Hou Lam Tsui, Still of Girl’s Shit, 2026
徐皓霖，《Girl’s Shit》靜幀，2026年
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 (working title), 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》（暫名），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。
General Visit 公眾參觀
Date 日期：14.3 - 8.4.2026 (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
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。