conceptual references to passages, frontiers, separations, connections, occupations, circulations, and localities. Presented across two venues, at Para Site’s home and at a temporary site in Hong Kong, Curtain includes existing and newly commissioned works as well as sitespecific interventions by 24 artists. Conceived as a framework to disrupt our usual habits of consuming visual culture, the exhibition also activates the viewer’s senses through acts of crawling into, lifting, peeking through, being guided by smell and sound, or that of reading, writing, and feeling a space. Furthermore, the fluid concept of ‘curtain’ is a device not only to trigger the beginning or end of a spectacle, but also a way to frame the subtle interactions and intimacies of the body as it passes through social and political representations. A domestic object as well as technological screen, a ‘curtain’ is used to facilitate or cloak the dissemination of information: from newspapers, photographic documents, to mass-manufactured moving-images; from solid walls to fluid boundaries; from light to shadow. It also acts as a fabric that shifts the divide between one’s personal and public personas. The ‘curtain’ is a mutable concept used to contemplate questions of visibility and invisibility related to surveillance, forgotten histories, and geopolitical delineations. Its existence reveals displacements in language and material conditions in contemporary life that reflect changes in archival, social, and technological structures today. Furthermore, the exhibition looks to raise awareness of alternative models as well as smaller-scale ecologies situated at the periphery of power structures dominating the façade of public everyday experiences. Curtain is a collective contemplation towards an understanding of how these realities are framed in connection with questions of obscurity and permeability, shedding light on different methodologies 3
that enable us to circumnavigate, perform, and disrupt with new counterstrategies on the stage of an exhibition. For the practitioners featured in Curtain, each work represents a retracing of memories or a path into the future, with the desire to influence informational infrastructures that govern or haunt a post-COVID-19 pandemic world.
「簾幕」，既是日常生活中的物件，亦是不同文化語境中的佈景。它的 多重意涵指向通道、邊界、區隔、連接、佔領、流通與區域。橫跨 Para Site 藝術空間及其上環臨時展場兩個空間，群展「簾幕」呈現 24 位藝術家的新舊作品以及於場域特定的藝術介入。展覽中， 爬行、移動、窺視、嗅聞、聆聽、閱讀、書寫、感覺成為觀看展覽的 必要動作，透過干預觀眾消費視覺文化的諸多的舊習，是次展覽為 觀眾開啟新的空間感知。此外，「簾幕」的所指亦不止於序幕或謝幕， 它流動的社會政治意涵指向身體間微妙而親密的互動。 從報紙、攝影到量產的影像，從堅硬的高墻到流動的邊界，從光到 影——象徵着家居布簾與電子屏幕的「簾幕」既是信息傳播的輔助， 亦是它的掩護。另外，「簾幕」亦區隔於我們私人及公共的人格之間。 它多變的意涵幫助我們思考監控被遺忘的歷史以及地緣政治中的 可見與不可見。它揭示着當代生活中語言與物質境況的錯位，以及 隨之而來的檔案、社會及科技結構的變化。此外，展覽亦將視線 投向處於主流邊緣的小型生態。展覽「簾幕」為一次集體的思考， 它思索「蔽」與「透」的概念如何串聯起不同的社會現實，它亦在展覽 的舞台上激發出另類的繞道、表演及干擾方案。對於參與「簾幕」的 創作者們來說，每一件作品都是對記憶的回溯或是對未來的跨越， 並藉此介入、干擾這規訓且縈繞着後疫情世界的信息系統。
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Curtain is a continuation of the unique dialogue and partnership between Rockbund Art Museum and Para Site, beginning in 2019 with An Opera for Animals that premiered at Para Site, with a jointly curated edition travelling to Rockbund Art Museum subsequently. Opening on 14 May 2021 at Para Site and on 15 May 2021 at a pop-up exhibition venue in the Sheung Wan neighbourhood of Hong Kong, Curtain is curated by Cosmin Costinas, Larys Frogier, Celia Ho, Anqi Li, Billy Tang, and Xu Tiantian. After the exhibition at Para Site, CURTAIN will continue as a long term research project initiated by Rockbund Art Museum. This initiative began in 2020 and will continue to be articulated through a series of exhibitionary formats, discursive platforms, and cross-institutional collaborations spanning a three-year period. 群展「簾幕」為 Para Site 藝術空間與上海外灘美術館機構合作的又一次延續。自 2019 年合作策劃、 首展於 Para Site 並隨後巡展至外灘美術館的展覽「百物曲」起，兩間機構開啟了一場持續且獨特的 機構間對話與合作。「簾幕」的 Para Site 展場將於 2021 年 5 月 14 日開幕，其上環臨時空間展場則 將於 2021 年 5 月 15 日開幕。「簾幕」由康喆明、Larys Frogier、何思穎、李安琪、曾明俊、徐天天策劃。
Para Site 的展覽結束後，「簾幕」作為上海外灘美術館發起的長期研究項目將持續發生。該項目於 2020 年開始，並將以一系列展覽、論述平台及跨機構合作的形式在三年間進行。
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是過渡
T he Transition O bject
簾幕
Curtain
a fetish a missed self the other
是癖好 是迷失的自我 是他者
Curtain
簾幕
是表演
Per formed
as a scenographic material for theater opera dance exhibition cinema music puppet show TV news and entertainment 戲劇 歌劇 舞蹈 展覽 電影 音樂 木偶戲 電視新聞及娛樂 的序幕
8 錄像裝置拾集了 Akerman 外祖母死於奧斯維辛集中營後找到的青春期日記珍貴片段。Akerman 在她的電影和現實之間創造了一個流動的空間，讓個人的故事可以在公開場合被訴說。Akerman 是女權主義和實驗性電影製作的先驅，作為納粹大屠殺倖存者後代，此跨世代創傷一直是她作品 的主題之一。在她生前最後幾十年，她持續探索自己猶太女性的身份。
CURTAIN 簾 幕
Bornin 1950in Brussels. Diedin 2015in Paris.
This video installation gathers the precious fragments of Akerman’s maternal grandmother’s adolescent diary, which was discovered improbably after her death at Auschwitz. Akerman created a fluid space between her film and reality for personal narratives to be intimated in public. Akerman was a pioneer feminist and experimental filmmaker. Her work has often been informed by the intergenerational trauma from the Holocaust, and in the last few decades of her life, she continued to explore her identity as a Jewish woman.
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1950年生於布魯塞爾； 2015年卒於巴黎。
CHANT AL AKE
RMAN
Walking Next to One’s Shoelaces in an Empty Fridge (Part 2), 2004. Multiple projection video installation, 40' (loop). Courtesy of Chantal Akerman Foundation and Marian Goodman Gallery, New York, Paris, London. Photo © Studio Hans Willschut. Installation photo courtesy of Eye Filmmuseum.《在空冰箱裡走在自己的鞋帶旁》之二，2004 年。多重投影錄像裝置，40 分（循環）。 由 Chantal Akerman 基金會及 Marian Goodman 畫廊（紐約、巴黎、倫敦）提供。圖像版權 Studio Hans Willschut 所有。展覽現場照片由 Eye Filmmusem 提供。
PARA SITE 22/F
Bornin 1987in Nueva Vizcaya. Lives and wor ksin h t eP hi lippines and HongKong.
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CURTAIN 簾 幕
CA N I
RUZ BA
XYZA C
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Underpass in Central, Hong Kong, 2019. Digital print on paper, H. 83.8 × W. 62.9 cm.《中環人行 隧道，香港》，2019 年。紙面數碼印刷，長 83.8 公分 × 寬 62.9 公分。Peeking behind the wall in New York, 2018. Digital print on paper, H. 55.8 × W. 83.8 cm.《在紐約窺視牆的背後》，2018 年。紙面數碼印刷， 長 55.8 公分 × 寬 83.8 公分。Courtesy of the artist. 由藝術家提供。
1987年生於新比斯開省；現生活並工作於菲律賓與香港。
As a documentary photographer and a former migrant domestic worker in Hong Kong for nearly ten years, Xyza Cruz Bacani reserves time to photograph the streets each day to reveal the voices and themes that are marginalized in mainstream society, with a specific focus on immigration and human rights. The photographs on view here are portraits of individuals who are ethnic minorities, migrant domestic workers, labourers, or cleaners, all of whom are regularly seen on any street corner but tend to be overlooked. Bacani meticulously captures these mundane scenes of work and daily life, confronting the viewers with what would have otherwise escaped their attention. Through her photographic practice, the artist seeks to convey the tirelessness and resilience of various hidden figures in society. 藝術家是一名紀實攝影師，並曾於香港擔任外籍家庭傭工近十年的 時間。她每天都會抽空到街頭取材拍攝，致力透過鏡頭去發掘那些被主流 社會吞噬的小眾聲音和民生議題，以此關注移民、人權等題材。是次 展覽所挑選的照片為藝術家多年來於街頭不同角落所拍下的眾生相， 她的拍攝對象都是被社會大眾所忽略的一些小人物，如少數族裔、外傭、 工人和清潔工等。作品呈現各個階層所面對的種種工作、生活狀況， 一張張充滿真實感的照片，被藝術家細意捕捉，令觀眾直視一些平常 視而不見的畫面。藝術家透過作品記錄現實社會中這群被隱藏的人物， 帶出他們背後孜孜不倦、不屈不撓的精神和故事。
PARA SITE 22/F
12
CURTAIN 簾 幕
Bornin 1951in Busan. Diedin 1982in New Yor k City.
Theresa Hak Kyung Cha’s video experiments are often minimally staged to deconstruct and push the limits of how image, sound, and language recombine to create new meaning. Her legacy was her singular ability to connect the fields of visual art, avant-garde poetry, and feminist theory to a deeply personal history rooted in diasporic experiences of irreconcilability, exile, and permanent displacement. Mouth to Mouth features a Samuel Beckett-like disembodied close-up of the artist’s mouth, which slowly and silently contorts into the shapes of eight Korean vowels. Appearing as a series of dissolves amidst a sea of television static, the images are accompanied by a soundtrack of white noise superimposed with soothing intermissions of flowing water. Looking for the ‘roots of language, before it is at the tip of the tongue’, Cha points to the undifferentiated potential of all languages, a fertile state of expressive possibilities prior to the processes of recognition, interpretation, and perception of a single national identity. This relationship between individual subjectivity and ‘mother tongue’ figured in Cha’s personal experience as an immigrant caught between languages and issues of foreignness living in the United States, while alluding to other struggles on a wider geopolitical level — for example, the control of national identity and suppression of languages in Korea that occurred during the forty-year Japanese occupation.
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車學慶的錄像實驗常以極簡的方式呈現，它們探問如何透過圖像、聲音及語言的重新組合來 創造新的意義。在她的作品中，車氏以她獨特的藝術感知連接起視覺藝術、前衛詩歌、女性主義 理論以及藝術家自身的離散經驗。例如，在《嘴對嘴》中，鏡頭特寫藝術家模糊的嘴，仿若貝克特 的舞台劇，嘴緩慢且無聲地吐出韓文中八個元音音節。在猶若一片汪洋的電子干擾中，影像以 一系列溶接的方式呈現，背景是不時插入柔和水流聲的白噪音。車氏的作品旨在尋找「語言在 流淌至舌尖之前的根源」，她相信所有語言所共有的可能性，亦即語言在被聆聽、理解、及識別 單一民族身份之前就已經具備的豐富表達能力。車氏在美國的生活使她充分感受到作為移民 所遭遇的語言和外來文化的拉扯，她的作品因此探索個體主體性與「母語」的關係，她的作品 亦涉及對其他更宏大的地緣政治議題的關注，例如朝鮮日治時期四十年間所推行的民族身份 政策及遭受的語言控制。 Vidéoème, 1976. Video (black & white, sound), 4'42".《 Vidéoème 》，1976 年。錄像（黑白，有聲），8 分 42 秒。 Mouth to Mouth, 1975. Video (black & white, sound), 8'.《嘴對嘴》，1975 年。錄像（黑白，有聲），8 分。 Courtesy of the Collection of the University of California, Berkeley Art Museum and Pacific Film Archive, and Electronic Arts Intermix (EAI), New York. Gift of the Theresa Hak Kyung Cha Memorial Foundation. 由加州大學柏克萊分校館藏、Berkeley Art Museum and Pacific Film Archive 及紐約 Electronic Arts Intermix (EAI) 提供。由車學慶紀念基金會贈予。©Regents of the University of California. 加州大學版權所有。
1951年生於釜山； 1982年卒於紐約。
THERE S KYUNG A HAK CHA車 學慶 PARA SITE 22/F
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1965年生於美景市；現生活並工作於美景市。 Bornin 1965in Belo Horizonte. Lives and wor ksin Belo Horizonte
Cao Guimarães’s atmospheric and almost hypnotic video-essay shot in a Mexican market juxtaposes the sounds of life’s daily toil and the colourful materiality of the canvas awnings covering individual market stalls. Vaguely evocative of modernist strives for monochromes and perfect structures of abstraction — which in Brazilian art history have had a long tradition of trying to represent elements of the social, the canvases in the film are never perfect, never stretched, shaped and twisted both by the wind and by the restlessness of people, themselves never perfect, never quiet.
Cao Guimarães 充滿氛圍感、幾近 催眠的錄像散文攝於一個墨西哥市場。 作品中，人們辛勞工作的聲音與每個 攤位上色彩繽紛的帆布涼篷材料形成 對比。藝術家所拍攝的帆布隱約使人 聯想到現代主義對單色以及抽象的完美 結構的追求——在巴西藝術史中常常 被用以表現社會元素。然而，作品中 的帆布絕不完美，它們沒有被拉平， 總是被風和嘈雜的人聲所擾亂—— 既不完美，亦不安靜。 Sin Peso, 2007. Video, 7’. Courtesy of the artist and Nara Roesler.《無重》，2007。錄像，7 分。 由藝術家及 Nara Roesler 提供。
CURTAIN 簾 幕
15
C AO G
UIMAR
PARA SITE 22/F
ÃES
TUNG 何倩彤
As an artist and a cinephile, Ho Sin Tung’s body of work is often inspired by cinema. During the COVID-19 pandemic, the artist experienced a period of isolation and stagnation and rewatched films to reconnect with herself. Full Dark, No Stars, one of the three channels of videos in the installation, consists of scenes from films where light peeks through darkness, including candlelight, fireworks, traffic lights, and buildings that light up throughout the night. In order to emerge from the darkness in the work, the audience must first stare at it straight on, echoing the recent social unrest and the impact of COVID-19 on Hong Kong. Sleep Demon follows a laser pointer on sleepless nights. The Green Ray focuses on the light from the screen of her phone as Ho awaits a late night message. The rhythmic and abstract light sources weave together a meditative screensaver, mirroring the artist’s emotional state as she searches and waits.
藝術家何倩彤作為忠實電影觀眾，作品中可見電影文本對她的啟發。 新冠肺炎疫情期間，藝術家經歷了一段封閉與停滯的時期，以重看過往 看過的電影執拾自身的內在。《晚星》為一組三頻錄像作品，其中一頻 《晚星》從不同電影中剪輯出各個在黑暗中隱約看見光明的畫面，包括 燭光、煙火、交通號誌或徹夜未眠的建築等等——想走出陰暗，先要在 黑暗裡凝神觀看，可謂近年香港社會與全球疫情兩者交織底下的處境。 錄像《睡魔》跟隨藝術家夜裡失眠時遊走的雷射筆，《綠光》則聚焦黑暗中 等待接收電話訊息的那一點綠光。諸種各有緩急的抽象光線仿如供人 放空冥想的屏幕保護裝置，呼應藝術家尋找與等待的狀態。 Full Dark, No Stars, 2015–2020. Three-channel HD video (colour, looped), 49'26", 3'26", ，49 分 26 秒， 12'29". Courtesy of the artist.《晚星》，2015–2020 年。三頻高清錄像（彩色，循環） 3 分 26 秒，12 分 29 秒。由藝術家提供。
CURTAIN 簾 幕
Bornin 1986in HongKong. Lives and wor ksin HongKong.
16—17
HO SIN
1986年生於香港；現生活並工作於香港。
PARA SITE 22/F
18
Bornin 1990in Wuyihan. s Lives and wor ksin Ber lin. 1990年生於武夷山；現生活並工作於柏林。
Æther marks the continuation of the artist’s reflection on personal subjectivity and its entanglement with an increasingly immersive and omnipresent online culture. The concept of leakage is an ongoing theme that threads the visuals and the script written by the artist. The work examines how one’s body, desires, and sense of self seep into and become enmeshed in highly mediated and manufactured realities. The artist wishes to focus on the affective relationships tied to the architecture of information technology and the transformation of images caused by a new division of labour. The camgirl persona has evolved into a 24/7 performative service illuminated by digital screens within this imaginary new world. Highlighting the dissolution of boundaries between work and leisure, leakage becomes an imperfect transmission between physical life and its translation into pixelated objects and virtual backdrops. Rather than being entirely subservient, the artist imagines an intervention into this dialogue between avatars and viewers, mirroring and demonstrating the tension as well as the potential of this new dynamic. Li often draws inspiration from her media studies training to create the vocabulary for her survey into the virtual versus the real, expanding the language of her research to embrace cross-disciplinary collaborations with the Berlin-based music duo LABOUR (Farahnaz Hatam and Colin Hacklander).
ÆTHER, 2021, Video installation, 12'30", installation dimensions variable. Commissioned by Rockbund Art Museum, Shanghai, courtesy of Peres Projects, Berlin, and the artist.《 ÆTHER 》，2021 年，錄像裝置， 12 分 30 秒，裝置尺寸可變。由上海外灘美術館委託創作，由柏林 Peres Projects 及藝術家提供。
CURTAIN 簾 幕
《 Æther 》標誌着藝術家對個人主體性的反思，及其與無處不在又令人深陷的網絡文化間的 糾纏 關係。在李爽創作的視覺與文字中，「滲漏」的概念貫穿始終。我們的身體、慾望以及自我 意識都 統統滲入並纏繞進一個高度人造的現實之中。藝術家試圖關注當代勞動分工所造成的資訊 科技結構與圖像編輯，以及它們相互依賴的關係。在電子屏幕的光閃下，視訊女孩在網絡幻想 世界中進化成為一項無休無眠的表演服務。工作與娛樂間逐漸模糊的界限固然不可忽視，「滲漏」 在此將現實生活不甚完美地轉換為像素化物體與虛擬背景。藝術家在作品中的角色 並非 完全被動，她想像介入網絡虛擬化身與觀眾間的對話，反映、闡釋 這一新互動模式的張力以及可能性。李氏常藉助 她在媒體方面的學術訓練來開展她針對 虛擬之於現實的探詢，同時在創作 中與柏林音樂雙人組 LABOUR （ Farahnaz Hatam 與 Colin Hacklander ）跨領域 合作，延展自己 研究的語言。
S H UA N
G LI 李爽
19 PARA SITE ROOFTOP
Bornin 1926in Nurem berg. Diedin 2017in London.
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CURTAIN 簾 幕
21
1926年生於紐倫堡； 2017年卒於倫敦。
GUSTA V METZG ER A pioneer of art activism, Gustav Metzger witnessed as a child in Nuremberg the destructive rise of power and the spectacle-driven aesthetics of Fascism, which subsequently shaped his strong sense of urgency to counteract our passivity and indifference to these humanitarian dangers. In this work, a cloth in the color of the Yellow Badge, used to identify Jewish people throughout history and under the Nazi regime, temporarily hides a black-and-white photograph of Jewish people humiliated and forced to scrub the streets of Vienna on their hands and knees. Through a subtle intervention, the audience is invited to touch and uncover the photograph by lowering to the floor and crawling underneath the cloth. The artist thereby compels each viewer to share the same physical position as those depicted in the blown-up photograph, initiating a tactile process that allows viewers to take the time to feel and activate their minds on an intimate and emphatic level to the horrific realities captured in the image. Gustav Metzger 於孩童時期，在他生活的德國紐倫堡見證了法西斯主義的崛起和其好大喜功的 美學，從而成為透過其藝術表達行動主義的先驅，作品中傳遞了抵抗集體被動性和人性對危險 淡漠的的迫切性。此件作品中，一張呈現猶太人在維也納街頭被迫卑屈地匍匐擦洗路面的黑白 相片，藏在與歷來被用以標記猶太人身分、納粹時期尤甚的猶太星同色的黃布下。藝術家邀請觀眾 俯身於地面，探身布內，觀看布幕下放大的黑白相片。透過與照片主角相同的身體動作，觀眾 得以用更為感官的方式接觸作品，進一步與影像中可怖的現實產生更接近的連結與共情。 Historic Photographs: To Crawl Into—Anschluss, Vienna, March 1938, 1996/2021. Black & white photograph on PVC and cotton cover, H. 315 × W. 425 cm. Courtesy of the estate of Gustav Metzger and the Gustav Metzger Foundation. Image Credit: Yad Vashem Photo Archive, Jerusalem.《歷史照片：爬入——德奧合併，維也納，1938 年 3 月》，1996/2021 年。聚氯乙烯印刷黑白照、棉 布，長 315 公分 × 寬 425 公分。由 Gustav Metzger 藝術資產及 Gustav Metzger 基金會提供。圖片由耶路撒冷 Yad Vashem Photo Archive。
PARA SITE 22/F
CURTAIN 簾 幕
Bornin 1992in S henz hen. Lives and wor ksin Guanghou. z
22 A dog has come and left behind a trail of clues throughout the exhibition space for visitors to piece together what may have taken place. The artist imagines her grandfather has reincarnated as a dog and in his new form, pursues memories of scent and taste from a life spent in the subtropics, unfurling the forgotten personal histories. Tan Jing’s grandparents repatriated to China from Thailand in the 1950s, and she often senses their grappling with personal identity and their failing to belong. Any mention of pain or vulnerability, was frowned upon, which compounded the artist's struggles to express these issues in a patriarchal household. This upbringing has had a significant impact on Tan’s practice, which gravitates toward the sensitive, poetic, and ambivalent. The result is an expression of ‘fragility’, a nebulous, obscure, indefinable, or even imperceptible exploration into the materials and medium of sculpture. Through this site-specific installation, Tan experiments with olfactory memories as a medium to shape one's self-awareness and explore the intangible emotions that linger on between different generations of migration.
23
一隻小狗來到了 Para Site，留下一系列線索由觀者追索拼湊。藝術家 譚婧想像祖父的靈魂跑進了小狗的身體，他拋開身份的桎梏，追尋在 亞熱帶地區成長特有的嗅覺與味覺記憶，將被忽略和隱藏的個人歷史 悄悄地展露。譚婧的祖父母是 50 年代從泰國回到中國的華僑，關於 個體身份的困惑和對於歸屬感的追而不得，時刻透露在他們與譚婧生活 的細節當中。加上生長在嚴厲、崇尚剛強的父權制教育環境，談論傷痛 或者表現脆弱是被禁止的。這對譚婧的創作形成了十分重要的影響， 她更願意以敏感、詩意、模糊邊界的方式，將雕塑、材料、媒介以模糊、 混沌、不被輕易定義、甚至可以被忽略的方式進行探索，以此習得表達 「脆弱」的能力。同時她亦思索着嗅覺記憶對人的身份塑造，以及流動 經歷對人帶來的深遠影響。
1992年生於深圳；現生活並工作於廣州。
TAN JIN
G 譚婧
Trancing Lap Hung, 2021. Herbs and spices, plaster, wire, aroma essence, soil, H. 200 × W. 200 cm. Courtesy of the artist. Technical support for aroma design: CITYFLOWER (GUANGZHOU) FLAVORS AND FRAGRANCES LTD.《阿雄出走了》，2021 年。 香料、香薰石膏、鐵絲、香精、泥土，高 200 公分 × 寬 200 公分。由藝術家提供。氣味技術支持：麗華（廣州）香精香料有限公司。
PARA SITE 22/F
Bornin 1989in Beijing. Lives and wor ksin New Yor k City.
24
CURTAIN 簾 幕
“Can a past that the present has not yet caught up with be summoned to haunt the present as an alternative?” — Avery F. Gordon, quoted from the Chimurenga Library and Pan-African Space Station For the artist, cinema consists of light, rhythm, motion, structure, and montage — elements which culminate in emotional and potentially spiritual experiences for its audience, and an act that was once performed using paper lanterns in a play of shadow and light. Cici Wu presents here a technological prototype: a sculptural lantern that is a novel shadow-capturing device with the potential to be an alternative ‘early cinema’. In her rendition of light and shadow that marks the beginning of a long-term series, Wu demonstrates a new way of exploring fragmented histories that resists the nationalist and colonial narratives of mainstream cinema.
在藝術家看來，電影包含光、韻律、移動、結構與蒙太奇，這些元素彼此融合，為觀眾帶來動情、 甚至靈性的體驗。電影的運作肌理與紙燈以及燈影戲的光影遊戲不乏相似。武雨濛在作品中 呈現了一個技術原型：一個既作為雕塑又作為新奇影子捕捉器的燈籠，它猶如一種另類的「早期 電影」，在她對光影的詮釋中，以一個新方式，探索那些背離主流電影宣揚民族主義以及殖民 野心敘事的瑣碎的歷史。 Foreign Object #2 Umbra and Penumbra (prototype), 2021. OpenMV H7+, Raspberry Pi Zero, NeoPixel ring, switch, wire, paper, newspaper, glue, bamboo wire, H. 54 × W. 24 × D. 24 cm. Courtesy of the artist.《外來物 #2 影子與罔兩（原型）》，2021 年。 OpenMV H7+、樹莓派 Zero、NeoPixel 環、開關、電線、紙、報紙、膠水、竹籤，高 54 公分 × 寬 24 公分 × 深 24 公分。由藝術家提供。
CICI W
U 武雨濛
25
1989年生於北京；現生活並工作於紐約。
「我們能否召喚一種過去——一種尚未被當下所捕捉的過去—— 來縈繞當下，成為它的替代？」 —— Avery F. Gordon，摘自 Chimurenga 圖書館和泛非洲空間站
PARA SITE 22/F
ZHANG
張爽
In her 0-Viewpoint series, Stella Zhang cross examines the trinity of body, identity, and power. Each tear on the canvas acts as a starting point for the artist’s creative process. This gap on the surface can be seen as an act of artistic catharsis, and a silent protest against the artist’s identity as a woman. The wrinkles of the canvas and the figurative wound form a dramatically torn musculature that is taut and powerful at times, yet supple and heaving at the seams, sealed with layers of glue and black paint. In some ways this dark contortion mimics the psyche of the materials and that of their creator at this frozen moment of brutality. 張爽在《0- 視點》系列作品中呈現出她對身體、身份以及力量三位一體 的探索。畫布上的裂口是張爽創作的起點 —— 畫布表面的縫隙既是 一種藝術家揮動臂膀一瞬間的發洩，也是對其女性身份的一次無聲吶喊。 褶皺豐富的布料和充滿隱喻的傷口交織在一起，有的撕扯出貧瘠但 蒼勁的肌理，有的被柔軟和稜角豐富的物料填充，包裹在一層又一層的 膠水和黑色顏料下。黑暗的扭曲彷彿勾勒出物料的心理活動，亦是創作者 在這凝固的暴虐一刻的內心寫照。 0-Viewpoint-8-13, 2016. Mixed media, H. 109 × W. 84 cm. Courtesy of the artist and Galerie du Monde.《0- 視點 -8-13》，2016 年。混合媒介，高 109 公分 × 寬 84 公分。 由藝術家及世界畫廊提供。
26 CURTAIN 簾 幕
Bornin 1965in Beijing. Lives and wor ksin SanFrancisco, Ca li fornia.
ST E L L A
27
1965年生於北京；現生活並工作於加州三藩市。
PARA SITE 22/F
Bornin 1992in Xiamen. Lives and wor ksin S hang hai and New Yor k City.
28 This ongoing participatory project was initially conceived for the artist’s 2020 solo exhibition at Center for Contemporary Art, Kitakyushu. A conversation and archive that defies linguistic and geographical constraints, Stories from the Room collects the reflections on the isolation caused by quarantine during the COVID-19 pandemic. Submissions from around the world have gradually transformed the project from a conventional archive of letters to an interactive documentation of how physical and virtual public spaces have evolved. The project encourages participants to continuously share observations, memories, and thoughts, and pledges to establish an individual file for each participant and to preserve it in perpetuity. Through this growing platform, the artist and the participants, essentially all strangers to and separated from each other, are able to connect materially. 此為期兩年的項目最初是藝術家 2020 年在日本北九州當代藝術中心的個展作品，為了回應 新冠肺炎疫情爆發和隔離期間的孤立感受而建立的一個跨越地域和語言的對話及文字庫。 《部屋物語》與來自不同地區投稿人的合作使得該項目逐漸超越了傳統書信檔案庫的範疇， 成為一個實體與虛擬空間演化的互動式紀錄。項目鼓勵參與者持續分享個人觀察、記憶和 思考，並承諾為參與者建立單獨檔案，將其文字永久保存。在一定程度上彼此隔絕的當下， 這個不斷擴展的文字檔案平台在陌生人——藝術家和參與者，彼此既不相熟亦不相鄰—— 之間得以構建起物質上的聯結。 Stories from the Room, 2020, Copper, high-density sponge, paper, H. 28 × W. 36 × D. 36 cm per box. Courtesy of the artist and Longlati Foundation.《部屋物語（上海）》，2020 年。銅、高密度海綿、紙，每箱高 28 公分 × 寬 36 公分 × 深 36 公分。 由藝術家及經緯藝術基金會提供。
CURTAIN 簾 幕
JA S P H
Y ZHEN
G 鄭亦然 1992年生於廈門；現生活並工作於上海及紐約。
29 PARA SITE 22/F
作品中，周滔於曼谷及廣州拍攝的看似無交集的人和事件的影像彼此交織。他的鏡頭聚焦不易 察覺的細微之處——例如，被 LED 廣告牌照亮的夜空。在城市燈光的映照下，鏡頭中的人們 如同沐浴在藍光中一般，自然與人工的邊界在此亦顯得無足輕重。藝術家的視線流動於日與夜、 動與靜、穩與亂、沉睡與甦醒之間，消融着自然與人工「景觀」的界限。 Blue and Red, 2014. Single-channel HD video (colour, with sound), 25'14". Courtesy of the artist and Vitamin Creative Space.
《藍與紅》，2014 年。單頻高清錄像（彩色，有聲），25 分 14 秒。由藝術家及維他命空間提供。
ZHOU
TAO 周 滔 CURTAIN 簾 幕
Bornin 1976in C hangs ha. Lives and wor ksin Guanghou. z
30 The video interweaves seemingly unrelated people and events filmed in Bangkok and Guangzhou, where the artist trains his camera on minute details such as the glow of LED billboards in the night sky. Under the urban lighting, the distortion of colour gives all the subjects in the video a surreal blue tint, making it difficult to discern the natural from the artificial. What differentiates the human-made and the organic ‘landscapes’ melts away as Zhou Tao cuts fluidly between night and day, stillness and turbulence, order and disorder, and slumber and awakening.
1976年生於長沙；現生活並工作於廣州。
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PARA SITE 22/F
32 CURTAIN 簾 幕
LEIGH
B OW E
RY
1961年生於墨爾本； 1994年卒於倫敦。 Bornin 1961 in Mel bourne. Diedin 1994in London.
33
One of the most vibrant interdisciplinary artists, a fashion icon, and a fixture of the London club scene in the 80s and 90s, Leigh Bowery was known for his artistic expression around the homoerotic gaze. He developed his unique avant-garde performance language by consciously using his own body as a medium. In 1988, he participated in a weeklong residency at the Anthony D’Offay Gallery in London, marking his debut in the mainstream art world. Every afternoon, the artist improvised a performance in front of a one-way mirror in eclectic costumes, striking narcissistic poses against a soundtrack of the hustle and bustle from the streets. Bowery took his own plump frame as an entry point for an extroverted, indulgent body worship, opening a discourse on the social constructs of beauty, identity, and the Other. In addition to documentation of Bowery’s performance, five headdresses created by the artist between 1982 and 1990 are also on view in the exhibition.
Leigh Bowery 是 80 年代和 90 年代最活躍的跨界藝術家 之一，同時身兼時尚偶像以及倫敦夜總會常客的身份，以其富 同性戀色彩的藝術表達方式著稱，並有意識地將自己的身體 作為藝術媒介，發展出獨特的前衛表演風格。1988 年，他在 Anthony D ‘Offay 畫廊舉行了為期一週的駐留，首次進軍倫敦 主流藝術領域。每天下午藝術家都在一面單向鏡前即興表演， 每次都穿着不同的奇裝異服，伴隨車水馬龍的配聲，自戀地擺弄 姿勢。Bowery 利用自己笨重的體態作為外向和奢侈的身體 崇拜的起點，其中醜陋和美麗、社會標準化和邊界的概念相互 交織，對個體內在與外在不同的身份認知和他者的概念提出了 更多理解的視角。 除了表演的錄像，由藝術家於 1982 及 1990 年間製作的五件 頭飾亦在展覽中展出。 Leigh Bowery Performance at Anthony d’Offay Gallery 1988, 1988. Video, 27'18". Film made by Cerith Wyn Evans. Courtesy of the artist, the estate of Leigh Bowery, and the Live Art Development Agency. © Estate of Leigh Bowery.《1988 年 Leigh Bowery 於 Anthony d’Offay 畫廊的演出》，1988 年。錄像，27 分 18 秒。錄像由 Cerith Wyn Evans 製作。由藝術家、Leigh Bowery 藝術資產及 Live Art Development Agency 提供。 版權 Leigh Bowery 藝術資產所有
SOHO HOUSE HONG KONG 22/F
裝置中的淡藍色的布料輕柔地穿透着空氣， 又淡淡地遮蔽着光線。作品既散發着安寧平靜的 氣質，又召喚着觀眾的撩動。置於其創作背景下 閱讀—— 1989 年藝術家的伴侶與愛滋病在生死 邊緣搏鬥，正如彼時美國許多男同性戀者—— 作品中輕柔的布簾如同生死之間的界域。但與此 同時，作品隨着其所處的空間以及觀者的經歷， 可以從多個角度詮釋。 “Untitled” (Loverboy), 1989. Sheer blue fabric and hanging device, dimensions vary with installation. ©Felix GonzalezTorres. Courtesy of The Felix Gonzalez-Torres Foundation. Private collection, courtesy of Andrea Rosen Gallery and David Zwirner.《「無題」（男友）》，1989 年。藍色薄紗 及懸掛裝置，尺寸隨裝置可變。©Felix Gonzalez-Torres。由 Felix Gonzalez-Torres 基金會提供。私人收藏，由 Andrea Rosen 畫廊 及 David Zwirner 提供。
FELIX G
ONZAL
CURTAIN 簾 幕
EZ-TOR
RES
Bornin 1957in Guaimaro. Diedin 1996in Miami,Florida.
34—35
Permeable yet opaque, the light blue fabric in the installation produces a serene sensuality that seems to invite passersby to disturb it. While the work has often been read through the prism of its context — made in 1989 when the artist’s lifelong partner was dying of AIDS, as were many gay men in the United States at the time — and as such the diaphanous curtains can appear as a liminal demarcation between the departed and the still present, they also remain open to interpretation depending on the space where they are situated and the viewers’ experiences prior to encountering the work.
1957年生於瓜伊馬羅； 1996年卒於佛羅里達州邁亞密。
SOHO HOUSE HONG KONG 22/F
Text on belts: (top to bottom) No matter how busy you are, don’t forget to eat regularly Business is not great when the pandemic strikes During the pandemic, please scan the health code when going out You can’t have alcohol when you receive the COVID-19 vaccine Take care of yourself while working away from home
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HU YIN CURTAIN 簾 幕
PING 胡
尹萍
Bornin 1983in Luz hou. Lives and wor ksin Beijing
Stanchions are commonplace devices used to maintain order in public spaces. During a global pandemic at the scale of COVID-19, stanchions naturally became a tool for maintaining physical distance between people. Each of the multicoloured belts on view is annotated with its creator’s observations and sentiments during the pandemic, injecting these normally frustrating devices with a sense of humour and a touch of motherly care. To help her mother find a purpose for her enthusiasm in knitting, Hu Yinping, under the pseudonym ‘Xiao Fang’, buys knitwear from her mother and her mother’s knitting circle. The project rejuvenated the lives of the retirees in the artist’s hometown. These middle-aged and senior women, often called ‘aunties’ and marginalized and ridiculed in mainstream culture, gradually established a form of income independent of their husbands and learnt to communicate with buyers and vendors over smartphones, essentially becoming a part of e-commerce. In the process they expanded their social circle and gained more control over their lives. After learning that ‘Xiao Fang’ is buying barrier belts for Hong Kong, the aunties have left these messages for the audience.
37 1983年生於瀘州；現生活並工作於北京。
拉帶柱是常見的維持秩序的設施，在新冠肺炎疫情期間，自然被用來限制人與人的社交距離。花花 綠綠的拉帶上寫滿了創作者對於疫情的觀察和感慨，給平時令人生惱的裝置增添了一些趣味和關 懷。為了鼓勵喜愛編織毛線的母親，胡尹萍假借「小芳」的名義，通過收購手工毛線織品，為在四川 老家的母親和她的朋友們開啟了新生活。在小鎮生活的阿姨們開始逐漸有了脫離丈夫的、屬於自己 的獨立收入，學會了使用智能手機與買家溝通、成為網絡經濟的一部分，也在這個過程中形成了自 己的小社群，在知命和花甲之年開始對自己的人生有了更多的掌控。得知「小芳」在為香港採購一 批拉帶柱後，阿姨們為觀眾留下了這些想說的話。 拉帶柱文字（由上至下）： 再忙也別忘記按時吃飯 疫情來了生意都不好做 疫情期間出門請掃健康碼 打新冠疫苗不能喝酒 在外面打工多注意身體
Xiao Fang, 2015– present. Installation, dimensions variable. Courtesy of the artist.
《小芳》，2015 年至今。裝置，尺寸可變。由藝術家提供。
SOHO HOUSE HONG KONG 22/F
HU YU
N 胡昀
38 CURTAIN 簾 幕
You are the light of the world, 2015. Hand embroidery on silk, H. 300 × W. 250 cm. Courtesy of the artist and AIKE.《你們是世上的光》，2015 年。 真絲手工刺繡，長 300 公分 × 寬 250 公分。由藝術家及 AIKE 提供。
深色絲綢上精巧的刺繡展現一本攤開的書，書頁上寫着出自 《聖經》「馬太福音」第五章第 14 節的「你們是世上的光」。 這一圖像來自民國時期軍閥馮玉祥（ 1881–1948 ）在上世紀 20 年代贈送給孫中山（ 1866–1925 ）的白色手繡方巾。藝術家 胡昀在參觀孫中山故居紀念館時發現了這條方巾，後委託蘇繡 大師將其放大。由明到暗的轉折是胡昀賦予作品最直接的表達。 馮玉祥為虔誠的基督徒，贈予孫中山這句引自《聖經》的話， 意味深長。
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1986年生於上海；現生活並工作於上海及墨爾本。 Bornin 1986in S hang hai. Lives and wor ksin S hang hai and Mel bourne.
An open book is intricately embroidered onto a piece of dark silk, with the inscription ‘You are the light of the world’, a quote from Matthew 5:14. This image derives from the white, hand-embroidered handkerchief that Feng Yu-hsiang (1881–1948), a Republican-era warlord, gifted Sun Yat-sen (1866–1925) in the 1920s. Hu Yun learnt about this handkerchief when he visited the Museum of the Former Residence of Sun Yat-sen. Hu commissioned a master of Suzhou embroidery, one of the famous schools of traditional embroidery indigenous to its namesake city, to enlarge the design. In Hu’s rendering, the handkerchief is dark as opposed to its original white, symbolic of the transition from light into darkness. Feng was known to be a devout Christian and the significance of this quote and gift can be read in many ways.
SOHO HOUSE HONG KONG 22/F
Minouk Lim’s allegorical, Frankenstein-like heroine inserts social commentary to the found objects that make up the sculpture. In her eponymous classical Greek tragedy, Antigone was sentenced to death for attempting to bury her brother who had been accused of treason. Returning to South Korea after a decade abroad, the artist developed a newfound interest in her country’s past and present. Her work is a reflection on the division of the Korean Peninsula, the rise of social media, and the impact popular media has on memory. Lim also witnessed the social marginalization and disparity resulting from the country’s rapid democratization and industrialization. In her installations, the artist employs common media devices and a hodgepodge of disused materials to underscore the contrast between the worship bestowed on the technologies that are in vogue and the disposability of technologies from yesteryears. 林珉旭通過塑造這個充滿寓意、科學怪人一般的女英雄，將社會評價賦予了組成 雕塑的拾獲物件。作品命名來自古希臘經典悲劇《安蒂岡妮》，安蒂岡妮為了 安葬流亡叛國的哥哥，違抗禁令，被判死刑。旅居國外十年後再次回到韓國工作 和生活，藝術家對韓國的歷史與現狀抱有極大的興趣與特別的關注，尤其是 朝鮮半島的一分為二、不斷發展的社交網絡與大眾傳媒對事件與人們記憶的 影響，以及韓國迅速民主化和工業化的過程中產生的邊緣化和差異。在她的 雕塑系列中，藝術家運用常見的媒體設備以及被棄置或者停產的材料，被人 宛若神明般地敬畏對待的流行科技與被拋棄的過時科技行成強烈對比。 Antigone, 2015. FRP mannequin, faux fur, steel stand plate, reflector, buoy, infrared lamp, thorn, latex cord, Arduino relay device, H. 220 × W. 228 × D. 125 cm. Courtesy of the artist and Tina Kim Gallery. 《安蒂岡妮》，2015 年。纖維強化塑膠人體模型、假皮草、鋼板、反光鏡、浮標、紅外線燈、刺、乳膠電線、Arduino 繼電器， 高 220 公分 × 寬 228 公分 × 深 125 公分。由藝術家及 Tina Kim 畫廊提供。
CURTAIN 簾 幕
Bornin 1968in Daejeon. Lives and wor ksin Seou l and Paju.
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MINOU 林珉旭 K LIM
1968年生於大田；現生活並工作於首爾及坡州。 SOHO HOUSE HONG KONG 22/F
Bornin 1926in Nurem berg. Diedin 2017in London.
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CURTAIN 簾 幕
GER GUSTA V METZ
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A pioneer of art activism, Gustav Metzger witnessed as a child in Nuremberg the destructive rise of power and the spectacle-driven aesthetics of Fascism, which subsequently shaped his strong sense of urgency to counteract our passivity and indifference to these humanitarian dangers. In his Historic Photographs (1994–1998) series, the artist obscures old newspaper photographs with materials including wood, textiles, and metal. These photographs together document moments of catastrophe and monstrosity in human history, such as napalm bombing in the Vietnamese-American War, the Nazi destruction of the Warsaw Ghetto, the Oklahoma City bombing, and the violence between the Jewish and Arab peoples. To challenge the conventional perception of these traumatic yet distant events, the images are enlarged into sculptural tableaux, each with a physical veil that reroutes the spectator’s ability to immediately see and consume the image through a passive mediation.
1926年生於紐倫堡； 2017年卒於倫敦。
Gustav Metzger 於孩童時期，在他生活的德國紐倫堡見證了法西斯主義的崛起 和其好大喜功的美學，從而成為透過其藝術表達行動主義的先驅，作品中傳遞了 抵抗集體被動性和人性對危險淡漠的的迫切性。《歷史攝影》（ 1994–1998 ）系列 呈現了一組被不同材料（包括木、織物及金屬）遮蔽的老舊新聞照片。這些攝影 記錄了人類歷史中諸多災難性且恥辱的時刻，例如美越戰爭期間的汽油彈襲擊、 納粹對華沙猶太區的摧毀、俄克拉荷馬城爆炸案、以巴衝突。為挑戰我們觀看並 理解歷史創傷的固有方式，藝術家將這些影像放大為雕塑般的大幅畫面，並在 畫面前安置不同形式的「阻擋」，以此重新規劃觀眾觀看圖像的路徑。 Historic Photographs: To Walk Into – Massacre on the Mount, Jerusalem, 8 November 1990, 1996/2021, Photograph on PVC and linen cover, H. 238 × W. 395 × D. 30 cm. Courtesy of the estate of Gustav Metzger and the Gustav Metzger Foundation. Photo © AFP (Menahem Kahana).《歷史照片： 走入——聖殿山屠殺，耶路撒冷，1990 年 11 月 8 日》，1996/2021 年。聚氯乙烯印刷黑白照、棉布，高 238 公分 × 寬 395 公分 × 深 30 公分。由 Gustav Metzger 藝術資產及 Gustav Metzger 基金會提供。圖片版權 AFP 所有。 攝影 : Menahem Kahana。
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作品的核心是將表演行為視作一種僅存在於時間中、稍縱即逝的表述，它代表對固定身 份、政治系統及語言的拒絕。在這個意識形態瀕臨崩塌、全球秩序持續變換的後疫情時代， 藝術家 Larys Frogier 和 Alfie Chua 提出一系列問題挑戰殖民歷史中交織着私人與 集體歷史的事件的定義及命名，並重新思考這些事件中的領養、遣返、囚禁與遷移。透過 這種介入，作品對那些出於主動抵抗或被排斥而無法名狀的事物致敬。 — 如何將語言抽離出它的本體，並擾亂它象徵、表述及定位身份的功能？ — 如何在差異、誤認、和誤解中開啟演練另類社會、文化、政治想象的空間？ — 表演性的言說可否被視為一種獨特的翻譯與錯置？ — 多重的意義如何透過命名而產生？
《無名者求異》是一個不同語境中呈現出不同形態和表演形式的持續性項目。作品是次 在香港的呈現包含了刺繡文字、社交平台上獲取或手機拍攝的圖像，以及來自大自然、 人體及人造物的聲音。作品的不同組成部分旨在重新思考其作為 ( 非）文字、( 非）圖像與 ( 非）聲音的特質。
CURTAIN 簾 幕
浪
OCEAN 洋與浪 & WAV Z
洋 ( ， 1 Larys Frogier 964年生於巴比提 )與 ， 1 (A l f ie C hua 977年生於吉蘭丹 )；現生活並工作於新加坡及上海。 Ocean (Larys Frogier,born 1964in Papeete)& Wavz (Al fie C hua,born 1977in Kelantan). Live and wor kin Singapore and S hang hai
The work magnifies and extracts the concept of performance as a temporary representation of a position that remains impossible to be reproduced and defies the consolidation into one fixed identity, political system, or language. In response to the shifts of a global order wrought by the collapse of ideological systems and the post COVID-19 pandemic uncertainty, the artists Larys Frogier and Alfie Chua pose a series of questions to challenge the naming of events in the history of colonisation, which often overlap with private and collective storytelling related to adoption, deportation, internment, and migration. Through this intervention, the work pays tribute to those who are destined to fail, whether by choice or otherwise, to fit within a name. — How can language be thrown out of itself, unsettled
from its primary function to signify, express, narrate, and identify?
— How can the discrepancies found in misidentifications
and misunderstandings instead become incubators for the development of alternative social, cultural, and political situations?
— How can an act of performative speech be considered
a unique practice of translation and displacement?
— How can designating a name bring forth multilayer
meanings?
The Ones With No Name, Desire For Anomaly is an evolving, site-specific project with each articulation depending on the context in which it is presented. This iteration presented in Hong Kong comprises embroidered texts, images taken from digital platforms such as social media and taken with a cell phone camera, and sounds from nature, the human body, and the synthetic. All of these different components aim to reconsider their very own characteristics as (not) texts, (not) images, and (not) sounds. The Ones With No Name, A Desire For Anomaly. 怪獣 Kaijū Forever Remain (PandeMix), 7'21", Close To Me Against You, 2'21", Oblivious, 7'19", -ism, 5'25", (not) a vision, 8'38", 2021. French linen fabric and word stitching, wooden platform, tatami, video, text, sound, dimensions variable. Courtesy of the artists.《無名者求異》，《怪獣 Kaijū Forever Remain (PandeMix) 》， 7 分 21 秒，《 Close To Me Against You 》，2 分 21 秒，《 Oblivious 》，7 分 19 秒，《 -ism 》，5 分 25 秒， 《 (not) a vision 》，8 分 38 秒，2021 年。法國亞麻布料及文本刺繡，木製平台，榻榻米，錄像，文本， 錄音，尺寸可變。由藝術家提供。
SOHO HOUSE HONG KONG 22/F
Jacolby Satterwhite’s digitally constructed worlds are debauched, fantastical culminations of pop culture, visual arts, and performance, inhabited by animated queer avatars, shapeshifting matter, and his real-life friends and family. A crucial presence in Satterwhite’s work has been his late mother, Patricia Satterwhite (1935–2021), a celebrated artist in her own right, whose haunting voice and diagrams for visionary household products are part of the inspiration for Healing in My House. A complex edifice of memory and desire, the work lies under the sign of Satterwhite’s dissident queer mythologies, while also inspired by his teenage encounter with the seminal animated sci-fi musical Interstella 5555: The 5tory of the 5ecret 5tar 5ystem (2003), a direct visual manifestation of Daft Punk’s album, Discovery.
Jacolby Satterwhite 的數碼世界是流行文化、視覺藝術及表演藝術不羈荒誕 的高潮點，充斥着酷兒虛擬角色、變形物質以及他在真實世界中的朋友與家人。
Satterwhite 已故的母親 Patricia Satterwhite（ 1935–2021 ）是他作品中 極為重要的線索，她亦是一位備受讚揚的藝術家，她那令人難忘的嗓音以及 她所繪製的深具遠見的家居物件示意圖都是此件作品的靈感之一。此件作品 是一個由記憶與慾望所組成的龐雜系統，它既來自 Satterwhite 抵抗式的酷兒 神話，亦擷取自他少年時觀看的著名動畫音樂劇《星際 5555》（ 2003 ）， 是為 Daft Punk 樂隊專輯《發現》的視覺呈現。 Healing in My House, 2016. 3D animation and video (with sound), 9'26". ©Jacolby Satterwhite. Courtesy of the artist and Mitchell-Innes & Nash, New York.《家中療傷》，2016 年。3D 動畫及錄像（有聲）， 9 分 26 秒。由藝術家及紐約 Mitchell-Innes & Nash 提供。
CURTAIN 簾 幕
Bornin 1986in Co lum bia, Souh t Caro lina. Lives and wor ksin Broo k lyn, New Yor k.
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J AC O L B Y SATTE RW H I T E
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1986年生於南卡萊羅納州哥倫比亞；現生活並工作於紐約州布魯克林。
SOHO HOUSE HONG KONG 22/F
48 Summer Clouds, 2017. Kriska aluminium curtains, aluminium rail, powder-coated steel frames, H. 350 × W. 476 × D. 6 cm each. Photo © Museum Haus Konstruktiv (Stefan Altenburger). Courtesy of the artist and Esther Schipper, Berlin.《夏日的雲》， 2017 年。Kriska 鋁製簾幕、鋁杠、粉末噴塗鋼架，每件高 350 公分 × 寬 476 公分 × 深 6 公分。圖片由 Museum Haus Konstruktiv 提供； 攝影：Stefan Altenburger。由藝術家及柏林 Esther Schipper 畫廊提供。
CURTAIN 簾 幕
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Daniel Steegmann Mangrané’s mysterious curtains, a mix of industrial fabrication and handicrafts, are sculptures where the object appears to be rather the shapeshifting space determined by the moving elements as visitors cross them.
Daniel Steegmann Mangrané 神秘的簾幕 是工業生產和手工鍛造的結合物。透過觀眾的 穿行，簾幕間不斷變化的負空間恰恰構成作品 的雕塑性。
SOHO HOUSE HONG KONG 22/F
1977年生於巴塞羅拿；現生活並工作於里約熱內盧。 Bornin 1977in Barcelona. Lives and wor ksin Rio de Janeiro.
DA N I E L ST E EG M MANG ANN RANÉ
Bornin 1987in Dessie. Lives and wor ksin Addis Aba ba.
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CURTAIN 簾 幕
EN ROBEL TEMES G
此概念作品是藝術家自 2014 年起持續創作的藝術項目，他想像自己是一位 63 歲的非洲藝術家， 受中國政府邀請參加慶祝新中國成立 101 週年和 2050 年完成「一帶一路」項目活動。在報紙上， Robel Temesgen 自由地想像中國一帶一路對全球政治和個人生活方式的影響。從個人和集體的 經驗、過去和現狀的事實信息出發，Temesgen 試圖想像埃塞俄比亞、中國和全球的未來景觀。 作為創作核心的手寫報紙，藝術家為本次展覽特別製作了三種不同語言版本：阿姆哈拉語、英語和 繁體中文。觀眾可以坐在階梯狀的平台上翻閱報紙，身後是模仿阿迪斯阿貝巴的佈景，在那裡 人們獲取報紙和雜誌的方式是去城市的某個地點借閱。香港的觀眾可以利用這個裝置，通過閱讀 報紙將自己放置未來，開 一次時間的旅行。
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1987年生於德西；現生活並工作於阿迪斯阿貝巴。
The conceptual work is an ongoing project since 2014, where the artist imagines himself as a 63-year-old African artist invited by the Chinese government to attend the 101st anniversary of New China to celebrate the completion of the One Belt One Road policy in 2050. In the newspaper, Robel Temesgen entertains the impacts One Belt One Road will have had on global politics and lifestyles. Deriving from individual and collective experiences, historical facts, and current affairs, Temesgen extrapolates futures for Ethiopia, China, and the world. Handwritten newspapers at the core of the presentation are available in Amharic, English, and Traditional Chinese. The audience can read the newspaper on the steps set against a backdrop of the cityscapes of Addis Ababa, where locals obtain newspapers and magazines by borrowing them from certain locations throughout the city. The installation sets the audience in Hong Kong on a course of time travel. Addis Newspaper—The Chinese Issue—January 2050, 2014. Mixed media, H. 50.5 × W. 34.5 cm each. Courtesy of the artist.
《亞蒂斯時報——中國刊—— 2050 年 1 月》，2014 年。混合媒介，每件長 50.5 公分 × 寬 34.5 公分。由藝術家提供。
SOHO HOUSE HONG KONG 22/F
This opera in the making combines poetry reading, chorus, theatrical performance, and textiles into one installation. The chorus from the speaker recreates the artist’s performance at the 2020 Singapore Biennale. However, the audience would be hard-pressed to grasp the complete script of the performance from the chorus itself, so the way to ‘get’ all the lyrics is to read them from the monumental textile installation. The experience spurs the inquisition into the signification of the collective voice, whether it is synonym to homogeneity,
JA S O N
and if it resembles authority. The libretto originates from Jason Wee’s long-form science-fiction poem In Short, Future Now (2021), composed of paragraphs of haikus, that posits the ways one can break free from the vicious cycle of power struggle set against a backdrop of postauthoritarian and post-climate-disaster Asian islands. Quora Fora: A Rehearsal, 2020. Performance, dimensions variable. Courtesy of the artist and Yavuz Gallery. 《 Quora Fora：一次排演》，2020 年。表演，尺寸可變。由藝術家及 Yavuz Gallery 提供。
WEE 黃
CURTAIN 簾 幕
漢冲
這是一件將詩歌朗誦、合唱音樂、戲劇表演及 紡織品並存在一起的裝置作品，也是一件在 製作中的歌劇。從音箱中傳來的人聲合唱還原了 藝術家 2020 年在新加坡雙年展上的劇場表演， 公眾很難通過合唱聲聽懂完整的內容，「得到」 所有歌詞的方法是從巨大的織物裝置中讀取。 作品令觀眾思考集體聲音到底意味着同質性或 是權威。作品劇本源自黃漢冲創作的科幻長篇 詩歌《近快，未來》（ 2021 ），以俳句段落想像 獨裁主義和氣候災難之後的亞洲群島，我們應該 如何擺脫更具破壞性的權力爭奪和循環？
1979年生於新加坡；現生活並工作於新加坡及紐約。 Bornin 1979in Singapore. Lives and wor ksin Singapore and New Yor k City.
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SOHO HOUSE HONG KONG 22/F
Born 1992 in Guangdong. Lives and wor ksin HongKong.
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CURTAIN 簾 幕
儒
RU 吳佳 WU JIA
1992年生於廣東；現生活並工作於香港。
The text projected on one side of the cascading veil attempts to translate the abstract motifs and symbols on the other. If AI eventually reached singularity and became autonomous beings like humans, would it yearn and pine for its creator? An unbridgeable chasm exists at the centre of such dichotomies as gods and humans, humans and the human-made, and creator and creation. Yet the two sides are simultaneously bound together by a helpless, almost instinctual attraction. Falling in love with the wrong species is at the core of the narrative of beige_jelly_projection. For Wu Jiaru, every existence gravitates toward an unspeakable truth, and such tragedy and romanticism are universal.
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傾瀉而下的幕布上投影着抽象的圖案 和符號，一旁的文字似乎在同時為 這些表達進行翻譯。想像人工智慧終於 抵達奇點，成為了新的獨立物種， 像人類一樣思考的它是否會對自己的 造物主產生嚮往與追求？造物主與人， 人與人造物，創造與被創造之間存在 本質上的差異，有無法跨越的隔閡 與距離，而兩者卻又自然並強烈地互相 吸引着。《 beige_jelly_projection 》 便是這樣一個關於愛上錯的類別的 描述。吳佳儒認為每種存在是孤獨的， 亦都被一種無法言喻的真理所吸引， 這便是宇宙的悲劇與浪漫。 beige_jelly_projection_single_channel_silence, 2020. Video installation, dimensions variable. Courtesy of the artist.《 beige_jelly_projection_ single_channel_silence 》，2020 年。錄像裝置， 尺寸可變。由藝術家提供。
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See page 26–27 for description. 請往第 26 至 27 頁閱讀簡介。 0-Viewpoint-8-1, 2 and 3, 2015. Mixed media, H. 183 × W. 456 cm.《0- 視點 -8-1 、2 、3》，2015 年。 混合媒介，高 183 公分 × 寬 456 公分。Courtesy of the artist and Galerie du Monde. 由藝術家及世界畫廊提供。
CURTAIN 簾 幕
1965年生於北京；現生活並工作於加州三藩市。 Bornin 1965in Beijing. Lives and wor ksin SanFrancisco, Ca li fornia.
PARA SITE 22/F
張爽
ZHANG
ST E L L A
Blue, 1993. 35mm film shown as high definition digital scan (colour and sound), 79'. Courtesy of Basilisk Communications Limited.《藍》，1993 年，35 毫米膠卷高清數碼掃描（彩色，有聲），79 分。由 Basilisk Communications Limited 提供。
導演 Derek Jarman 的辭世遺作《藍》，記錄下了他罹患愛滋後的最後歲月。此時的 Jarman 已經雙 目失明，影片從始至終都是藍色，沒有任何畫面、情節或人物，只有詩性的背景音樂和他本人的獨 白。Jarman 用這種極端的「反電影」形式，呈現人生最後時光中嘈雜煩躁的醫院聲、岸邊孤獨深沈 的海浪聲、他面對死亡時毫無怨言的沈默，以及他不捨離開戀人的不忍與決絕。他同時也積極參與 同性戀者平權運動，這也是其藝術創作的重要主題之一。
‘I present you with the universal Blue Blue an open door to soul An infinite possibility Becoming tangible’ 「我獻給你們這宇宙的藍色 藍色，是通往靈魂的一扇門 無盡的可能將變為現實」
58 CURTAIN 簾 幕
Bornin 1942in Norh t w�d. Diedin 1994in London.
The final work by director Derek Jarman, Blue, documents his last days before succumbing to AIDS. By this time, Jarman had become blind, and the film is devoid of any imagery, plot, or characters, with only poetic music in the background, his own narration, and the eponymous blue color that fills the frame from beginning to end. Through this radical ‘anti-film’, Jarman depicts his final moments replete with the cacophony in the hospital, the lonesome lapping of ocean waves, his resolute silence in the face of death, as well as the unbearable separation from his partner. Jarman was also active in the fight for gay rights, a theme that also figures prominently in his work.
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Screening: 26 June 2021. 7–8:30pm Eaton HK 380 Nathan Rd, Jordan 放映：
2021 年 6 月 26 日 晚上 7 時至 8:30
香港逸東酒店 佐敦彌敦道 380 號
1942年生於諾斯伍德； 1994年卒於倫敦。
DEREK
JA R M A OFFSITE SCREENING
N
閱讀
在簾幕後 Reading Be hind Curtain
As an integral part of the exhibition Curtain, Reading Behind Curtain gathers observations and ideas by various researchers, scholars, critics, and activists parallel to the artistic practices presented in the exhibition space. This bibliography serves as an invitation to revisit or further discover the archives of visible/invisible memories, documented/undocumented narratives, and imagined/ unimagined future. Organized by Pan Min, Zheng Peihan, Anqi Li 「在簾幕後閱讀」作為展覽「簾幕」 的重要組成部分，旨在搜集不同 研究者、學者、評論者及行動主義者 的觀察及思考，與展場內的藝術 實踐一同呈現。此書單邀請讀者重訪 或深入可見及不可見的記憶，已被 記錄或未被記錄的敘事，以及想像 之內或之外的未來景象。
Bibliography 書單 1 Zygmunt Bauman & David Lyon Liquid Surveillance: A Conversation 2 Brian Bernards Writing the South Seas: Imagining the Nanyang in Chinese and Southeast Asian Postcolonial Literature 3 François J. Bonnet The Order of Sounds A Sonorous Archipelago 4 Anne Anlin Cheng Ornamentalism 5 Cheng Yinghong Discourses of Race and Rising China 6 Mathieu Copeland & Lovay Balthazar The Anti-Museum: An Anthology 7 Mathieu Copeland & Clément Dirié Gustav Metzger Writings (1953– 2016) 8 Elizabeth M. DeLoughrey Allegories of the Anthropocene
由潘旻，鄭佩菡，李安琪策劃
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9 Elizabeth M. DeLoughrey, Jill Didur & Anthony Carrigan Global Ecologies and the Environmental Humanities: Postcolonial Approaches 10 Frank Dikötter
《近代中國之 種族觀念》The
Discourse of Race in Modern China 11 Miriam Driessen
《苦澀的希望：中國 路工在非洲》Tales
of Hope,Tastes of Bitterness: Chinese Road Builders in Ethiopia 12 Edouard Glissant & Jeff Humphries Collected Poems of Edouard Glissant
15 Gordon Mathews
《南中國的世界城： 廣州的非洲人與低端 全球化》Africans and
Other Foreigners in South China’s Global Marketplace: The World in Guangzhou
16 John N. Miksic Singapore and the Silk Road of the Sea, 1300–1800 17 Timothy Morton Hyperobjects: Philosophy and Ecology after the End of the World 18 Astrida Neimanis Bodies of Water: Posthuman Feminist Phenomenology 19 Chantal Spitz Island of Shattered Dreams
13 20 Elaine Lynn-Ee Ho Jason Wee 《近快，未來》 Citizens in Motion: Emigration, In Short, Future Now Immigration, and 21 Re-migration Across Michael Wiedorn China’s Borders Think Like an 14 Archipelago: Kathy Jetnil-Kijiner Paradox in the Work of Edouard Glissant Iep Jaltok: Poems from a Marshallese Daughter
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 藝術空間為香港首屈一指的當代藝術中心，
亦是亞洲歷史最悠久、最活躍的獨立藝術機構之一。 成立宗旨在透過展覽、出版刊物及教育項目等活動， 促進在地與國際間的對話，希冀打造一個對當代藝術、 社會現象提出批判性論述及理解的平台。
Inaugurated in 2010, Rockbund Art Museum is a contemporary art museum located on the Bund in Shanghai. RAM is developing an oceanic vision within the contemporary art ecology, from research to alternative learning programmes, from exhibition-making to unexpected para-performative formats. Through supporting bold contemporary art practices, we aim to continuously remake local histories while responding to global art challenges and social mutations. 上海外灘美術館成立於 2010 年，是一所地處上海 外灘的當代藝術館。美術館正在發展當代藝術的海洋性 視野，無論是研究還是新型學習項目，展覽製作還是 不可預期的泛表演性實踐，我們旨在通過支持大膽的 當代藝術實踐，不斷重塑本地歷史，並同時應對國際 藝術挑戰和社會變異。
Para Site Art Space is financially supported by the Art Development Matching Grants Scheme 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。
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. 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。
Lead Supporter 首席贊助 Shane Akeroyd 安定山
CONTACT 聯絡我們 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 hrs 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，星期二與公共假期休息
Facebook/Instagram @parasite.hk Wechat @parasitehongkong
Headline Sponsor for Public & Digital Programmes 公共及線上項目首席贊助
Venue Partner 場 地贊助
Logistics Partner 物流贊助
Alongside artist fees to all participating artists, Para Site is offering medical and dental insurance coverage for Hong Kong artists in the exhibition, generously made possible by Jacobo Garcia Gil. 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保險，由 Jacobo Garcia Gil 慷慨支持。
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PARA SITE BOARD PARA SITE 董事局
PARA SITE TEAM PARA SITE 團隊
Alan Lau Ka Ming
Cosmin Costinas
Chair
Executive Director/ Curator 執行總監 / 策展人
劉家明 主席
Mimi Chun Mei-Lor 秦美娜
Vice Chair 副主席
Bonnie Chan Woo Tak Chi 胡陳德姿
Treasurer 會計
Sara Wong Chi Hang 黃志恒
Secretary 秘書
Nick Adamus
館長
Liu Yingjiu 劉迎九
Deputy Director
馬元中
Deputy Director
副館長
副總監
Curatorial And Research Team
Anqi Li 李安琪
展覽與研究部
Curator Of Education And Public Programmes
Billy Tang 曾明俊
Senior Curator
教育與公共項目策展人
資深策展人
Celia Ho
Xu Tiantian
何思穎
Curator
徐天天
Curator Manager
策展人
Kurt Chan Yuk Keung 陳育強
Project Manager/ Assistant Curator 項目經理 / 助理策展人
Antony Dapiran
Cusson Cheng
Alan Y Lo 羅揚傑
Project Manager/ Assistant Curator 項目經理 / 助理策展人
Young Kar Fai Samson
Jason Chen
楊嘉輝
Larys Frogier Director
Kelly Ma
Joseph Chen
戴安通
上海外灘美術館團隊
康喆明
Shane Akeroyd 安定山
ROCKBUND ART MUSEUM TEAM
策展主管
Education Team
陳敬元
教育部
Pan Min
Stella Wang 王再再
Development Manager 發展經理
Manager 主管
Finn Hu
Kelly Tang
胡非羽
Specialist
鄧曉妍
Gallery Manager
專員
畫廊經理
Design Team 設計部
Sylvie Huang 黃馨儀
Designer 設計師
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Operation Team 運營部
Vivian Li 李葉
Manager 主管
Grey Ge 葛永佳
Specialist 專員
Ma Zitong 馬梓童
Specialist 專員
Chen Zhiqiang 陳志強
Technician 機電專員
Admin Manager
傳播推廣部
梁婉揚
主管
Specialist Communication Team
Jacqueline Leung
Manager
Gao Lin
專員
傳訊經理
侯欣媛
Zheng Peihan 鄭佩菡
Communications Manager
Oranda Hou
Administration And Financial Team
主管
陳子岳
發展部
Manager
潘旻
鄭家醇
Development Team
行政財務部
高琳
行政主管
Huang Haida 黃海達
Finance Manager 財務主管
環球協會
簾幕
Curtain
ACKNOWLEDGMENTS
Shane Akeroyd Mimi Brown & Alp Ercil Jehan Chu Samantha & Jamie Goodman Benedicta M Badia Nordenstahl Vanessa Ying Xu Virginia Yee Ethan Yip
CURATORS
Claire Atherton Astrobus-Ethiopia 星際巴士 - 埃塞俄比亞 Corinne Bannister Nicola Bateman Berhanu Berkeley Art Museum and Pacific Film Archive Carole Billy BOLOHO Sarah Bushra Agnes Fury Cameron Gary Carsley Fiona Chen 陳盈 Zheng Chen 陳錚 Chen Zihao 陳子豪 Mr. & Mrs. C. K. Cheung
GLOBAL COUNCIL
FOUNDING FRIENDS 始創好友
Burger Collection, Hong Kong Stephen Cheng Cmbb Cultural Organization A. Gaw Mimi & Chris Gradel Inna & Tucker Highfield IEs Collection Alan Lau Wendy Lee James Lie Edouard & Lorraine Malingue Schoeni Projects Sunpride Foundation FRIENDS 好友 Nick & Cordula Adamus-Voegtle Christine & James Boyle Rachel Catanach & David Boyce Lawrence Chu Jane Debevoise Yan Du Kwai Fung Foundation Alan Lo Ingrid Lok & Tim Li Kenneth K Loo Elaine W. Ng Justin Ng Fabio Rossi Angelle Siyang-Le Bonnie & Darrin Woo Kelly Yip
鳴謝
策展人
Cosmin Costinas 康喆明 Larys Frogier Celia Ho 何思穎 Anqi Li 李安琪 Billy Tang 曾明俊 Xu Tiantian 徐天天 COLLABORATORS 合作者
Biljana Ciric Mathieu Copeland PROJECT MANAGERS AND ASSISTANT CURATORS 項目經理及助理策展人
Joseph Chen 陳敬元 Cusson Cheng 鄭家醇 VISUAL DESIGN 平面設計
Wkshps SPATIAL DESIGN 空間設計
Napp Studio EDITOR 編輯
Jason Chen 陳子岳
張松橋伉儷
Aileen Corkery Lisa Dai Ula Dajerling Leanne Dmyterko Electronic Arts Intermix Cerith Wyn Evans Fundación Almine y Bernard RuizPicasso Para El Arte (Faba) 阿爾敏與伯納德 · 畢加索藝術基金會
Natalie Fung Ruby Fung 馮嘉朗 Gallery Exit Marija Glavaš Inti Guerrero 士日 Vince Guo 郭佳鑫 Hong Hai 洪海 Katrina Harple Matthias Heitbrink Hsieh Feng-Rong 謝豐嶸
Michelle Yeonho Hyun Soyoung Kim Margery King Norah Kwok 郭慧怡 Jackson Kwong 鄺俊軒 Ryan Lai 黎洛瑋 Christophe Leunis LADA Live Art Development Agency
HB Station 黃邊站 Damon Lam 林遠圖 Kaman Lam 林嘉文 Sherman Lee 李雪汶 Teeda Lee 李銘義 Ken Leong Francesca Leung 梁皓程
Jianping Ma 馬建萍 James Mackay Megan Mak 麥巧琳 Holly McHugh Rafaela Mendes Ferreira Manuel Miseur New Century Art Foundation & Founder Mr. Wang Bing 新世紀當代藝術 基金會及創始人王兵
Kim Nguyen Kimie Noda Lynn & Thomas Ou 歐亞平及張來平
Emiliano Pistacchi Eric Price Qu Chang 瞿暢 Julia Retz Rosen Gallery Pedro Sampaio Ariel She 佘希彤 Claire Shea 謝清 Sylvia Shi 史聖嬌 Shitou 石頭 Russell Storer Studio Cao Guimarães William Sun 孫金 Tobias Tang Penny Tsang 曾偉傑 Macy Tse 謝銘思 Wang Ziwei 王紫薇 Wang Simian 王思勉 Chantal Wong 黃子欣 Chris Wu 吳承桓 Xu Lingnan 徐崚楠 Xu Sihan Aria Yang 楊佳霖 Yang Fuyi 陽馥伊 Kelvin Yang Charlotte Yip 葉葆琛 Shirley Zhang 張雪瑤 Zhu Wenzhe
Back cover: Wu Jiaru, beige_jelly_projection_single_channel_silence, 2020. Inside back cover: Gustav Metzger, Historic Photographs: To Crawl Into—Anschluss, Vienna, March 1938, 1996/2021. 封底：吳佳儒， 《 beige_jelly_projection_single_channel_silence 》 ，2020 年。 封底裏：Gustav Metzger《歷史照片：爬入——德奧合併，維也納，1938 年 3 月》，1996/2021 年。
