Current Exhibitions
Current Exhibitions
and i love you dearly 而我深深地愛着你
HART HAUS is pleased to present “and i love you dearly”, a solo exhibition by Michael Rikio Ming Hee Ho to conclude his international artist residency at HART HAUS over the period of February 2026 till date. The exhibition features a compelling new body of work that intricately weaves together poetry, text, and painting, reimagining the canvas as a site to examine nostalgia, memory, and identity.
Across the exhibition, Ho approaches landscapes where beauty carries both the weight of memory and the architecture of romantic self-fiction. Ho considers how once-familiar places survive in the mind, using text and imagery as landscape, slowly altered by time, displacement, and the distortions of nostalgia. His phrases and text-elements read like a private archive of "notes to self"— fragments “typed into your phone after a long call with your parents”, where comfort, anxiety, and a delusional kind of whimsy begin speaking in the same voice. His recurring practice invites viewers to observe how environments once familiar persist within the mind shift under the pressure of time, displacement, and the internal necessity of remembering.
Through a practice that interweaves poetry, text, and painting on shaped canvases, Ho treats language as a physical material, inviting viewers into the emotionally charged space between the thought and the transcription of the thought into inner dialogue . “and i love you dearly” stays with the strange comfort of looking back, even when “home” begins to feel like a story you kept telling yourself. Ho’s artistic language—informed by a transpacific sensibility shaped by his upbringing in Hawaiʻi and his international trajectory through Tokyo and Hong Kong —emerges through an unusually direct relationship, almost tactile relationship with words. Having studied fine art and linguistics at UCLA under influential artists including Barbara Kruger and Adrian Wong, he developed an interest in how words carry emotional registers as much as they convey meaning—an instrument that can console, unsettle, and stabilise. In this body of work, Ho continues to explore how identity and belonging are carried through fragments: phrases, images, and emotional textures that serve as psychological anchors even as their meanings shift.
In this new presentation, Ho engages identity not as a stable essence, but as something inherited, partial, felt—a continuous process of negotiation. His practice uses shaped canvas panels and trompe-l’oeil strategies to blur the boundary between painting and object, allowing the text to project toward the viewer. The works accumulate phrases and images in a manner reminiscent of how memory gathers keepsakes to navigate the present.
Ho’s residency at HART HAUS offered an especially productive space for this exploration. During his residency at HART HAUS, Ho found in Hong Kong a site of intimate distance—connected to his Cantonese heritage, yet experienced as a space of active negotiation. The exhibition ultimately holds space for the uncertainty of reflection: a tenderness toward the past, paired with an awareness that the self is always being composed in real time. Across Hawaiʻi, Tokyo, and Hong Kong, his works function as prisms through which the beauty and desolation of environments are intensified, re-examined, and translated into new, restorative visual forms.
“and i love you dearly” embraces the strange comfort found in reflection—where “home” becomes less a destination than a story we continue to tell ourselves to stay whole.
HART HAUS 榮幸呈獻 Michael Rikio Ming Hee Ho 個人展覽「而我深深地愛着你」，為他在 2026 年 2 月至今於 HART HAUS 的國際藝術家駐留計劃畫上句號。展覽呈現了一系列引人入勝的全新作品，巧妙地交織了詩歌、文字與繪畫，將畫布重新想像成探討懷舊、記憶與身份認同的載體。
展覽中，藝術家創作的風景同時承載着記憶的重量與自我虛構的浪漫藍圖。他思考曾經熟悉的場所如何在腦海中存續，將文字與意象視為地景，任其被時間、流離以及懷舊帶來的扭曲悄然改變。他的句子與文字讀起來宛如一份私密的「自我備忘」——就像與父母通完長途電話後，在手機裡打下的零碎話語，慰藉、焦慮與天馬行空的奇想融為一體。他反覆實踐的創作手法，邀請觀者觀察那些曾在腦海中存續的熟悉環境，如何在時間、位移以及因記憶而產生的內在需求而發生的轉變。
透過在形狀各異的畫布上交織詩歌、文字與繪畫，藝術家將語言視為一種物理媒材，藉此邀請觀者進入充滿情感張力的空間——思緒與思緒轉化為內心獨白的縫隙之間。「而我深深地愛着你」停留於回首過往的奇異慰藉中，當「家」已開始成為一段你不斷對自己訴說的故事。藝術家受夏威夷的成長背景以及往來於東京與香港的國際軌跡所影響，在「跨太平洋感性」中形塑出獨有的藝術語言，以異常直接、近乎觸覺性的文字呈現。藝術家曾在加州大學洛杉磯分校（UCLA）修讀藝術與語言學，受教於 Barbara Kruger 及 Adrian Wong 等具影響力的藝術家。期間，他對文字如何承載情感語域產生了濃厚興趣——文字不僅傳達意義，更是能撫慰、擾動與穩定心靈的工具。在此系列作品中，他持續探索身份與歸屬感如何透過碎片呈現：詞句、意象與情緒質感等，即使意義不斷演變，仍發揮着情感寄託的作用。
此次新作展中，藝術家認為身份並非穩定的本質，而是某種繼承而來、不完整且訴諸感官的存在，是一個持續不斷的協商過程。他的創作實踐利用非典形的畫布與錯視策略，模糊了繪畫與物件之間的界線，使文字得以向觀者突進。這些作品使用句子與意象的方式，引導觀者聯想記憶如何藉由截取紀念物，以導航當下的過程。
HART HAUS 的駐留計劃為藝術家的這場探索提供了極具成效的空間。香港於他而言是一個既近切又疏離的場所——此地與他的廣東/香港背景緊密相連，同時又需要積極協商來感知的地方。這場展覽始終為反思的不確定性保留了空間：一種對過去的溫柔，並伴隨對「自我始終處於即時建構中」的自覺。橫跨夏威夷、東京與香港，他的作品如同稜鏡，重新審視並強化環境中的美感與荒涼，將之轉化為具備修復性的全新視覺形式。藝術家為這一系列作品所挑選的字句，「讀起來就像與父母通完長途電話後，在手機裡打下的字詞」。
「而我深深地愛着你」擁抱了在反思中尋得的奇異慰藉——與其說「家」是一個目的地，不如說是一個為了讓我們保持完整，而對自己不斷訴說的故事。
General Visit 公眾參觀
Date日期：9.5 - 4.6.2026 (Tue - Sat 二至六)
Time 時間：11:00 - 18:30
Venue 地點：HART HAUS 3/F
Visit by appointment only 敬請預約
General admission begins on the first regular opening day after the opening reception.
公眾參觀於開幕酒會後的第一個正常開放日開始。
About the Artist 藝術家簡介
Michael Rikio Ming Hee Ho (b. 1996, Kamuela, Hawaiʻi) is a Japanese and Cantonese American artist based in Tokyo. His practice utilizes a coordinated system of language, collage logic, and trompe-l’œil painting to examine the mechanisms of emotional insulation and the performative nature of selfhood in a post-social-media landscape.
Developed in response to the compressed urban scale of Tokyo, Ho’s works often take the shape of trompe-l’œil box forms. These structures function as surrogates for the body, asserting a physical presence through posture, leaning or tilting to mimic the dynamics of a conversation. The surfaces of these forms act as archival sites where familiar and nostalgic imagery, personal ephemera, and linguistic ruminations accumulate.
By layering text that mirrors the cadence of unsent late-night messages and internal monologues, Ho explores a contemporary condition defined by an oscillation, between wry optimism and self-aware insecurity. The performance of identity in his work serves both as a critique of a compulsive self-categorization and as a symptom of cultural dislocation.
Michael Rikio Ming Hee Ho（1996 年出生於夏威夷卡姆埃拉）是一位常駐東京的日港 / 日粵裔美國藝術家。他的創作實踐利用語言、拼貼邏輯及「錯視幻象畫法」（trompe-l’œil）所構成的手法，藉此探討在後社交媒體時代背景下，情感隔絕的機制以及自我身份的表演性質。
藝術家的作品回應了東京的壓縮城市狀態，常以「錯視幻象箱體」（trompe-l’œil box forms）的形式呈現。這些結構充當了身體的替身，透過倚靠或傾斜的姿態展現物理存在感，藉此模擬對話間的動態。這些形體的表面則作為檔案場域，承載並堆疊着熟悉且懷舊的意象、私人閑置物品，以及對語言的反覆思考。
由深夜未發送的訊息及呼應內心獨白所拼湊的文字，藝術家定義並探索了一種在冷嘲式的樂觀與自覺的不安全感之間擺盪的當代處境。其作品中對於身份的表演性，既是對強迫性自我分類的批判，亦是文化位移下的症狀。
Offscum: Offffffloor Edition 浮沫：堅離地城站
Offscum: Offffffloor Edition, the immersive exhibition by artist duo Cho Sum Yuet, Shera (b. 2000, Hong Kong) and Cheng Lok Yi, Tracy (b. 2000, Hong Kong), returns for a second presentation at HART HAUS G/F following its successful debut at P’Artiste.
As their ninth collaborative work, Offscum delivers a compelling exploration of corporeality in a near-future posthuman era. The exhibition centres on the transformative yet strained relationship between implantable technology and human flesh. Through the primal pulse of muscle – the instinctive heartbeat of the body – it examines the fragile boundary between human and cyborg. In doing so, Offscum invites viewers to confront primal desires and their descent toward madness under the pressures of time, morality, and aesthetics.
Inspired by a futuristic convenience store, the exhibition presents a series of speculative technological products under the fictional #VitalAnew Convenience Store. These works offer a one-stop body-renewal service that promises to reconnect machines and flesh.
「浮沫：堅離地城站」是由藝術組合左沁悅（2000年生於香港）及鄭樂怡（2000年生於香港）聯袂創作的沉浸式展覽，繼於P’Artiste成功首展後，現再度於 HART HAUS 地下呈獻。
作為她們第九件合作作品，《浮沫》為近未來的後人類時代帶來一場關於身體性的深刻探索。展覽以可植入科技與人體肉身之間那種具轉化力量卻又充滿張力的關係為核心。透過肌肉的原始脈動 — 身體本能的心跳 —《浮沫》審視人類與賽博格之間脆弱而模糊的界線，並邀請觀眾正視原始慾望，以及這些慾望在時間、道德與審美壓力下如何瀕臨瘋狂。
「浮沫：堅離地城站」從未來感的便利店獲得靈感，打造出一系列前衛的科技產品，置於虛構的 #煥新便利店之下。這些作品提供一站式肉體煥新服務，承諾讓機械與肉身重新連結。
General Visit 公眾參觀
Date日期：18.5 - 6.6.2026 (Opens daily 每日開放)
Time 時間：11:00 - 18:00
Venue 地點：HART HAUS G/F
Visit by appointment only 敬請預約
About the Team 製作團隊簡介
Exhibition Director | Cho Sum Yuet, Shera (b. 2000, Hong Kong)
Cho graduated from the Academy of Visual Arts, Hong Kong Baptist University in 2022 and is currently completing an MA in Fine Arts at The Chinese University of Hong Kong. Based at HART Haus with Lok Yi Cheng as an artist group, Cho works across documentary photography, online-found imagery, interactive video installations, and digital media. Through humour and satire, Cho reframes visual culture to reveal social contradictions and shifting public narratives, and investigates contemporary social issues. Cho is currently a residency artist at HART HAUS.
Interactive Installation Art Designer | Lok Yi Cheng (b. 2000, Hong Kong)Cheng is a 2022 graduate of the Academy of Visual Arts, Hong Kong Baptist University. With Cho Sum Yuet, Cheng developed a distinctive, collaborative practice to depict the contemporary world through humour and deliberate absurdity. Cheng’s current work investigates the possibilities and evolving relationship between humanity and artificial intelligence. Cheng is currently a residency artist at HART HAUS.
Engineering & Technical Support | Ng Kah Hee, Daniel
Administrative Coordinator & Marketing | Leung Yuen Ying, Phoebe
展覽總監 | 左沁悅
2000年生於香港，於2022年畢業於香港浸會大學視覺藝術學院，現正於香港中文大學修讀美術碩士。她與鄭樂怡組成藝術組合，駐場於 HART HAUS ，創作涵蓋紀實攝影、網路尋獲影像、互動影像裝置及數位媒體。左氏透過幽默與諷刺重構視覺文化，以揭示社會矛盾與變動中的公共敘事，並探討當代社會議題。
互動裝置藝術師 | 鄭樂怡
2000年生於香港，於2022年畢業於香港浸會大學視覺藝術學院。她與左沁悅共同發展出一套具特色的協作創作模式，透過幽默與刻意的荒誕手法描繪當代世界。鄭氏目前的創作關注人類與人工智能之間可能性與不斷演變的關係。駐場於 HART HAUS。
工程及技術支援 | 吳佳禧
行政及行銷 | 梁婉瑩
Home: Heartbeat Is the Only Distance「家：心跳是唯一的距離」
Gaston Bachelard says in The Poetics of Space: “Our house is our little corner in the world, as is often said, our first universe, a true universe. If we look intimately at our house, even the most humble and rundown dwelling has something beautiful about it.”
Home is never merely a unit defined by physical boundaries. It is a web woven from people and objects, memory and routine, intimacy and friction. The distance that truly matters is the closeness between hearts.
The heartbeat defies the world's measure of distance. When it races, it becomes longing; when it stills, it finds peace. Even when it stops, the connection remains—transformed into a new rhythm that lives within our memory, our bodies, and our various identities.
Geography and mortality may pull us apart, but the heartbeat remains the ultimate proof of presence.
"Home: Heartbeat Is the Only Distance" is an exhibition jointly presented by Academy of Visual Arts (AVA), School of Creative Arts (SCA), and Centre for Innovative Service-Learning at Hong Kong Baptist University, curated by 18 undergraduate students from the course of Curatorial practice at AVA and in collaboration with HART HAUS and The Lok Sin Tong Benevolent Society, Kowloon. The showcased works derive from intimate dialogues between the artists and their family members—capturing profound emotions that often remain unspoken in the rhythm of daily life.
This exhibition explores a concept of home that transcends physical space, viewing it as an active psychological vessel rather than a mere subject. It holds memories, unconditional support, and complex contradictions, forming a sense of belonging that is rewritten over time. Here, the audience encounters not a singular definition, but a collection of personal responses to home as the emotional and existential origin of the artists' lives.
加斯東·巴舍拉在《空間詩學》說:「我們的家屋是我們在世間的小角落，誠如常有的說法，家屋是我們最初的宇宙，一個真實的宇宙，如果我們親密地看待自己的家屋，即使最破落簡陋的落腳處也有美妙之處。」
這句話之所以動人，是因為它指向一個事實：在一切知識、判斷與社會身份形成之前，我們早已被某個空間所懷抱。那裡構成了我們感知世界最原初的座標系——「家」。
「家」從來不只是物理邊界內的單位。它是人與物、記憶與日常、親密與摩擦交織而成的網絡。
而「心跳」推翻了世俗的度量衡——疾速之時，是思念；平緩之時，是平靜；而當它止息時——即便止息，那份連結亦未曾斷裂。只是轉換了跳動的形態：潛入記憶，棲於身體，在我們最終長成的模樣裡。
距離可以拉遠，地理可以相隔，甚至生死可以分離。但心跳，證明著『在 』。
「家：心跳是唯一的距離」由香港浸會大學視覺藝術學院（AVA）、創意藝術學院（SCA）及創新服務學習中心聯合呈獻的展覽，由AVA「策展實踐課程」的18位本科生策劃，與本地藝術機構 HART HAUS 及九龍樂善堂合作，匯聚10組藝術家的創作實踐。這些作品源於藝術家與家庭成員之間真實的對話——那些日常中未必言明的情感。
展覽試圖探索家不再僅限於具備物理邊界的實體場所的概念: 家不再僅僅是被再現的主題，而成為一個持續運作的心理容器。它承載的不只是回憶，還有無條件的支持、難以言說的矛盾以及從中所提煉的養分成長。在時間中不斷改寫的歸屬感，引導觀眾在此見證的不再是對「家」的單一定義，而是藝術家如何以各自的方式，回應「家」作為我們生命原點的情感與深度。
Download Press Kit 下載新聞稿
Participating Artists 參展藝術家
Ane Alfeirán
Damian Boylan
Chia Pui Yi 謝貝怡
Leung Man Yuk Yuki 梁曼鈺
Doris Ng 吳玳誼
Sammi Tsui 徐善鈺
Gisèle Tchitchiama
Yip Chak Ho Eros 葉澤豪
FourTin Yeung 楊仟仟
General Visit 公眾參觀
Date日期：19.4 - 25.4.2026 (Tue to Sun 二至日)
Time 時間：11:00 - 18:30
Venue 地點：HART Haus 3/F
Visit by appointment only 敬請預約
Double Blue: An Altered Fairy Tale of Hong Kong (II)「雙重藍：香港異童話篇章 （下）」
Double Blue: An Altered Fairytale of Hong Kong (II), an exhibition by Florence Yuk-ki Lee, curated by Danson Wong and produced by Jackson Kwong, will be presented at HART HAUS, Kennedy Town Art Space. Building upon the first chapter, this second iteration shifts from an artist-led narrative toward a mode of intimate co-creation, expanding the exhibition into a shared narrative space shaped by multiple voices.
Only when the stories of many are pieced together does this city find its wholeness...
The phrase, “Hong Kong evolved from a small fishing village into an international metropolis” has, for years, served as a narrative framework in shaping how we perceive the city. Yet, behind this grand narrative of economic development and vertical ambition, is there still space for the scent of the streets, the whispers of lovers, or moments of solitude flickering outside a window at midnight?
Gleaning Whispers from the Margins
In this second chapter, multiple modes of expression are brought into dialogue. Beyond the artist’s visual interpretations, the exhibition incorporates a participatory dimension of co-creation, inviting visitors to become storytellers.
Beginning from the subtle textures of everyday life, participants are invited to gather fragments of personal memory and emotion. Within the space of Double Blue, structured through the dual trajectories of ocean and sky, these contributions collectively form an altered fairytale of the city. Rather than seeking a singular or resolved ending, the exhibition foregrounds voices that have long remained in the background, assembling a more intimate and affective portrait of Hong Kong.
Rewriting the Fairytale: Projections of Memory and Emotion
This process of co-creation is understood as a reconfiguration of a fairytale within the contemporary context. From early narratives marked by cruel allegories to modern reinterpretations centered around self-awareness, fairytales have never possessed fixed endings; rather, they continue to shift along with the emotional and imaginative currents of each era.
If fairytales themselves can change within time, then the narrative of Hong Kong should not be confined to a single version. As urban experience is inherently complex and interlaced, it should not be subjected to a singular reading. Within the blank spaces of grand history, each intimate and lived emotional trace serves to supplement the atlas of this city — a landscape perpetually in the process of being mapped.
藝術家李鈺淇的展覽《雙重藍：香港異童話篇章（下）》將於 HART HAUS 舉行，由黃銘樂策展及鄺俊軒製作。延續《雙重藍》第一章對「地方感」的探索，本章由藝術家主導的敘事，轉向一種私密而開放的共創模式，將展覽空間延展為一個由多重聲音構成的敘事場域。
唯有當眾人的故事拼合在一起，這座城市的輪廓才開始逐漸浮現。
「香港由小漁村發展成國際大都會。」這句耳熟能詳的說法，多年來如同一段預設的敘事框架，形塑了我們理解這座城市的方式。然而，在經濟奇蹟與摩天大樓的宏大敘事背後，那些關於街道的氣味、戀人的耳語，以及午夜窗外閃爍的孤獨，是否仍有容身之處？
拾起留白中的私語
在展覽的「下篇」中，策展嘗試並置不同形式的表達。展場不僅呈現藝術家的視覺轉譯，同時亦納入公眾參與的「共創」部分，邀請觀者成為「說書人」。
觀者可從日常生活的細微之處出發，拾起散落其中的私語。在由海洋與天空兩道藍色軌跡構成的「雙重藍」空間之中，這些片段將共同構成屬於這座城市的「異童話」篇章。展覽並不尋求一個標準化的童話結局，而是讓長期隱沒於背景之中的聲音重新浮現，拼湊出一個更具溫度與真實感的城市面貌。
童話的改寫
這種共創過程，可被視為童話在當代語境中的一次重構。從早期帶有寓言色彩的敘事，到當代著重自我覺醒的再詮釋，童話從來不是固定不變的結構，而是不斷隨著時代的情感與想像而流動。
既然童話本身可以被改寫，那麼關於香港的敘事，自然亦不應局限於單一版本。城市經驗本身複雜且交錯，不應只有單一的閱讀方式。在宏大歷史的留白之中，每一份細微而真實的個人情感，皆在補充這座城市尚未被完全標註的圖景。
Download Press Kit 下載新聞稿
General Visit 公眾參觀
Date日期：18.4 - 26.4.2026 (Tue - Sun 二至日)
Time 時間：11:00 - 18:00
Venue 地點：HART Haus G/F
Visit by appointment only 敬請預約
About the Artist 藝術家簡介
Florence Yuk-ki Lee is a Hong Kong-based artist and filmmaker working across experimental animation, video sculpture, drawing, and publishing. Her practice explores sense of place and topophilia, approaching place as an affective construct shaped by movement, memory, and perception. Her animations are composed of digitally hand-drawn frames that flow seamlessly in motion, unfold as micro-narratives attentive to emotional residue, transition, and states of suspension.
Lee holds a BA from Central Saint Martins and an MFA from City University of Hong Kong Her films Park Voyage (2022) and Elephant in Castle (2021) have received international recognition at major film festivals, including nominations at Annecy, Animafest Zagreb, and Fantoche, and screenings at festivals such as the Sydney Film Festival. Her work has been exhibited internationally at institutions including M+ Museum (Hong Kong), MoCA Taipei, Centre Pompidou (online), Museum of Contemporary Art Zagreb and MoNTUE (Taiwan), with recent solo exhibitions at MoCA Taipei (2025) and Artside Gallery, Seoul (2024). Her work is held in the permanent collection of M+ Museum.
李鈺淇，生於香港，是一位藝術家與實驗動畫導演。她的藝術實踐包括實驗動畫、動畫裝置、繪畫及藝術出版。 她的創作聚焦於對「地方感」的探索，關注地方如何在流動、記憶與感知之中形成其情感與敘事層次。李鈺淇透過動畫與裝置，組構日常生活經驗與城市感知的視覺片段，探討個體在城市空間中對自身、記憶與文化身份的感知方式。其動畫作品以數位手繪影格構成，影像在連續流動中展開，形成關於情感痕跡、過渡與懸置經驗的微觀敘事。
李鈺淇從英國倫敦藝術大學中央聖馬丁學院畢業，獲得平面傳播設計文學士，主修流動影像; 並於香港城市大學藝術碩士。 她憑M+委約動畫短片《遊、樂、園》及畢業作品《城堡裡的大象》在國際影展中獲得廣泛認可，獲法國安錫國際動畫影展提名，並入圍克羅埃西亞薩格勒布國際動畫影展、瑞士Fantoche國際動畫影展、臺灣關渡國際動畫節及澳洲雪梨影展等。 她的作品曾在多個國際藝術機構展出及放映，包括：香港M+博物館、台北當代藝術館、台灣北師美術館、法國龐畢度藝術中心線上影片系列、克羅埃西亞當代藝術博物館、首爾Artside Gallery、中國成都市美術館等。近期個展包括 「散落在異國海洋的星空」 (台北當代藝術館，2025) 及 「Let it sprout beneath my skin」 (首爾Artside Gallery，2024)。 其作品被M+博物館納入永久館藏。
Trichiasis「倒睫」
HART HAUS is pleased to present Trichiasis, Hou Lam Tsui’s solo show curated by Kobe Ko.
Trichiasis sheds light on the beauty of failing that lies in a refusal to acquiesce to the dominant logics of power and discipline. The term refers to a medical condition where eyelashes grow inward, against their expected course. This “wrong way” growth is reimagined here as a radical force, one that challenges norms, orders, and systemic power from feminist and queer perspectives. In Glitch Feminism, Legacy Russell reclaims the “glitch” not as a malfunction, but as a subversive and powerful rupture. Similarly, as Jack Halberstam explores in The Queer Art of Failure, there is something profoundly queer about failure, “failing is what queer have always done exceptionally well”.
Premiere in this solo exhibition is a new essay film, Trichiasis, which explores the female fantasy as an escape from patriarchal and heteronormative reality. Blending archival materials, 35mm photographs, Super 8 footage, and 3D animation, it follows the girls who fantasise—from yume joshi (dreaming girls) fantasising about interactions and even romance with fictional characters and idols, to fujoshi (rotten girls) who immerse themselves in boys’ love (BL) content. Such fantasy can be cruel—being accused of reading the “wrong book” as a reader, being arrested for publishing works depicting homosexual romantic relationships as a writer, or being punished with an ending of death as a heroine. Yet their fantasies become a form of resilience: a space to redefine womanhood and reject societal norms. Through stories of desire, love, hope, and refusal, the film reimagines so-called “failure” as an empowering rejection of imposed order.
Central to the exhibition are sculptural works employing soap and found objects, responding to the material’s fragility and its resonance with precarious lives. Soap recurs in the artist’s practice for its precarity, banality, and quiet resonance with the nuanced experiences of women and queer communities. It symbolises society’s obsessive pursuit of cleanliness—and the gendered association of purity with femininity. Through image transfers on used soap and juxtapositions with found objects, the artist rethinks media‑induced femininity, engaging both its physical and symbolic materiality.
HART HAUS 榮幸呈獻由高穎琳策展的徐皓霖個展「倒睫」。
個展「倒睫」借醫學術語描述睫毛逆向生長，偏離其自然生長軌跡的狀態，並以此剖析關於失敗的美學。這種美學源於拒絕屈從於權力與紀律主導的邏輯，將睫毛「錯誤的逆向生長」重新詮釋為一種激進力量，從女性主義與酷兒視角出發，挑戰規範、秩序及系統性權力。在《故障女性主義》（Glitch Feminism）中，萊加西·羅素（Legacy Russell）重新詮釋「故障」——並不是指機械失靈，而是具有顛覆性的強大缺口。正如傑克·哈伯斯坦（Jack Halberstam）在《酷兒的失敗藝術》（The Queer Art of Failure）所探討，失敗本身蘊含深刻的酷兒特質：「失敗正是酷兒一直以來最擅長的事」。
是次個展的全新散文錄像《倒睫》，探討女性如何透過幻想逃離父權與異性戀規範的現實。作品融合檔案影像、35毫米照片、超8毫米膠片與3D動畫，追蹤沉浸在幻想中的女孩們——從幻想與虛構角色及偶像互動甚至戀愛的「夢女」，到沉溺於少年愛（Boy’s Love）的「腐女」。這些幻想（在帶來愉悅的同時）或許伴隨着殘酷的代價，讀者被指控閱讀「錯誤的書籍」，作家需承擔發表描繪同性戀情作品而遭逮捕的風險，虛擬角色則被賦予死亡結局作為懲罰。然而，這些幻想將重新定義女性身份、拒絕社會規範的空間，把「錯誤」轉化為一種韌性。透過慾望、愛情、希望與抗拒的故事，本片將所謂的「失敗」重新詮釋為對強加秩序的賦權式拒絕。
展覽中，藝術家以肥皂與現成物創作的雕塑作品，回應物料的脆弱性及其浮動的狀態。肥皂反覆出現在藝術家的創作中，此物料的易逝性、日常性，以及與女性及酷兒群體細膩經歷的靜默共鳴。它象徵著社會對潔淨的執念，以及純潔與女性特質間的性別化連結。藝術家在使用過的肥皂上轉印圖像，並與現成物並置，透過物理與象徵層面重新審視其物料性，並延伸反思媒體所塑造的女性特質。
Download Press Kit 下載新聞稿
General Visit 公眾參觀
Date日期：14.3 - 8.4.2026 (Tue - Sun 二至日)
Time 時間：14:00 - 18:30
Venue 地點：HART Haus G/F
Visit by appointment only 敬請預約
About the Artist 藝術家簡介
Hou Lam Tsui (b. 1997) is a Hong Kong-based visual artist-filmmaker who works across moving image, sculpture, installation, and text. Her practice centres around personal experience, affect, gender politics, and peripheral storytelling. Tsui rethinks how femininity and queerness are imagined within cultures, critically exploring how media and consumer desires shape emotions, our notion of love, femininity, and identities by drawing inspiration from pop culture, advertisement, anime, literature and beyond.
Her work has been exhibited at museums and institutions, including Guangdong Times Museum (China), MoNTUE (Taiwan), Para Site (Hong Kong), and Tai Kwun Contemporary (Hong Kong). Her moving image works have been screened at ACMI (Australia), the Beijing International Short Film Festival (China), Image Forum (Japan), Kassel Documentary Film and Video Festival (Germany), Proyector Video Art Festival (Spain), Tirana International Film Festival (Albania), and Videoex Festival (Switzerland), among others. Her short film Hangnail was awarded the Best Student Experimental award at the Tirana International Film Festival 2025. Selected recent exhibitions include The Limit is the Turbulent Skies (MoNTUE, Taiwan, 2025) and Follow the Feeling (Guangdong Times Museum, China, 2024).
She received a BA in Fine Art and History of Art from the University of Leeds in 2018 and later obtained an MFA from the Chinese University of Hong Kong in 2024.
徐皓霖（生於1997年），駐香港視覺藝術家，其創作涵蓋多種媒介，包括流動影像、裝置、雕塑和文本。實踐圍繞個人經歷、情動、性別政治、邊緣敘事展開。徐重新思索陰柔氣質和酷兒身份在文化中的想像，並從流行文化、廣告、動漫、文學中汲取靈感，探究媒體與消費欲望如何形塑情感、情愛、陰柔氣質及身份。
她的作品曾於多家美術館及機構展出，其中包括廣東時代美術館（中國内地）、北師美術館（台灣）、Para Site（香港）以及大館當代美術館（香港）。影像作品亦曾於ACMI（澳洲）、北京國際短片聯展（中國）、Image Forum（日本）、卡塞爾紀錄片與錄像節（德國）、Proyector錄像藝術節（西班牙）、地拉那電影節（阿爾巴尼亞）及Videoex錄像節（瑞士）等影展放映。2025年，短片《Hangnail》獲地拉那電影節的最佳學生實驗作品獎。近期精選展覽包括《亂流：半睡飛行夢》（北師美術館，台灣，2025年）及《跟著感覺走》（廣東時代美術館，中國内地，2024年）。
2018年畢業於英國列斯大學，獲藝術及藝術史文學士。2024年獲香港中文大學藝術碩士。
Double Blue: An Altered Fairy Tale of Hong Kong (I)「雙重藍：香港異童話篇章 （上）」
HART HAUS is proud to present Double Blue: An Altered Fairy Tale of Hong Kong (I), featuring Florence Yuk-ki Lee, curated by Danson Wong.
Continuing the artist’s long-term exploration of “sense of place,” the exhibition transforms urban imagery and fairytale structures through experimental animation. Drifting schools of fish, disappearing coastlines, and intersecting flight paths unfold as floating visual motifs, revealing the complexity and liminality of the city. Here, belonging is reimagined not as a settled identity, but as a practice of temporarily anchoring the self and its shifting emotions within the rhythms of the city.
Every era rewrites its fairy tales, deciding who takes center stage and whose happiness is validated. If Hong Kong had its own fairy tale, what would it look like?
In Jungian psychology, fairy tales are tools for navigating the deep-seated conflicts and desires of the psyche; mirroring the collective unconscious while exploring universal themes of growth, loss, and hope. Against this backdrop, Lee employs AI-assisted processes to map recurring urban narratives of Hong Kong, weaving them with personal emotion and lived experience through experimental animation. She shapes an "Altered Fairy Tale" of the city, transforming the cityscape into two flowing trajectories of blue—ocean and sky—evoking drifting waters and ever-changing clouds.These blue trajectories intersects within the exhibition, allowing the city’s narrative to emerge at the confluence of tides and flight paths: the ocean chronicles the history of urban time, while the sky articulates emotional states, creating layered narratives situated between urban landscapes and psychological spaces.
Throughout history, fairy tales have often been rewritten in response to social shifts and cultural needs, showcasing their high degree of variability and heterogeneity. Double Blue seeks to reinterpret the cityscape through the lens of "Altered Fairy Tale," loosening the rigidity of established reality and expand perceptions of the city. Lee constructs a world devoid of fixed protagonists or predetermined endings, where fish, clouds, tides, faint shadows, and urban silhouettes come to life through motion and metamorphosis. Within this space between dream and reality, viewers are invited to rethink the nature and future of the city while experiencing the diversity of Hong Kong's urban stories. This endeavor represents not only a metamorphosis of form, but also a profound emotional response to the moments where language fails.
HART HAUS 榮幸呈獻由黃銘樂策展的李鈺淇展覽「雙重藍：香港異童話篇章 （上）」。
藝術家李鈺淇延續對「地方感」的長期探索，透過實驗動畫將香港城市景象與童話概念進行轉化，如游標般漂浮的魚群、消失的海岸線和交錯的航班，皆化為流動的視覺意象，呈現「地方感」的複雜性與流動性，並揭示了「地方感」不僅與歸屬感有關，更是著重於自我與情感如何在城市節奏中暫時安放。
每個時代都重寫童話，並決定誰能成為主角，誰的幸福被認可。如果香港有一則屬於自己的童話，它將是什麼樣貌？
在榮格心理學中，童話被視為一種引導我們理解內心深處衝突與渴望的工具，這些故事無形中反映了集體潛意識，探索成長、喪失和希望等普遍主題，揭示人類內心的複雜性。在這背景下，李鈺淇運用 AI 技術整理出香港城市故事的普遍藍圖，並以實驗動畫媒介融合個人情感與生活經驗，塑造出一個屬於香港的「異童話」。她將城市轉化為象徵海洋和天空的兩道流動藍色軌跡，反映不斷變化的水域和雲朵的游移。這兩條藍色軌跡在展場中交疊，使城市的敘事浮現於潮水與航線交會之處：海洋書寫城市歷史的時間，天空表述情緒的狀態，共同構出介於城市地景與心理空間之間的多重敘事層次。
歷史上童話常因應社會轉變與文化需求而被重寫，展現出其高度的可變性與異質性。《雙重藍》希望透過「異童話」的方式重新詮釋城市景觀，鬆動固化的現實秩序，並拓展對城市的感知。李鈺淇為香港異童話篇章建構出一個缺乏定型主角與結局的世界，讓魚、雲、潮水、微弱影子與都市輪廓在游移與變形中獲得生命。在這個融合夢幻與現實的空間中，觀眾得以重新思考城市的本質與未來，並體驗香港城市故事的多樣性。這不僅是形式的重塑，更是在語言失效時情感的深刻回應。
Download Press Kit 下載新聞稿
General Visit 公眾參觀
Date 日期：14.3 - 7.4.2026 (Tue - Sun 二至日)
Time 時間：11:00 - 18:00
Venue 地點：HART Haus 3/F
Visit by appointment only 敬請預約
About the Artist 藝術家簡介
Florence Yuk-ki Lee is a Hong Kong-based artist and filmmaker working across experimental animation, video sculpture, drawing, and publishing. Her practice explores sense of place and topophilia, approaching place as an affective construct shaped by movement, memory, and perception. Her animations are composed of digitally hand-drawn frames that flow seamlessly in motion, unfold as micro-narratives attentive to emotional residue, transition, and states of suspension.
Lee holds a BA from Central Saint Martins and an MFA from City University of Hong Kong Her films Park Voyage (2022) and Elephant in Castle (2021) have received international recognition at major film festivals, including nominations at Annecy, Animafest Zagreb, and Fantoche, and screenings at festivals such as the Sydney Film Festival. Her work has been exhibited internationally at institutions including M+ Museum (Hong Kong), MoCA Taipei, Centre Pompidou (online), Museum of Contemporary Art Zagreb and MoNTUE (Taiwan), with recent solo exhibitions at MoCA Taipei (2025) and Artside Gallery, Seoul (2024). Her work is held in the permanent collection of M+ Museum.
李鈺淇，生於香港，是一位藝術家與實驗動畫導演。她的藝術實踐包括實驗動畫、動畫裝置、繪畫及藝術出版。 她的創作聚焦於對「地方感」的探索，關注地方如何在流動、記憶與感知之中形成其情感與敘事層次。李鈺淇透過動畫與裝置，組構日常生活經驗與城市感知的視覺片段，探討個體在城市空間中對自身、記憶與文化身份的感知方式。其動畫作品以數位手繪影格構成，影像在連續流動中展開，形成關於情感痕跡、過渡與懸置經驗的微觀敘事。
李鈺淇從英國倫敦藝術大學中央聖馬丁學院畢業，獲得平面傳播設計文學士，主修流動影像; 並於香港城市大學藝術碩士。 她憑M+委約動畫短片《遊、樂、園》及畢業作品《城堡裡的大象》在國際影展中獲得廣泛認可，獲法國安錫國際動畫影展提名，並入圍克羅埃西亞薩格勒布國際動畫影展、瑞士Fantoche國際動畫影展、臺灣關渡國際動畫節及澳洲雪梨影展等。 她的作品曾在多個國際藝術機構展出及放映，包括：香港M+博物館、台北當代藝術館、台灣北師美術館、法國龐畢度藝術中心線上影片系列、克羅埃西亞當代藝術博物館、首爾Artside Gallery、中國成都市美術館等。近期個展包括 「散落在異國海洋的星空」 (台北當代藝術館，2025) 及 「Let it sprout beneath my skin」 (首爾Artside Gallery，2024)。 其作品被M+博物館納入永久館藏。
Hopping on Cloud 「蹴雲夢飛」
HART HAUS is proud to present Hopping on Cloud, a collaborative community project by Hong Chi Association.
Led by Zaat Hap, an artist collective in the HART Studio Programme focused on preserving and reinterpreting the art of bamboo crafting, Hopping on Cloud brought together 60 Hong Chi trainees and students from five service units and a special school, aged 14 to 68. Over two and a half months, participants engaged in collective sessions to learn, create and master techniques - from bamboo bending to applying colour.
Crafted from durable, sustainable, and recyclable materials such as bamboo, the cloud reflects the supportive platform that Hong Chi Association provides to nurture talent, while the birds symbolize the trainees themselves—soaring to new heights.
HART HAUS 榮幸呈獻「蹴雲夢飛」，由匡智會主辦的社區協作計劃。
是次計劃由一直專注於傳承與重新演繹竹藝的 HART 工作室計劃中的藝術家組合「紮合」（Zaat Hap）帶領，聯同匡智會旗下五個服務單位及一所特殊學校，共60位年齡橫跨14至68歲的學員與學生，以兩個半月時間集體研習竹篾屈曲、上色等技法，共同創作。
整件作品以耐用、永續、可回收的竹材為主要材料，雲朵象徵匡智會為學員提供孕育才華的平台，翱翔其中的鳥群則代表着學員自己振翅高飛，越過新的高度。
General Visit 公眾參觀
Date 日期：25.2 - 5.3.2026
Venue 地點：HART Haus G/F
Visit by appointment only 敬請預約
About Hong Chi Association 關於匡智會
Hong Chi Association, founded in 1965, has grown to become one of the most well-established non-profit organizations dedicated solely to serving over 9,800 people of all ages and all grades of intellectual disabilities and their families in Hong Kong. It operates 106 service units, including 14 special schools, to provide comprehensive services.
匡智會自1965年成立至今，已發展成為全港最具規模專為智障人士及其家庭服務的非牟利機構之一。現時，本會屬下共有106個服務單位，包括14間特殊學校，主要為逾9,800名不同年齡及程度的智障人士提供特殊教育、職業訓練及復康治療等全面服務。
About the Artist 關於藝術家
“Zaat Hap” was founded by four bamboo crafting artists: Emily Chan, Oscar Lau, Jeffrey Hung, and Mimmy Tjia in 2023. Each member brings a unique background, ranging from urban research to social design, communication design, and contemporary art. With a shared passion for humanity, innovation, and aesthetics, they delve into bamboo crafting, seeking to uncover the modern significance of this traditional art form through their distinct perspectives.
「紮合」（Zaat Hap）由四位竹藝家——陳瑋瑤、劉浩然、謝旻蒑及洪梓維——於2023年共同創立。成員背景多元，涵蓋城市研究、社會設計、傳意設計及當代藝術等領域。懷著對人文、創新與美學的共同追求，他們投入竹藝創作，以各自獨特的視角去探索這門傳統工藝在當代的意義與可能性。
No Man’s Land「無人之境」
HART HAUS is pleased to present “No Man’s Land”, Marian Ang’s solo show showcasing works created in the HART Studio Programme within the past year.
Fragments of stories from the Chinese diaspora about women and motherhood are intertwined with disconnected markers of reality: antique jewel boxes, faded travel souvenirs, cheaply printed lunar calendars, ancient and mass-produced ceramics, worn-out baby shoes.
Displaced over several generations of women who migrated around the world over the past century, these dislocated objects have become evidence of lives lived in unfamiliar places - homes made, traditions carefully preserved, and buried frameworks of thinking that persist even centuries later.
Reconstructing these broken threads into narratives of the existential search for luck and fortune amongst the Chinese diaspora, Ang creates new systems of identity and belonging.
HART HAUS 榮幸呈獻個展「無人之境 」，展出汪慧華（Marian Ang）過去一年於 HART 工作室計劃中創作的作品。
古董首飾盒、褪色的旅行紀念品、廉價印刷的農曆月曆、古舊與量產的陶瓷器、磨損的嬰兒鞋。這些物件標記着華人離散群體中，關於女性與母職的故事碎片，交織著支離破碎的現實。
在過去一個世紀，歷代的女性移居至世界各地，這些流離失所的物件成為她們在陌生之地建立家園與生活軌跡的證據，見證着悉心守護的傳統，更見證着那些數百年後仍根深蒂固的價值觀。
透過重構這些斷裂的線索，汪慧華為離散華僑提供了追尋幸運與財富的存在性敘事，建構出嶄新的身份認同與歸屬體系。
Download Press Kit 下載新聞稿
General Visit 公眾參觀
Date 日期：17.1 - 21.2.2026 (Tue - Sat 二至六)
Time 時間：11:00 - 18:00
Venue 地點：HART Haus G/F
Visit by appointment only 敬請預約
About the Artist 藝術家簡介
Marian Ang is a contemporary visual artist born in London and based in Hong Kong. A graduate of the Courtauld Institute of Art in London, Marian is an art historian by training and a former consultant for UNESCO in the field of cultural heritage protection. Exploring material culture in contemporary life is the starting point for Marian’s practice. The idea of an ordinary object holding extraordinary meaning first piqued her curiosity as a child, when she encountered the piles of random objects that her father had meticulously hoarded. Combining the symbolism of traditional Western still life and interior genre painting with precious cultural objects and banal everyday paraphernalia, Marian brings together an eclectic range of stories about the world and our lived experiences today. Her most recent exhibitions include "A Room of One's Own" at Touch Gallery (2023), named after the 1929 essay by the English writer Virginia Woolf and inspired by the personal spaces that great women artists carved out for themselves, and “Lucky You” (2024) which examines the notion of “Chineseness” through classical imperial Chinese porcelain wares and everyday diasporic motifs that grew out of feng shui beliefs, superstitions, and intergenerational wishes for luck and fortune.
汪慧華是一位出生於倫敦、現居香港的當代畫家。汪氏畢業於倫敦大學科陶德藝術學院，是一位受過訓練的藝術史學家，曾任聯合國教科文組織文化遺產保護領域顧問。探索當代生活中的物質文化是汪氏實踐的出發點。當她還是個孩子的時候，當她遇到父親精心收藏的成堆的隨機物品時，「一件普通的物品卻蘊含著非凡的意義」的想法第一次激發了她的好奇心。汪氏將傳統西方靜物畫和室內風俗畫的象徵意義與珍貴的文物和平庸的日常用品相結合，匯集了一系列關於世界和我們今天的生活經歷的不拘一格的故事。她最近的展覽包括在Touch Gallery 舉辦的 「一個人的房間」（2023 年），該展覽以英國作家弗吉尼亞·伍爾夫1929 年的文章命名，靈感來自偉大女性藝術家為自己開闢的個人空間，以及《Lucky You》（2024）透過中國古典皇家瓷器和源自風水信仰、迷信和世代對幸運和財富的願望的日常流散圖案來審視「中國性」的概念。
Morfo x HART HAUS: “Nicolás Romero Escalada: Pizza & Champagne”
HART HAUS welcomes a visiting gallery to host a 3-day pop up at G/F HART HAUS that blends nostalgia, culture, and art. A coherent exhibition traveling from Tokyo and titled “Pizza & Champagne,” this is a debut solo exhibition of Nicolás Romero Escalada (b.1985, Argentina) in Hong Kong presented by MORFO Galería,Spain. MORFO Galería is an ultra contemporary art gallery with a base in Madrid, Spain, dedicated to explore the intersection between visual and culinary arts. Founded by Lisandro Illa & Asesina Suárez, gallery owners came from culinary and textile art disciplines, at the same time they are the masterminds behind the plant-based menu at the hottest bar in town, Peridot at The Henderson.
This newest series of paintings by the artist invites you into a vivid recollection of childhood spent in Argentina during the 90s. The event will showcase artworks inspired by the “Parripollo’s” calendar, first unveiled in Tokyo and now making its Hong Kong debut. Each piece captures the essence of a joyful, albeit fleeting, era, inviting viewers to reflect on their memories while exploring the themes of aspiration and nostalgia.
誠邀你參於為期三天的快閃個展「Pizza & Champagne」，在懷舊、文化與藝術之間展開對話。本次展覽為阿根廷藝術家 Nicolás Romero Escalada（1985年生）於香港的首個個展，由西班牙 MORFO Galería 畫廊呈獻，展覽地點設於 HART HAUS 地下。
MORFO Galería 是一家總部位於西班牙馬德里的超當代藝術畫廊，致力於探索視覺藝術與料理藝術之間的交匯。畫廊由 Lisandro Illa 與 Asesina Suárez 創立，兩位創辦人分別來自料理與紡織藝術領域，同時亦是在 The Henderson 的人氣酒吧 Peridot 的植物性餐單主理人。Escalada 的最新作品系列將帶領觀眾走入他對於 90 年代阿根廷生動的童回憶。此次活動將展出來源於「Parripollo's」年曆啟發的藝術作品。該系列首度於東京亮相，並在這次展覽中首次登陸香港。每件作品皆捕捉了一段歡欣卻短暫的時代精神，引導觀者在思索渴望與懷舊主題的同時，沉浸於對自身記憶的追憶之中。
About the Artist 藝術家簡介
Nicolás Romero Escalada (Buenos Aires, 1985) began more than twenty-five years ago signing Ever and doing graffiti on the streets of his hometown, a city that was experiencing the aftermath of an eight-year military dictatorship and which at that time understood street art as a space for freedom of expression.
Currently, Nicolás Romero has been developing his practice focused on studio work through images as a form of social reflection and anthropological research. He works with traces he finds in his immediate context, the result of the social fabric and symbols born from the coexistence of social, cultural, and economic factors. Religious images, political symbols, contemporary icons, and everyday elements form part of these compositions, which he uses as a bridge to discuss more complex realities.
Romero has had solo exhibitions at Ochi Projects (Los Angeles), The Diogenes Club (Los Angeles), Galería Varsi (Rome), Galería Libertad (Querétaro), and Dinámica Gallery (Buenos Aires). He has participated in group exhibitions at Studiocromie (Italy), Marian Cramer Projects (Amsterdam), Fir Gallery (Shanghai), and Cerquone Gallery (Madrid), as well as in other countries such as France, South Africa, Austria, Australia, Mexico, and the United States.
About MORFO Galería
MORFO Galería is an ultra contemporary art gallery with a base in Madrid, Spain who explore the intersection between visual and culinary arts. Dissolving the boundaries that separate both disciplines, creating a space for research, promotion, and exhibition.
The project is led by the culinary artist, producer & curator with a step in NOMA Lisandro Illa & Asesina Suárez, textile artist, curator, creative producer and art director, both with more than 15 years experience in the art & cultural environment.
They both collaborate and work in projects with more than 300 artists from South America, North America, Europe and Asia. The more relevant are great and famous artists like: David Lynch, Alejandro Jodorowsky, Björk, Werner Herzog, Flying Lotus, Liniers and also independent artists like Kentaro Okawara, We Are Out of Office, Samuel Eckert, Malarko and Olga Capdevila.
Brands and companies that we have the honor to collaborate or work with: Primavera Sound Barcelona, WeWork Barcelona and Japan, Riso Japan, Grolsch, WeTransfer, Outsiders Division, DMC, Levi’s, Turner, and MTV.
Official Instagram: @morfo.Galería
MADAM I’M ADAM 「無獨有偶」
Viewing by appointment only 僅限預約參觀
HART HAUS and artist collective Gloria Awareness are excited to present an upcoming group exhibition "MADAM I'M ADAM", featuring latest works by six emerging artists practicing and diaspora with Hong Kong –– Amy Tong (Hong Kong), Chan Kakiu (Canada-born, Hong Kong-based), Dony Cheng (Hong Kong), Lau Hiu Tung (Hong Kong), Tiger Wong (Hong Kong), Wu Jiaru (Hong Kong-based).
Perhaps you are familiar with the exhibiting artists and their practices, and yet, this exhibition "MADAM I'M ADAM” is rather an unconventional and thought-provoking exploration of art-making with the concept of repetition and its inherent complexities. The works delve into the idea that repetition is not simply a reproduction; rather, it serves as a re-illumination that carries a displacement, inviting viewers to engage with the nuances of systemic repetition.
This multidisciplinary group of artists present latest works, highlighting how the notion of “imprint” can open fissures within the repetitive structures of our experiences. Spanning across paintings, moving images, sound installations, digital outputs, print-based experiments like frottage, and other hybrid media, the exhibition investigates the intertwining of technology and the body, necessity and contingency.
HART HAUS 榮幸宣布，將與 GLORIA AWARENESS 將共同策劃群展 —「無獨有偶」（“MADAM I'M ADAM”），展出六位在香港創作和生活藝術家的最新作品 — 唐嘉欣（香港）、陳嘉翹（加拿大出生，居於香港）、鄭虹（香港）、劉曉彤（香港）、黃浩麟（香港）、吳佳儒（居於香港）。
或許你對這些展出藝術家及其創作有所了解，但是次展覽是一場非傳統且引人深思的多學科藝術創作探索，聚焦於重複的概念及其內在的複雜性。展覽深入探討**「重複中的裂變」**：重複並非純粹的再現，而是一種帶有偏移的返照。
是次展出藝術家涵蓋不同媒介，他們的最新作品帶出的概念：「印記」每一次被複製時都孕育著裂變。當中作品包括繪畫、錄像作品、聲音裝置、數碼輸出、如拓印等基於印刷的實驗以及其他混合媒介，探討科技與身體、必然性與偶然性之間的交織。
About the Artists 藝術家簡介
Amy Tong (b. 1991, Sydney, Australia) is a Hong Kong-based artist whose work explores themes of affect, migration, spatial narratives, and the intersections of personal and collective histories through the lens of feminist epistemologies. Her practice is deeply rooted in her extensive routine documentation, which includes taking videos and photographs, writing journal entries, and digitising her late relatives' possessions. She frames her research within a creative process that incorporates archiving and mapping, using the frameworks of thinking-in-movement and walking-writing to facilitate deep explorations of identity and history through situated knowledge.
Tong received her postgraduate degree (MA) in Visual Arts from the Academy of Visual Arts at Hong Kong Baptist University. She has had solo exhibitions at Square Street Gallery and RNH Space in Hong Kong (both in 2021), as well as group presentations in Tokyo, Abu Dhabi, and London.
唐嘉欣（1991年生於澳大利亞悉尼）是一位駐港藝術家，她的作品通過女性主義認識論的視角探討情感、移民、空間敘事以及個人與集體歷史的交集。她的創作深深根植於她的廣泛日常紀錄，這包括拍攝視頻和照片、撰寫日記，以及數字化已故親人的物品。她在一個創作過程中框定自己的研究，結合檔案編制和地圖繪製，利用思考中的運動和行走寫作的框架，以促進對身份和歷史的深入探索，並通過具體知識進行研究。
唐在香港浸會大學視覺藝術學院獲得視覺藝術碩士學位。她曾於2021年在香港的 Square Street Gallery 和 RNH Space 舉辦個展，並在東京、阿布達比和倫敦參加集體展覽。
Chan Ka Kiu (b.1995, Toronto, Canada) is a Hong Kong based artist, graduated in 2021 from City University of Hong Kong, School of Creative Media (MFA).
Chan’s previous exhibitions include solo exhibition with DE SARTHE Gallery, “Late to The Party” (2023, Hong Kong), solo presentation with Parasite, “Don’t come so fast, darling” (Art Basel 2019, Hong Kong), group shows “Very Natural Actions” (TaiKwun, Hong Kong, 2020), and “Tree Fall in the Woods and No One’s There” (Power Station of Art, Shanghai, 2019).
陳嘉翹（1995年生於加拿大），現居於香港居住及工作，於2021年畢業於香港城市大學創意媒體學院（MFA）。陳曾舉辦個人展覽《來回又折返》（2023，德薩畫廊）《慢慢嚟啦，打令》（2019年巴塞爾藝術展，香港），參加過群展《林中藏木》（香港大館，2020年）和《林中的樹倒下而沒有人在》（上海當代藝術博物館，2019年）。
陳嘉翹的創作以視覺文化人類學作為方法框架和延展思考的起點，關注在演算法與生成技術主導的時代，人類經驗如何被重塑。她以作品為非正式研究，運用各類現成素材——如影像、迷因、人工智能模型、三維掃描與現成物——重組和理解數據與物質爆棚的世界。其視覺語言雖常帶有遊戲性或荒誕感，卻是對現實的長期觀察與思辨。作品以觀察日常為起點，延伸為對數位與實體痕跡的研究，將偶然、幽默與矛盾視為理解當代經驗的重要方法，探討資訊、科技與情感之間的關係。並在錄像、裝置與行為中展述故事。這些尋獲物成為平行的故事，映照當下共享的時代經驗，使作品成為對集體記憶與現實感知的再思考。
Dony Cheng/Cheng Hung (Hong Kong) is the recipient of the 19th Hong Kong Arts Development Award for Young Artist (Visual Arts) (2025). She holds a Master of Fine Arts (2023) and a Bachelor of Fine Arts (2017) from the Chinese University of Hong Kong.
Inspired by the manmade nature and sense of alienation the artist experienced in Hong Kong, Cheng's multidisciplinary practice recurringly reveals the complex of light, shapes, and spaces. Her works evoke poetic emotions within the city and explore the common connection between our senses and the surrounding environment, dwelling into the intricate relationship between humans, nature, and the urbanity.
While Cheng’s Master degree studies shift her focus to how sensory experiences in our urban settings shape our understanding of the environment, it creates a sense of alienation within the city. Her first-person perspective examines the relationship between painting and perception, leading Cheng to explore video installations and the communications with the audience. This year, her work Landscape in the World of Straight Lines (2025) was selected for screening in “InnerGlow” at Tai Kwun.
Cheng’s works have been exhibited in Hong Kong, Taiwan, and Paris, including her recent solo exhibition “Dony CHENG Hung: Finding Rest on the Highway” (2024) and group exhibition “emo gym” at Tai Kwun (2022).
Cheng lives and works in Hong Kong. She is a recipient of studio grant at HART HAUS.
鄭虹（香港）榮獲第十九屆香港藝術發展獎「藝術新秀獎（視覺藝術）」（2025）。她先後於香港中文大學取得藝術碩士學位（2023）及藝術學士學位（2017）。
受香港的城市中人造自然與疏離感的啟發，鄭氏的多媒介創作反覆探討光影、形態與空間的複雜交織。其作品在城市縫隙間喚起詩意情感，探索感官與環境的隱秘連結，並深入思考人、自然與城市的微妙共生關係。
碩士研習期間，她將創作焦點轉向城市感官經驗如何重塑我們對環境的認知——這種認知本身亦構築了城市中的異化體驗。通過第一視角審視繪畫與感知的關聯，鄭氏逐漸拓展至影像裝置及觀眾互動性的探索。其作品《直線世界的風景》（2025）本年度入選大館「InnerGlow」展映計劃。
鄭氏作品曾展於香港、台灣及巴黎，近期包括個展「鄭虹：在公路上尋找休息」（2024）及大館群展「情緒健身房」（2022）。
現於香港生活及創作，同時是 HART HAUS 工作室資助計劃藝術家。
Hiu Tung Lau (b. 1985, Hong Kong) lives and works in Hong Kong. Her works span across various media including painting, sculpture, and installation. Through apparent simplicity and minimalist compositions, Lau attempts to convey the sea of complex human emotions. Her work can be regarded as a meditation over the process of painting where she explores experiences that had an emotional impact on her and inspired her to paint, whether it be a stranger she met, bushes from sidewalks, or the taste of kumquat.
Hiu Tung Lau received her BFA in Painting from the School of Visual Arts, New York, in 2009 and her MA in Painting from the Royal College of Art, London, in 2017. Her recent solo exhibitions include: Double End Lobster Claw, Tabula Rasa Gallery (London, 2024); Let the mud settle, Alice Folker Gallery (Copenhagen, 2024); I am in training, don’t kiss me, Flowers Gallery (Hong Kong, 2022); A cow’s head and a horse’s Jaw, Karin Weber Gallery (duo exhibition, Hong Kong, 2021); Don’t forget to look at the moon, Alice Folker Gallery (Copenhagen, 2020); It’s ok to crop the sky, Alice Folker Gallery (Copenhagen, 2018).
Selected recent group exhibitions include: Summer Summer Summer, Alice Folker Gallery (Copenhagen, 2025)ART021, presented by Tabula Rasa Gallery (Shanghai, 2024); Summer Flame, Flowers Gallery (Hong Kong, 2024); Sommer Showroom, Alice Folker Gallery (Copenhagen, 2023); [GREYSCALE], Flowers Gallery (Hong Kong, 2023); Little shop of extraordinary personal beauty, Alice Folker Gallery (Copenhagen, 2022); In the Zone, Alice Folker Gallery (Copenhagen, 2022).
劉曉彤（1985年生於香港）現居香港。她的作品橫跨多種媒介，包括繪畫、雕塑和表演。通過明顯的簡單與極簡的構圖，劉試圖傳達複雜的人類情感。她的作品是對繪畫過程的冥想，探索那些對她產生情感影響並激發她創作的經歷，無論是遇見的陌生人、街邊的灌木叢，還是柑橘的味道。
劉於2009年在紐約視覺藝術學院獲得美術學士（繪畫），2017年在倫敦皇家藝術學院獲得碩士（繪畫）。她的近期個展包括：《Double End Lobster Claw》，Tabula Rasa Gallery（倫敦，2024）；《Let the mud settle》，Alice Folker Gallery（哥本哈根，2024）；《 I am in training, don’t kiss me》，Flowers Gallery（香港，2022）；《A cow’s head and a horse’s Jaw》，Karin Weber Gallery（聯展，香港，2021）；《Don’t forget to look at the moon》，Alice Folker Gallery（哥本哈根，2020）；《It’s ok to crop the sky》，Alice Folker Gallery（哥本哈根，2018）。
近期參展的群展包括：《Summer Summer Summer》，Alice Folker Gallery（哥本哈根，2025）；ART021，Tabula Rasa Gallery（上海，2024）；《Summer Flame》，Flowers Gallery（香港，2024）；《Sommer Showroom》，Alice Folker Gallery（哥本哈根，2023）；《[GREYSCALE]》，Flowers Gallery（香港，2023）；《Little shop of extraordinary personal beauty》，Alice Folker Gallery（哥本哈根，2022）；《In the Zone》，Alice Folker Gallery（哥本哈根，2022）。
Tiger Wong Ho Lun (b. 1984, Hong Kong) focused on ceramics as his primary medium while studying at the Royal Melbourne Institute of Technology (RMIT) in Australia. Captivated by the tactile qualities of clay, Wong explores the fundamental properties of various materials, transforming the material with unconventional techniques to create works characterized by their natural and spontaneous forms. He graduated with a Bachelor’s degree in Ceramics from RMIT, and his works are included in public collections throughout Hong Kong and China.
黃浩麟（1984年生於香港）在澳洲皇家墨爾本理工學院專注於陶瓷創作。因受到黏土觸感的吸引，黃氏探索各種材料的基本特性，通過非常規技術轉化它們，創作出具有自然和自發形態的作品。他獲得皇家墨爾本理工學院陶瓷學士學位，其作品被香港和中國的藏品收藏。
Wu Jiaru (based in Hong Kong) is a multidisciplinary artist whose practice spans painting, installation, and moving image. Rooted in narrative and intimacy, her work explores the fluid intersections between mythology, cultural memory, and contemporary realities. By questioning dominant historical frameworks, Wu offers poetic and critical perspectives on identity and collective memory, uncovering resonances and fractures between the personal and the historical.
Wu holds dual BA degrees in Fine Arts and English Language from Tsinghua University, and an MFA from the School of Creative Media, City University of Hong Kong.
Her works are included in the collections of M+ Museum (Hong Kong) and the Burger Collection (Switzerland & Hong Kong).
吳佳儒（於香港生活及工作）是一位跨媒介藝術家，創作橫跨繪畫、裝置與影像。
她的藝術實踐以敘事性為核心，藉由親密的感知結構，探討神話、文化記憶與當代現實之間的流動與重構。在質疑主流歷史框架的過程中，吳以詩意而批判的視角，開展對身份與集體記憶的再思考，尋索潛藏於個人與歷史之間的裂縫與共鳴。
吳佳儒畢業於清華大學，獲美術與英語雙學士學位，並於香港城市大學創意媒體學院取得藝術碩士學位。其作品為香港 M+ 博物館及瑞士與香港的Burger Collection典藏。
Time in Perspective「視點的時光」
With HART HAUS as venue and program partner, curated by Shirky Chan, “Time in Perspective” presents a duo exhibition of two contemporary artists, Boon Lee and Wenda Yiu, who delve into these vanishing narratives, transforming the textures of time into art.
Möbius Loop 「莫比烏斯環」
HART Haus is pleased to present “Möbius Loop”, Yvonne Feng’s debut solo exhibition in Hong Kong, following the Guangdong‑born, UK‑raised visual artist’s relocation to the city last year. The exhibition features works from Feng’s ongoing painting series Docile Bodies, a trilogy of exhibitions exploring the theme through barrier, gesture, and sight.
r é n x HART Haus: Art Actions | Our Youth Our Future「藝術行動 | 青年·未來」
r é n x HART Haus: Linking Our Youth with Art and Design Through Humanity initiative connects our youth with art and design, enhancing access for current and future community members. We empower under-resourced youths to explore career opportunities in the arts through internships, part-time roles, and collaborative events like exhibitions and workshops at partnering creative institutes and schools.
To launch this campaign, we present the exhibition “Art Actions | Our Youth Our Future” on June 26, 2025, at HART Haus in Kennedy Town, Hong Kong. This showcase features works by international artists Daniel Roibal, Keisuke Azuma, Sin U Lam, and the 2024 HART Awardees Kelly Kwok, Kwok Wah San, and Elsa Ngai.
r é n x HART Haus：「人文緣起，青年與創藝的相會」計劃旨在為當前及未來社區成員提供更好的藝術和設計行業接觸機會。透過與 r é n 合作，我們希望賦予資源不足的年輕人探索藝術事業的能力，包括實習、兼職及與合作創意機構、學校舉辦的展覽和工作坊等活動。
為計劃揭幕，我們將於 2025 年 6 月 26 日在香港堅尼地城的 HART Haus 舉辦名為「藝術行動 | 青年·未來」的展覽。展覽將展示國際藝術家 Daniel Roibal、Keisuke Azuma、Sin U Lam 以及 2024 年 HART 大獎得主 郭華燊、倪舍椏 和 郭子怡 的最新作品。
HART to Heart 心藝系與堅尼地城 - Post-Event Showcase 活動後期展覽
We invite everyone to our upcoming post-event exhibition at HART Haus G/F and 3/F from May 29 to June 21! Come and experience the artistic journey we have taken over the past two months. Together, let’s celebrate the unique spirit and charm of Kennedy Town as one united community.
誠邀大家參加由即日起至6月21日在 HART Haus 地下及3樓舉辦的後期展覽！來體驗我們兩個月的藝術旅程，攜手慶祝堅尼地城的獨特魅力，成為團結的社區。
Timeless Interactions - Co-presented by Supper Club and HART Haus
“Timeless Interactions” features selected works from Akeroyd Collection that explore the artist's body in participatory actions, highlighting the intricate interplay of identity, memory, and the ephemeral nature of existence. Presented on the ground floor of HART Haus in the form of a mini black box cinema, the exhibition invites visitors to experience these narratives within a quiet, cocooned environment that relates to the show’s theme of timelessness.
PUT ON 皮囊
"PUT ON" blurs the lines between art, fashion, and everyday life, featuring a diverse group of Hong Kong-based artists and multi-disciplinary creators. As the first-of-its-kind collection of contemporary mobile and portable arts in the city, this showcase invites you to experience art in a fresh way—by literally putting it on. Each art piece transcends traditional forms, mediums, and presentations, reimagining the concept of luxury, trend, and apparel. This exhibition is a call to action. By transforming photography into clothing, installations into jewellery, interactive experiences into accessories, "PUT ON" highlights the potential for a more circular art economy. "PUT ON" celebrates individuality while fostering a sense of unity and shared vision. We welcome everyone to collect and activate these pieces, making art an integral part of daily life.
「皮囊」模糊了藝術、時尚與日常生活的界線，展出多位香港多元藝術家及跨界創作者的作品，呈現個性與共同願景。是次群展不僅是當代藝術的創作行動，更是一場倡議和身體力行，邀請觀眾將作品直接「穿上/戴上/帶上」獨一無二的藝術創作。將攝影變為服飾，裝置作為首飾，互動體驗化為配件，「皮囊」探索藝術經濟生態的循環可能，挑戰藝術與時尚的傳統生命週期，推動可持續發展與減少環境影響。藝術不再局限於畫廊或私人收藏，而是可攜、可分享、可隨處展示的日常美學。觀眾可收藏及激活作品，讓藝術融入生活。「皮囊」不只是展覽，更是個追求包容與可持續藝術未來的運動。
Tse Chun Sing Solo Exhibition ‘Foolproof planting’ | 謝俊昇個人展覽《種花得花》
Tse Chun Sing's solo exhibition ‘Foolproof planting’ will be held from 15 February to 9 March 2025 at HART Haus G/F, Kennedy Town Art Space. The exhibition consists of a series of kinetic works and video installations, in which virtual images and imaginary plants are assembled to form a completely artificial garden. The artist observes the relationship between himself and the plants with his creations, and uses the electronic plants to look back on his own state of being, thus unpacking the tension and disparity between his desire for control, his sense of security, and his sense of powerlessness.
謝俊昇個人展覽《種花得花》將於2025年2月15日至3月10日，在堅尼地城藝術空間 HART Haus 地下舉行，展覽由一系列機動作品及影像裝置組成，透過虛擬影像及假想植物堆砌成一個完全人工的花園，藝術家以創作觀照自己與植物之間的關係，借電子植物回顧自己的個人狀態，從中拆解他對控制慾、安全感及無力感之間的拉扯和落差。
YWCA 《社區營造展覽》
由女青觀龍樓社區工作辦事處主辦的「賀國慶系列—藝聚樂居中西區」計劃以不同形式凝聚中西區居民，包括藍曬、攝影、文學、藝術拼貼等工作坊，並設有展覽展示參加者的藝術作品。
參加者亦會擔任展覽當值義工，可以與參觀人士交流他們的創作心得及對社區的想法。參觀人士可即場報名拼貼體驗活動，名額有限，先到先得！
Artist Studios Programme 2025 藝術家工作室計畫
The Artist Studios programme at HART HAUS provides artists with 24-hour access to a dedicated space at affordable monthly rental rates. The shared studio space is a 10,000 square feet former factory unit located in Kennedy Town, designed to foster collaboration and exchange between artists and creatives.
HART HAUS 工作室坐落於堅尼地城，由一座萬平方呎的舊工廠廠房改造而成，旨在促進藝術家與創意工作者之間的合作交流。
我們以相宜的月租模式，為藝術家提供24小時專屬創作空間。
Writing as Method | 書寫作為方法
In contemporary art, texts are often reduced to a state of transition or bardo, hidden behind the artwork. Writing as a Method originated from confusion about this current situation. Ten artists from the region across various creative disciplines came together to form an artist collective, hoping to open up the realm of writing in artistic creation. Members regularly hold writing-based creative activities, following Oulipo's experimental tradition to develop their own Response Game: members exchange private notes, sketches, and thoughts reflecting on individual practices and works-in-progress. After drawing lots, they respond to each with diverse mediums including doodles, sounds, moving images, actions, and more. Artworks diverge from the original concept and grow into something new.
當代藝術中，文字時常被簡化為一種中轉或中陰狀態出現，隱匿於作品背後。「書寫作為方法」始於對此現狀的困惑，聚集十位來自兩岸三地、橫跨不同創作領域的藝術家，組成藝術小組，期望開拓書寫在藝術創作中的界域。成員們定期舉行以書寫為基礎的創作活動，並沿著Oulipo的實驗傳統，發展出屬於自身的回應遊戲（Responsive Game）：成員們交換私密的筆記、草圖和想法，抽籤後，以不同的創作回應彼此。作品於是從原有想法中歧出，長成新的模樣。
Artmatch Group presents 藝緣畫會呈獻：THE FLAG WORLD - A Tribute to GAYLORD CHAN 旗幟人生 — 向陳餘生致敬
(活動詳情請參閱以下英文介紹)
Gaylord Chan and his fellow students founded the Artmatch Group in 1995 which offers a platform for members' creative energy to thrive and excel. The group has 21 members, comprising local and overseas artists from diverse backgrounds. The group has been organizing exhibitions almost every year since its establishment. The exhibition lasts from September 19, 2024 to November 2, 2024.
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Wu Jiaru: A Brief Digression 吳佳儒：不達
Wu Jiaru’'s latest project “A Brief Digression" is exhibited in an industrial space, exploring the encounters of objects in movement through a series of installations. It reconsiders the potential social significance of the act of "mobility" itself. Beyond the value of a carefully wrapped object as a commodity, can its journey create new social value? "Package" often encapsulates intimate stories that drift from one end of the ocean to an unknown destination, with no promise of arrival. These objects act as primal carriers of information and hope, reaching unattainable places and intertwining political and personal narratives. Through a series of improvisational approaches, the artist creates site-specific works about the mobility and protection of social objects. The audience, viewing from the god's perspective, can engage with the object's narrative and create new stories for it.
吳佳儒最新項目「 不達」於工業空間展出，透過一系列的裝置探索物件在流動中的遭遇，重新思考物件「流動」這一行動本身可能存在的社會意義，一件悉心包裹的物件，除了其作為商品的價值，它的流動過程是否可以產生新的社會價值？「包裹」往往裝載著種種私密的故事，從海洋的一端漂流到未知的另一端，卻無法承諾抵達；它們被作為信息與希望的原始載體，抵達不可抵達之處，交織著政治與私人的敘事。藝術家透過一系列即興創作的方式為觀眾打造一個關於社會物件的裝載和流動的場域特定作品，觀眾可以從上帝視角進入該物件的敘事並嘗試為它創造新的故事。
Nature: A Perception 自然非自然
Organised by curatorial collective Humble Researchers, Nature: A Perception exhibition will take place from 8th June, 2024 until 14th July, 2024 at HART Haus. Showcasing works by 12 artists including Dony Cheng, Dorothy Cheung, Cheung Tsz Hin, Andrew Kan (AK), Jess Lau, Lin Wing Yan, Ling Pui Sze, Ng Hong Kei, Sharu Sikdar, So Wing Po, Ice Wong and Zheng Bo, the exhibition explores the manifold interpretation of nature, moving beyond conventional reading, and to that speaks to our present time and place
The opening reception will feature a durational performance Follow the flow and flow into the follow-on (2024) by Ice Wong Kei Suet, where the artist will experience time, metabolism and environment through a mundane activity.
由Humble Researchers策展，展覽「自然非自然」將於2024年6月8日於HART Haus藝術空間開幕，展期至7月14日。是次展覽結集了十二位藝術家，包括鄭虹、張紫茵、張子軒、簡僖進、劉清華、連穎欣、凌佩詩、吳康琦、Sharu SIKDAR、蘇詠寶、黃姬雪和鄭波，嘗試以多元角度理解環境，擴闊對自然概念的想像，以非自然的角度理解自然。
黃姬雪的展演藝術作品《落水水流寄流水》（2024）將於開幕日進行。藝術家在長達數小時的展演中，透過重覆的日常動作去感知時間、身體運行及環境的關係。觀迎大家前來觀賞。
Point Line Mean 點·線/意！
PLM’s primary goal is to explore different dimensions of communication and inquire into how understandings are reached. We use art as a communicative tool in order to foster a sense of commonality and intimacy despite diversity, and, in doing so, to overcome language barriers, particularly those between the Hearing and Deaf worlds, while raising awareness about Hong Kong Sign Language, Deaf culture, and linguistic identities. We work with a range of art media, e.g., performance, installation, painting, drawing, and video.
點·線/意！ 的主要目標是探索溝通的不同層面，同時探究如何達到互相「理解」。以藝術作為溝通工具 — 促進共同性和親切感，克服多樣性。在此過程中試圖解破語言障礙，尤其在健聽和聾人世界之間的障礙，同時值此提升社會對香港手語、聾文化和語言身份的認識。我們使用的藝術媒介包括行爲藝術、裝置、繪畫、素描和錄像。 的主要目標是探索溝通的不同層面，同時探究如何達到互相「理解」。以藝術作為溝通工具 — 促進共同性和親切感，克服多樣性。在此過程中試圖解破語言障礙，尤其在健聽和聾人世界之間的障礙，同時值此提升社會對香港手語、聾文化和語言身份的認識。我們使用的藝術媒介包括行爲藝術、裝置、繪畫、素描和錄像。
Collected Light: From Legacy to Future 聚光：傳承到未來
The Henderson presents an exhibition showcasing visionary women light artists
The Henderson呈獻全新展覽展示女性燈光藝術家的卓見
Exhibition Period 展期
09.03–06.04.2024
Opening Hours 開放時間
11:00–20:00
Venue 地點
H Queen’s (G/F, 80 Queen’s Road Central, Central, Hong Kong 香港皇后大道中80號地下)
Featured Artists 展出藝術家
Chila Kumari Singh Burman
Carla Chan 卡娜
Jacqueline Hen
Sarah Lai 黎卓華
Betty Ng 吳家瑩 / COLLECTIVE
So Wing Po 蘇詠寶
Raha Raissnia
Liz West
Zaha Hadid Architects 扎哈．哈迪德設計
Presented as part of the Henderson Arts @ Central programme, which runs through March 2024, the exhibition is supported by Women in Lighting and showcases a collective of eight multidisciplinary women artists from diverse cultures, who have each forged visionary paths in their use of light as an artistic medium. The exhibition will take place on the street level of H Queen’s, G/F, 80 Queen’s Road Central, previewing on International Women’s Day, Friday 8th March and open to the public Saturday 9th March - Saturday 6th April 2024.
As a prelude to the highly anticipated opening of The Henderson building in Fall 2024 the exhibition embraces the explosive, interplay of fluid form and light characteristic of Zaha Hadid’s artwork and space design, and found at the heart of Zaha Hadid Architects’s design for The Henderson. Featuring innovative visual art, sculptures, moving image works, and digital installations by internationally celebrated and emerging light artists; Chila Kumari Singh Burman (British Indian), Carla Chan (Chinese), Jacqueline Hen (German), Sarah Lai (HK), Betty Ng / COLLECTIVE (HK), So Wing Po (HK) Raha Raissnia (b. Tehran) and Liz West (British). The exhibition takes as its starting point ZHA’s inspirational design for The Henderson and the legacy of Hadid’s visionary interdisciplinary practice, her challenge to conventional perceptions, and her multi-sensory exploration of light and spatial connectivity. Collectively the works inspire inclusion and push boundaries for women creatives across disciplines, transforming an empowering legacy into a vision for the future.
展覽作為The Henderson Arts @ Central計劃的一部分，將持續展出至 2024 年 3 月。 展覽獲Women in Lighting鼎力支持，呈現了八位來自不同文化背景的跨學科女性藝術家的作品，她們在將光作為藝術媒介的過程中各自開闢了富有遠見的道路。「聚光：傳承到未來」展覽位於皇后大道中80號H Queen’s地舖，預展日在3月8日（星期五）三八婦女節當天揭幕，並於3月9日正式開放予公眾參觀，展期至2024年4月6日（星期六）。
萬眾期待的The Henderson將於2024 年秋季開幕，作為揭幕前奏，本展覽體現了哈迪德藝術作品和空間設計中，流體形態和光線特性之間激烈的相互作用，這亦是扎哈．哈迪德建築事務所設計The Henderson的核心所在。展出一眾國際知名及新銳燈光藝術家的嶄新視覺藝術、雕塑、動態影像作品及數碼裝置，包括：Chila Kumari Singh Burman（英籍印裔）、卡娜（中國）、Jacqueline Hen（德國）、黎卓華（香港）、吳家瑩/COLLECTIVE（香港）、蘇詠寶（香港）、Raha Raissnia（生於德黑蘭）和Liz West（英國）。展覽始於哈迪德為The Henderson所作的啟發性設計，以及哈迪德富前瞻性的跨學科實踐、對傳統觀念的挑戰、對光線和空間連結性的多感官探索所留下的遺產。 這些作品激發了跨學科女性創作者的包容性，並推動了她們的創作，將充滿力量的遺產轉化為對未來的憧憬。
About 關於 Women in Lighting / Light Collective
Women in Lighting is an inspirational and global digital platform that profiles women working in the field of lighting and lighting design. It aims to promote their passion and achievements, narrate their career path and goals. It aims to celebrate their work and increase the profile of women working in lighting to help encourage, support and inspire the next generation. Women in Lighting has used social activism to highlight and challenge unconscious bias in the industry via a strong social media presence that has built a large following. The brain child of Light Collective and sponsored by Forma Lighting, the project is also supported by individual women creatives in 75+ different countries.
Their work to date has culminated in an exhibition ‘Collected Light’, presented in London and Milan and the first volume of ‘Women Light Artists, Collected Light’ featuring 40 women artists from around the world. The exhibition ‘Collected Light: From Legacy to Future’ presented by The Henderson in Hong Kong continues and expands this globally important narrative, adding Hong Kong and Asian artists into the conversation as selected by Vera Lam, Director of HART. The Light Collective and Forma Lighting are working on Volume Two of the important overview and reference which is the book ‘Women Light Artists, Collected Light: Volume One’, which will include the artists added into the Hong Kong exhibition.
Women in Lighting 是一個富啟發性的全球數碼平台，收錄了從事燈光業或燈光設計工作的女性的專業檔案，展示她們的熱誠、成就、事業發展和目標。此平台亦致力表揚這些女性的工作，以助其提高知名度，並鼓勵、支持和啟發有志投身燈光業和燈光設計的新一代。Women in Lighting 借助社交媒體強大的影響力及數量龐大的追隨者，通過社會活動突出和挑戰存在於業界的無意識偏見。 Women in Lighting 是 Light Collective 旗下的一個項目，由 Forma Lighting 贊助，並得到超過75個國家的女性創作人支持。
迄今為止，她們的作品已在倫敦和米蘭舉辦的展覽「Collected Light」中展出，為事業迎來新高峰，介紹了來自世界各地的40位女性藝術家的《Women Light Artists, Collected Light》第一卷亦有提及她們。由香港 The Henderson 主辦的「聚光：傳承到未來」，繼續推廣和擴大女性與燈光藝術這個重要的國際論述。是次展覽，HART總監林鈴把多位香港和亞洲區的藝術家帶進藝術對話當中。Light Collective和Forma Lighting現正積極籌備《Women Light Artists, Collected Light》第二卷，該卷將收錄本次參展的藝術家。
About 關於 Forma Lighting
Forma Lighting is a family owned Italian lighting designer and manufacturer with over 50 years and two generations dedicated to architectural lighting. They are a company with a strong inspirational woman in a lead role – Sharon Maghnagi, who is based in their Hong Kong headquarters. Forma Lighting sponsored the Collected Light exhibitions in London and Milan as well as ‘Women Light Artists, Collected Light: Volume One’, and are working on Volume Two with Light Collective.
Forma Lighting 是意大利一家燈光設計商和製造商，家族經營逾50年，兩代致力從事建築照明。公司由堅毅且充滿啟發性的女性 Sharon Maghnagi 領導，常駐於香港總部。倫敦和米蘭的《Collected Light》展覽，以及《Women Light Artists, Collected Light》第一卷由 Forma Lighting 贊助，第二卷現時正在與 Light Collective 合作籌備中。
Exhibition and Curatorial Support 展覽及策展單位
POETICS OF PRESERVATION 保藏的詩意
“Poetics of Preservation”, a HART collaboration project led by artists The Buoy, will open its presentation showcase on 25 Nov 2023 (Sat). Join us for the opening reception to celebrate the collaboration experimental works by 14 participants during a year-long socially-engaged art project. Working closely with Hong Kong-based videographer Moving Image Studio, The Buoy will reveal a participatory installation and experimental film inspired by the American television show, “Antiques Roadshow.” Together, the project reveals a unique approach to artistic storytelling normally unseen in Hong Kong!
HART合作項目 — 由藝術家 The Buoy 主導的「保藏的詩意」將於 2023 年 11 月 25 日（星期六）開幕！實驗作品將展示 14 名參加者在為期一年的社會參與藝術項目中的交流。我們特意與香港攝影團隊 Moving Image Studio 合作，製作由美國電視節目「古董路演」啟發的實驗電影及展出共同創作的裝置作品，當中揭示香港罕見的獨特的藝術敘事方式！
HART G/F Debut Exhibition: 'Saudade Chandelier' (2023) by Andrew Luk | HART G/F 首個項目：陸浩明《Saudade Chandelier》（2023）
HART is proud to present HART G/F’s debut exhibition featuring Hong Kong emerging artist Andrew Luk’s Saudade Chandelier (2023). Our collaborations with talented local artists like Andrew Luk and community builders form the core of our initiatives, fostering a vibrant cultural ecosystem in Kennedy Town and beyond.
HART 榮幸呈獻 HART G/F 的首個項目，展示香港新晉藝術家陸浩明的作品《Saudade Chandelier》（2023）。我們與陸浩明等才華橫溢的本地藝術家和社區建設者的合作是我們機構的核心，培育堅尼地城和其他地區充滿活力的文化生態系統。
Resonant Landscapes 共鳴景觀
“Resonant Landscapes” is a group exhibition showcasing the latest works by recipients of HART Award this year, Tjia Man Yan from Department of Fine Arts at The Chinese University of Hong Kong, Au Kin Wai Johnny, and Wai Mei Ting from The Academy of Visual Arts at Hong Kong Baptist University. Started in 2020, HART Award aims to support remarkable undergraduates through HART’s provision of studio spaces, artist community, and incubation. Highlighting emerging artists’ multidisciplinary practices, “Resonant Landscapes” promises a contemporary tapestry of profound themes, historical, universal references, and thought-provoking processes.
「共鳴景觀」是本年度HART大獎的得獎者聯展，展出香港中文大學藝術系的謝旻蒑、香港浸會大學視覺藝術學院的歐健韋和韋美婷的最新作品。HART大獎成立於於2020年，旨在通過HART提供的工作室空間、藝術家社群和培育機制，支持傑出的文學士課程畢業生。「共鳴景觀」突顯新晉藝術家們的跨學科實踐，為觀眾呈現一幅蘊含深刻主題、歷史淵源、普世價值和發人深省的當代織錦。
Postmodern Tales 後現代小傳
“Postmodern Tales” brings together an international group of artists and creators currently based in Hong Kong, from the new-generation artists, scientist, architects, designers to authors, showcasing new interdisciplinary works and artist-made publications. The exhibited works reflect the experimental spirit that distinguishes HART as a creative platform: In the search for possibilities and alternatives, we shall not give contemporary art a definition but move beyond existing trajectories.
HART Studio Showcase 工作室計劃聯展「六序」
HART is delighted to present “Six Beginnings”, the last group showcase in 2022 featuring works by six artists born in 1990s to 2000s, including new HART social studio artists Eunice Lai, Liao Jiaming, and fresh graduates of BA programme - HART Award recipients Natalie Chu Lok Ting, duo Tracy Cheng & Shera Cho, and Wong Kwok Ming from The Chinese University of Hong Kong and Academy of Visual Arts at Hong Kong Baptist University. The selection of works presents a showcase of multi-disciplinary approaches and in-situ installations, within HART Haus’ arthouse environment to incubate Hong Kong-based artists, and cultivate sustainable creativities, exchanges, and experimentations.
「六序」是HART 2022年最後一次匯舍聯展，展出六位於1990年至2000年出生的HART匯舍駐場藝術家作品包括黎曉蓉和廖家明及應屆藝術系畢業生：分別來自香港中文大學和香港浸會大學的HART大獎得獎者朱樂庭、雙人組合鄭樂怡和左沁悅及黃國銘。是次展示挑選的作品表現了跨媒介和場域特定的方式，貫徹HART Haus作為一個培育香港藝術家可持續創作、交流及充滿實驗性的藝術空間。
HART Studio Showcase 工作室計劃展示《Trans/versal》
We are thrilled to bring to you our first Social Studio Showcase in 2022. “Trans/versal”, an open-ended idea that speaks about our individual experiences connected through a shared community, suggesting that beyond culture and place there is a common line that allows for shared human experience and our need for community that transcends artificial borders.
Thirteen of our HART Social Studio Programme artists will present their works, oscillating from paintings, sculptures, and installations, all created throughout the artists’ day-to-day art-marking in HART Haus.
我們很高興為帶來2022年第一個HART匯舍展示！《Trans/versal》是一個開放的概念，訴說我們透過共享社區而連繫的個人經驗。主題亦暗示了一條超越文化和地域的共享線，容許人文經驗和社群需求跨過本為虛構的界線。
十三位HART匯舍的藝術家將展示他們在HART Haus 日常創作的成果，當中包括繪畫、雕塑、裝置藝術等。
HART Social Studio Showcase HART 匯舍展示
“The Struggle toward the heights is enough to fill a man’s heart. One must imagine Sisyphus happy.
向高處奮鬥，足以填滿一個人的心。人們必須想像西西弗斯是快樂的。”
The global pandemic reshuffled our daily physical lives which led to a whole new inward discovery of the most fundamental self in the digital age. By demonstrating the omnipresent lingering of a "corporate world", the show wants to amplify the astonishment of the spectator by creating the compositions. The constant disagreement between our conscious and subconscious mind comes into dialogue in art creation, and in the process, a conflict resolved in composition. Public-___ (ex. housing, good, discourse, etc.). What does it mean for something to be public in Hong Kong? There are a lot of memories that do not exist and even the actual realised memory could be not real or just the edit someone chooses to believe. Modern art is getting ridiculous. “Really, my painting feels like an explosion of my hidden fear, including anger and lust these days.” She crossed her heart and rolled the dice. Can you come out on top on a hand dealt by Destiny?
This curatorial statement is a collective writing by:
Amy Tong, BH, Damian Boylan, Doris Ng, Deborah Leong, KC, Sierra Chiao, Vickie Li, Wu Jiaru
Participating Artists:
Amy Tong, BH, Cindy Chan, Chui Pui Chee, Damian Boylan, Doris Ng, Deborah Leong, KC, Nicholas Wong, Yasmina Viale-Fraine, Sierra Chiao, Vickie Li, Wu Jiaru
Exhibition Date: 27/11/2021 - 18/12/2021
Opening time: 9:30am - 6:30pm (Please RSVP with the below form 24 hours in advance of your visit)
Location: HART Haus
3/F, Cheung Hing Industrial Building, 12P Smithfield Road, Kennedy Town, Hong Kong
Opening: 5-8pm, 27/11 (Sat)
Guided Tour: 1-1:30pm, 4/12/2021 (Sat); 6:30-7pm, 15/12/2021 (Wed)
「向高處奮鬥，足以填滿一個人的心。人們必須想像西西弗斯是快樂的。」–阿爾伯特·加繆《西西弗斯的神話》
全球大流行改變了我們的日常生活，導致了對數字時代最基本的自我的全新內在發現。通過展示無處不在的「企業世界」，該展覽希望通過創作作品來放大觀眾的驚訝。我們的意識和潛意識之間不斷的分歧在藝術創作中進入對話，在這個過程中，衝突在構圖上得到解決。公共–＿（例如住房、商品、話語等）。公共在香港意味著什麼？有很多記憶並不存在，甚至真實的記憶也可能不是真實的，或只是某人選擇相信的蒙太奇。現代藝術越來越荒謬了。「真的，我的畫感覺就像是我隱藏恐懼的爆發，包括近期的憤怒和慾望。」她越過心扉擲出骰子。你能在命運的牌上脫穎而出嗎？
策展人語由以下人士共同撰寫：
唐嘉欣、BH、Damian Boylan、吳玳𤦌、梁令怡、黃家銓、Sierra Chiao、李敬儀、吳佳儒
參展藝術家：
唐嘉欣、BH、陳樹貞、徐沛之、Damian Boylan、吳玳𤦌、梁令怡、黃家銓、黃裕邦、Yasmina Viale-Fraine、Sierra Chiao、李敬儀、吳佳儒
展覽日期：27/11/2021 - 18/12/2021
開放時間：上午9時30分至下午6時30分（請至少在24小時前以下方表格預約）
地點：HART Haus
堅尼地城士美菲路12P祥興工業大廈3樓
開幕：27/11（星期六）下午5時至8時
導賞團：4/12/2021（星期六）下午1時；15/12/2021（星期三）下午六時半
About HART Social Studio Showcase 關於匯舍展示
The Social Studio Showcase is a unique experience that showcases new or rearranged artworks of local and international artists in the HART Social Studio programme, oscillating from paintings, sculptures, and installations. Many of the presented artworks are collaborative and site-specific, and all are created throughout the artists’ day-to-day art-marking in HART Haus. The programme celebrates the diversity and quality of works, showing how HART Social Studio provides a space and platform for Hong Kong talents to create, experiment and evolve their art practices in a social setting.
Mark the date of the opening!
Opening: 17:00 - 20:00, 27/11 (Sat)
Location: HART Haus
3/F, Cheung Hing Industrial Building, 12P Smithfield Road, Kennedy Town, Hong Kong
匯舍展示是一次獨一無二的體驗，展示 HART 匯舍計劃中本地和國際藝術家新創作或重新整理的藝術作品，當中包括繪畫、雕塑、裝置藝術等，當中不乏是共同創作和場域特定藝術作品。所有作品都是藝術家在 HART Haus 這個日常創作的成果。節目宣揚作品的多樣性和質量，展示 HART 匯舍如何為香港的創意人才提供空間和平台，讓他們在有利交流的環境中創造、實驗和發展他們的藝術實踐。
匯舍展示開幕時間如下。
開幕：27/11（星期六）下午5時至8時
地點：HART Haus
堅尼地城士美菲路12P祥興工業大廈3樓
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Wallpaper 1.1
Wallpaper 牆紙, 2021
”Romantic, rude but refined, ritual”
Amy Tong 唐嘉欣 (HK)
Amy Tong is known for her abstract experimentation on possible scenarios. Her work is often a collage of idealised, multi-layered scenarios, expressing the emotional traces from her daily encounters with society. Treading around the realm of truth, rituals, and absurdities, Tong creates textured environments to explore the complexity of human emotions within surrealist settings.唐嘉欣擅長以抽象實驗手法探討充滿可能性的多種情境。她的作品經常拼貼理想化並多層次的境遇，描繪在社會中日常遭遇的情感踪跡。遊走於真實、儀式、和荒謬的邊界，唐氏於超現實的框架下創造了富質感的環境，探索人類情感的複雜性。
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Uncharted
Mixed media on canvas 帆布上的混合媒介, 2021
”decluttering, ascending, reconciliation, fused, dilemma”
BH (HK)
BH is a slashie mutant who is interested in observing various living forms and patterns, contextualising and recasting them with new suggested meanings through contemporary paintings. It is also a monologue process to identify his own form, understand the relationship between his own formation and other forms of relationships, as well as to navigate the impact and value of his existence to society. He believes everything is pigments.BH 是變種斜槓男，跨界身份、雙重生活，喜愛用當代繪畫形式來重塑各種生命形態和模式，賦予新的場景和意義。這同時也是一種自我獨白，讓他識別和贖回自身的形態，以及探尋他的存在對社會的影響和價值。他深信任何事物取之所需用之恰當最終都可以成為畫材。
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Flower Bird Insect Fish
Acrylic on canvas 塑膠彩畫（帆布）, 2021
35 x 140cm
”Zentangle inspired art work”
Cindy Chan 陳樹貞 (HK)—
琉璃
Ink, charcoal and colour on paper 水墨設色碳粉紙本, 2021
137 x 70cm
”Chinese Painting and Calligraphy”
Chui Pui Chee 徐沛之 (HK)
Born in Hong Kong in 1980, Dr Chui apprenticed under Mr Jat See-yeu and Professor Wang Dong-ling. After graduated from Queen's College, Hong Kong in 1999, Dr Chui took his first degree at the Department of Fine Arts of The Chinese University of Hong Kong (CUHK). He furthered his postgraduate studies at the Department of Chinese Calligraphy of China Academy of Art, where he obtained his Master of Arts and Doctoral Degree.In 2012, Dr Chui received the Hong Kong Contemporary Art Awards - Young Artist Award, presented by the Leisure and Cultural Services Department. He also received the Award for Young Artist (Visual Arts) at the Hong Kong Arts Development Awards 2015 organised by the Hong Kong Arts Development Council. He was a finalist of The Sovereign Asian Art Prize 2015, 2018 and 2020. Some of Dr Chui’s artworks were collected by the Hong Kong Museum of Art, Ashmolean Museum of Art and Archaeology of University of Oxford and private collectors. Recent selected exhibitions: ‘Classics Remix: The Hong Kong Viewpoint’, ‘Dawn Chorus, Happen with HART’, ‘The 2020 Sovereign Asian Art Prize: Shortlisted Finalists Exhibition’.
徐沛之博士，1980年生於香港，師從翟仕堯老師及王冬齡教授。1999年於皇仁書院畢業，先後獲香港中文大學藝術系學士、中國美術學院書法系碩士及博士學位。
徐氏曾任香港中文大學專業進修學藝術及設計課程統籌，編寫書法文憑及書法創作與理論研究高等文憑等課程、香港科技大學兼任講師、香港中文大學、香港中文大學專業進修學院課程榮譽顧問，以及任職於中國嘉德（香港）國際拍賣有限公司中國書畫部。現為及香港浸會大學兼任講師、甲子書學會執行委員（學術）以及中國美術學院現代書法研究中心研究員。
徐氏於2012年獲康樂及文化事務署頒發「香港當代藝術獎」的「青年藝術家獎」，及後於香港藝術發展局舉辦的「2015香港藝術發展獎」獲頒予「藝術新秀獎（視覺藝術）」，並於2015、2018及2020年三度入選「傑出亞洲藝術獎」。徐博士的作品獲香港藝術館、英國牛津大學阿什莫林藝術與考古博物館及私人收藏。近年重要展覽包括：「原典變奏—香港視點」、「晨曦之聲」以及「2020 Sovereign傑出亞洲藝術獎」。
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Disintegration
10 Day Painting: Law of the Instrument
Sledgehammer on marble 大鎚, 2021
100 x 5 cm
10 Year Painting: War of Attrition (Work in Progress)
Concentrated hydrochloric acid on marble 大理石上的濃鹽酸, 2021-2031
”Temporality, Materialism (Metaphysical, not economic sense), Conciousness, Forces, Sisyphean”
80 x 5 cm
Damian Boylan (UK)In Disintegration, comprising two parts (a completed work entitled ’10 Day Painting’, and an ongoing work entitled ’10 Year Painting’), the artist employs contrary processes to two similar, stratigraphic systems, to form a visual counterpoint.
In the former, the artist wields the sudden, brutish force of a sledgehammer, to obliterate the marble substrate. This once cohesive, unified structure, formed over vast swathes of time, now lays shattered, casting a shadow of its former self.
By contrast, in the ongoing work, ’10 Year Painting’, the artist employs the daily, cogitative ritual, of pouring concentrated hydrochloric acid onto the marble’s surface. As days become years, the acid continues to assert its attritive power, wearing down the monolith, microns (µ, 0.000000001 metres) at a time. While this substrate appears to remain intact, one may observe the subtle caustic action, insidiously working into the now, fault-like veins of the marble, gradually eroding the lustrous surface, and tearing its fabric apart, from within.
‘Disintegration’ forms a reflection on the nature of ideals; Is it better to watch something be destroyed in an instant, or to witness its slow, inexorable ruin?
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Damian Boylan's material centric, process driven techniques span the disciplines of painting, sculpture, new media & sound to explore themes pertaining to time and consciousness. With a background encompassing a Master’s degree (MEng) in the field of Aerospace Engineering, his work ties multifarious, recherché substances with rigorous theory, to form works that upend time-honoured technique, with self-conceived methodologies. British-born Boylan lives and works in Hong Kong, China.Damian Boylan 以材料為中心、過程驅動的技術跨越繪畫、雕塑、新媒體和聲音等學科，探索與時間和意識有關的主題。 擁有航空航天工程領域碩士學位 (MEng) 的背景，他的作品將多種多樣的研究物質與嚴謹的理論聯繫起來，形成了顛覆歷史悠久技術的作品，並採用了自我構思的方法。 出生於英國的 Boylan 在中國香港生活和工作。
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Icon I Icon II Icon III
Mixed media on canvas 帆布上的混合媒介, 2021
52 x 42 cm
“Paradoxical, Metaxy, Sincerity and Irony at the same time”
Doris Ng 吳玳誼 (HK)The series of three portraits are icons of what the artist looks up to with a vast chasm. Growing up in a religious context, Mother Mary and other female holy figures were regarded as the embodiment of one should inherit. In reality, it is the beauty, battle and darkness of the world from which shapes the artist.
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Doris Ng -mixed media artist at Hart Haus and Tung Nam Lou Art Hotel, Hong Kong. She specialises in symbols, bold colour and geometries composition to form rich textured visuals. Art trained since age 5, her brush is an extension to her body. She traveled and lived in various cities, inherited diverse cultural influences to address personal and social issues with multiple perspectives, translated in her artwork- painting, sculpture, photography and text-based expressions.
She also works extensively in art and cultural community projects with The Lok Sin Tong Benevolent Society Hong Kong, Hong Kong Planner Institute, K11 MUSEA Nature Discovery Park, HART, Aroma Office, HandsOn Hong Kong etc.
She co-founded LIN 𢆡 LIN ( social art initiative) and manages graffiti_nexus (graffiti and cultural connotation). Her exhibited work in 2021 includes 999000110112, Gate, Hang, Signage of Reflex I.
吳玳誼 -多媒體藝術家 ，現駐場 Hart Haus 和東南樓藝術酒店。藝術風格大膽用色，多層次畫面，讓觀衆自身體驗及解讀畫面上的綫索。自五歲接受藝術訓練，吳氏的筆猶如她肢體一部分。她多年居住在多個城市，深受不同文化和多角度探討個人情感和社會議題，作品結合繪畫，雕塑，影像和文字。其作品彰顯獨特風格。
吳氏從事文化項目及藝術教育，合作單位包括：九龍樂善堂，香港規劃師協會， K11 MUSEA Nature Discovery Park，HART， Aroma office，HandsOn Hong Kong 等。
2021展出作品包括 《999000110112》 ， 《閘》 ， 《掛》，《本能的燈箱 #1》，始2021年經營文化平台 Instagram @graffiti_nexus 街頭塗鴉與社區文化研習，始2021年聯合創辦藝術項目 LIN 𢆡 LIN 探討社會和身體禁忌議題。
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The Unknown 未知
Oil on canvas 油畫（帆布）, 2021
“Diving into the unknown is incredibly daunting, yet the most courageous act one could live for”
Deborah Leong 梁令怡 (MO/US/HK)The idea for “The Unknown” was fabricated during Deborah’s 14-days quarantine in her hometown, Macau. Rarely in her life has she experienced company of the self at such a repetitive pattern, frequency and intensity. Prior to this piece, there were countless failed attempts in developing an image of herself irrespective of mediums. In “The Unknown”, she chose to work directly on a blank canvas with solid oil painting sticks. Each stroke simulates direct reflex of her feelings towards herself, as expressed in lines, colors and composition. Action is passive and dependent on her connection with the self at the spot and timing of each stroke varies from seconds to hours of sitting and staring in stillness. This expressive method brings her back to her childhood days, drawing in crayons without complex thoughts, processes and plans, the most precious and beautiful gift she has safe kept into her adulthood.
「潛入未知是一個人可以為之而活，最恐懼也最勇敢的行為」
「未知」的靈感來自於梁令怡在家鄉澳門進行的十四天隔離。這段日子不斷重複的生活模式、自我對話的頻率和強度是她生命中的少有經歷。在「未知」成為一個作品之前，不論透過什麼媒體她也無法以自畫的形式把影像勾畫出來。對於「未知」，她選擇直接在一塊空白的畫布上用固體油畫棒進行創作，每一筆都是直接反射、都模擬了她對自己的感覺，以線條、顏色和結構來呈現。每一筆都是被動的，取決於畫者跟自我臨場的聯繫；靜坐凝視，下筆的頻率從幾秒鐘到幾小時不等。這種富有表現力的方法讓她回到了用蠟筆繪畫的童年時代，不用複雜的計劃和過程就可以恣意畫畫。這對她來說，是她成年後最珍貴、也最美麗的體驗。
Deborah creates large-scale paintings. Her work channels notions of energy buried in subtle ordinary living, symbolized by inner fights and consistent struggle to find herself. Deborah often presents settings that explore the universal themes of hope and notions of dream.
梁令怡擅長創作大型油畫。她的作品傳達了隱藏於平凡生活中微妙的能量概念，象徵著自己內心的矛盾以及尋找自我的旅程。梁令怡的作品經常呈現探索希望的普世主題和對夢想的追求。
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better luck next time
Mixed Media on sneaker 球鞋上的混合媒介
”ridiculous, sneaker art, social status, up-cycling, trend”
KC Wong 黃家銓 (HK)
KC Wong, A multi-discipline artist, KC Wong has been involved in illustration & animation production, visual merchandising and art creation. KC has worked on commercial visual communication projects with companies in both Hong Kong and China. KC is the founder of “Sick Sick Creation"" - a creative agency focusing at story-telling, as well as brand building.KC brings a depth of experience in visual communication to his creations, with a BA (Hons) in Design and Visual Communication (Hong Kong Polytechnic University, 2003), and qualifications in Advertising Design and Computer Art and Design."
多元設計師及獨立短片導演，從事設計及藝術創作近20年，KC由視覺營銷，產品展示，品牌推廣，大學兼職導師，插畫及動畫製作都曾涉獵，與各大小品牌，媒體合作，積極展示其多變的創作。除了突破傳統商業的展示模式，他更將之傳譯為生活化的設計思維， 出任香港浸會大學持續教育學院兼職導師，主理＜時尚商品展示設計＞ 課程。近年創辦了悉式創作，主張以的story-telling方式呈現及建立品牌形象。
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"It may not be enough to look at surface I love. Or parts adjacent."
Title borrowed from a line by Rosmarie Waldrop 作品標題引用自 Rosmarie Waldrop
mixed media on paper and wooden boards 紙、木板上的混合媒介, 2021
”poetry, text-image, culture, desire, queerness?”
Nicholas Wong 黃裕邦 (HK)
Nicholas Wong's poetry collections include Crevasse (Kaya Press, 2015) and Besiege Me (Noemi Press, 2021)黃裕邦，本地詩人，詩集包括《天裂》（Kaya Press，2015）和《Besiege Me》（Noemi Press，2021）
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Studies; Say Your Piece
projector installation, paper, recycled styrofoam, ink 放映裝置、紙張、回收發泡膠、墨, 2020-21
”architectural, interactive, socio-cultural, analytical, black and white”
Sierra Chiao (HK/US)Sierra Chiao is a senior at Wellesley College, Massachusetts, studying art, computer science, and a little philosophy. She spends her time thinking about digital and physical spaces, and can't ever seem to get enough sleep. Here she presents the study of two publics – the visual forms of public housing communities, and the characteristics of a community's public forum – the latter of which, she invites your active participation with. Her home is Hong Kong and the people within it.
Sierra Chiao 是馬薩諸塞州威爾斯利學院的一名大學生，學習藝術、電腦科學和一點哲學。她思考數字和物理空間，似乎永遠無法獲得足夠的睡眠。她在這裡展示了對兩種公眾的研究—公共住房社區的視覺形式，以及社區公共論壇的特徵。她邀請您積極參與後者。她的家是香港和當中的人。
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The winter recital
oil on canvas/linen 油畫（帆布和亞麻畫布）, 2021
93 x 61 cm
Underneath Muddy Waters
oil on canvas/linen 油畫（帆布和亞麻畫布）, 2021
100 x 50cm
”surreal, expressive, immersive, subconcious, kinetic”
Vickie Li 李敬儀 (HK)Vickie Li, a hong kong based artist, continues her works in the portrayal of preserving innocence within a desire for power. Rooted in her artistic process and spiritual practice, she presents her first exhibition of abstract figurative paintings of memories— a state of mind, feeling or thought—told anew. The artist’s interests are in the objects a child might physically collect and recollect when developing new experiences. In this series, flowers and shells became the motifs that govern Li’s style. These immersive paintings are visual narratives born through her imagination and dreams.
香港藝術家李敬儀持續描繪在權力的渴望中保持的純真。植根於藝術過程和精神實踐，她的抽象畫從視覺上表現和重組記憶—心境、感覺或思想。她的興趣在於小孩會回憶或收集的東西，當中她用視覺敘事中的無限想像力美化和吞噬它們。她身臨其境的畫作誕生於夢想和超現實的風景。
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untitled_excesstears_tg_tst_1
acrylic, oil, ink and reflective pigment on canvas, 90 x 60 x 4.5cm; 油畫（亞麻畫布）, 2021
”Zukunft, tragedy, glitch, 念想, anthropocene”
Wu Jiaru 吳佳儒WU Jiaru (b.1992) obtained her BA in Fine Arts and English Language from Tsinghua University in 2014, and her MFA from the School of Creative Media at City University of Hong Kong in 2017. She experiments with imagined spaces and social norms in forms of installation, moving images, sculpture, painting, image synthesis. Wu’s practice covers topics including literature, mythology, romantic relationships, technology and futurology, etc. Wu Jiaru currently works and lives in Hong Kong.
吳佳儒2014年於清華大學獲藝術與英語學士雙學位，並於2017年取得香港城市大學創意媒體碩士學位。她以裝置、雕塑、繪畫、渲染圖像等形式實驗於想象空間與社會現象之間。其作品涵蓋廣泛，包括文學、神話、羅曼蒂克關係、科技和未來學等。
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Ephemeral Eternity
Upcycled dress 升級再造的長裙, 2021
”Textile, fluidity, upcycling art”
Yasmina Viale-Fraine (FR)Hong Kong–based fashion designer and textile artist Yasmina Viale-Fraine layers dying, hand-beading and embroidery to create whimsical, raw depictions through wearable art, soft sculpture. Like many textile artists, she started off by creating fabrics that were purely practical use. It is only in the past few months that she has changed her approach and become more liberal and curative with her art. For her, textile art is a means of answering questions regarding the altered state of naturals on one hand, and in the other hand upholds the experiences of contemporary female life through an ancient art form.
香港時裝設計師兼紡織藝術家 Yasmina Viale-Fraine 將染色、手工串珠和刺繡分層，通過可穿戴藝術和軟雕塑創作奇幻而原始的描繪。像許多紡織藝術家一樣，她最初創作純實用的布料；但在過去的幾個月裡，她改變了創作的方法，以藝術變得更加自由和治愈。對她來說，紡織藝術一方面是回應自然狀態的改變，另一方面通過古老的藝術形式來維護當代女性的生活體驗。
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Lin𢆡Lin
Installation, video, prints, texts 裝置、影片、印刷、文字, 2021
”Socio-cultural”
Doris Ng 吳玳誼 (HK) & Yasmina Viale-Fraine (FR)Once upon a time, we didn't hide our nipples, so did branded dolls til the 60s.
LIN 𢆡 LIN is a social art initiative co-founded by Doris Toi-yee Ng and Yasmina Viale-Fraine.
As artists, we want to open dialogue for the sexualisation of nipples. Unwanted dolls are our medium.
‘There is a link to how we see dolls that we see ourselves’, we observed.
There is a paucity in diversity and realistic body anatomically correct dolls we need to address
The human body is presented in a way that may change the perspective of the audience’s view on oversexualised body features through dolls.
These playful and zesty visuals and texts expose the social convention on how nipples are perceived.
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Lin𢆡Lin is a social art initiative co-founded by Doris Toi-yee Ng and Yasmina Viale-Fraine. The human body reality is presented in a way that may change the perspective of the audience. Our art project begins with acquiring unwanted dolls that are nipples embellished. We use facts, playful and zesty visuals to expose the social convention on how nipples are represented.
Lin 𢆡 Lin 是由吳玳誼和 Yasmina Viale-Fraine 共同創立的一項社會藝術計劃。人體現實的呈現方式可能會改變觀眾的視角。我們的藝術項目開始於購買帶有乳頭裝飾的回收布偶。我們使用事實、俏皮和熱情的視覺效果來揭示社會如何表達乳頭。
