Assembling, assembling…
This exhibition celebrates the relief printing practice of Ha Bik Chuen, a self-taught modernist artist best known for tirelessly documenting the evolution of Hong Kong’s art scene from the 1960s to the 2000s. Through photography and an extensive personal archive, Ha preserved many pivotal moments in the city’s art history, offering crucial insights into a dynamic post-war cultural landscape. His artistic journey is defined by resilience, ingenuity and a determined resourcefulness – qualities that enabled him to cultivate an artistic language that moved in tandem with a fast-changing world.
Coinciding with the centennial of Ha’s birth, this exhibition marks the first institutional presentation dedicated to exploring Ha’s printing practice since his passing. While Ha is often recognised for his work in sculpture, photography, ink painting and mixed media, his enigmatic relief printing technique has remained relatively obscure, deserving renewed attention in the context of his artistic legacy. A closer look at Ha’s engagement with this medium uncovers recurring motifs: natural elements, geometric forms, figurative subjects and historical references. These motifs reveal the underlying continuity in his approach, accumulating materials which he then reused across various bodies of work. They also reflect his personal and artistic aspirations amidst the dramatic socio-economic changes in Hong Kong between the 1970s and 1990s.
At the heart of Ha’s relief printing practice are his selfinvented ‘motherboards’, which exemplify Ha’s inventive spirit and creative talent to transform everyday materials into tools of artistic expression. These plates have a unique
aesthetic appeal, they are as visually stunning as the colourful collagraphs, with their textural lines and rhythmic patterns expressing Ha’s connection to both the natural world and the city. The reverse side of each plate offers a glimpse into Ha’s meticulous assembly process, revealing traces of its making that hint at his penchant for ‘organised’ hoarding. By embracing sensory and visual engagements, this exhibition prompts visitors to question conventional perspectives on the motherboards beyond their functional printing purposes, accepting their ambiguity and seeing these plates for both their artistic value and their role as tactile representations of Hong Kong’s urban landscapes.
Much like the recto-verso nature of Ha’s image-making practice unveiled in this exhibition, this project is rooted in a collective effort – one made visible through a series of exhibitions produced by multiple Hong Kong organisations and spaces over the past decade, as well as through the behind-the-scenes contributions of countless talented peers and colleagues. The significance of this project for Para Site lies in its polyphonic nature, a cross-generational dialogue encompassing Hong Kong’s complex evolution, its diverse cultural ecosystem and the contrasting yet complementary voices that shape the city’s cultural identity.
This presentation provides a unique portal into Ha’s thought process, unveiling a labyrinth of visual, material and conceptual explorations intrinsically linked to his ‘Thinking Studio’. Ha’s art serves as a repository of artistic interventions representative of this transformative period and its impact on the city and its inhabitants. We imagine Ha’s self-contained yet porous way of working as a means to navigate both the inside and outside of a nascent yet rapidly growing art system – a position that echoes Para Site’s institutional trajectory. Since 2013, Ha’s personal archive has been organised and housed across multiple Hong Kong institutions, including Asia Art Archive, M+, Hong Kong Baptist University’s Academy of Visual Arts and the University of Hong Kong’s Art History Department. As his work undergoes this process of institutionalisation,
this exhibition offers a speculative perspective on his rich legacy, creating a temporary space to contemplate and continue experimenting with efforts to uncover hidden histories, so that we might better understand our present.
On behalf of guest curator Michelle Wong and Para Site, we extend our heartfelt appreciation to everyone who contributed in bringing this exhibition to fruition. We thank the Ha Bik Chuen family for their trust. We are grateful to Virginia Sun Yee for being a Major Supporter, and the additional support from Jean-Marc Bottazzi, Brady Ng, Rossi & Rossi and Yuri van der Leest. As we come together to celebrate the enduring impact of Ha Bik Chuen’s work, we acknowledge the power of his artistic vision in illuminating both the exceptional and the light-hearted moments that permeate our daily lives. His work invites us to engage with experiences and conditions beyond our immediate realities, awakening us to shared connections that inspire ways to assemble the fragmented narratives of our time with curiosity.
Billy Tang and Celia Ho
夏碧泉是一位自學成才的現代主義藝術家，是次展覽特別呈現其 拼貼版畫實踐。他從 1960 至 2000 年代，不懈地記錄香港藝術界 發展的事蹟而廣為人知。透過攝影和豐富的個人收藏，他為香港 藝術史不少關鍵時刻立下存照，供後人了解二戰後香港蓬勃的文 化景觀。他的強大韌性、獨創力以及善用資源的特質，使他能夠 發展出與時並進的藝術語言，開闢屬於自己的藝術路途。
此展覽適逢夏氏百歲誕辰，為藝術家逝世後，首次集中探討 其版畫實踐，並由藝術機構主辦的展覽。相對於夏氏為人熟悉的 雕塑、攝影、水墨畫和混合媒介作品，他的拼貼版畫創作較鮮為 人知。在討論夏氏的藝術時，他的版畫實踐值得重新引起關注。 仔細觀察夏氏的版畫，可以辨識到幾個反覆出現的主題，包括自 然元素、幾何形狀、具象形像和歷史的參照。這些主題揭示了夏 氏創作方法的潛在連續性：他累積各種材料並運用到不同的作品 系列之中。 1970 至 1990 年代期間，時值香港經濟與社會劇烈更 迭，這些主題同時反映了夏氏當時個人和藝術追求。
夏氏拼貼版畫實踐的核心是由他命名為「母版」的印版，這些 母版展示了藝術家將日常物料轉化為創意表達工具的創造精神和 藝術才華。這些印版擁有獨特的美學，視覺效果與充滿色彩的拼 貼版畫同樣震撼。母版表面的線條紋理與富有節奏感的圖案，表 現出夏氏與自然世界和香港城市的連繫。印版的背面展示了夏氏 精細的組裝過程，製作過程留下的痕跡暗示了他「有條理」的囤積 偏好。展覽通過感官和視覺的互動，鼓勵觀眾重新審視夏氏的母 版，探索作為印刷工具的功能之外的其他可能性，模糊當中的分 野，並欣賞母版的視覺藝術價值，以及作為香港城市景觀的觸感 呈現。
正如展覽中所呈現的圖像創作實踐中正反兩面的特性，此項目 植根於集體的努力，包括過去十年來由香港多個機構和空間舉辦 的一系列展覽，以及由幕後無數才華橫溢的同儕和同事所作出的 貢獻。對 Para Site 藝術空間而言，此項目的意義在於它所代表的 多元聲音：它作為一次跨代對話，涵蓋了香港複雜的演變和多元 的文化生態系統，以及塑造城市文化身份對比鮮明卻又時而互補 的聲音。
是次展覽提供一個特殊的切入點，讓觀眾從中了解夏氏的思考 過程，揭示與夏氏「思考工作室」緊密連結，當中藝術家對視覺、 物料和概念的不同探索所交織的迷宮。夏氏的作品可看成是一個 有關藝術介入的資料庫，代表了這段變革時期對城市及當中居民 的影響。我們可以將夏氏既獨立又開放的工作方式，想像成一種 方法，讓他能夠在一個新興又急速發展的藝術體系內外穿梭，這 與 Para Site 藝術空間的發展軌跡互相呼應。自 2013 年起，夏氏
的個人檔案經整理後收藏於香港多家機構，包括亞洲藝術文獻庫、
M+ 、香港浸會大學視覺藝術院和香港大學藝術學系。隨着夏氏作 品進入官方藝術體制，是次展覽為他豐富的藝術實踐提供一個假
設的解讀視角，並建立一個思考並繼續嘗試發掘隱藏歷史的臨時 空間，好讓我們能更好地理解當下。
我們謹代表客席策展人黃湲婷和 Para Site 藝術空間，衷心 感謝所有為是次展覽作出貢獻的朋友。我們感謝夏碧泉家人對 我們的信任。
特此感謝首席贊助人余孫冠華的慷慨支持，以及
Jean-Marc Bottazzi 、吳禮謙、 Rossi & Rossi 和 Yuri van der Leest 的協力贊助。夏碧泉作品的持續影響，以及他的藝術理念， 讓我們得以洞察日常生活中不凡和愉快的時刻。他的作品邀請我 們去體驗超越自身當下現實的經驗和狀況，喚醒我們之間共同的 連繫，激發我們以好奇心來拼湊這個時代片斷的故事。
曾明俊、何思穎
Reframing Strangeness:
Ha Bik Chuen’s Motherboards and Collagraphs
Sometimes things die. Sometimes things come back to life. Sometimes things come back into our lives in ways that we do not necessarily recognise.
‘Motherboard’ is the term Hong Kong–based artist Ha Bik Chuen (b. 1925, Xinhui, Guangdong, d. 2009, Hong Kong) invented for his collagraph plates. An immigrant of working-class background and no academic art training, Ha came to Hong Kong via Macau in 1958 and established himself as part of the Hong Kong art scene in the 1960s. Unlike computer motherboards that conduct electronic and digital signals, Ha’s motherboards are decidedly analogue constructions. They are assembled from wooden and other found materials through highly labour-intensive processes. Their surfaces often feature a combination of textures created by manipulating materials such as wood scraps, sawdust, paper, rattan and jute.
Throughout his life, Ha created over 100 motherboards, which he used to produce over 3000 editioned collagraphs. Ha’s collagraph-making practice was at its peak during the 1970s and ’80s, when it sustained him as well as his wife and their five children. Some of Ha’s collagraphs were gifted to artists and other members of the art world. Prints were collected by museum and private patrons, others were submitted as entries to international print biennales and some circulated as commodities, bought and sold across Asia, Europe, and North America. The motherboards are printmaking tools and relief sculptures simultaneously, and Ha kept them away from public view during his lifetime. He stored them inside a dedicated room within his Thinking Studio, another specifically named space where he amassed fifty years’ worth of visual sources that functioned as his creative repository.
‘Reframing Strangeness’ stages a selection of Ha’s motherboards, collagraphs and gouache drawings to resurface his printmaking practice, which has largely receded from public view. It is also a transformation of a chapter from my doctorate dissertation that focuses on
Ha’s motherboards and collagraphs into an exhibition. In the Thinking Studio, Ha’s motherboards were stacked next to one another as if they were books, their handwritten titles taped on the sides of the boards. At Para Site, the motherboards are placed on a specially designed display system that makes their fronts and backs visible. Seeing the motherboards from different angles is a reminder and a physical mirroring of the way Ha, too, pored over these surfaces. In the exhibition, the motherboards are placed adjacent to their ‘offspring’ collagraphs and ‘parallel lives’ as drawings. This arrangement offers a re-reading of Ha’s interconnected art practice, the core of which is his motherboards.
By presenting Ha’s motherboards as aesthetic objects, ‘Reframing Strangeness’ urges viewers to look closely and imagine Ha’s process. He carved out negative spaces and embedded inlays with different materials to create surface textures, and when producing collagraphs, pounded layer after layer of paper and added pigments to specific areas. In the exhibition, viewers can observe how materials on the motherboard surfaces are extracted from their original urban environment, manipulated and reconnected to form images. They can consider how the motherboards’ composite nature tells a story of Hong Kong at the cusp of large-scale societal change in the mid-twentieth century and explore how the motherboards’ surfaces became a place for Ha to experiment with repetition and modernist visual vocabulary, and nurture his obsession with record keeping. On these surfaces, otherworldly creatures hover mid-air and ancient Chinese oracle bone scripts are combined with modern Chinese traditional characters and letters from the Roman alphabet. Organic materials become frozen in time and space, forming another kind of still life as they are embalmed with glue and industrial lacquer, fitted snuggly around fragments of other formerly quotidian things.
‘Reframing Strangeness’ can be thought of as another one of the many afterlives that Ha’s creative practice lives. One has been his personal collection of documents, which
through the effort of Asia Art Archive (AAA) in 2013–21, has been organised, digitised and permanently placed with multiple institutions including AAA, M+, The University of Hong Kong and Baptist University, as well as many more individuals’ personal libraries. Ha’s collection has also spawned various artist projects, exhibitions and biennale presentations responding to questions of archives, artists’ posthumous legacies and the slippages between fact and fiction. ‘Reframing Strangeness’ extends these afterlives discursively by developing a series of public programmes, podcasts and workshops with Yogyakarta-based research group Hyphen—, London-based publisher Afterall and Hong Kong-based artist Kensa Hung. These programmes explore issues around intergenerational conversations on remembering other people’s lives, conservation, reproduction and manipulation of materials. ‘Reframing Strangeness’ is also a reunion of sorts on Ha’s 100th birthday, bringing together practitioners who have worked with Ha’s legacy in the past decade, including architects Sarah Lee and Yutaka Yano of SKY YUTAKA, Max Tsoi of MAJO design, and editor and translator Wing Chan.
Sometimes things return to public life with more joy and lust for life than could be anticipated. Sometimes this happens at a time when zones of darkness and unknowable changes weigh down on social and political processes. Sometimes, one’s human and non-human companions re-illuminate strangeness, and one follows.
Michelle Wun Ting Wong
March 2025
有時，事物會消逝。有時，事物會重生。有時，事物會以我們不 一定能辨認的方式重新進入我們的生活。
香港藝術家夏碧泉（ 1925 年生於廣東新會，2009 年逝於香港） 將他的拼貼版畫印版命名為「母版」。夏碧泉出身勞工階級，沒有 受過學院藝術訓練，於 1958 年經澳門來到香港，並於 1960 年代 成為香港藝術界的重要成員。與傳導電子和數位訊號的電腦母版 不同，夏氏的母版，是以人手製作。它們由木材和其他現成物拼 貼組合而成，製作過程繁瑣，表面常包含由經過處理的木屑、鋸 末、紙張、藤和黃麻等材料所產生的多種不同紋理 。
夏碧泉一生共創作了超過一百塊母版，並用這些母版印製了超 過三千版拼貼版畫。他的版畫創作巔峰期在 1970 至 1980 年代， 這些版畫不僅養活了他自己，也支撐了他的妻子和五名子女的生 計。他的部分拼貼版畫作品被贈予其他藝術家和藝術界人士，一 些被博物館和私人收藏家珍藏，還有部分被提交到各個國際版畫 雙年展，一些則作為商品在亞洲、歐洲和北美洲流通。夏氏的母 版，既是版畫工具，也是浮雕，然而在夏氏在世時，從未作公開 展示。夏氏將母版存放在「思考工作室」的一個專屬房間內，這個 特別命名的工作室還收藏了他半世紀以來收集所得的視覺資料， 是夏氏的創作資料庫。
「重置陌像」展出夏氏一系列的母版、拼貼版畫和水粉畫，重 新呈現夏氏甚少公開展示的版畫創作實踐。這次展覽亦是由筆者 的博士論文中，關於夏氏母版和拼貼版畫的章節轉化而來。在思 考工作室內，母版像書籍般排列，版側貼着手寫的作品標題；而 在 Para Site 展覽空間，母版被陳列於特別設計的展示裝置上，讓 其正反兩面皆能被看見。從不同角度欣賞母版，觀眾可以想像藝 術家如何悉心雕琢這些表面。在展覽中，夏氏的母版與它們的「後 裔」拼貼版畫和「平行生命」水粉畫並列，使夏氏互相交織的藝術 實踐得以被重新解讀，而母版便是連接不同作品的核心。
「重置陌像」以藝術品的角度呈現夏氏的母版，鼓勵觀眾細看並 想像藝術家的創作過程。他在母版上雕刻出留白的地方，嵌入不
同材料來創造表面的紋理，在印製拼貼版畫時，層層敲擊紙張， 並在特定位置添加顏料。觀眾在展覽中可以觀察母版表面上的材 料如何從原本的城市環境中被藝術家提取，再經處理與重組形成 圖像。同時也能探索母版的多重組成如何講述二十世紀中葉香港 處於社會大規模變遷邊緣的故事；或理解夏氏如何在母版的表面 實驗重複性和發展他的現代主義視覺詞彙，並滋養他對紀錄保存 的狂熱。在這些母版的表面之上，異世界生物懸浮於空中；古代 中國甲骨文與現代繁體漢字及拉丁字母彼此交錯；有機材料被凝 固於時空中，形成了某種另類靜物，被膠水和工業漆封存，緊貼 着其他曾經是日常物件的碎片。
「重置陌像」也可看成是夏氏藝術生涯的一個後續生命，另一個 則是有關夏氏的個人文獻收藏。從 2013 至 2021 年間，亞洲藝術 文獻庫將夏氏的文獻藏品整理和數碼化，永久存放於多個機構， 包括亞洲藝術文獻庫、 M+ 、香港大學、香港浸會大學及其他個人 圖書館。夏氏的文獻亦衍生出不同藝術家項目、展覽和雙年展作 品，回應包括文獻庫、藝術家去世後的傳承，以及事實與虛構之 間的微妙界線等議題。「重置陌像」與日惹研究團隊 Hyphen ―、 倫敦出版社 Afterall 及香港藝術家洪忠傑合作，展開一系列座 談、播客和工作坊，探討跨世代對話中關於憶記他者生命以及有 關資料的保育、複製和處理等議題。本展覽亦是一場某種意義上 的團聚，在夏碧泉百歲誕辰之際，它匯聚過去十年間曾經參與夏 氏研究項目的文化工作者，包括 SKY YUTAKA 建築師李國欣和 矢野豊、 MAJO Design 設計師蔡嘉宏，以及編輯兼譯者陳穎華。
有時，事物重新回歸公眾視野，帶着超越預期的喜悅與對生命 的熱情。有時，這種回歸發生在社會與政治進程被黑暗與難以預 測的變化所籠罩之際。有時，人類與非人類的同伴重新點亮陌生 感，而人們隨之跟隨。
[01] Elegance
《飄然》
1991
Motherboard 母版
61 x 78.5 x 3 cm
[02] Untitled
《無題》
circa 1990s
Motherboard 母版
61 x 78.6 x 3 cm
[03] Emptiness
《虛空》
1991
Motherboard 母版
60.5 x 78.5 x 3 cm
[04] Tride
《傲骨》
circa 1990s
Motherboard 母版
60.6 x 79 x 3 cm
[05] Vision
《視野》
circa 1990s
Motherboard 母版
60.6 x 78.5 x 3 cm
[06] Liberty
《自由》
1980
Motherboard 母版
60.4 x 78.4 x 3 cm
[07] Follow Me
《跟我來》
1984
Motherboard 母版 78.5 x 61 x 3 cm
[08]
Wheat Field A
《麥田 A 》
1994
Motherboard 母版 78.5 x 60.5 x 3 cm
[09]
From Ancient to Modern
《古往今來》
1983
Motherboard 母版 61 x 78.7 x 3.4 cm
[10] Fossil
《化石》
1981
Motherboard 母版 60.5 x 78.5 x 3 cm
[11] Sacred
《神聖》
1975
Motherboard 母版 61 x 79 x 3.5 cm
[12] Vision
《夢境》
1975
Motherboard 母版 61 x 78.6 x 3 cm
[13] Untitled
《無題》
1981
Motherboard 母版 61x 78.5 x 3 cm
[14] Untitled
《無題》
circa 1980s
Motherboard 母版 60.2 x 78.7 x 3 cm
[15] Sublimation
《昇華》
1974
Motherboard 60 x 70.4 x 3.5 cm
[16]
Composition / Dream of Leaf
《構圖 / 葉之夢》
1975
Motherboard 母版 79 x 61 x 3 cm
[17] Dance of Leaf
《葉之舞》
1986
Motherboard 母版 78.2 x 60.6 x 3 cm
[18] Tranquility
《寧靜》
1977
Motherboard 母版 61 x 79 x 2.6 cm
[19] Still Life
《靜物》
1981
Motherboard 母版
60.5 x 78.9 x 2.9 cm
[20] Coquette
《弄姿》
1981
Motherboard 母版
60.7 x 78.5 x 2.8 cm
[21] A View of City 《城市風光》
1977
Motherboard 母版 61 x 79 x 2.6 cm
[22] Breakthrough
《突破》
1975
Motherboard 母版 61 x 79 x 2.8 cm
[23] Image...
《意象》
1979
Motherboard 母版 48.5 x 61 x 3 cm
[24] Vista
《空間》
1979
Motherboard 母版 61 x 79 x 3.3 cm
[25] Organised 《組合》
1984
Motherboard 母版 61 x 78.6 x 2.8 cm
[26] Ode to the Leave 《葉之頌》
1985
Motherboard 母版 60.7 x 78.7 x 3 cm
[27] Soaring
《翱翔》
1995
Motherboard 母版 61 x 78.6 x 4 cm
[28] Recluse
《靜居》
1995
Motherboard 母版 61 x 78.5 x 4 cm
[29]
Wheat Field A 《麥田 A 》
1994
Collagraph 拼貼版畫
78.6 x 61 cm
[30] Ode to the Leave 《葉之頌》
1985
Collagraph 拼貼版畫 62 x 80 cm
[31] Mental Trainer
《修身圖》
1993
Collagraph 拼貼版畫 62 x 80 cm
[32] Coquette
《弄姿》
1981
Collagraph 拼貼版畫 62 x 80 cm
[33] Soaring (Red)
《翱翔 ( 紅 ) 》
1995
Collagraph 拼貼版畫 62 x 80 cm
[34] Soaring (Yellow)
《翱翔 ( 黃 ) 》
1995
Collagraph 拼貼版畫 62 x 80 cm
[35] Elegance
《飄然》
1991
Gouach sketch 水粉畫 22 x 30 cm
[36] Untitled
《無題》
circa 1990s
Gouach sketch 水粉畫 22 x 30 cm
[37] Emptiness
《虛空》
1991
Gouach sketch 水粉畫 22 x 30 cm
[38] By the Starlight 《星光引路》
1993
Gouach sketch 水粉畫 22 x 30 cm
[2, 3, 6-8, 10, 12, 14, 16-21, 23-24, 26-27, 29-34]
Courtesy of the Ha Family and Rossi & Rossi 由夏碧泉家人及 Rossi & Rossi 畫廊提供
[1, 4, 5, 9, 11, 13, 22, 25]
Courtesy of the Ha Family 由夏碧泉家人提供
[35-38]
Courtesy of The Department of Art History, School of Humanities, The University of Hong Kong 由香港大學人文學院藝術學系提供
[15]
Courtesy of Yuri van der Leest 由 Yuri van der Leest 提供
[28]
Courtesy of Jean-Marc Bottazzi 由 Jean-Marc Bottazzi 提供
Leaves are recurrent in my works. Many friends ask me about this. I may say that leaves have been part of my life. In the 1950's and 1960's, I earned a living by making artificial flowers from paper. Hence I had to study the postures of flowers and shapes of leaves. I often climbed hills and mountains to pick flowers and leaves and made specimens of them for reference. One day in 1974 while I was making relief prints, I placed a dry leaf in the print and immediately found an extraordinary effect. All at once my imagination was put on wings and allowed to fly freely in the boundless space of art.
Ha
Bik Chuen, My experience in print-making 4/4/1992
樹葉在我的版畫經常出現，曾引起了不少人問及此問題，我可以說 樹葉和我結下了不解之緣，一九五〇年至六〇年代，我曾以製作人
造紙花為業，當時為着製作紙花，需要深入研究各種花卉的生長形 態及枝葉的形狀，所以經常上山採摘花葉作為標本，預作參考之
用。當我在一九七四年創作凹凸版畫時，在製作過程中，偶然發現 把枯葉放在版中，立時出現了奇異的效果，瞬間把我的想像力插上
了翅膀，在藝術廣闊無限的空間自由飛翔。
夏碧泉，《自序――我創作版畫的歷程》 4/4/1992
Public Programmes
The public programme for ‘Reframing Strangeness’ features a series of discussions, podcasts and workshops developed in conversation with several collaborators, including Yogyakarta-based research group Hyphen—, London-based publisher Afterall and Hong Kong–based artist Kensa Hung. These initial invitations multiplied as each collaborator sought to extend the afterlives of Ha’s creative practice in ways that resonate with their own practices.
Afterall will record a podcast series exploring how an artist’s legacy finds new urgency in contemporary practice through themes such as the relationship between materials and urban environment, the fictional narratives in art, the significance of cross-generational collective research practices and the evolving life cycles of archives, including insights from artists, researchers and collaborators. Episodes will drop between June and August, and will be accessible on Afterall’s podcast. Kensa Hung will ‘reproduce’ Ha’s motherboards through his own material re-interpretation and experimentation, holding a series of workshops making motherboards and collagraphs at Para Site from June through August.
Hyphen—’s two-day programme in July will explore issues around intergenerational conversations on remembering other people’s lives, conservation and the reproduction and manipulation of materials. Apart from presenting images, sounds and stories, Hyphen— will engage interlocutors
including architect Merve Bedir, independent researcher Vivian Ting, artist Mark Chung, sculptor Nasikin Ahmad, community organisers Hidayatul Azmi, Marianus Nuwa, Sidhi Vhisatya and curator Özge Ersoy.
Hyphen—’s programme asks several questions: What does it mean to take ownership without enclosure? To own without overriding claim? Can attention be a form of assembly? Can manipulation serve as a way of listening? Can reproduction act as a kind of release? And can fiction support forms of truth-telling that history cannot bear?
This two-day assembly departs from Ha’s motherboards and the citizen-initiated conservation work Sesudah banjir itu (When the flood is over) to reflect on how we engage with histories we didn’t live through, practices we didn’t invent and stories we may never fully resolve. Moving between physical objects and conceptual infrastructures, the assembly will explore how intimacy can be shaped –and even deepened—by distance: through glass, across generations, within structures of care.
「重置陌像」的公眾活動包括一系列座談、播客與工作坊，內容透 過與來自不同領域的協作者展開對話共同構思，其中包括日惹研 究團隊 Hyphen ―、倫敦出版社 Afterall 與香港藝術家洪忠傑。
隨着這些參與者試圖以與自身實踐產生共鳴的方式延續夏碧泉創 作實踐的後續生命，獲邀參與活動的群體與個體亦越來越多。
Afterall 將錄製一系列播客，探討藝術家的創作如何在當代實踐 關注的主題中變得更加重要，其中包括物料與城市環境之間的關 係、藝術中的虛構敘事、跨世代集體研究的重要性，以及文獻檔 案持續演變的生命週期，收錄藝術家、研究者與協作者的觀點。
播客於 6 至 8 月期間發布，並可在 Afterall 的播客頻道收聽。洪忠 傑將透過對物料的重新詮釋和實驗來「複製」夏碧泉的母版，並於 6 至 8 月期間於 Para Site 舉辦一系列母版及拼貼版畫製作工作坊。
Hyphen ―將於 7 月舉行為期兩天的活動，探討跨代對話的相關 議題，包括關於憶記他者生命以及有關資料的保育、複製和處理 等議題。除了展示圖像、聲音與故事， Hyphen ―亦將與建築師
Merve Bedir 、獨立研究員丁穎茵、藝術家鍾正、雕塑家 Nasikin Ahmad 、社區組織者 Hidayatul Azmi 、 Marianus Nuwa 、
Sidhi Vhisatya 及策展人 Özge Ersoy 等展開對話。
Hyphen
―提出了幾個問題：甚麼是擁有主導權但不立圍牆？擁
有而不支配意味着甚麼？關注能否成為一種聚合的方式？操控可 否作為聆聽的方法？複製能否作為某種釋放？而虛構又能否承載 那些歷史所無法承受的真相？
為期兩天的聚會於 7 月展開，從夏氏的母版與民間發起的保育工作 《 Sesudah banjir itu
》（當洪水退去）出發，反思我們如何與不曾 經歷的歷史、未曾構想的實踐，以及那些可能永遠無法釐清的敍 事建立聯繫。在實物與不同概念框架之間遊走，活動將探索親密 感如何通過距離被塑造甚或深化，無論是透過玻璃、跨越世代， 還是不同形式的關懷。
Ha Bik Chuen (1925–2009) was a Hong Kong–based artist who made collagraphs and sculptures, constructed collage books with materials he collected and took photographs of his surrounding environment and exhibitions he attended. Born in Guangdong in 1925, Ha moved to Hong Kong via Macau in 1958. After closing his family-run paper factory in the 1960s, Ha became an artist and an active participant in the Hong Kong art scene. Ha’s collagraphs were widely shown in Hong Kong and abroad during the 1970s and ’80s, and his sculptures were also regularly exhibited throughout the 2000s. He kept most of his photographs private, and his collage book practice was discovered posthumously in 2014. A working-class immigrant artist who did not receive any academic training, Ha’s interest in art led him to collect printed matter and document exhibitions he attended through photography. When he passed away, Ha left behind a vast archive of printed matter that forms a crucial part of Hong Kong’s cultural history and photographs of over 2500 exhibitions that he took in Hong Kong and elsewhere. These materials are key to the ongoing writing of art history in Hong Kong, and have since been catalogued and digitised by Asia Art Archive. They have also been permanently transferred to the care of various Hong Kong institutions, including the Art History Department of the University of Hong Kong, Asia Art Archive, the Academy of Visual Arts at Hong Kong Baptist University, and M+. Ha’s artworks are collected by M+, Hong Kong Museum of Art, Hong Kong Heritage Museum and Macau Museum of Art. Ha and his archive have been featured in exhibitions including Shanghai Biennale (2016), Singapore Biennale (2019), and ‘Portals, Stories, and Other Journeys’ (2021) at Tai Kwun Contemporary.
夏碧泉（1925–2009）是香港藝術家，他創作版畫、雕塑，並利用收集的 材料製作拼貼書本，同時以攝影記錄周遭環境和曾經出席的展覽。夏氏於 1925 年生於廣東，1958 年經澳門移居香港。在 1960 年代關閉家族經 營的紙品工廠後，成為全職藝術家，並積極參與香港藝術圈。他的版畫於 1970 至 1980 年代被廣泛展出，雕塑作品亦於 2000 年代經常展出。他大 部分的相片都由他私人保存，而他的拼貼書本則於他去世後的 2014 年才 被發現。夏氏為勞工階級的移民，並未接受任何學院藝術訓練。對藝術的 興趣促使他收集印刷物和以攝影拍下曾經到訪的展覽。他去世後留下的大 量文獻檔案，是香港文化歷史的重要部分，當中包括香港和海外逾 2500 個展覽的攝影紀錄。這些文獻資料對香港藝術史的書寫具有重要意義，並 由亞洲藝術文獻庫進行整理及數碼化。這些文獻現永久存放於多個香港 機構，包括香港大學藝術史系、亞洲藝術文獻庫、香港浸會大學視覺藝術 院和 M+。夏氏的藝術作品獲 M+、香港藝術館、香港文化博物館以及澳門 藝術博物館所收藏。夏氏及他的文獻資料曾於多個展覽展出，包括上海雙 年展（2016）、新加坡雙年展（2019）以及於大館當代美術館舉行的「咫 尺之內，開始之前：隨意門及其他足跡」（2021）。
Curator 策展人
Michelle Wun Ting Wong is a researcher who also curates and writes. She completed her PhD studies in art history at the University of Hong Kong in 2025, where she studied the oeuvre of Ha Bik Chuen to explore the cultural modernity and artistic modernism emerging in Hong Kong post World War II. Wong was the lead researcher and part of an archivist team at Asia Art Archive (AAA), who organised and digitised Ha’s archive. She curated ‘Portals, Stories, and Other Journeys’ at Tai Kwun Contemporary (2021), and was on the curatorial teams of ‘Afterglow’, Yokohama Triennale 2020 and the 11th edition of Gwangju Biennale (2016). Her writing has been published in Ambitious Alignments: New Histories of Southeast Asian Art, 1945–1990 (2018) and the journal Southeast of Now (2019). She co-runs the independent art space New Park with artists South Ho Siu Nam and Billy HC Kwok. Her research currently focuses the travels of artists of Chinese descent in mid-twentieth century East and Southeast Asia and how these experiences mediated their projections of a cultural China.
黃湲婷 是一位研究員，同時從事策展及寫作工作。她於 2025 年完成 香港大學藝術史博士學位，論文研究夏碧泉的藝術實踐，從而探討二戰 後香港興起的文化現代性和藝術現代主義。她曾任亞洲藝術文獻庫首席 研究員，亦是夏碧泉檔案研究項目團隊的成員，負責檔案整理及數碼化工 作。她的策展項目包括 2021 年於大館當代美術館舉行的「咫尺之內，開 始之前：隨意門及其他足跡」，她是 2020 年橫濱三年展「Afterglow」 及 2016 年第十一屆光州雙年展策展團隊的成員。她的文章見於 《 Ambitious Alignments: New Histories of Southeast Asian Art, 1945–1990》（ 2018）及期刊《 Southeast of Now》（ 2019）。她 與藝術家何兆南及郭浩忠合作營運獨立藝術空間「新公園」。黃氏近期的 研究關注二十世紀中葉華裔藝術家在東亞和東南亞的遊歷，以及這些經 驗如何影響他們對文化中國的投射。
Collaborators 其他參與者
Afterall Research Centre is based in Central Saint Martins, University of the Arts London. Through research, publishing and programming, Afterall explores the value of contemporary art and its relation to wider society.
Afterall 研究中心位於倫敦藝術大學中央聖馬丁學院。透過研究、出版及 組織活動，Afterall 探討當代藝術的價值以及藝術與更廣泛社會的關係。
Hyphen— (founded in 2011) is a sustainable conversational space focused on aesthetic practices. Aiming to foreground people’s shared curiosity and well-being as the estuary of artistic practices while attempting to unravel Indonesia’s so-called national history through its visual representations, their current research focuses on the practices of Indonesia New Art Movement (1975–1989), Kustiyah (1935–2012) and Danarto (1940–2018). They also interrogate the visual representations of Indonesia’s national history by looking into the exhibition histories of ‘Kesenian Indonesia’ (Indonesian Art, 1955), ‘BINAL Experimental Arts’ (1992), and ‘Contemporary Art Exhibition of the Non-Aligned Countries’ (1995).
Hyphen—（成立於 2011 年）是一個以美學實踐為核心的可持續對 話空間。他們旨在將人們共同的好奇心和幸福作為藝術實踐的交匯處， 同時試圖通過其視覺表現解構印尼所謂的國家歷史。他們近期的研 究聚焦於印尼新藝術運動（ 1975–1989 ）、Kustiyah（ 1935–2012 ） 和 Danarto（ 1940–2018 ）的實踐；此外，他們還通過研究「印尼 Kesenian」（印尼藝術，1955 年）、「BINAL 實驗性藝術」（ 1992 ）、「不 結盟國家當代藝術展」（ 1995）的展覽歷史，探討印尼國家歷史的視覺 表現。
Nasikin Ahmad is a sculptor shaped by tumpangsari (intercropping) farming culture. His work explores the impact of agricultural industrialisation, particularly how modern systems redefine certain lifeforms as ‘pests’. A graduate of ISI Yogyakarta’s Sculpture Department, he engages with natural and industrial materials through intermedia experiments. Deeply drawn to clay since childhood, Nasikin navigates the shifting relationships between humans, nature and modernisation, from the everyday to the industrial.
Nasikin Ahmad 是一位深受「tumpangsari」（間作）農業文化影響的 雕塑家。他的創作探討農業工業化的影響，特別是現代系統如何將某些生 物重新定義為「害蟲」。他畢業於日惹印度學院雕塑系，使用天然與工業 物料進行跨媒介實驗。從小對黏土着迷，由日常到工業，他探討人類、自然 和現代化之間不斷變化的關係。
Merve Bedir is an architect who works with infrastructures of hospitality and mobility about/towards the collective intelligences and imaginaries of the landscape. Currently a visiting professor at the École Polytechnique Fédérale de Lausanne-EPFL Architecture, she also co-founded Aformal Academy in Pearl River Delta region, Kitchen Workshop in Gaziantep and Center for Spatial Justice in Istanbul. Her recent publications include ‘Kitchen Workshop: Cityzenship as Infrastructure’ in Feminist Infrastructural Critique (2024), and ‘New Silk Roads’ in e-flux architecture (2019, 2024).
Merve Bedir 是一位建築師。她的工作涉及款待與流動性基礎設施， 關注景觀的集體智慧和想像。她是洛桑聯邦理工學院建築學院的客席 教授。她共同創辦了珠三角地區 Aformal Academy、加濟安泰普 Kitchen Workshop 和伊斯坦堡 Center for Spatial Justice。近期 出版項目包括收錄於《 Feminist Infrastructural Critique 》（2024） 的「Kitchen Workshop: Cityzenship as Infrastructure 」和刊登於 《e-flux architecture 》的「New Silk Roads」（2019、2024）。
Wing Chan is a cultural worker based in London and Hong Kong. She edits and makes books and moonlights as a translator. Wing is an assistant editor of Afterall’s Exhibition Histories book series. Her research interests have focused on how labour is registered in the context of artist cooperatives and exhibitions. Her personal writing explores how the body becomes a weather forecasting lake, why the walls resist and what banana boxes tell us about power and restoration.
陳穎華 是駐倫敦和香港的文化工作者。她編輯和製作書籍，又兼職翻譯 工作。她是 Afterall 研究中心出版的《展覽歷史》系列叢書的助理編輯。 她特別好奇勞動力如何在藝術家合作社和展覽中彰顯。近期個人書寫探 索了身體如何成為天氣預測的湖泊、牆壁為何會抵抗，以及香蕉箱告訴我 們關於權力和恢復的故事。
Mark Chung, nicknamed Muckie, was born in Auckland in 1990 and grew up in Hong Kong. His paternal ancestry is from Dongguan and his grandmother was from Tyrol. His childhood was enveloped by air pollution, hence his other alias, ‘sick man sans frontiers’. His looks are rough, but his actual physique is weak; a complicated mind with the occasional bad temper and mood swings. A recent returnee from Amsterdam, he is determined to devote his whole self to art, yet he sometimes wanders and worries too much. Recent exhibitions include ‘Time Flies Over Us But Leaves Its Shadow Behind’ at TOKAS, Tokyo in 2023, solo exhibition ‘Dead End’ at Art & Culture Outreach (ACO), Hong Kong in 2022, and Episodo 3 in ‘Afterglow’, Yokohama Triennale 2020.
鍾正，乳名麥奇，1990 年於奧克蘭出生，在香港成長。鍾氏祖籍東莞，外 婆是提洛人。自幼受霧霾所困，別號「無國界病夫」。外表粗率，實體 質柔弱、心思繁細；性情乖戾、喜怒無常。剛由阿姆斯特丹回港，立志 全身投入藝術，卻迷離徜仿、愁長夢多。近期參與展覽包括 2023 年於 東京 TOKAS 舉行的「Time Flies Over Us But Leaves Its Shadow Behind 」、2022 年在香港艺鵠藝術空間舉行的個展「思想是負擔」以及 2020 年橫濱三年展「Afterglow」的「Episodo 3」。
Kensa Hung is an artist who works creatively across painting, illustration, graphic design, arts education and stage production, using ink, seal engraving and sculpture as mediums. Having spent a long time researching animals, including insects and birds, Hung has in-depth knowledge on various species. His artworks depicting the diversity of nature are strongly influenced by illustrations of wild animals and documentaries on rare birds, and are inspired by traditional Chinese painting and calligraphy.
洪忠傑 的藝術創作涉及繪畫、插畫、平面設計、藝術教育和舞台製作等多 個領域，創作媒介包括水墨、篆刻、雕塑等。他長期研究各種生物，包括昆 蟲和鳥類，對不同物種有深入認識；他的作品描繪了自然的多樣性，深受 野生動物插圖和珍稀鳥類紀錄片的影響，並從中國傳統繪畫和書法中汲 取靈感。
Ruhaeni Intan made her debut as a novelist with her first novel, Arapaima , published by BukuMojok in 2019. She also works as a freelance writer for various media outlets such as Tirto.id . Her enthusiasm for literature led to her involvement in Perkawanan Perempuan Menulis, a feminist-based literary collective. She is currently working on her third novel while continuing to juggle fiction and non-fiction texts. In 2023, she became a part of Hyphen—.
Ruhaeni Intan 的第一本小說《 Arapaima 》於 2019 年由 BukuMojok 出版，開啟了她的小說家生涯。她曾在《 Tirto.id 》和其他多間媒體擔任 自由撰稿人。她對文學的熱情促使她參與了以女性主義為基礎的文學團體 Perkawanan Perempuan Menulis。她目前正在創作她的第三部小說， 同時繼續在小說和非小說文本之間遊走。 2023 年她加入了 Hyphen —。
Marianus Nuwa completed his philosophy studies at STFK Ledalero. He is one of the initiators and currently works as the programme manager of Komunitas KAHE in Maumere. Since 2016, he has been involved in various discussion programmes, research projects and theatre performances initiated by Komunitas KAHE. Other than writing poetry and short stories, he is also delving into the discipline of acting. He is the curator of theatre performances for Maumerelogia 5 (2025).
Marianus Nuwa 在 STFK Ledalero 完成哲學學位。他是位於印尼毛梅 雷 Komunitas KAHE 團體的發起人之一，目前擔任團體的項目經理。自 2016 年以來，他參與了團體發起的不同討論項目、研究計劃和戲劇表演。
除了寫詩和短篇故事外，他還深入研究表演藝術。他是《 Maumerelogia 5》（ 2025）戲劇表演的策展人。
Grace Samboh believes that everyone needs at least three copies of themselves. Through research, writing and curatorial work, she jigs within the existing elements of the arts scene around her, for she considers the claim that Indonesia is lacking art infrastructure—especially the state-owned or state-run— outdated. She believes that curating is about understanding and making at the same time. She is attached to Hyphen— and affiliated with RUBANAH Underground Hub.
Grace Samboh 認為每個人至少需要三個分身。透過研究、寫作和策 展工作，她穿梭於周遭藝術界的現有元素，因為她認為「印尼缺乏藝術 基礎設施（尤其是政府或國營藝術機構）」的說法已經過時。她相信策 展是理解和製造同時並存。她是 Hyphen —的成員並與 RUBANAH Underground Hub 緊密合作。
SKY YUTAKA is a multidisciplinary design practice operating in the field of architecture, landscape and design research. The studio promotes sustainable design and innovation, and takes a collaborative approach to design practice, research and academia. The work stems from the studio’s interest in culture, technology and materiality. The studio has been a collaborator for Ha Bik Chuen–related projects since 2015, designing archive project spaces and multiple exhibitions, including ‘Portals, Stories, and Other Journeys’ at Tai Kwun Contemporary in 2021, which created a scenography between art objects, artist interventions and Ha’s archival materials.
SKY YUTAKA 是一家跨學科設計工作室，致力於建築、景觀和設計研究 領域。工作室提倡可持續設計和創新，並以協作的方式結合設計實踐、研 究和學術工作。他們的實踐源於對文化、技術和物料應用的興趣。自 2015 年以來，一直是夏碧泉檔案相關項目的協作夥伴，參與設計檔案項目工作 空間及多個展覽，包括 2021 年在大館當代藝術館舉行的展覽「咫尺之內， 開始之前：隨意門及其他足跡」（2021 年），為展出的藝術品、藝術家介入 項目及夏碧泉檔案資料設計展覽場景。
Vivian Ting is an independent curator and researcher. Her research focuses on the cultural imaginations of diverse audience groups and their cultural consumption patterns in considering how public life can be shaped in Hong Kong. She has partnered with several universities and art organisations to develop curatorial projects that encourage multiple narratives of local history articulated through creative means. Ting has participated in various art projects, including ‘20/20 Hong Kong Print Art Exhibition’ (2020), ‘Via North Point’, Public Art Programme: Social Generic Outcomes Assessment (2020–22) and ‘Here and There: Re-imagining Hong Kong Landscapes’ (2022).
丁穎茵 是一位獨立策展人及研究員。她的研究集中於多元觀眾群體的 文化想像及他們的文化消費模式，探討如何在香港塑造公共生活。她與 多所大學及藝術機構合作進行策展項目，以創意形式發掘本土歷史文化 的多元論述。曾參與多個藝術項目，包括「20/20 香港版畫圖像藝術展」 （ 2020）、「路過北角」公共藝術計劃社群觀感評估（ 2020–2022）及「極 目足下﹕想．見香港風光」（ 2022）等。
Max Tsoi Ka Wang is a graduate of the Department of Fine Arts at the Chinese University of Hong Kong in 2007, and co-founder of MAJO DESIGN, a Hong Kong-based independent graphic design studio founded in 2011. His works have been selected for the 2021 Hong Kong International Poster Triennial and have received accolades such as the Silver Award in Book Design at the Hong Kong Designers Association Global Design Awards. He has been a collaborator for Ha Bik Chuen-related projects since 2019, designing publications for Asia Art Archive’s Ha Bik Chuen Archive project and for the exhibition ‘Portals, Stories and Other Journeys’ at Tai Kwun Contemporary in 2021.
蔡嘉宏 2007 年畢業於香港中文大學藝術系，於 2011 年共同創辦香港獨 立平面設計工作室 MAJO DESIGN。他的設計作品曾入選 2021 年香港國 際海報三年展，並曾榮獲香港設計師協會環球設計大獎書籍設計銀獎等獎 項。自 2019 年起，他一直是夏碧泉檔案相關項目的協作夥伴，為亞洲藝術 文獻庫的夏碧泉檔案項目設計出版物，以及於 2021 年在大館當代美術館 舉行的展覽「咫尺之內，開始之前：隨意門及其他足跡」設計相關出版物。
Sidhi Vhisatya is a queer Indonesian art practitioner currently living and working in Sydney. He has been a member of the Queer Indonesia Archive since 2020 and developed Bali Archive and Repository (BaliAAR), focusing on curating exhibitions and collecting materials through field trips. In 2024–25, he organised the Southeast Asia Queer Cultural Festival, creating space for queer artists, cultural practitioners and community organisers to navigate the intersections of art, culture and activism.
Sidhi Vhisatya 是一位印尼酷兒藝術工作者，在悉尼生活和工作。他 自 2020 年起為印尼酷兒文獻庫的成員，並成立了峇里島文獻及資料庫 （ BaliAAR ），專注於策劃展覽和透過實地考察收集資料。在 2024 至 2025 年，他策劃了東南亞酷兒文化節，為酷兒藝術家、文化工作者和社區 組織者建立一個探索藝術、文化與社會行動交匯的空間。
Reframing Strangeness:
Ha Bik Chuen’s Motherboards and Collagraphs
重置陌像: 夏碧泉的版畫實踐
10.5.2025 – 10.8.2025
Curator 策展人
Michelle Wun Ting Wong 黃湲婷
Exhibition Manager 展覽經理
Miki Hui 許彥彤
Project Coordinator 項目助理
Stefan Luk 陸其叡
Graphic Design 平面設計 MAJO
Spatial Design 空間設計 SKY YUTAKA
Translation and Copyedit 翻譯及校對
Wing Chan 陳穎華
Jason Chen 陳子岳
Orit Gat
Vivian Poon 潘蔚然
Image credit 圖片鳴謝
[1-27] South Ho Siu Nam 何兆南
[28] Rossi and Rossi Gallery
pages 10, 90 and 95 Asia Art Archive 亞洲藝術文獻庫
pages 88-89 and 92-93 Michelle Wun Ting Wong 黃湲婷
Major Supporter 首席贊助
Virginia Sun Yee 余孫冠華
Supporters’ Circle 協力贊助
Jean-Marc Bottazzi
Brady Ng 吳禮謙
Rossi & Rossi
Yuri van der Leest
Collaborator 合作夥伴
The Ha Family 夏碧泉家人
Special Thanks 特別鳴謝
Elisa Adami
Asia Art Archive 亞洲藝術文獻庫
John Batten 約翰百德
Merve Bedir
Wing Chan 陳穎華
Vennes Cheng 鄭秀慧
Doryun Chong 鄭道鍊
David Clarke 祈大衛
Mark Chung 鍾正
Özge Ersoy
Charles Fong 方恆
Fotan 10E Team 火炭 10E 仝人
Nicole Fung Nok Kan 馮諾勤
Alex Ha 夏卓雄
Dorothy Ha 夏美賢
Ho Sin Tung 何倩彤
South Ho Siu Nam 何兆南
Ko Kin Wah 高健華
Professor Yeewan Koon 官綺雲教授
Sarah Lee Kwok Yan 李國欣
Lee Weng Choy 李永財
May Leung 梁德美
Lo Kwan Long Curtis 盧君朗
Adeena Mey
David Morris
Ratna Mufida
Tina Pang 彭綺雲
Vivian Poon 潘蔚然
Suhanya Raffel 華安雅
Akmalia Rizqita “Chita”
Fabio Rossi
Amanda Rubrico
Grace Samboh
Russell Storer
Rachel K. Surijata
Moody Tang 鄧夢茵
Tom Chung Man 譚頌汶
Merve Unsal
Cara Wong 黃懿靜
Ka Chun Wong 黃嘉俊
Cici Wu 武雨濛
Xiao Wenyan 蕭文衍
Yutaka Yano 矢野豐
Yip Kin Bon 葉建邦
Para Site Art Space is financially supported by the Art Development Matching Grants Scheme of the Government of the Hong Kong Special Administrative Region. The Government of the Hong Kong Special Administrative Region provides funding support to ‘Reframing Strangeness: Ha Bik Chuen’s Motherboards and Collagraphs’ 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 Art Space team) are those of the organisers of ‘Reframing Strangeness: Ha Bik Chuen’s Motherboards and Collagraphs’ only and do not reflect the views of the Government of the Hong Kong Special Administrative Region.
Para Site 藝術空間獲香港特別行政區政府「藝術發展配對資助計劃」的資助。香港特別行政區政府 僅為「重置陌像 : 夏碧泉的版畫實踐」提供撥款資助，並無參與其中。在刊物 / 活動內（或 Para Site 藝術空間轄下計劃小組成員）表達的任何意見、研究成果、結論或建議，純屬「重置陌像 : 夏碧泉的 版畫實踐」的推行機構的觀點，並不代表香港特別行政區政府的觀點。
‘Reframing Strangeness: Ha Bik Chuen’s Motherboards and Collagraphs’ is financially supported by the Project Grant of the Hong Kong Arts Development Council. Hong Kong Arts Development Council supports freedom of artistic expression. The views and opinions expressed in this project do not represent the stand of the Council.
「重置陌像 : 夏碧泉的版畫實踐」獲香港藝術發展局計劃資助。香港藝術發展局支持藝術表達 自由，本計劃內容並不反映本局意見。
PARA SITE TEAM
PARA SITE 團隊
Billy Tang 曾明俊
Executive Director and Curator
執行總監兼策展人
Junni Chen 陳君妮
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
Yuanyu Li 李沅鈺
Assistant Curator 助理策展人
Miki Hui 許彥彤
Exhibition Manager 展覽經理
Jason Chen 陳子岳
Communications Manager
傳訊經理
Kelly Chan 陳憶文
Development Manager 發展經理
Holly Leung 梁皓涵
Gallery Manager 畫廊經理
Stefan Luk 陸其叡
Project Coordinator 項目助理
Lynna Lam 林珊
Development Assistant 發展助理
Mui Cheng 鄭泳昕
Project Assistant 項目見習生 *
Spring 2025 Interns 2025 春季實習生
Chen Mo 陳默
Cheug Choi Hei 張在熙
Jiu Yuek Tung 趙若彤
Li Chuqi 李楚琪
Sophia Yuet See 廖玥詩
Ng Ching Yee 吳靜而
Siu Ka Hei 蕭嘉禧
*2024/25 Arts Talents Internship Matching Programme supported by the Hong Kong Arts Development Council 藝術人才見習配對計劃 2024/25 由香港藝術發展局資助
PARA SITE BOARD
PARA SITE 董事局
Alan Lo 羅揚傑
Chair 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 Lau 劉家明
Adeline Ooi 黃雅君
Federico Tan 陳奕明
Honus Tandijono 陳松正
Yuki Terase 寺瀨由紀
GLOBAL COUNCIL
環球協會
Shane Akeroyd
ART021 Group
Jean-Marc Bottazzi
Mimi Brown
Mimi Chun & Chris Gradel
Yan Du
Dina Shin
Honus Tandijono
White Cube
Virginia Yee
FOUNDING FRIENDS
始創好友
Stephen Cheng
COLLECTIVE Studio
David Kordansky Gallery
David Zwirner Gallery
Alan Lau
Wendy Lee
Edouard & Lorraine Malingue
Elia Mourtzanou
Schoeni Projects
SUNPRIDE FOUNDATION
Yuki Terase
FRIENDS
好友
Nick & Cordula Adamus-Voegtle
Almine Rech Gallery
Nicolas & Delphine Canard-Moreau
Lawrence & Natalie Chu
Jane DeBevoise
Hawk He
Reimi Imaizumi
Angelle Siyang-Le
Jina Lee & Jae Won Chang
Jeff Li & Chuanwoei Lim
William & Lavinia Lim
Alan Lo
Magician Space
Elaine W. Ng
Justin Ng
Stefan Rihs
Fabio Rossi
T:>Works
Tabula Rasa Gallery
Bonnie & Darrin Woo
Dayea Yeon
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。
聯絡我們 CONTACT
www.para-site.art
香港鰂魚涌英皇道 677 號榮華工業大廈 22 樓及 10 樓 B 室 22/F & 10B, Wing Wah Industrial Building, 677 King’s Road, Quarry Bay, Hong Kong t. +852 25174620 e. info@para-site.art
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
Wednesday to Sunday, 12:00–19:00
Closed on Monday, Tuesday, and Public Holidays
Facebook/Instagram: @parasite.hk Wechat: parasitehongkong
