Updated_Muted Hums_Catalog

13.12.2025 – 22.2.2026

Catalina Africa Özlem Altın Lêna Bùi Oscar Chan Yik Long 陳翊朗 Saodat Ismailova Ling Pui Sze 凌佩詩 Man Mei To 文美桃 Christina Quarles Aycoobo-Wilson Rodríguez

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Contents目錄 8 Introduction 引言 20 Floor plan 平面圖

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About the Artists and Artworks 藝術家及作品簡介 Oscar Chan Yik Long 陳翊朗 Özlem Altın Lêna Bùi Man Mei To 文美桃 Ling Pui Sze 凌佩詩 Christina Quarles Catalina Africa Aycoobo-Wilson Rodríguez Saodat Ismailova

60 Acknowledgements 鳴謝

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Every day we grow more preoccupied with responsibilities and the experience of chaos around us. With increasing uncertainties and growing isolation in different communities, we constantly question how to inhabit and reclaim our place in the world while remaining attentive to myriad beings. For centuries, we have sought a diverse range of cosmological tools – from astrological birth charts, ancient practice of palm reading to the mapped energy fields of Human Design and beyond – to better understand our quest for selfdiscovery, yet we often remain oblivious to the multifaceted depths within us. uted ums invites viewers to attend to the forgotten expressions beneath the surface of daily life, to recognise the unspoken flows across dimensions and reconnect with unfamiliar aspects of ourselves. The exhibition prompts us to attune to the fluidity and interconnectedness of all beings, resurfacing entangled connections with past lives, generational legacies, ancestral knowledge and the cycles of ecosystems.

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Drawing inspiration from the participating artists’ diverse personal approaches to how they explore the uncharted territories of inner landscapes, the exhibition directs viewers’ attention towards sensing and relating to dimensions that are often overlooked. It calls on us to be viscerally and closely aware of otherness – the otherness within us that is wild and unseen, which shapeshifts to survive, and the otherness present in all forms of life around us, both visible and invisible.

From human-centric perspectives to non-human and multi-dimensional experiences, the symbiotic relationships between different beings are revealed

and extended, traversing different realms: bodies within bodies, worlds beyond worlds.

Upon entering the exhibition space, viewers are greeted by scar han ik ong’s monstrous figures shapeshifting between horror and the sacred. Drawn into a horrific darkened projection, the appearance and presence of these mysterious beings confront viewers with the unknown and unknowable dimensions. This sitespecific projection at the beginning of the exhibition brings up disturbing memories and a sense of alienation, prompting reflections on fear. Guided by lights at the end of the corridor, viewers then leap over from an apocalyptic environment into a seemingly real space, flowing into the plurality of liminal worlds in zlem ltın’s mix of photomontage and painting on canvas, which exemplify a transitional state dissolving boundaries between inner and outer landscapes.

Her compositions create an otherworldly and abstract atmosphere, full of hybrid beings that resonate with fragments of memories lingering within our bodies.

These works convey the complexity of emotional states, grounding us in shared experiences. Speculating on unseen elements, êna ùi’s layered paintings on silk and paper draw on personal visions from dreams and daily life. Her artworks bring to life invisible networks, unfolding other ways of existence in the worlds that connect us all. Their diffused, atmospheric quality emphasises movements within and between bodies and the environments we cohabitate. These swirling patterns affirm the intricate relationships and systems we share with other ethereal beings.

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In fragmented bodily sculptures, an ei o captures the repetitive gestures of rhythmic breathing, directing our attention to the body’s hidden currents of chi. Her work hints at the release of suppressed emotions and physical tensions, with spiralling motions symbolising an overpouring flow of energy that invites healing and renewal.

Alongside resilient bent branches, these vulnerable forms highlight the body’s capacity to endure, transform and grow.

These uncontrollable fates stemming from personal and collective traumas evolve into different lives across generations, mirroring the perpetual flow of life.

In ing Pui ze’s mixed-media installation, suspended loops of cardiac pulses stir memories of caring for her grandparents in their final days.

The ascending and descending shifts unlock the pathways beyond bodies in between life and death, revealing intergenerational ties that ripple through time. The paper collage repurposing personal correspondence morphs into coded signals, an eternal tribute to a lasting legacy.

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Christina Quarles’s paintings

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portray ambiguous figures found at the intersection of entangled identities, open to a spectrum of gender, race and mixed notions of identity. This multiplicity of selves defies limited perceptions of representation, confronting viewers within a state of excess, of fluidity and instability that suggests identity is not static but a constant process of reworking. Against a disorienting background that blurs the real and the virtual, her painting amplifies the tensions of power dynamics rooted in daily encounters. Her works invite viewers to cross beyond the physical

body into a trance-like, multi-dimensional state, connecting deeply with otherness to reshape their worldviews. êna ùi’s floating textile work unveils a delicate mapping of the human body that elevates it to realms above and beyond.

It makes us aware of the internal flows of energy and blood, resituating the body as essential for experiencing the world and sensing our connection to the broader web of life. atalina frica’s paintings provide insight into her nuanced dialogues with plant spirits and living landscape. The radiating contour lines illustrate energies passing through her body and surroundings, framing her role as an intermediary who translates for the invisible. Bearing witness to the earth’s magical aliveness, her practice cultivates collaboration and reclaims a reciprocal relationship with local ecologies.

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Aycoobo-Wilson Rodríguez’s indigenous shamanistic practice results in works that emerge from expanded states of consciousness, reflecting cosmological, spiritual and animalistic beliefs. His intense colour palette evokes visionary imagery of all forms of energies and guardians of invisible dimensions, mediating the transmission of ancestral knowledge in the co-existence of all beings. Sharing this urgent notion of reconnecting with ancestral knowledge, aodat Ismailova’s video offers a non-linear narrative that delves into the invisible foundations of Central Asia.

Inspired by the mystical beliefs in 18,000 worlds within a vast cosmological universe, her montage of archival footage invites viewers to navigate through layers of sensation and memory, fostering deep listening and connections to ancestral knowledge. By juxtaposing personal and collective memories with regional myths

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and histories, she emphasises spiritual and mystic heritage as an alternative path to reconciliation.

The circular design of the exhibition directs us back to its starting point, continually illuminating layers of sensory experience through the prisms of our bodies. It creates a temporal space for discovery where we can confront and embrace our inner worlds through various artistic inquiries. The dimly lit environment, with subtle light filtering from curtains at specific thresholds, signifies transitions from one state to another – daydreaming to awakening, invisible to visible, stillness to movement, fragmented to whole. The wall text and captions guide visitors in a rotating manner, encouraging the movement of bodies and minds to synchronise with the spiralling inward journey.

By reconciling the small yet significant details emerging from different artistic observations, these quiet processes of embodied expression catalyse possibilities to reclaim dispersed energies and strengths.

Muted Hums encourages us to

unravel the complex mapping of intimate selves and to reimagine who we can be beyond specific identities, social constructs and corporeal boundaries.

These artists act as cartographers, not to define where we are or who we are, but to offer new perspectives that expand our personal mapping. This journey brings us closer to an ever-deepening study of our selves. In this everlasting process of becoming, we may find comfort and contentment within these intimate worlds marked by vulnerability. Together we will uncover the shimmering lights across the spectrum of existence and let go of our ghosts and shadows.

Celia Ho

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我們每天都忙於應對生活中的各種責任和周

中混合的生命體與我們體內殘留的記憶共

間的隔閡，我們不斷追問：如何在關注萬物

們扎根於相互依存的經驗中。

遭的紛亂。面對每日俱增的無常與不同社群

振。作品亦傳遞了情感狀態的複雜性，將我

Lêna Bùi

生靈的同時，在這世上安身立命，並重掌自

在絹本與紙本上創作層疊繪畫，以其夢境與

色的宇宙學工具――從占星命盤、古老的掌

她的作品顯現無形的連結，揭示眾多生命形

身的位置？長久以來，人們一直尋求形形色 相術，到人類圖的能量場圖譜等――藉此試 圖更深入認識自己，卻往往忽視了自身內心 深處的多重面向。 「幽幽絮語」邀請觀眾凝視

日常表象下被遺忘的細語，感知那些跨越維

度的無聲潛流，並重新連結自我的陌生層面。

日常的生活經驗為靈感，探索不可見的元素。 態共存的各樣可能。作品朦朧的氛圍質感強 調身體內部與共生環境之間的流動。這些漩 渦圖案印證我們與其他虛幻存在的複雜關係 與系統。

展覽邀請大家感受萬物的流動與關係，喚醒

文美桃以碎片化的人體雕塑捕捉了呼吸律

態循環之間千絲萬縷的連結。

內隱藏的氣流。作品暗示壓抑情緒與身體張

我們與前世今生、世代傳承、祖傳智慧及生

展覽圍繞參展藝術家探索內在未知領域的創

作路徑，讓觀眾聚焦並連結那些經常被忽略 的感知層面，呼喚我們敏銳地循內覺察「他

動鍛鍊中反覆呈現的姿態，引導我們感受體 力的釋放，螺旋形的動態象徵能量的傾盤而 出，召喚着療癒與更生。在彎曲堅韌的枝幹

旁，這些脆弱的形態彰顯了身體得以承受、 蛻變與成長的能力。無從掌握的命運源自個

者」 。他們潛藏於我們內心深處，狂野而隱秘、 人與集體創傷，在世代間演化為不同的形態， 為求生存而不斷變形。他們亦以多重既隱又

反映着生命的永恆流轉。在凌佩詩的混合

中心的視角延展至非人類與多維體驗。不同

照料祖父母臨終時的記憶。脈動的起伏開啟

現的形態存在於我們身邊。展覽從以人類為 生命形態之間的共生關係由此顯現，穿梭於 不同界域，得見身中之身、世外之世。

步入展廳，迎面而來的是陳翊朗塑造的怪

媒介裝置中，一環環懸吊的心跳脈搏勾起她 生死之間的通道，揭示跨越時空的世代連結。 由私人信件轉化而成的紙本拼貼化作加密訊 號，成為一份持續回響的見證與傳承。

異形象，遊走於恐怖與神聖之間。於幽暗的

C hristina Quarles 的畫作描繪身份

未知與不可知的維度。這件場域特定作品為

重身份觀念的光譜。這種多重自我的概念抵

投影之中，神秘生物浮現而出，使觀眾直面

展覽揭開序幕，喚起令人不安的記憶和疏離 感，引發對恐懼的思索。循着走廊盡頭的燈

光指引，觀眾從末日般的場景瞬間躍入一處 看似現實的空間，流動至

交織且模糊的人像，開放了性別、種族及多

抗表現方式的局限認知，將觀者置於滿溢、 流動與不穩定的狀態中，暗示身份並非固定 不變，而是一個持續被重塑的過程。在虛實

Ö zlem A ltın 交融的背景中，她的畫作放大了日常互動中

融合攝影蒙太奇與布本油畫的多元閾限世

權力關係的張力。作品引領觀者超越肉體限

景觀的邊界。作品構造出超現實的氛圍，當

而重塑世界觀。 êna

界。其創作展現出一種過渡狀態，模糊內外

制，進入恍惚的多維狀態，與他者共鳴，從

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Bùi 的懸浮紡織作

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品揭示了人體的精妙圖景，將其提升至超越 現實的境界。作品讓我們意識到體內能量與 血液的流動，重新定位身體作為感知世界並

靜謐而身心交融的表現方式，當中或會浮現 細微卻重要的線索，讓人重拾能量和力氣。

Catalina 「 幽幽絮語 」冀望大家剖析自我的複雜圖

連結廣大生命網路的核心載體。

A frica 的畫作則描繪她與植物靈及生息 景，超越特定的身份、社會建構和肉體界限， 景觀之間的細膩對話。畫中層層放射出的輪

重新想像存在的多重可能性。這些藝術家扮

環境之間的軌跡，彰顯她作為無形世界傳譯

們身在何處或身份為何，而是提供新的視角，

廓線條勾勒出不同能量穿梭於她的身體與 者的角色。她的創作見證了大地神奇的生命 力，滋養協作精神，並重構與當地生態的互 惠關係。

演勘探引路者的角色，他們並未試圖界定我

拓展我們個人認知的疆域。這段旅程引領我

們不斷深入探索自我，在這永恆的轉化中， 我們或許能在脆弱而隱密的世界中找到慰藉

與滿足。讓我們共同揭開存在光譜中閃爍的

Aycoobo-Wilson Rodríguez 微光，並放下那些縈迴的陰霾與幽影。 的創作扎根自其原住民薩滿傳統實踐中的擴 展意識狀態，反映了其宇宙觀，以及對於靈

性和動物的信仰。作品中強烈鮮明的色彩喚

起各種能量形態與無形守護者的幻象，在眾 生共存中調和並傳遞祖先智慧。

S aodat

Ismailova 的錄像作品同樣表達了重拾

祖輩智慧的迫切性，以非線性敘事探索中亞

文化的幽微脈絡。作品靈感源自於一種信仰： 在浩瀚宇宙中存在着18,000個世界。她透過

檔案影像的剪輯，引導觀眾游走於感官與記

憶的折疊之中，形塑深度聆聽並與跨世代連 結。她將個人和集體記憶與地域神話及歷史 並置，強調精神與神秘遺產是通往和解的另 一種可能。

展覽的迴旋路徑將我們帶回起點，從身體的 棱鏡映照出一層層的感官體驗。這個探索的 臨時空間讓我們藉由各種藝術實踐直面並擁

抱內在世界。幽暗的環境中，位處閾限的窗簾

灑落柔和的光線，象徵着狀態的過渡――從

幻夢到覺醒，從無形到有形，從靜止到流動，

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從碎片到整體。展場文字以環繞的形態引領 觀眾，讓律動與內省的旅程同步。觀察這些

何思穎

Floorplan

平面圖

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About theArtists andArtworks 藝術家及作品簡介

I.

Oscar Chan Yik Long 陳翊朗

(b. 1988, Hong Kong; lives and works in Helsinki)

Oscar Chan Yik Long’s practice centres on site-specific painting installations and drawing. Working primarily with ink, he creates immersive painted environments drawing on East Asian mythology, esoteric traditions and various aspects of popular visual culture and art history. Rather than adhering to the conventions of traditional Chinese painting, Chan forges his own visual language and symbolic world. His choice of medium and subjects is deeply personal and rooted in intellectual inquiry and spiritual reflection. His recent works explore the holistic relationship between body and mind in Chinese thought, particularly the connection between the internal organs and the fundamental emotions: fear, anger, anxiety, sadness and happiness.

Selected solo and duo exhibitions include They always look from an imagined above , Radvila Palace Museum of Art, Lithuania (2025–26); To Sleep and Wake Unafraid , PF25 Cultural Projects, Basel (2025); In the Darkness of Bones , St. Chads, London (2024); Certain parties were not pleased , Cazul 101, Bucharest (2023); Don’t Leave the Dark Alone , Gallery EXIT, Hong Kong (2021); Soliquid , Things That Can Happen, Hong Kong (2017). Selected group shows include Morbus , Villa Gyllenberg, Helsinki (2025); Myth Makers – Spectrosynthesis III , Tai Kwun Contemporary, Hong Kong (2022); Futur, ancien, fugitif – une scène française , Palais de Tokyo, Paris (2019); Divided We Stand , Busan Biennale, Korea (2018).

（1988年生於香港， 現居赫爾辛基）

陳翊朗以場域特定的裝置繪畫及素描創作為核 心。他以水墨為主要媒介，構築沉浸式的繪畫空 間，靈感源自東亞神話、秘辛傳統及不同領域的

流行視覺文化與藝術史。他不拘泥於傳統水墨規

範，而是建立屬於自身的視覺語言與符號體系。 陳氏選擇的媒介和主題都極為切身，根植於知性 的探索和精神的反思。近期作品聚焦於中國傳統 思想中的身心關係，尤其是內臟與基本情緒（恐 懼、憤怒、焦慮、悲傷和快樂）之間的連結。

曾參與的個展及雙人展包括「 They always look ，立陶宛 Radvila from an imagined above 」 ； 「 To S l e e p P a l a c e 博 物 館（ 2 0 2 5 – 2 6 年 ）

，巴塞爾 PF25 文化項目 and Wake Unafraid 」

（2025 年） ； 「 In the Darkness of Bones 」 ，倫

敦St. Chads（2024年） ； 「 Certain parties were ，布加勒斯特 Cazul 101（2023 not pleased 」 年） ； 「不要讓黑暗獨自留下」 ，香 港 安 全 口 畫

廊（ 2021 年 ） ； 「 自由落體 」 ，香港咩事藝術空

間（2017 年） 。曾參與的聯展包括「 Morbus 」 ， 赫爾辛基 Villa Gyllenberg（2025 年） ； 「神話製

造者――光．合作用 III 」 ，香港大館當代美術館

（2022 年） ； 「 Futur, ancien, fugitif 」 ，巴黎東京 宮（2019年） ； 「雖然我們分隔兩地」 ，釜山雙年展

（2018年） 。

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This new commission creates a site-specific environment that confronts viewers the moment they enter the exhibition space.

Under a timeless sky, visitors are lured into Chan’s wildly imaginative realm, where fantastical beasts coexist with haunting otherworldly beings unfolding against a chaotic background. The five folklore creatures reflect Chan’s interest in mythological characters from Journey to the West , a classic Chinese novel depicting an adventurous quest to the Western heaven in search of Buddhist sutras. Each character possesses a distinctive personality and strength, requiring a harmonious process of tuning and mutual support. His work metaphorically addresses the universal feeling of fear, which arises not only from suffering but also from encounters with the unknown. The artwork’s title, A reality is just what we tell each other it is , is a quote from one of the artist’s favourite horror movies In the Mouth of Madness (1994). This title reflects his belief in the fragility of reality and the terrors of the unknown, extending into the theme of reincarnation. Chan prompts us to explore the otherness of these figures, revealing insights into our deeper selves, and to question the performance of the fictional self we present to others.

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. II – I 》 成而說訴互相們我是過不實現 《 ）部局（ 朗翊陳 年5202 影投作畫墨水定特域場 變可寸尺

供提家術藝由 品作約委間空術藝etiS araP 供提家術藝由片圖

. II – I

tahw tsuj si ytilaer A )li ated( si ti rehto hcae llet ew g n oL k i Y n a h C r a c s O 5202 gni wa rd kni fo noitcejorp cfi iceps - eti S e l b a i r av s noi s n e m i D t s i t r a e h t fo y s et r u o C et i S a r a P yb d e n o i s s i m m o C t s i t r a e h t f o y s et r u o c ot o h P

這件全新委約作品營造出一個特定場域，直面剛抵達展覽空間的觀眾。在 時間靜止的蒼穹下，觀眾踏入陳翊朗狂想的奇境，目睹幻獸與幽靈共生於 混沌之景。五隻民間傳說中的異獸蛻變自《西遊記》的神話人物――這部經

典小說講述角色結伴往西天取經的旅程，每個角色皆具獨特性格和能力，

需經協調互助來同行前進。作品如寓言般觸及普世的恐懼，不僅源自苦難， 亦來自對未知的遭遇。作品題名《現實不過是我們相互訴說而成》則取自藝

術家鍾愛的恐怖電影《戰慄黑洞》 （1994） 。標題表達了他對現實脆弱本性與

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未知恐懼的思索，並延伸至輪迴的命題。藝術家引領我們探究這些異質的 形象，洞察深層的本我，再詰問我們向他人展現的虛構自我。

II.

I–II.

A reality is just what

we tell each other it is (detail) Oscar Chan Yik Long 2025 Site-specific projection of ink drawing Dimensions variable Courtesy of the artist Commissioned by Para Site Photo courtesy of the artist

I–II. 《現實不過是我們相互訴說而成 》 （局部） 陳翊朗 2025年 場域特定水墨畫作投影 尺寸可變

由藝術家提供 Para Site藝術空間委約作品 圖片由藝術家提供

Teeth, Jaw, Anchor Özlem Altın 2024 Pigment print, ink and oil on canvas, diptych 170 × 300 cm Courtesy of the artist and T H E P I L L ® Photo courtesy of dotgain.info

《牙齒、顎、錨 》

Özlem Altın 2024年 噴墨打印、墨彩油畫布，雙聯畫 170 × 300 厘米 由藝術家及T H E P I L L ®提供 圖片由dotgain.info提供

ÖzlemAltın

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(b. 1977 Goch; lives and works in Berlin)

Özlem Altın explores the body at rest and the inanimate in action in her paintings, collages, photographs and artist books. To create her work, Altın draws from a photographic archive she has assembled over the years, combining found images with her own photographs into dense constellations where fragments resonate and invite viewers to attend to what unfolds between images.

Recurring motifs such as the mask, the mermaid and the heron embody states of in-betweenness, merging human, animal and symbolic forms. Her work traces narratives that are at times mythological, engaging memory, perception and bodily experience.

Altın’s work has been presented at the Berlinische Galerie (2024); Kunstverein Braunschweig (2023); the 59th Venice Biennale (2022); Villa Romana, Florence (2021); MoMA, New York (2020); the 16th Istanbul Biennial (2019); and the 10th Berlin Biennial (2018).

Altın received her MFA from Piet Zwart Institute, Rotterdam (2006) and has held teaching positions at HFBK Hamburg (2024–25), UMPRUM Prague (2023) and HGB Leipzig (2020–21). She received the Hannah Höch Förderpreis and Tiemann-Preis (both in 2024), has been awarded the Stiftung Kunstfonds Work Grant (2022) and was a Villa Romana Fellow 2020.

（1977年生於戈赫， 現居柏林）

Özlem Altın的創作涵蓋繪畫、拼貼、攝影與藝術書籍，表現身

體與器物的交互動態。她從多年累積的攝影檔案中汲取素材， 編聯拾得和拍攝的照片，碎片之間相互共鳴，邀請觀者關注影

像之間的流動。作品中屢現的面具、人魚及蒼鷺等符號意象， 皆寓示着游離於界限之間的狀態，將人、獸與象徵形態交融。 她的作品追溯着神話般的敘事脈絡，牽引記憶、感知與身體 經驗。

其作品曾於柏林畫廊（2024 年） ；布倫瑞克藝術協會（2023

年） ；第五十九屆威尼斯雙年展（2022年） ；Villa Romana（佛

羅倫斯，2021年） ；現代藝術博物館MoMA（紐約，2020年） ； 第十六屆伊斯坦布爾雙年展（2019 年）及第十屆柏林當代藝 術雙年展（2018年）展出。她獲鹿特丹Piet Zwart Institute藝

術碩士學位（2006年） ，並曾於漢堡美術學院（2024–25年） 、 布拉格藝術、建築與設計學院（2023 年）及萊比錫視覺藝術

學院（2020–21 年）任教。她於 2024 年獲得 Hannah Höch

Förderpreis及Tiemann-Preis獎項，於2022年獲得Stiftung

Kunstfonds工作獎助，並於2020年成為Villa Romana獎助藝 術家。

》 錨、顎、齒牙 《

nıtlA melzÖ 年4202 畫聯雙，布畫油彩墨、印打墨噴 米厘 003 × 071

。供提® L L I P E H T及家術藝由 。供提ofni.niagtod由片圖

rohcnA ,waJ ,hteeT n ı t l A m el zÖ 4202 h cy t p i d , s a v n a c n o l i o d n a k n i , t n i r p t n e m g i P mc 003 × 071 .® L L I P E H T dn a tsit r a eht fo yset ruoC . of n i . n i a gt o d f o y s et r u o c ot o h P

Using photomontage and layered paint, Altın creates enigmatic collages that depict a complex network of imaginary worlds. Her works embody a hybridity of existence dissolving the boundaries between the organic and the artificial, and inner and outer landscapes. Her intricate contouring of images isolates fragments from their original contexts and reanimates them in her mythological language.

In Teeth, Jaw, Anchor , Altın explores the physical and metaphorical associations of these anatomical elements, unveiling complex masked emotional states.

It employs a dominant palette of red, serving as a powerful transmitter of energies and highlighting the danger in accessing vulnerability. The work invites viewers to engage with interstitial spaces and contemplate the connections between bodily forms and themes of resilience.

Özlem Altın 運用影像拼貼和層疊的繪畫創作出神秘的蒙太奇 作品，編織出一張錯綜複雜的幻界之網。她的作品展現了存在 的混融狀態，消弭了有機與人工、內在與外在景觀的界限。她

精細勾勒出影像的輪廓，使片段從初始的語境中抽離，賦以生 命及神話之辭。

作品《牙齒、顎、錨》探討這些解剖元素所承載的身體意象與隱 喻聯想，揭示複雜且隱匿的情感狀態。作品採用鮮紅色調，散

發出強烈的能量傳遞，並突顯身體處於脆弱狀態下的危險性。

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此作邀請觀眾探入縫隙之境，思考身體形態與韌性之間微妙 而深刻的聯繫。

》 ）天春、輪風（外語《

nıtlA melzÖ 年4202 布畫油彩墨、印打墨噴 米厘 08 × 011

。供提® L L I P E H T及家術藝由 。供提eheiZ sneJ/.k.b.n由片圖

)gnirps ,leehw( dlotnU n ı t l A m el zÖ 4202 no lio dn a kni , tnirp tnemgiP s avn a c mc 08 × 011 t s i t r a e h t fo y s et r u o C .® L L I P E H T dn a / . k . b . n f o y s et r u o c ot o h P . e h e iZ s n eJ

Untold (wheel, spring) 《語外（風輪、春天）》 Özlem Altın 2024 Pigment print, ink and oil on canvas 110 × 80 cm Courtesy of the artist and T H E P I L L ® Photo courtesy of n.b.k./ Jens Ziehe

Özlem Altın 2024年 噴墨打印、墨彩油畫布 110 × 80 厘米

由藝術家及T H E P I L L ®提供 圖片由n.b.k./Jens Ziehe提供

fire ants Lêna Bùi 2024 Ink and watercolor painting on silk, inkjet pigment print on archival paper 53 × 38 × 6.5 cm Courtesy of the artist and Galerie Urs Meile Photo courtesy of the artist

《火蟻 》

Lêna Bùi 2024年 水墨設色絹本及噴墨打印典藏 紙本 53 × 38 × 6.5 厘米 由藝術家及麥勒畫廊提供 圖片由藝術家提供

tidal no.1 Lêna Bùi 2022 Ink and watercolor painting on silk and archival paper 53 × 38 × 6.5 cm Courtesy of the artist and Galerie Urs Meile Photo courtesy of the artist

《 潮汐一 》

Lêna Bùi 2022年 水墨設色絹本及典藏紙本 53 × 38 × 6.5 厘米 由藝術家及麥勒畫廊提供 圖片由藝術家提供

Lêna Bùi

（1985年生於峴港， 現居胡志明市）

(b. 1985, Da Nang; lives and works in Ho Chi Minh City)

Lêna Bùi works primarily with painting and video, and also experiments with other mediums. Her works offer both amusing anecdotes and in-depth articulations of the impact of rapid development on people’s relationship with nature and their surroundings. She is deeply interested in nature and worldviews that are not entirely human-centric, but also in human resilience.

Bùi’s works have been shown in a number of exhibitions and screenings, including at the 15th Shanghai Biennale, China (2025); Galerie Urs Meile, Switzerland (2025); Kyoto Art Center, Japan (2025); Bangkok Art Biennale, Thailand (2024); Nguyễn Art Foundation, Vietnam (2024); Asian Film Archive, Singapore (2023); Jeju Biennale, South Korea (2022); Asia Culture Center, South Korea (2021); and Sharjah Art Foundation, UAE (2018), among others.

》蟻火 《

stna erif

iùB anêL 年4202 藏典印打墨噴及本絹色設墨水 本紙 米厘 5.6 × 83 × 35

i ù B a n êL 4202 g n i t n i a p r o l o c r et a w d n a k n I no tni rp tnemgip tej k ni , kli s no r e p ap l av i h c r a mc 5.6 × 83 × 35

供提廊畫勒麥及家術藝由 供提家術藝由片圖

d n a t s i t r a e h t fo y s et r u o C elieM s rU ei rel a G . t s i t r a e h t f o y s et r u o c ot o h P

Lêna Bùi主要從事繪畫及錄像創作，並在多種媒介之間實驗探

索。她的作品既包含幽默的敘事，也深入探討急速發展對人與 》 一汐潮《

iùB anêL 年2202 本紙藏典及本絹色設墨水 米厘 5.6 × 83 × 35 供提廊畫勒麥及家術藝由 供提家術藝由片圖

自然及周遭環境關係的影響。她特別關注非以人為中心的世

1.on ladit

界觀，以及人類的韌性。

i ù B a n êL 其作品曾於多個展覽及放映中展出，包括第十五屆上海雙 2202 年展（2025年） ；蘇黎世麥勒畫廊（2025年） ；京都藝術中心 n o g n i t n i a p r o l o c r et a w d n a k n I r ep ap l av i h c r a d n a k l i s （2025 年） ；曼谷藝術雙年展（ 2024 年） ；越南 Nguyễn Art mc 5.6 × 83 × 35 d n a t s i t r a e h t fo y s et r u o C elieM s rU ei rel a G t s i t r a e h t f o y s et r u o c ot o h P

；新加坡亞洲電影資料館（2023年） ； Foundation（2024年）

濟州雙年展（2022 年） ；光州國立亞洲文化殿堂（2021 年） ； 以及沙迦藝術基金會（2018年）等。

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This series of double-layered paintings originate from Bùi’s personal visions which traverse the dimensions of daily life and dream.

Her process echoes automatic drawing, channelling heightened emotional states into frantic swirling patterns that emerge from the background and constantly evolve. The overlapping images draw the viewer into a closer observation of our intertwined relationships with ethereal beings. By depicting unseen life forces, her work expands our awareness and sensitivity to the world beyond the physical.

It questions the human condition, suspended between wonder and void. The rhythmic visuals are mesmerising, highlighting the movements within and between all bodies, non-human beings and the co-habited worlds. 此系列的雙層畫作源自Lêna Bùi 內心的幻象，穿越日常與夢境的不同維 度。她的創作過程呼應自動繪畫的精神，讓情感的洪流轉化為劇烈旋舞的 圖案，在背景中迭迭不息。層疊的畫面引導觀眾細察我們與虛幻之體的關 係。她的作品描繪了不可見的生命能量，讓我們的感知延展至物質以外的 世界，並對人類懸浮於驚異與虛空之間的存在狀態提出詰問。其作品強烈 的節奏感與視覺動態令人目眩神迷，彰顯所有身體、眾生和共居世界之間 的律動。

》 三吸呼《

33

3.on gnihtaerb

》 二宙宇 《

2.on somsoc

iùB anêL 年4202 本紙藏典及本絹色設墨水 米厘 6 × 28 × 221

i ù B a n êL 4202 k l i s n o g n i t n i a p r o l o c r et a w d n a k n I r e p ap l av i h c r a d n a mc 6 × 28 × 221

iùB anêL 年1202 氈地毛羊織手結百二 米厘 021 × 091

i ù B a n êL 1202 t e p r a c l o o w n e v o w d n a h t o n k - 0 02 mc 021 × 091

ylimaF otonaT及家術藝由 供提noitcelloC 供提家術藝由片圖

oton aT dn a tsit r a eht fo yset ruoC n o i tc e l l o C y l i m aF t s i t r a e h t f o y s et r u o c ot o h P

trA nễyugN及家術藝由 供提noitadnuoF 供提家術藝由片圖

n ễy u gN d n a t s i t r a e h t fo y s et r u o C n o i t a d n u oF t r A t s i t r a e h t f o y s et r u o c ot o h P

cosmos no.2 Lêna Bùi 2021 200-knot handwoven wool carpet 190 × 120 cm Courtesy of the artist and Nguyễn Art Foundation Photo courtesy of the artist

《宇宙二 》

breathing no.3

Lêna Bùi 2021年 二百結手織羊毛地氈 190 × 120 厘米

Lêna Bùi 2024 Ink and watercolor painting on silk and archival paper 122 × 82 × 6 cm

由藝術家及Nguyễn Art Foundation提供 圖片由藝術家提供

Courtesy of the artist and Tanoto Family Collection Photo courtesy of the artist

《呼吸三 》

Lêna Bùi 2024年 水墨設色絹本及典藏紙本 122 × 82 × 6 厘米 由藝術家及Tanoto Family Collection提供 圖片由藝術家提供

1.

2.

Man Mei To 文美桃

(b. 1990, Guangdong and raised in Hong Kong; lives and works in Hong Kong and London)

Man Mei-To’s artworks explore urban vistas and life by observing the intimacy of the body. Her aim is to raise awareness of the existence of all kinds of beings, as well as the connections between their fragility and silence by cloning, reconstructing or quantifying elements found in everyday life.

Man received a BA in painting at the Royal Melbourne Institute of Technology University (RMIT) in 2017 and obtained her MFA in sculpture from the Slade School of Fine Art, University College London in 2024. She has been exhibited in international institutions including the Hive Center for Contemporary Art, Shanghai (2025); Ubicua Gallery, London (2025); Power Station of Art, Shanghai (2024); Tangent Projects, Barcelona (2024); Kyushu Geibun-kan, Fukuoka, Japan (2021); and CHAT- Centre for Heritage, Arts and Textile (2022), Rossi & Rossi (2020), Gallery EXIT (2020), Hong Kong Museum of Medical Sciences (2018) and Hong Kong Arts Centre (2017), all in Hong Kong. In 2021, she was selected for the Tai Kwun Contemporary Artists’ Studio residency programme.

.2

36

（1990年生於廣東， 香港長大， 現居香港及倫敦）

文美桃的作品透過觀察身體的親密性來探索城市景觀與都市

生活。她複製、重塑或量化日常事物，喚起對萬物生靈的關注， 以及它們之間脆弱與沉默的關聯。

文氏於2017年獲得皇家墨爾本理工大學（RMIT ）繪畫學士學 位，並於2024年獲得倫敦大學學院斯萊德美術學院雕塑碩士

學位。她的作品曾於多個國際機構展出，包括上海蜂巢當代

藝術中心（2025年） ；倫敦Ubicua Gallery（2025年） ；上海當 代藝術博物館（2024年） ；巴塞隆拿Tangent Projects（2024

年） ；福岡九州藝文館（2021年） ；以及香港的CHAT六廠紡織 文化藝術館（2022年） ；Rossi & Rossi畫廊（2020年） ；安全

口畫廊（2020年） ；香港醫學博物館（2018年）和香港藝術中心

（2017年） 。她亦於2021年入選大館當代藝術家工作室駐留 計劃。

.1

The departure point for this newly commissioned series of three sculptures is Man’s bodily movements during breathing exercises. The fragmented curling forms capture these repetitive motions, reflecting the hidden currents of ‘chi’ and the tangled emotions inside the body. The flowing shapes symbolise a release of suppressed emotions and physical blockages from past traumas and experiences, highlighting the unconscious tension we often carry in our bodies.

Supported by bent branches, these vulnerable forms emphasise how our internal system connects to the external world, which is influenced by uncontrollable forces around us. Man’s work conveys the body’s resilience and ability to endure, transform and grow beyond its .3 limits, mirroring the perpetual flow of life. It evokes a strong sense of renewal and the continual adaptation necessary for survival and healing. Man’s work invites viewers to listen attentively to their bodies and to reconnect with the invisible fluid self within.

》 I 吸呼曲卷 《

桃美文 年5202 材鋼銹不、料顏畫油、木梨花紅 米厘 57 × 05 × 04 供提家術藝由 品作約委間空術藝etiS araP 供提家術藝由片圖

.3 –1 》 II 吸呼曲卷 《

桃美文 年5202 材鋼銹不、料顏畫油、木梨花紅 米厘 003 × 28 × 831

oT ieM n aM 5202 l e et s s s e l n i a t s , l i o , d o ow k u a d a p n a c i r f A mc 57 × 05 × 04 . t s i t r a e h t fo y s et r u o C et i S a r a P yb d e n o i s s i m m o C t s i t r a e h t f o y s et r u o c ot o h P .3 –1

II gnihtaerB ylruC oT ieM n aM 5202 l e et s s s e l n i a t s , l i o , d o ow k u a d a p n a c i r f A mc 003 × 28 × 831

供提家術藝由 品作約委間空術藝etiS araP 供提家術藝由片圖

t s i t r a e h t fo y s et r u o C et i S a r a P yb d e n o i s s i m m o C t s i t r a e h t f o y s et r u o c ot o h P

桃美文 年5202 材鋼銹不、料顏畫油、木梨花紅 米厘 57 × 741 × 062

oT ieM n aM 5202 l e et s s s e l n i a t s , l i o , d o ow k u a d a p n a c i r f A mc 57 × 741 × 062

》 III 吸呼曲卷 《

37

I gnihtaerB ylruC

供提家術藝由 品作約委間空術藝etiS araP 供提家術藝由片圖

III gnihtaerB ylruC

t s i t r a e h t fo y s et r u o C et i S a r a P yb d e n o i s s i m m o C t s i t r a e h t f o y s et r u o c ot o h P

這組全新委約的三件雕塑作品，以

文美桃在呼吸練習中的身體律動為 起點。碎裂而蜷曲的形態捕捉了這 些反覆的動作，映照隱伏的「氣」與

身體深處糾結的情緒。流動的線條

象徵過往創傷所積壓的情感和身體 阻塞的釋放，揭示我們身體中未被 察覺的緊繃與無意識的負荷。

脆弱的形體由彎曲的枝條支撐，強 調內在系統如何與外界相連，而這 外界又受不可控的力量牽引。她的 作品表現身體的韌性，以及在極限 中的耐受、轉化與生長，喻示着生

命不息的流動。它喚起強烈的更迭 感，並揭示生存與療癒所需的持續

調適。作品邀請觀眾傾聽身體的低 語，重新連結那潛伏、流動且難以 名狀的自我。

3.

Curly Breathing I Man Mei To 2025 African padauk wood, oil, stainless steel 40 × 50 × 75 cm Courtesy of the artist.

Commissioned by Para Site Photo courtesy of the artist 1–3.

Curly Breathing II Man Mei To 2025 African padauk wood, oil, stainless steel 138 × 82 × 300 cm Courtesy of the artist Commissioned by Para Site Photo courtesy of the artist

Curly Breathing III Man Mei To 2025 African padauk wood, oil, stainless steel 260 × 147 × 75 cm Courtesy of the artist Commissioned by Para Site Photo courtesy of the artist

《卷曲呼吸 I 》

文美桃 2025年 紅花梨木、油畫顏料、不銹鋼材 40 × 50 × 75 厘米 由藝術家提供 Para Site藝術空間委約作品 圖片由藝術家提供

1–3. 《卷曲呼吸 II 》

文美桃 2025年 紅花梨木、油畫顏料、不銹鋼材 138 × 82 × 300 厘米 由藝術家提供 Para Site藝術空間委約作品 圖片由藝術家提供

《卷曲呼吸 III 》

文美桃 2025年 紅花梨木、油畫顏料、不銹鋼材 260 × 147 × 75 厘米 由藝術家提供 Para Site藝術空間委約作品 圖片由藝術家提供

i.

Ling Pui Sze 凌佩詩

(b. 1989, Guangzhou; lives and works in Hong Kong and Cambridge)

Ling Pui Sze has created a number of experimental ink and collage series in which she collects images of nature taken by various machines, such as microscopes and satellites that she then tears and reassembles into abstract images of creatures and landscapes that result in transfigured images that are both familiar and distant. The works manifest incidental organic forms, resembling the evolution of life and a reconstruction of another world on the canvas. Together with other media such as sculpture, video and installation, Ling explores the relationship between biological traits and the development of human society.

Ling graduated with a BFA from The Chinese University of Hong Kong in 2012, receiving the Wucius Wong Creative Ink Painting Award at graduation and an honourable mention for the Liu Kuo-sung Award in 2023. Solo exhibitions include Life is meant to be messy , Grotto Fine Art, Hong Kong (2022); It all begins in the sea , Gallery EXIT, Hong Kong (2014). Group exhibitions include Living paper , Galerie du Monde, Hong Kong, (2024) and Humor in Ink , Taoyuan Museum of Fine Arts, Taiwan (2021)· Ling is currently a senior research associate and artist-in-residence at the Intellectual Forum, Jesus College, the University of Cambridge.

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（1989年生於廣州， 現居香港及劍橋）

凌佩詩的創作主要涵蓋實驗性水墨及拼貼，作品源於她以顯

微鏡、人造衛星等各類機器採集的大自然影像，並將其撕碎重 組為抽象的生物與景觀，呈現出既熟悉又疏離的變異畫面。作 品展現偶發的有機形態，宛如生命演化過程，在畫布上重建另

一個世界。凌氏亦結合雕塑、錄像及裝置等媒介，探討生物特 性與人類社會發展的關係。

凌氏於2012年畢業於香港中文大學藝術系，曾獲「王無邪水 墨創作獎」 ，並於2023年獲「劉國松水墨藝術獎」優選。個展

包括「集亂為序」 ，香港嘉圖現代藝術（2022 年） ； 「一切由海

洋開始」 ，香港安全口畫廊（2014年） 。曾參與的聯展包括「活

紙」 ，香港世界畫廊（2024年） ； 「優墨」 ，台灣桃園市立美術館

（2021年） 。凌氏現為劍橋大學耶穌學院 Intellectual Forum 高級研究助理及駐留藝術家。

.i

Pulse is a newly commissioned installation that honours the memory of Ling‘s late grandparents. In her recent works, Ling primarily uses microscopic cell images as her material. This installation marks her first attempt to explore incorporating text from personal correspondence into her signature ink collages. These letters hold precious memories, filled with unspoken feelings of intimacy and support that she deeply cherishes and misses.

. ii

The installation features suspended loops imitating cardiac pulses, reminiscent of a heartbeat monitor from Ling’s time caring for her grandparents during hospital visits. She turns these rhythmic pulses into ascending and descending flows, unlocking the portal between life and death, while making intergenerational bonds visible. The textual paper collage morphs into hidden messages, offering a lasting tribute to her grandparents’ legacy. Each loop serves as an intersection reaching beyond time and space, attuning to an embodied intelligence passed down through generations. Through this work, Ling seeks to transform grief and memories into a quiet awakening of the self, reminding us of the subtle ways intergenerational connections shape who we are and ripple through our lives.

《脈》是一件全新委約的裝置作品，承載着凌佩 詩對祖父母的深切追憶。她的近作多以顯微 細胞影像為素材，而此作則首次將私人書信 的文字融入她標誌性的水墨拼貼。這些信件

蘊藏珍貴記憶，滿溢未言的親密與扶持，是她 深深珍惜及懷念的情感印記。

裝置以懸浮的環狀結構模擬心臟的脈動，恍

如藝術家在醫院探望祖父母時所觀察到的心 電圖儀器律動。她將這些節奏化為起伏的流

線，開啟生死間的隱秘之門，並形塑一種跨世 代的紐帶。拼貼的文字化作隱密的訊息，成為

對祖輩遺澤的永誌。各個迴圈超越時空交錯， 調和着代代相傳的睿智。藝術家藉此作試圖 將悲傷與記憶轉化為靜謐的自我覺醒，提醒

41

我們那些跨世代的微妙聯繫，如何塑造我們 的存在，並在個體之間漣漪不息。

. ii – i 》脈《

詩佩凌 年5202 置裝介媒合混 變可寸尺

供提家術藝由 品作約委間空術藝etiS araP 供提etiS araP及家術藝由片圖

. ii – i

esluP ez S i u P g n iL 5202 n o i t a l l a t s n i a i d e m d ex i M e l b a i r av s noi s n e m i D t s i t r a e h t fo y s et r u o C et i S a r a P yb d e n o i s s i m m o C et i S a r a P d n a t s i t r a e h t f o y s et r u o c ot o h P

ii.

i–ii.

Pulse Ling Pui Sze 2025 Mixed media installation Dimensions variable Courtesy of the artist Commissioned by Para Site Photo courtesy of the artist and Para Site

i–ii. 《脈》

凌佩詩 2025年 混合媒介裝置 尺寸可變

由藝術家提供 Para Site藝術空間委約作品 圖片由藝術家及Para Site提供

Cast Out Christina Quarles 2020 Acrylic on canvas 152.5 × 183 × 5 cm Courtesy of the artist and Private Collection © Christina Quarles Photo courtesy of the artist, Hauser & Wirth, and Pilar Corrias, London Photo Credit: Fredrik Nilsen Studio

《

Cast Out》

Christina Quarles 2020年 壓克力畫布 152.5 × 183 × 5 厘米

由藝術家及私人收藏提供 © Christina Quarles 圖片由藝術家、豪瑟沃斯畫廊 及Pilar Corrias畫廊（倫敦）提供 攝影：Fredrik Nilsen Studio

Christina Quarles

(b. 1985, Chicago; lives and works in Los Angeles)

》tuO tsa

C《

tuO tsaC

selrauQ anitsirhC 年0202 布畫力克壓 米厘 5 × 381 × 5.251

selr auQ anitsirh C 0202 s avn a c n o c i l y r cA mc 5 × 381 × 5. 251

。供提藏收人私及家術藝由 selr auQ anitsirh C © sairroC raliP及廊畫斯沃瑟豪、家術藝由片圖 。供提）敦倫（廊畫 oidut S nesliN kirderF：影攝

. n o i t c e l l o C et av i r P d n a t s i t r a e h t fo y s et r u o C selr auQ anitsirh C © , h t r i W & r e s u a H , t s i t r a e h t f o y s et r u o c ot o h P . n o d n oL , s a i r r o C r a l i P d n a o i d u t S n e s l i N k i r d e rF : t i d e r C o t o h P

44 （1985年生於芝加哥， 現居洛杉磯）

Christina Quarles 的創作涵蓋素

描、繪畫及裝置，解構圍繞身份與

人體形象的既定假設與信念。她於2016年獲耶

魯大學藝術學院藝術碩士學位，並持有漢普郡學 院藝術學士學位。Quarles於2015年獲耶魯大學

Christina Quarles’s practice spans drawing, painting and installation as she works to dismantle assumptions and engrained beliefs surrounding identity and the human figure. She received an MFA from the Yale School of Art in 2016 and holds a BA from Hampshire College. In 2015 Quarles received the Robert Schoelkopf Fellowship at Yale University, and was a participant at the Skowhegan School of Painting and Sculpture in 2016. In 2017 she received the Rema Hort Mann Foundation Emerging Artist Grant and participated in the Fountainhead Residency that same year. In 2019 she became the inaugural recipient of the Pérez Art Museum Miami Prize.

In 2022, Quarles’s work was featured in The Milk of Dreams , the 59th Venice Biennale, curated by Cecilia Alemani and in manifesto of fragility , the 16th Lyon Biennale of Contemporary Art, curated

by Sam Bardaouil and Till Fellrath. In 2023, she had a solo exhibition, Christina Quarles: Collapsed Time , at the Hamburger Bahnhof in Berlin.

Robert Schoelkopf 獎學金，其後於2016年參 與史勾西根繪畫雕塑學校的項目。她於2017年

獲Rema Hort Mann基金會新銳藝術家獎及參與

Fountainhead駐留計劃，並於2019年成為邁阿 密佩雷斯美術館獎的首屆得主。

Quarles的作品於2022年參與由Cecilia Alemani

策展的第五十九屆威尼斯雙年展「夢之乳」 ，以 及由Sam Bardaouil與Till Fellrath策展的第十六 屆里昂當代藝術雙年展「脆弱宣言」 。她於2023

年柏林漢堡火車站美術館舉辦個展「 Christina 。 Quarles: Collapsed Time」

The intertwined fleshy figures in Quarles’s paintings embody a sense of instability and disorientation, rejecting any straightforward perceptions of the complexities of intimate and sexual relationships. She draws attention to the intimacy within oneself, portraying each body to be multiply situated, full of contradictions and possibilities. Her work encourages viewers to consider identity as fluid rather than fixed, existing on a spectrum that emphasises the constant process of renegotiation and rediscovery.

Against the dark and patterned backgrounds that obscure the separation between reality and virtual space, her scenes amplify the tensions within the fragmented figures and the complex power dynamics of everyday encounters. The elongated body parts often extend to the edges of the canvas, reinforcing the uncontainable nature of the self while seeking to connect with others. Quarles sees her works as portraits of living within your body, rather than looking at a body.

45

Christina Quarles畫作中交纏的肉身呈現出一種不穩與迷失 的狀態，拒絕對親密及性關係的簡化認知。她強調內在的親密

性，將身體描繪為多重定位的場域，充滿矛盾、張力與潛藏的 可能。作品鼓勵觀眾將身份視為流動的存在，會不斷重構、再 現與自我協商。

畫面中的黯紋背景模糊了現實與虛擬空間的界限，場景放大 了零碎的身體及日常互動中權力關係的複雜張力。肢體常延

伸至畫布邊緣，強調自我無法被束縛的特質，同時尋求與他者 的連結。Quarles認為她的作品是「活在身體內」的肖像，而非 單純觀看身體。

yadoT semoC worromoT《 /yaM tahW emoC( 》 )ebyaM ,revetahW ,muC

yadoT semoC worromoT /yaM tahW emoC( )ebyaM ,revetahW ,muC

selrauQ anitsirhC 年0202 布畫力克壓 米厘 1.5 × 4.812 × 7.931

selr auQ anitsirh C 0202 s avn a c n o c i l y r cA mc 1.5 × 4.812 × 7.931

。供提藏收人私洲亞及家術藝由 selr auQ anitsirh C © 及廊畫斯沃瑟豪，家術藝由片圖 。供提）敦倫（廊畫sairroC raliP oidutS nesliN kirderF：影攝

. a i s A , n o i t c e l l o C et av i r P d n a t s i t r a e h t fo y s et r u o C . selr auQ anitsirh C © , h t r i W & r e s u a H , t s i t r a e h t f o y s et r u o c ot o h P . n o d n oL , s a i r r o C r a l i P d n a o i d u t S n e s l i N k i r d e rF : t i d e r C o t o h P

Tomorrow Comes Today ( Come What May/ Cum, Whatever, Maybe)

《

Christina Quarles 2020 Acrylic on canvas 139.7 × 218.4 × 5.1 cm

Christina Quarles 2020年 壓克力畫布 139.7 × 218.4 × 5.1 厘米

Courtesy of the artist and Private Collection, Asia © Christina Quarles Photo courtesy of the artist, Hauser & Wirth, and Pilar Corrias, London Photo Credit: Fredrik Nilsen Studio

Tomorrow Comes Today (Come What May/ Cum, Whatever, Maybe) 》

由藝術家及亞洲私人收藏提供 © Christina Quarles 圖片由藝術家，豪瑟沃斯畫廊 及Pilar Corrias畫廊（倫敦）提供 攝影：Fredrik Nilsen Studio

merging auras / plant bodies

《靈氣融匯／植物之身 》

Catalina Africa 2024 Acrylic, oil pastel, interference paint on canvas 180 × 122 cm

Catalina Africa 2024年 壓克力、油粉彩、干涉顏料畫布 180 × 122 厘米

Courtesy of the artist and Silverlens (Manila/New York) Photo courtesy of the artist and Silverlens (Manila/New York)

由藝術家及Silverlens 畫廊 （馬尼拉／紐約）提供 圖片由藝術家及Silverlens 畫廊 （馬尼拉／紐約）提供

Catalina Africa (b. 1988, Manila; lives and works in Baler)

Multi-disciplinary artist Catalina Africa considers shapeshifting to be her primary mode of expression. Working across mediums including painting, sound, sculpture, video, text and performance, she also cultivates a devotional practice to Spirit, transmuting Earth song and collaborating with the living land and her artworks are invocations to the natural landscape. Resembling spells, songs, love letters, prayers and maps, her spatial visualisation of an environment pays testimony to the earth’s mysteries and magic.

48 （1988年生於馬尼拉， 現居巴萊爾）

Solo exhibitions include Earth Body Bukid , Silverlens, New York (2025); Shrine in the Shape of Shadow , Silverlens, Manila, Philippines (2022); Spiralling in Starlight Vision , ArtInformal, Makati, Philippines (2022); Time Moving in All Directions (Featuring Conversational Adornment by Tanya Villanueva) , Finale Art File , Makati, Philippines (2018). Selected group exhibitions include Shrines , Silverlens, New York (2023); Phantasmapolis × Manila: Select works from the 2021 Asian Art Biennial , Metropolitan Museum of Manila, Philippines (2022); Phantasmapolis , Asian Art Biennial, Taiwan Museum of Fine Arts, Taichung, Taiwan (2021); Wild Legend , Juming Museum, Taiwan (2015); The Philippines Contemporary: Directions , Metropolitan Museum Museum of Manila, Philippines (2015).

跨領域藝術家Catalina Africa以變形為核心表達

方式，其創作涵蓋繪畫、聲音、雕塑、錄像、文字

及表演等多種媒介。她同時實踐對靈性的虔敬， 重塑大地之歌，並與土地共創，作品如同對自然 景觀的祈引。她對環境空間的視覺呈現猶似咒

語、歌曲、情書、禱告與地圖，見證大地的奧秘

》 身之物植／匯融氣靈《

/ sarua gnigrem seidob tnalp

acirfA anilataC 年4202 布畫料顏涉干、彩粉油、力克壓 米厘 221 × 081

a c i rf A a n i l a t a C 4202 t n i a p e c n e r ef r et n i , l et s a p l i o , c i l y r cA s avn a c n o mc 221 × 081

廊畫 snelrevliS及家術藝由 。供提）約紐／拉尼馬（ 廊畫 snelrevliS及家術藝由片圖 。供提）約紐／拉尼馬（

s n e l r ev l i S d n a t s i t r a e h t f o y s e t r u o C . )kroY weN / alin aM( d n a t s i t r a e h t f o y s et r u o c ot o h P . )kroY weN / alin aM( snelrevli S

與魔力。

其個展包括「 Earth Body Bukid 」 ，紐約Silverlens（2025年） ； 「 Shrine in the Shape of Shadow 」 ，馬尼拉Silverlens

（2022 年） ； 「 Spiralling in Starlight Vision 」 ，菲律賓馬卡蒂 ArtInformal（2022 年） ； 「 Time Moving in All ，菲律賓馬卡蒂Finale Art File（2018 Directions (Featuring Conversational Adornment by Tanya Villanueva)」

年） 。曾參與的聯展包括「 Shrines 」 ，紐約Silverlens（2023年） ； 「未至之城×馬尼拉：2021亞洲藝術雙年展選件

展」 ，馬尼拉大都會博物館（2022年） ； 「未至之城」 ，台中亞洲藝術雙年展， （2021年） ； 「野生傳說」 ，新北朱銘美術 館（2015年） ； 「 The Philippines Contemporary: Directions 」 ，馬尼拉大都會博物館（2015年） 。

Africa views herself and her work as a portal to connect with the spirits and invisible energies of the natural world. She embeds herself in the landscape and often visualises the unseen aspects of local ecologies, highlighting the intricate entanglement and reciprocal relationships among all beings. Her paintings feature symmetrical contouring lines radiating from the centre of the canvas, evoking a vibrant energy. The imagery conveys a sense of regeneration and invites viewers to speculate on other dimensions revealed through her work. The emanating energies visualise the earth’s magical aliveness, recognising the pulse of vibrant life surrounding us. A recurring motif in her work is the hand, symbolising the intentional acts of human beings to connect and intervene in their environment. This gesture emphasises the potential to build a closer relationship with the landscape and a broader understanding of our place within the ecological web. Africa’s work resembles topographical mapping, extending lines of inquiry beyond human-centric perspectives.

Catalina Africa 視自己與其作品為通往自然之靈與無形能量

的門徑。她將自身融入大地之中，致力於展現地方生態中幽微 不可見的層面，強調萬物之間交纏互依、彼此回應的關係。畫

面中對稱的線條自畫布中央輻射而出，喚起蓬勃律動的能量。 影像蘊含再生的意象，邀請觀眾遐思其中悄然顯現的多重維

度。那些流溢的能量形諸筆下，呈現大地的魔幻生機，讓人感 知環繞周遭的生命脈動。作品中屢見手的意象，象徵人類有

意識地連結、介入環境的行動。此舉亦指向我們與山川大地 締結更親近關係的潛能，以及洞曉自身於生態網絡中所居之

位。Africa 的創作如地形圖般延展，縱橫探問超越人本視角的 可能。

:setadpu yratenalP 建界世在內：新更星行《 》構 nihtiw gnidliubdlroW acirfA anilataC 年4202 布畫力克壓 米厘 29.121 × 4.251

49

廊畫 snelrevliS及家術藝由 供提）約紐／拉尼馬（ 廊畫 snelrevliS及家術藝由片圖 供提）約紐／拉尼馬（

a c i rf A a n i l a t a C 4202 s avn a c n o c i l y r cA mc 29. 121 × 4. 251

d n a t s i t r a e h t fo y s et r u o C )kroY weN / alin aM( snelrevli S t s i t r a e h t f o y s et r u o c ot o h P / a l i n a M ( s n e l r ev l i S d n a )kroY weN

Planetary updates: Worldbuilding within Catalina Africa 2024 Acrylic on canvas 152.4 × 121.92 cm Courtesy of the artist and Silverlens (Manila/New York) Photo courtesy of the artist and Silverlens (Manila/ New York)

《行星更新：內在世界 建構》

Catalina Africa 2024年 壓克力畫布 152.4 × 121.92 厘米

由藝術家及Silverlens 畫廊 （馬尼拉／紐約）提供 圖片由藝術家及Silverlens 畫廊 （馬尼拉／紐約）提供

Arbol pinta Aycoobo-Wilson Rodríguez 2025 Acrylic on paper 100 × 110 cm Courtesy of the artist and Instituto de Visión Photo courtesy of the artist and Instituto de Visión

《彩繪之樹 》

Aycoobo-Wilson Rodríguez 2025年 壓克力紙本 100 × 110 厘米

由藝術家及Instituto de Visión提供 圖片由藝術家及Instituto de Visión提供

Aycoobo -Wilson Rodríguez

52

（1967年生於亞馬遜拉喬 雷拉，現居波哥大）

(b. 1967, La Chorrera, Amazonas; lives and works in Bogota)

Aycoobo-Wilson Rodríguez is the son and heir of Abel Rodríguez, the esteemed botanist and foundational figure in contemporary Indigenous art. Positioned at the intersection of ancestral knowledge and contemporary discourse, Rodríguez has emerged as a key voice in global Indigenous art. His works on paper, many of which emerge from deep states of consciousness during ayahuascainduced astral journeys, positioning his work within a visionary tradition and a ritual epistemolo, stand out for their intense, contrasting colour palettes that activate visionary imagery. Through these narratives, Rodríguez reveals invisible dimensions that coexist with material reality but remain imperceptible due to the alienation of modernity. In the cosmology of the Huitoto people, to whom Rodríguez belongs, all beings of the forest – natural and metaphysical – are life’s fundamental sources. His practice affirms this unity, questioning Western divisions between nature and culture and reintegrating lineage, territory and collective memory. His work is both portal and testimony, rooted in Indigenous philosophy and knowledge.

Rodríguez’s work has been presented at the Museo de Arte Moderno (2025); the 60th Venice Biennale, Foreigners Everywhere (2024); the 1st Amazon Biennial (2023); and the 1st Toronto Biennial of Art (2019).

Aycoobo-Wilson Rodríguez是著名

植物學家及當代原住民藝術奠基者

Abel Rodríguez之子與傳承者。其

創作立足於祖傳知識與當代論述的 交匯點，使其成為全球原住民藝術 的重要一員。Rodríguez的紙本作品

多源自服用死藤水後進入深層意識 狀態神遊天際的旅程，與幻視傳統

》 樹之繪彩《

zeugírdoR nosliW-oboocyA 年5202 本紙力克壓 米厘 011 × 001

供提nóisiV ed otutitsnI及家術藝由 供提nóisiV ed otutitsnI及家術藝由片圖

與儀式知識體系對話，並以強烈的

atnip lobrA z e u g í r d o R n o s l i W - o b o o cyA 5202 r e p ap no c i l y r cA mc 011 × 001 d n a t s i t r a e h t fo y s et r u o C n ó i s i V e d ot u t i t s n I d n a t s i t r a e h t f o y s et r u o c ot o h P n ó i s i V e d ot u t i t s n I

對比色彩喚醒視覺中的靈性意象。他透過這些敘事揭示與物質現實共存、卻因現代疏離而隱蔽的幽

維。在其所屬的Huitoto族宇宙觀中，森林中一切萬物，無論自然玄冥，皆為生命本源。他的創作肯定

這種一體性，質疑西方對自然與文化的分割，並重新連結血脈、疆土與集體記憶。其作品既為門徑， 亦為見證，深植原住民哲思與智慧。

、第六十屆威尼斯雙年展「處處是外人」 （2024 Rodríguez的作品曾於哥倫比亞現代美術館（2025年） 年） 、首屆亞馬遜雙年展（2023年）及首屆多倫多藝術雙年展（2019年）展出。

Rodríguez inherited a legacy rich in botanical knowledge of Amazonian plants and his art reflects visions that emerge within him during shamanic practice, embodying indigenous spiritual and animalistic beliefs. Although he was displaced from his ancestral territory, Rodríguez confronts the ontological tensions imposed by colonial modernity, advocating a deeper spiritual connection with the natural world.

The painting Vibración depicts an elderly woman in an expanded state of consciousness, affirming the multiplicity of existence; the vibrant colours and composition reveal the constellations of both visible and invisible universes. In Arbol pinta , recurring motifs like birds, butterflies and the vine of yagé transcend mere representation to provide insights into the interconnectedness of all beings. These intense visionary images offer an alternative lens to access the Nonuya cosmogony worldview, honouring the importance of co-existence with different dimensions of life and reality.

Aycoobo-Wilson Rodríguez 承襲了亞馬遜地區豐富的植物學傳統知識，其創作反映在

薩滿儀式中從意識浮現的內在幻像，體現原住民的靈性信仰與萬獸有靈的觀點。儘管被 迫離開祖傳土地，Rodríguez 仍直

面殖民現代化帶來的價值觀矛盾， 並倡導與自然世界建立更深層的精 神連結。

作品《振動》描繪一位進入擴展意識 狀態的老婦形象，肯定萬類之多元

並存；鮮明的色彩與構圖揭示了可 見與不可見的宇宙繁象。在《彩繪之

樹》中，鳥類、蝴蝶及死藤藤蔓等屢

現的意象超越了單純的再現，而是 眾生相聯的洞察。這些強烈的幻像 為Nonuya族的宇宙觀提供另一種視

角，彰顯與多重生命和現實維度共 存的重要性。

》 動振 《

zeugírdoR nosliW-oboocyA 年2202 本紙力克壓 米厘 001 × 07

供提nóisiV ed otutitsnI及家術藝由 供提nóisiV ed otutitsnI及家術藝由片圖

53

nóicarbiV z e u g í r d o R n o s l i W - o b o o cyA 2202 r e p ap no c i l y r cA mc 001 × 07 d n a t s i t r a e h t fo y s et r u o C n ó i s i V e d ot u t i t s n I d n a t s i t r a e h t f o y s et r u o c ot o h P n ó i s i V e d ot u t i t s n I

Vibración Aycoobo-Wilson Rodríguez 2022 Acrylic on paper 70 × 100 cm Courtesy of the artist and Instituto de Visión Photo courtesy of the artist and Instituto de Visión

《振動 》

Aycoobo-Wilson Rodríguez 2022年 壓克力紙本 70 × 100 厘米

由藝術家及Instituto de Visión提供 圖片由藝術家及Instituto de Visión提供

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Saodat Ismailova

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（1981年生於塔什干， (b. 1981, Tashkent; lives and works in Paris and Tashkent) 現居巴黎及塔什干）

Saodat Ismailova is an Uzbek filmmaker and artist who came of age in the post-Soviet era. Interweaving rituals, myths and dreams within the tapestry of everyday life, her films investigate the historically complex and layered culture of Central Asia. Frequently based around oral stories and exploring systems of knowledge suppressed by globalised modernity, her works hover between visible and invisible worlds.

In 2021, Ismailova initiated Davra research collective to develop the Central Asian art scene. In 2025, she participated in Fondation Pernod Ricard’s Nouveau Programme. She is the recipient of the Eye Art & Film Prize, Amsterdam (2022) and the Medal of Art Basel (2025). Her works has been exhibited internationally, including selected solo exhibition at Museo Amparo, Puebla, Mexico (2025); Kunsthalle Lisbon, Lisbon (2025); Hangar Biccoca, Milan (2024); Le Fresnoy, National Center for Contemporary Arts, Lille, France (2023); Eye Film Museum, Amsterdam (2023), Group exhibition at Asia Pacific Triennale of Contemporary Arts (2024), Shanghai Biennale of Arts (2024), Diriyah Contemporary Art Biennale (2024), Sharjah Biennial of Arts (2023), 59th Biennale Arte, Venice (2022); documenta fifteen, Kassel (2022), and others.

Saodat Ismailova是一位成長於後蘇聯時期的烏

茲別克電影創作者及藝術家。她的影像創作將儀 式、神話與夢境交織在日常生活之中，探究中亞

文化在歷史中所呈現的複雜性與多重層次。她的 作品常以口述故事為基礎，探索在全球化現代性 下被壓制的知識體系，遊走於可見與不可見的世 界之間。

Ismailova於2021年創立「 Davra 」研究團體，以

推動中亞藝術發展。她於2025年參與Fondation

Pernod Ricard的Nouveau Programme。她曾獲 阿姆斯特丹「 Eye藝術與電影獎」 （2022年）及「巴

塞爾藝術獎」 （2025年） 。作品曾於多個國際機構 展出，個展包括墨西哥普埃布拉Museo Amparo

（2025 年） ，里斯本 Kunsthalle Lisbon（2025 年） ，米蘭 Hangar Biccoca（2024 年） ，法國國

立當代藝術工作室Le Fresnoy（2023年） ，阿姆 斯特丹Eye Film Museum（2023年） 。曾參與的 聯展包括亞太藝術三年展（2024年） ，上海雙年展

（2024年） ，迪里耶當代藝術雙年展（2024年） ， 沙迦雙年展（2023年） ，第五十九屆威尼斯雙年展

（2022年）及卡塞爾文獻展（2022年）等。

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The title 18,000 Worlds draws on the Uzbek mystical belief that the world we inhabit is just one among 18,000 worlds in an infinite cosmological universe.

Ismailova has been familiar with this idea since childhood, and was also inspired by the Persian philosopher Shihab al-Din Yahya al-Suhrawardi, whose teachings explore the interrelation of light and darkness, emphasising that truth is revealed through light. Bringing together archival footage Ismailova has recorded across Central Asia between 2004–22, the montage unfolds a non-linear narrative that weaves together personal and collective memories through layers of images and sensations. The sequential mix of fragmented visuals emerges as coded signals from other parallel existences, forming visions of wholeness.

The work highlights the danger of losing connection with our ancestors and the invaluable knowledge they hold. The whispered verses shape an enchanting sensory experience that attunes viewers to their inner lights of perception.

Visitors are invited to experience the work in a comfortable reclining position, guided by a voiceover recorded by a female protagonist, intended to open their senses to deep listening and healing. Ismailova’s film completes the exhibition journey, illuminating the profound connections between the self, ancestral and cosmos. 作品標題《18,000個世界》源自烏茲別克的神秘信仰，認為我們所居住的世界只是無垠 宇宙中一萬八千個世界之一。Saodat Ismailova 自幼便熟知此觀念，同時亦深受波斯哲

學家Shihab al-Din Yahya al-Suhrawardi的啟發，其思辯深入探討光與暗的交織，強調 真理是通過光所顯現。藝術家將2004年至2022年間在中亞各地所拍攝的影像資料編 )2(

織成蒙太奇，以非線性敘事展

開，於層疊的視覺與感官之中交 錯個人與集體的記憶。這些影像 片斷如同來自平行世界的編碼密 訊，凝聚成對萬物整體的觀照。

作品強調了與祖先脈絡失聯所

帶來的危機，以及他們所留傳的

睿智。低沉輕柔的吟誦塑造出一 種令人着迷的感官體驗，引導觀

者回歸內在的靈光，重新校準感 知的頻率。觀眾以舒適的躺姿來 體驗作品，藉由女主角的旁白引 導，開啟深層的聆聽與療癒感 受。作品亦為展覽旅程劃下句

點，映照自我、祖先與宇宙之間 )2( – )1( 》界世個 000,81《 avoliamsI tadoaS 年3202 色彩，像錄頻單 鐘分 23

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sdlroW 000,81 a vo l i a m s I t a d o a S 3202 roloc ,oedi v lenn a hc elgni S setunim 23

供提家術藝由 供提家術藝由片圖

t s i t r a e h t fo y s et r u o C t s i t r a e h t f o y s et r u o c ot o h P

avoliamsI tadoaS © 年3202，作製持支獎影電與術藝eyE 由

a vo l i a m s I t a d o a S © 3202 ,ezirP mliF & t r A eyE hti w ed am mliF

深刻的聯繫。

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(1)–(2)

18,000 Worlds Saodat Ismailova 2023 Single channel video, color 32 minutes

(1)–(2) 《18,000 個世界》 Saodat Ismailova 2023年 單頻錄像，彩色 32 分鐘

Courtesy of the artist Photo courtesy of the artist

由藝術家提供 圖片由藝術家提供

© Saodat Ismailova Film made with Eye Art & Film Prize, 2023

© Saodat Ismailova 由 Eye藝術與電影獎支持製作，2023年

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13.12.2025 – 22.2.2026 Curator 策展人 Celia Ho 何思穎

Exhibition Manager 展覽經理 Miki Hui 許彥彤

Project Coordinator 項目統籌 Stefan Luk 陸其叡 Graphic Design 平面設計 Studio Hik Spatial Design 空間設計 Joel Austin Translation 翻譯 Li Xiaotian 李筱天 Chelsea Ma 馬碧筠 Copy Edit 校對 Orit Gat Mary Lee 李挽靈

Special Thanks 特別鳴謝

Omayra Alvarado-Jensen Hilda Chan 陳曉君 Kenzy El-Mohandes Galerie Urs Meile 麥勒畫廊 Hauser & Wirth Ho Siu Chuen 何兆川 Instituto de Visión Ko Kin Wah 高健華 Vvzela Kook 曲淵澈 Marie Krauss Nhung Le Lee Ho Ming 李浩銘 Lok Man Chung 駱敏聰 Aenon Loo 羅家恩 René Meile Emerald Mou Ng Kai Fung 吳啟峰 Nguyễn Art Foundation Bill Nguyen Pilar Corrias, London Silverlens Gallery Billy Tang 曾明俊 Tanoto Family Collection THEPILL® Tom Chung Man 譚頌汶 Nhat Vo Xiao Wenyan 蕭文衍 Vera Yu 俞蔚然 Zoie Yung 容穎怡

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 ‘Muted Hums’ 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’s team) are those of the organiser of ‘Muted Hums’ 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「幽幽絮語」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「幽幽絮語」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 Board

PARA SITE 團隊

Junni Chen 陳君妮 Interim Director 署任總監 Celia Ho 何思穎 Curator 策展人

Jessie Kwok 郭芷凝 Assistant Curator 助理策展人

PARA SITE 董事局 Summer 2025 Interns 2025夏季實習生 Brynn Gordon 高白林 Law Yung Kui 羅雍詎 Mak Yiu Man 麥耀敏 Ngan Mei Lam 顔美琳 Tam Wing Suet 譚詠雪 Wu Ho Mui 胡昊梅

Yuanyu Li 李沅鈺 Assistant Curator 助理策展人

Alan Lo 羅揚傑 Chair 主席

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

Miki Hui 許彥彤 Exhibition Manager 展覽經理

Adeline Ooi 黃雅君

Federico Tan 陳奕明

Holly Leung 梁皓涵 Gallery Manager 畫廊經理

Honus Tandijono 陳松正 Yuki Terase 寺瀨由紀

Stefan Luk 陸其叡 Project Coordinator 項目統籌

Lynna Lam 林珊 Development Assistant 發展助理

Mui Cheng 鄭泳昕 Project Assistant 項目見習生* *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

Global Council

Friends

Associates

Shane Akeroyd Stephen & Helen Cheng David Zwirner Gallery Alan Lau PERROTIN SUNPRIDE FOUNDATION Nicole Schoeni Yuki Terase Oscar Wang Virginia Sun Yee Yenn and Alan Lo Foundation

Jean-Marc Bottazzi Cheng-Lan Foundation Lawrence and Natalie Chu Mimi Chun and Chris Gradel Mara Coson Jane DeBevoise Hawk He Jina Lee & Jae Chang William and Lavinia Lim Brady Ng Justin Ng Fabio Rossi Angelle Siyang-Le Tabula Rasa Gallery

Sandy Au Kee Foong and Andres Vejarano Hauser and Wirth Monica Heslington Christopher K. Ho Bernhard and Cordula Kotanko Elaine Kwok Vicky Lam Wendy Lee Timothy Tan Freda Yang and Roman Ruan Zheyuan Zhang

環球協會

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www.para-site.art 22/F & 10B, Wing Wah Industrial Building, 677 King’s Road, Quarry Bay, Hong Kong 香港鰂魚涌英皇道677號榮華工業大廈22樓及10 樓 B室 t. +852 25174620 e. info@para-site.art Wednesday to Sunday, 12:00–19:00 Closed on Monday, Tuesday, and Public Holidays 星期三至星期日下午12時至晚上7時 星期一、星期二與公眾假期休息 Facebook/Instagram: @parasite.hk Wechat: parasitehongkong

Para Site champions original developments in contemporary art by centering artistic voices and innovations. Collaborating closely with practitioners from both local and international contexts, Para Site enables new works, initiatives, and ideas to come into being. Placing an emphasis on inclusiveness and independent thought, Para Site has developed a strong reputation for giving milestone opportunities to a myriad of artists and curators, many of whom go on to develop significant careers in contemporary art. Through producing benchmark exhibitions, commissioning transformative works, and cultivating new talent, we emphasise contemporary art’s ability to reshape our understanding of society. Since its founding in 1996 by seven Hong Kong-based artists as an alternative space, Para Site has mounted over 300 exhibitions locally and globally, hosted over 87 international residents, and delivered over 1,000 public programmes.

All of Para Site’s programmes are free and accessible to the public.

Para Site秉持藝術家為本及鼓勵創新的信念，致力於當代藝術的發展。 透過與本地及國際藝術工作者的緊密合作，推動原創作品、計劃與理念 的孵化。我們營造開放包容、獨立自主的環境，多年來扶植一眾藝術家 與策展人才，為其職涯提供重要發展機會。其中不少後來於當代藝術 界有所成就，而機構亦以此著稱。透過策劃標誌性展覽、委託開創性作 品，以及培育新晉人才，我們彰顯出當代藝術重塑社會認知的潛力。自 1996年由七位香港藝術家創立以來，Para Site已在本地及全球舉辦超 過300場展覽，接待超過87位國際駐留藝術家，並組織超過1000項 公眾活動。 Para Site所有展覽及活動均免費予公眾開放。

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