Sounding Lines｜測深線

Sounding Lines

Aki Sasamoto is a New York-based Japanese artist who works in performance, sculpture, dance, installation, and video. The exhibition marks the rst major solo presentation of Sasamoto’s experimental practice in Hong Kong, featuring a newly commissioned installation and a performance in conversation with a recent moving-image work. Fables, anecdotes, and biographical elements often seep into her works that explore relationships between body and space to engage viewers on multiple sensory levels.

Working at the intersection of sculpture and performance, Sasamoto looks to probe the limits of the understanding towards natural and human phenomena. Through word play, the artist’s intervention of the Para Site space references the weighted lines used to measure the depths of water bodies, called sounding lines. Marked at regular intervals by attaching various kinds of material, a sounding line is typically cast out from a boat, serving as a method to gauge the depths below. The new work originated from a straightforward impulse to transmit a physical wave from one side of the space to the other through a metal spring. Expanding on the concept of a sounding line, the exhibition explores the boundaries and interrelations among people and their physical surroundings, focusing on how these literal and gurative relationships de ne one’s sense of proximity or distance to the world at large.

The dynamic between improvisation and structure has always

been a driving force in Sasamoto’s practice her material experimentations might typically begin at the studio, where she tests components to build up a stage for unscripted performances and interactions to occur. Her works also often involve collaboration with a diverse ensemble of musicians, choreographers, mathematicians, lmmakers, and engineers. For Sasamoto to work o against a new set of problems in this exhibition, she has developed a method of sending kinetic waves at speci c intervals, triggering a choreography of catalytic movements as the wave oscillates back and forth across the room via the metal springs.

Suspended throughout the gallery’s architecture, Sounding Lines (2024) is an intricate web of metal springs connected to a series of ‘lures’. Meticulously hand carved from red cedar wood, these mobile sculptures hang in the air and mimic the function of angling baits, capturing the viewers’ attention with their re ections of light, motion, and vibrant colours. Within this setting, Sasamoto will present two improvised performances during the course of the exhibition to explore ideas ranging from the profound to the mundane. In a previous work Yield Point (2017) the artist poses the question, in the face of life’s ebbs and ows: ‘How elastic are you?’ From good to bad moments, life can quickly become convoluted and stretched. In ‘Sounding Lines’, the inquiry shifts to the challenges of maintaining appropriate distances to a variety of characters and daily situations,

while looking to test the boundaries that de ne relationships to work, love, and family.

In dialogue with this new series of works is Sasamoto’s most recent moving-image work, Point Reflection (video) (2023). Point re ection refers to the focal point of an involution—a process in which a shape is ipped across an axis, creating a mirror image of itself. The meditative video captures the artist amidst an array of objects that momentarily levitate, scatter, or swirl on an air- oat table improvised from a commercial kitchen sink. In Sasamoto’s ever-expanding universe of objects, actions, and words, the video is another counterpoint to re ect and embrace the impossibility of a perfect symmetry. The artist gives a unique vantage point to ip the viewer’s understanding of the familiar and the unfamiliar, and the ordered and disordered patterns of life, and to embrace their irreconcilability. Fun fact: the shape of snail shells are chiral in the way that they cannot be superimposed onto one another. Then, why does their form point one way instead of the other direction? From this pivot point, the artist seems to be asking: in this topsy-turvy world, what position does one stand on is it the ‘right’ side or the ‘wrong’ side?

‘Sounding Lines’ is organised by Billy Tang in collaboration with Jessie Kwok and Doris Poon.

現居紐約的日本藝術家笹本晃的藝術實踐跨越 行為、雕塑、舞蹈、裝置與錄像。本次展覽 為藝術家於香港的首場大型個展。全新委託的 裝置作品與行為演出將與藝術家的流動影像近 作展開對話。寓言、軼事及自傳元素常滲透進 笹本的作品。藝術家藉此探索身體與空間的關 係，營造感官層次豐富的觀展體驗。

笹本的創作位處於雕塑與行為表演 的交叉點，探詢觀者理解自然和人類現象上的 極限。透過文字遊戲，藝術家用測深線重新思 考 Para Site 的展覽空間。測深線是一端懸有 重錘、用來測量水體深度的繩索，在固定間隔 上會以各種材料作標記，由船上拋垂，測量水 深。新作靈感源於一個簡單的想法：利用金屬 彈簧從展廳的一角朝另一角傳遞物理性的波動。 展覽由測深線的意涵出發，探討人們與其周遭 環境之間的界限與錯綜複雜的關係，並關注這 些聯繫如何定義人們與世界的親疏遠近。

即興與結構之間的動態關係一直是 笹本的創作驅動力之一。藝術家的材料實驗往 往從工作室開始，她在此測試不同組件，烘托 無腳本的表演和互動行為。她的創作也經常邀 請音樂人、編舞家、數學家、電影工作者及工 程師參與合作。為了本次展覽的新提問，笹本 設計了一個在固定間隔以金屬彈簧傳送波動的 方法，當波動在展廳中反覆迴盪的同時，也會 啟動一連串觸發性的動作。

作品〈測深線〉（ 2024 年）懸吊於 整個展覽空間，縱橫交錯的金屬彈簧與「誘 餌」相連，構成精密的網絡。這些掛在半 空的動態雕塑由紅雪松木手工精心雕刻而 成，模仿魚餌的功能，在光線照射下發亮，晃 動的鮮豔色彩吸引觀者的注意力。在這樣的佈 景下，藝術家會在展覽期間呈現兩場即興行為 表演，探問從富含哲理到平凡無奇的各種想法。 在舊作〈降伏點〉（ 2017 年）中，面對人生的起

起落落，笹本問道：「你的彈性如何？」人生難 免有些曲折和拉扯，尤其當事情急轉直下的時 候。在展覽「測深線」中，藝術家轉而提問如 何與在日常遭遇到的形形色色的人物保持恰當的 距離，以及試探個人如何區劃工作、愛情、家 庭關係的界線。

與這一系列新作展開對話的，是笹 本近期的錄像作品〈點反演（錄像）〉（ 2023 年）。「點反演」在數學中意為對合（平面反射） 中的焦點——一個形狀沿對稱軸反轉，在對稱 軸的另一邊形成自身的鏡像。這段猶如冥想的 錄像捕捉到林林總總的物件，在一張由餐飲業 廚房水槽改裝成的桌子上，隨着吹氣孔噴出的 氣流不時騰空、分散、旋轉，而藝術家就置身 於其中。在笹本不斷擴張的物件、行為、文字 宇宙中，這件錄像作品反映並接受了完美對稱 的不可能性。藝術家提供了一個獨特視角，顛 覆觀者對熟悉或陌生、井井有條或雜亂無章的 生活規律的理解，接受其中的不可調和性。冷 知識：蝸牛殼的形狀是「手性」的；牠的鏡像 無法與原物疊合在一起。那麼，為何蝸牛殼的 漩只指向這個方向而非那個方向呢？從這個思 考點拐個彎，藝術家似乎又問：在這顛三倒四 的世界中，人該站在哪個方向——是「正確」 的一邊？還是「錯誤」的一邊？ 「測深線」由曾明俊策劃，郭芷凝和 潘韻怡協作。

Aki Sasamoto and Billy Tang 笹本晃與曾明俊

12,756 km the diameter of the Earth

10,935 m—Challenger Deep, the deepest spot in the Paci c Ocean 33 m the longest recorded Blue Whale

I like my eel to be about 0.5 m long, in mid-summer.

地球的直徑有 12,7 56 公里 太平洋水最深處有 10, 9 3 5 米 世界紀錄最長的 藍鯨 有 33 米 仲夏時節，我喜歡約半米長的 鰻 魚

Everybody looks like some kind of sh. Before cell phones hijacked our spare time, a train ride was the perfect place to observe characters. I used to make up stories about the riders. It was as if I was inside the terrarium of the train car, among all the other sh.

我們看起來都像某種魚。火車車廂就好像 魚缸，當我和其他魚一起在裏頭，我會觀 察他們的個性，編造他們的故事。

The Humphead Wrasse Sandakan, Papar, and Tawau

Between

USD $45.30—$120.36

馬來西亞的山打根、帕帕爾 、 斗湖三地的蘇眉魚 價值多少？

A bill sh by the door, with a long nose, constantly tossed his semi-long hair. I decided to imagine taking about 80 cm o this sh. A blow s h sitting in front of me was moving her mouth to spread lip balm while reading a novel. I was only 40cm from her book, close enough to read things. Inside the crowded rush hour train, I didn’t have much choice, but I was hyper-aware of our constellation. It was important for me to judge the correct proximity to each sh in the car.

靠門一隻鼻子很長的 旗 魚不斷撥弄他半長 不短的頭髮，我決定想像把這條魚切掉約 80 厘米。坐在我面前的 河豚 一邊看小說一 邊抿嘴讓唇膏均勻。她的書和我只差 4 0 厘米。尖峰時段擁擠的車廂，我沒甚麼選 擇，但對我們彼此的相對位置非常敏感，亦 要判斷我和車廂裏每條魚適確的距離。

Distance from a stranger, who behaves like a bill sh.

Distance to a stranger, who acts like a mosquito.

Distance to a colleague, who gossips with an invisible megaphone.

Distance to a lover, who is nosey like sticky rice.

Distance to a friend, who is honest like a bank statement.

I need to carefully measure the distance to each character in my life, out of both fear and respect.

I like the word ‘social distance’.

與我有距離的陌生者， 其習性如 旗 魚 。

與我有距離的陌生者， 其行徑像蚊子。

與我有距離的同僚， 其流言透過無形的話筒散播。

與我有距離的情人， 如糯米般黏人。

與我有距離的友人， 像銀行帳單一樣坦誠。

出於恐懼和尊重，我必須量度生命中 所有登場角色與我的距離。

「社交距離」是個好詞語。

Sprinkle on some salt so it falls gently like snow. Slice, slice, slice, scallion is turned into ribbons. Added to cold water. Bloom them into a curl. Slice, slice, slice, ginger and place on top. What’s the di erence between coriander and cilantro? Water rolls and moves into a boil. Steam appears. Soy sauce, salt, sugar, mix, mix, mix. Dissolve and set to the side. Eyeballing the potential ingredients around you. Bang. Move into the mist. Some shes have mythologized this convergence of space and time as ‘timefall’. When you see the signs of timefall: boil the oil. Ten to f t ee n minutes in darkness. Your cheeks bloat out and sometimes burst. Let’s switch the radio on to hear indie music from Argentina.

冷水裏，鹽輕輕灑落如雪花，切碎的蔥如緞 帶，還有薑絲。芫荽和香菜都一樣嗎？水沸 騰了，冒出蒸氣。醬油、鹽、糖，攪拌混和。 還有其他材料嗎？一瞬間都移入霧中。一些 魚將空間和時間的合流化為「時間墜落」。時 間墜落時，便把油煮沸吧。黑暗中的十到 十五分鐘間，你的臉頰腫脹起來，甚至爆裂。 打開收音機，傳來阿根廷的獨立音樂。

How about sardines? I like them to be about 15 cm. They tend to be found 20 – 70 m deep, usually in large groups. Their names change as they grow. In June, I drive to a sh market early in the morning to get the good sar dines. I use one as sashimi for breakfast, making sure to grate the ginger fresh. As the oil of the sardines melts on my tongue, I begin to reminisce about the lone time I spent at a seaside bar in Northern Japan or the roadside sushi restaurant we stopped at during a family road trip. Once all the sh are stored in the fridge with ice, I spend the day thinking about how to enjoy them in the evening.

喜歡 沙 甸 魚 嗎？我覺得約 15 厘米長的最好。 牠們成群徘徊於水深 20 至 70 米處，長大後 會有其他名字。我會在六月清早開車到魚市 場買沙 甸 魚 ，以刺身配新鮮薑蓉當早餐。口 裏融化的魚油使我想起日本北部的海岸酒吧或 公路旁邊的壽司店。所有魚都存入雪櫃後， 我還整天想着：晚上要怎樣享用餘下的魚？

I must also prepare Tataki to go with our pre-dinner drinks. After lleting a horse mackerel into three pieces, I carefully remove the skin with my hands and chop it up quickly with scallion, shiso, ginger, and Myoga. The sound of chopping this sh is already making me drunk. How can I translate Myoga into English? There are herbs that just have to go with certain sh; it's a miracle to witness such a preordained marriage between earth and sea.

餐前飲品要配搭「炙燒」。竹莢魚切三塊、小心 去皮，加入蔥、紫蘇、生薑和茗荷切碎。切魚的 聲音已讓我感到醉意。某些香草一定要配搭某 種魚，恍如大地與海洋之間命中註定的結合。

Nightclubs and Music Festivals

As a teenager, I discovered my love for dancing to music and light. But the real discovery happened when I randomly stumbled upon a dance class at a liberal arts college. There, I learned that the party can also happen from inside. In fact, there had always been a party inside my body. I can step onto the sprung oor and feel the subtle di erences of weight resting on the ball of my foot. It’s astonishing how the foot can be more or less grounded than the day before. And when I send that weight from the heel through my spine upwards, I notice how it aligns di erently with the top of my head from day to day. That invisible string enables me to perform a sideways rotation against gravity. If I’m lucky, that is, and luck is something that can be invoked through the power of imagery and consistent practice.

夜夜笙歌與音樂祭

我自小已喜歡隨音樂和光起舞，但真正的發現發 生在我不經意踏入一間文理學院的舞蹈課時。原 來每人的身體也可由衷地自成一個派對。踏上彈 簧地板時，我能感受到腳掌承重的微妙差異。腳 掌每天以不一的重量立足於地，不是很驚人嗎？ 那重量由腳跟經脊椎往上傳遞至頭顱，每天形 成不一樣的中線。如果我運氣夠好，那根無形 的繩子能讓我違抗引力傾側旋轉。而運氣是以 意象的力量和不懈的練習所造就。

Another revelation was the encounter with the concept of a score. My choreographer, Yvonne Meier, introduced me to this world. I learned to dance with the uidity of my body, as opposed to focusing solely on its mass. I discovered that the logic of the body can change at any moment, depending on the imagery a dancer holds while moving. As I continued studying, exploring di erent dance forms and choreographies, I realised that I no longer had just one xed understanding of my body. The body shifts, and I learned to adapt and move along with these shifts. Dance could suddenly start within me; I didn't necessarily need an external setting.

編譜的概念也是一個啟示。我的編舞家 Yvonne Meier 引領我進入那個世界。我學會 不只專注於身體本身的質量，而是隨自身的 流動起舞。舞蹈描繪的意象能改寫身體的邏 輯。學習和探索舞蹈，讓我對自己的身體有 更多重的理解。身體一直轉化，而我順從身 體的轉化而移動。舞蹈可以一息間在我身體 裏開始，外在環境已經可有可無。

Is sculpture also a party from the inside out? Do all its elements eventually fall into orbit, nding a perfect relation to one another? Does shapeshifting involve moving from the reality of art to the reality of life? One way to relax is to breathe in through one nostril, pause, and then breathe out through the other.

那麼，雕塑也是一個內在的派對嗎？它蘊涵 的所有東西會否落入命定的軌跡，彼此尋 覓到完美的關係呢？變形能將藝術中的現 實帶進生活中的現實嗎？如想放鬆，不妨 以一個鼻孔吸氣，停頓，再從另一個鼻 孔呼氣。

It is possible that two realities are actually one. That is at least the experience of the uctuating body. And perhaps the land as well; there is no before and after for a water droplet or for a grain of sand. For my educated little brain, it does feel like there is a road dividing the habitats, and borders seem to exist, hence the concept of crossing them. But it is possible that we are all part of a singular reality; that is the worldview of simultaneity. To delete the division, we may turn into four-eyed sh or transform into a long worm, forgetting which end is the past or the future. Then comes a catastrophe, a sudden change is possible. Yet, according to the topologist, this is also understood as a continuous dimension. Dissect a graph di erently, and what feels like a drop is part of a continuous dimension.

兩種現實有可能不分彼此。這至少體現於不 斷轉化的身體。也許還包括土地；先後次序 對一滴水或一粒沙來說毫無意義。在我受過 教育的腦袋裏，確實感覺有條路分隔不同棲 息地，似乎有邊界要跨越。但可能我們都身 處同一個現實：一個同時性的世界。要消除 分野，我們可變成 四眼 魚或者蠕蟲，忘記哪 端是過去、哪端是未來。災難來臨，變化又 生。拓撲學家說，這是連續維度，每一點也 是連續維度的一部分。

I contemplate these ideas as I slice my meat and vegetables.

這些想法都在我切肉切菜時浮現。

The movement of currents, sediments, or alg ae can absorb and scatter light in various ways, in uencing the water’s colour. It can appear to vary in patches from turquoise to more muted, steely blue tones during the cooler months when sunlight is less abundant.

水流、沉澱物或水藻的動靜都會吸收和散發光 線，改變水的顏色。在陰冷而陽光不那麼普照 的月份，它看來像拼布，有碧綠色和鋼藍色。

Moniang also enjoyed picking owers by using astral travel. Her temples are guarded by two demons, Qianliyan and Shunfeng’er, who were in love with her. She challenged them to a ght and promised to marry the one who defeated her in combat. However, they were subdued and quickly tamed by her kung fu and magic. In the end, the two demons were hired as guardian generals.

默娘會在飄遊時採花。她的寺廟由深愛她的 妖怪千里眼與順風耳守護。她曾和他們打 賭，誰人能擊敗她，她就嫁給誰。然而兩 怪很快就被她的武功和法力收服，徵為駕前 護衛。

Every morning for the last few months, I’ve woken up to a five-year-old singing into my ears the song by Marvin Gaye and Tammi Terrell:

‘Cause, baby, there ain’t no mountain high enough

Ain’t no valley low enough

Ain’t no river wide enough

To keep me from getting to you

過去幾個月，我都在歌聲中醒來。五歲的孩子在 我耳畔唱着 Marvin Gaye 和 Tammi Terrell 的歌：

因為啊寶貝，無論山有多高 峽谷多深 河流多闊 甚麼都不能阻止我來找你

We can turn into deities when in love, defying the very concept of distance. Emotions so huge that dichotomized poles of close/far or good/bad evaporate, leaving us with the indescribable. That must be the place of simultaneity as well. We cannot plan on when to fall in love, but oh, I used to make so much e ort to fall in love. Mainly because I wanted to become a deity. I think fondly of the time I wanted to ght the mountain. I wanted to be so close to somebody that I would nd myself disappearing.

愛能將我們變為神祇，抗衡一切距離。龐然的情 感能消除遠近或好壞之分，變得無以名狀。這一 定是同時性的世界。愛是身不由己的，但我曾經 很努力想墜入愛河、想成為神。我曾經想擊倒一 座山，想和某人親近得讓自我消融。

But now, when I look at the same lyrics, I think to myself: Distance comforts me these days, and I would rather stay inside my world. Mainly to keep you from getting to me. I have been studying, gauging, and practising the distance to take with my colleagues at the university, for instance. Slowness is rather a requirement for any potential closeness. Friendly and friendlike is a possibility, but there is always a sense that I need a healthy distance from anyone I’m working with. Because I will never fall in love at work, will I? Damn... What is this about? Sounds so boring. When did I become that person who actively seeks distance from others? ... so weird.

但現在的我，在歌詞裏反而找到距離帶來的慰 藉。我寧願留在自己的世界，不讓人接近。 我一直研究、測度和練習與大學同僚的距離。 親密的關係必然是慢慢建立的。我與同僚或 許能友好，但總覺得需要與他們保持適當距 離。我不可能在職場談戀愛。可惡……到底 怎麼了？怎麼這麼無聊。我從哪時起成了主 動尋求距離的人了？太奇怪了……

The same mountain is not enough to defeat my love or protect my love. With age, I appreciate my friends more and more, as they have no concerns about our relative locations. Wherever we are, whatever the landscape, I am okay with you, friend. High mountain, low mountain, it does not matter. Total acceptance leads to no drama but provides warmth. I don’t need to be a deity. It is wonderful to have such an adjustable distance between two beings.

這同一座山，既不足以與我的愛匹敵，也保護 不了它。隨着年歲日增，我越來越珍惜我的朋 友，他們從不在乎我們相隔多遠。我們無論身 在何處、隔着甚麼風景，我都不計較。山或高 或低都沒關係。全盤的接受帶來平靜和暖意。 我再不需要成為神。 兩 人之間的距離如此靈 活，真是美好。

Monster Building is a densely populated group of ve interconnected housing blocks, comprising 2,243 units across eighteen oors and approximately housing 10,000 people. When you walk o the main road, there are some beautiful mountain trails. During my last hiking trip, I took a wrong turn and circled through a series of peaks. On one of the peaks, I encountered a middle-aged lady who was standing barefoot on a rock, performing tai chi.

人煙稠密的怪獸大廈由 五 座相連的住宅大樓組 成，共 十八 層樓， 2, 24 3 個單位，可容納約 一 萬人。從馬路拐彎，便可走到景色怡人的山路 上。上次我走錯了路，繞過了一系列山峰，遇 到一位赤腳在岩石上打太極的中年女士。

Relationships are vectors that pull the world and hence support my whole existence. Nothing in this world is repeated, even with all the similarities from Monster Building to Borges’ Library, and then there’ s aquatic biodiversity too.

世界和我都是由關係支撐。不論怪獸大廈和波 赫士小說裏的巴 別 圖書館如何相似、 水 中生 物 如何多樣，萬物皆獨一無二。

I enjoy reading tea leaves, co ee sediments, and throwing sticks in the air. I also appreciate talking to AI, consulting the I-Ching, and tossing a coin to decide things. Yesterday, someone showed me a photograph taken on their mobile phone of an albino exotic fish that eats chicken heads. Icebreaking is another way to maintain both distance and proximity simultaneously. If you meet a stranger, just ask them about the weather.

我喜歡讀茶葉和咖啡漬、把棍子丟向空中、與 人工智能聊天、諮詢《易經》，和用擲硬幣來 做決定。昨天，我從別人的手機上看見一條 吃雞頭顱的白化熱帶魚。破冰同時拉近和疏遠 人。遇到陌生人時，就問他們天氣吧。

I won’t say you need to marry or stick with a marriage, but remember my request you have up to three marriages. That is what my mother told me when I rst mentioned I would marry. The legality of a marriage was a means and did not mean much else to me, but it did to her. Weirdly enough, she kind of predicted what my third marriage would be about (I am in my second one). I don’t need to live what she said I would do, but it is interesting for me to ponder what the number three means to her and to me.

不必結婚或堅守一段婚姻，但結婚最多就 三 次——我初次提到要結婚時，母親如是說。 婚姻的法律性於我而言僅是一種手段，於她卻 很重要。但是，她是否微妙地預測了我會有 三 段婚姻（我現在的是第二段）？我不必實現 她的預言，但我卻想思考「三 」這個數字—— 於她、於我。

Touch a tree to imagine water running through it there are twenty- ve years between, oat your palm across your tummy.

An air bu er conducting heat, Press your ear to the oor to hear downstairs

— a quarrel.

Is my future safe?

Call a friend to know the Earth is spinning, our worries evaporate into the satellite. We see and hear what we want to perceive, In that light, smell seems to function di erently. I have no choice.

I am hungry.

輕撫一棵樹，想像二十五年間從中流淌的水。

手掌凌空，以空氣傳熱至小腹。

側身躺在地板上，聽到樓下的爭吵嗎？ 我還有未來嗎？

我打電話給朋友，確認地球仍在轉動， 我們的憂慮蒸發，湮沒於衛星中。

我們所見所聞的，全是我們選擇感知的東西， 那麼，嗅覺似乎最客觀。

我別無選擇。

我餓了。

A voice enters the space, instrumentation oats all around.

Someone is talking—a serious moment.

A ve-instrument ensemble.

No text, just pure notation.

Technical display; no more emotion. Use the skeleton as guidance. Finito.

Two thousand things on the manuscript.

The sound grows lighter and thinner in the air. Take ve minutes to gather yourself;

phase out, shift the rhythm.

Be kind. Add a little embellishment. Someone is painting.

一聲嗓音劃破空間，儀器四處漂浮 有人在說話──嚴肅的時刻 五重奏：沒有文字，只有符號； 展現技術，毋須情感 讓骨架引導，完成 手稿上的兩千件事情

聲音在空氣中變輕、收細 用五分鐘重整、退場、變奏 善良，加上點綴 有人在畫畫

Two years into a relationship, boredom creeps in. Five years. It’s time to quit unless you reset the situation and look at the same thing di erently. That's entirely possible because most of my cells aren't the same, either.

Two years into a project, attachment creeps in. Five years. It’s time to quit.

It's also about time to accept what failed— a great chance to own what not to do. It’s part of the muscle memory.

Two years into a friendship, its fortune is told. Fiv e years. Only the real ones stick. Longevity is at stake because all the twists are of mutual interest. How old is this insect, really? Did you, insect, spend many years before you came out to stretch your wings?

關係持續兩年，開始變得沉悶； 到五年，已走到終點？除非，重整眼光來看待同 一事物。反正，我身上的細胞也經過代謝，改頭 換面。

計畫持續兩年，開始變得沉重。

到五年，已走到終點。

是時候接受失敗——承認有甚麼不應再做， 變成身體的意識和記憶。

友誼持續兩年，已可知真假； 到 五 年，只有真朋友留下。很多東西也不再 長久，所有的變化都影響共同利益。

這隻昆蟲到底多老了？

蟲子，你等了多少年才出來展翅？

To miss someone like a slow motion house on re. A person who sings karaoke to the end the last person on the bus.

Where is the antimatter that stands for all the things that make you you, and me me? It must go somewhere, even if you can no longer see or remember yourself clearly. That invisible energy that's the glue to all songs, all dance, all art, to other shadows and more.

思念如緩緩失火的房子。

巴士上的最後一人——

唱着卡拉OK，直至最後一口氣 反物質代表所有事物， 你由此是你，我由此是我。 現在卻不見了。

它一定在某處，縱使你無法再看見或記得自己。 那無形力量——

喚來所有歌、所有舞、所有藝術，和陰影。

Get o the bus. Get o the orbit. A thous and years from now, how long has this particle been travelling?

I cannot imagine being alone. Optimism is required in nomadic space travel.

離開巴士。離開軌道。

一千年後，這粒子會走到多遠？ 我無法想像要孤身一人。

只有樂觀的人能上太空游牧。

Matter shrinks and expands, especially in liquid cleansing, contaminating, merging, and ending up in sameness. Numbers are funny; they move about in a swirly fashion too.

在液體中，物質會收縮和膨脹—— 淨化、污染、溶合，最終歸一。

數字也如是，如漩渦般移動。

An index that peaks at two million doughnuts in a day, Two hundred and twenty cappuccinos and three lemonades later.

二 百 二十 杯泡沫咖啡和 三 杯檸檬水之後，

一天內達到 二 百 萬個甜甜圈的高峰。

Sometimes, just waiting is the best measure.

Aki Sasamoto (b. 1980 in Yokohama; lives and works in New York) works in performance, sculpture, dance, and video. Her videos often develop in tandem with her performance/installation pieces, in which improvisational performances combining spoken narrative and physical contortions unfold in a feedback loop with careful arrangements of sculpturally altered found objects and multimedia elements. Sasamoto’s institutional solo exhibitions include those at the Queens Museum, New York (2023–2024); The Kitchen, NewYork (2017); and SculptureCenter, New York (2016). She has participated widely in international exhibitions including the 59th Venice Biennale (2022), the Aichi Triennale (2022), the Busan Biennale (2022), the Okayama Art Summit (2022), the Kochi-Muziris Biennale (2016), and Yokohama Triennale (2008).

笹本晃（1980 年生於橫濱；現生活並工作於紐約）的實踐橫跨行為、 雕塑、舞蹈與錄像。其錄像作品往往與其行為或裝置作品同步發 展。其即興演出融合口頭旁述與扭曲的肢體演述，加上成為雕塑的 尋獲物與多媒體元素組成的精心佈局，以回饋循環的形式展現。笹 本晃曾於多個藝術機構舉辦個展，包括紐約皇后博物館（2023 至 2024 年）、紐約 The Kitchen 藝術空間（2017 年）以及紐約雕塑 中心（2016 年）。她曾參與的國際展覽包括第五十九屆威尼斯雙年展 （2022 年）、愛知三年展（2022 年）、釜山雙年展（2022 年）、岡山 藝術交流（2022 年）、科欽穆齊里斯雙年展（2016 年）以及橫濱三年 展（2008 年）。

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。

Sounding Lines 測深線 16.03–28.07.2024

Aki Sasamoto 笹本晃

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

Technical Support 技術支援

Display System Support 影像設備支援

Graphic Design 平面設計

Fibi Kung 孔曉晴

Translation 翻譯

Feng Yau 馮優

Jessie Kwok 郭芷凝

Lead Support 首席贊助

Shane Akeroyd 安定山

Supported by Thanks to 鳴謝

Take Ninagawa

Para Site would like to thank the artist and the following

Para Site 藝術空間感謝藝術家以及

Johnny Au 歐健韋

Matt Bauder

Chan Ching Man 陳正文

Mark Chung 鍾正

CPAK studio

Fully Advertising Company

富怡廣告公司

Ben Hagari

Ho Chi Wing 何知穎

Karen Hui 許嘉荍

Hyatt Centric Victoria

Harbour Hong Kong

香港維港凱悅尚萃酒店

Thomas Ip 葉國棟

Anna Kim

Alison Lai 黎祉寧

Lee Ho Ming 李浩銘

Lee Ka Wai 李嘉慧

Li Hiu Wa 李曉華

Lik Ko Metal 力高彈簧

Kevin Ling 凌中雲

Lok Man Chung 駱敏聰

Ng Kai Fung 吳啟峰

Hana Noorali

Atsuko Ninagawa

Clinton Pang 彭慆

Tom Chung Man 譚頌汶

Alice Wang 王小丫

Xiao Wenyan 蕭文衍

Esme Wong 王楚怡

Wong Pak Hang 黃百亨

Yip Kin Bon 葉建邦

Yip Lai Ling 葉麗玲

Recia Yu 余健雄

Yun Hok Lun 甄學倫

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

Inside front cover and page 37

封面內頁及第37頁

Ap Lei Chau Market, Hong Kong. Photo: Aki Sasamoto, 2023 香港鴨脷洲街市。攝影：笹本晃，2023年

Page 6 and inside back cover

第6頁及封底內頁

Lik Ko Metal Store in Mongkok, Hong Kong.

Photo: Aki Sasamoto, 2023

位於香港旺角的力高彈簧。攝影：笹本晃，2023年

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

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