260319_Site_Seeing_Catalogue_DEF_Digital_SinglePage_LL

S ites eei ng

30th Anniver sa r y Forewor d

Para Site’s thirtieth anniversary is an occasion to reflect on how an experiment in artists’ self-organising has grown into a vital, ever-evolving presence within the Asia-Pacific art ecosystem. Founded in 1996 by Lisa Cheung, Patrick Lee, Leung Chi-wo, Leung Mee-ping, Tsang Tak-ping, Phoebe Man Ching-ying, and Sara Wong Chi-hang, Para Site began as an artist-run space in Kennedy Town, driven by a desire to create a home for contemporary visual art in Hong Kong. Over three decades, it has transformed into one of the city’s most enduring contemporary art institutions, while holding fast to its founding ethos: to champion original developments in contemporary art and to provide a platform where new works, initiatives and ideas can take shape.

This history has never been static. Para Site’s trajectory is marked by a willingness to embrace reflexivity, responsiveness and flexibility–shifting from an artist-run space to a curator-run organisation, expanding and recalibrating its structures to meet the changing needs of artists and the institution’s wider communities. In doing so, it has remained attuned to the urgencies of its time, from local debates in Hong Kong to broader questions circulating across the Asia-Pacific. Through benchmark exhibitions, transfor mative commissions and a sustained commitment to nurturing emerging practices, Para Site has helped to build critical discourse and foster long-term transnational relationships.

Over the last thirty years, Para Site has mounted more than 300 exhibitions in Hong Kong and beyond, hosted over 80 international residents, and delivered upwards of 1,000 public programmes. These efforts have been underpinned by a belief in accessibility and all Para Site programmes remain free and open to the public. Alongside exhibitions, Para Site has created other formats that expanded how contemporary art can be produced, discussed and experienced–from P/S magazine (1997–2006), a bilingual platform for visual arts criticism, to the Curatorial Training Programme (2007–10), the International Conference (2013–19), the International Residency Programme (2011–ongoing), and the Workshops for Emerging Arts Professionals (2015–ongoing). Each initiative has contributed to a larger ecosystem of learning, experimentation, and exchange.

‘Para Site: 30 Years’ is a year-long series of exhibitions, performances, public programmes and residencies that returns to the institution’s earliest operational logic. In its first Kennedy Town space, Para Site often paired artists whose practices resonated with, contradicted, or productively challenged one another, allowing dialogue to emerge organically within the exhibition itself. Echoing this strategy, the anniversary programme is conceived as a series of ‘bookends’: artists responding to artists, organisations encountering one another and past histories coming into contact with possible futures. By staging these encounters, the programme seeks to reveal what becomes possible when disparate spirits and ideas are brought into proximity.

Junni Chen

Para Site 藝術空間三十週年是一個回顧的契機，讓我們思量一個由藝術家自發 組織的實驗空間，如何逐步成長為亞太藝術生態中一個關鍵且持續演變的存在。

Para Site 於 1996 年由張思敏、李志芳、梁志和、梁美萍、曾德平、文晶瑩與黃志 恒共同創立，起初位於堅尼地城的藝術家自營空間，旨在為香港當代視覺藝術建立 立足之所。三十年來，它已轉型為本地歷史最悠久的當代藝術機構之一，同時始終 堅守其創立精神：支持當代藝術的原創發展，並提供平台讓新作品、計劃與理念得 以成形。

這段歷程不曾停歇。 Para Site

的發展軌跡始終伴隨着自我反思、與時俱進且靈活 應變的態度——從藝術家自營空間轉型為策展人主導的機構，不斷擴展並調整自身 架構，以回應藝術家及更廣大社群日益變化的需求。在此過程中，機構始終緊扣時 代的迫切議題，既立足於香港本地的討論，亦關注亞太地區交匯浮現的廣泛課題。

藉由具代表性的展覽、推動轉型的委約創作，以及對新銳創作實踐的持續扶持， Para Site 協助塑造了具批判性的論述，並促成跨地域的長期合作連結。

過去三十年間， Para Site 在香港及海外舉辦了逾三百場展覽，接待了超過八十位 國際駐留藝術家，並策劃逾一千場公眾活動。這些努力皆奠基於重視公眾參與的信 念，所有活動均免費向公眾開放。除展覽外， Para Site 亦通過多種形式來拓展當代 藝術的生產、討論與體驗方式，包括雙語視覺藝術評論平台《 P / S 》( 1997 2006 年)、策展培訓計劃（ 2007 2010 年)、國際研討會（ 2013 2019 年)、國際駐留計 劃（ 2011 年至今)，以及新銳藝術人才工作坊（ 2015 年至今)。每一項計劃都為藝術 生態裏的學習︑實驗與交流注入養分。

「 Para Site ：三十年」是為期一年的展覽、展演、公眾活動與駐留系列，參照機構 最初的運作邏輯。在堅尼地城的首個空間中， Para Site 常將實踐與風格相互呼應、 牴觸或挑戰的藝術家並置呈現，讓對話在展覽中自然產生。延續這一策略，週年計 劃被構想為一系列「書立」： 讓藝術家回應藝術家、機構彼此交匯，過去的歷史與 可能的未來相互碰撞。透過策劃這些相遇，我們邀請迴異的精神與思想彼此靠近， 揭示當中所能迸發的無限可能。

陳君妮

P. 6-7

Introduction

‘Site-seeing’ borrows its title from a two-person exhibition by founding members Phoebe Man and Sara Wong presented at Para Site in 1996, the institution’s inaugural year. Through this historical lens, we revisit the city not as a fixed backdrop but as a shifting condition, asking how a sense of place can be grasped when the urban environment is continually remade. As in 1996, ‘Site-seeing’ proposes that to look again is not simply to observe, but to re-enter, to feel the city anew through multiple points of view.

The cities we inhabit are layered and provisional. They are shaped by administration, regulation, and development, yet they are also continuously made through routines, detours, pauses, and encounters. What we call a place is never only what is built or designated; it is also that which is noticed and repeated, avoided, remembered, and carried forward. In The Production of Space (1974), Henri Lefebvre argues that space is not a passive container but a social product generated through a triad of registers: the perceived, the conceived, and the lived. These registers are not fixed categories. An archive becomes a memory, a line becomes a threshold, and a landmark becomes a trace. Meaning is often found in small things: a moment of hesitation, a route the body trusts, the pace one adopts without explanation, or the way light and surface can affect a decision. ‘Site-seeing’ traces these shifting dimensions, moving between the rigid logic of planning and the glitching residues of memory and desire.

In the works on view, space lives in memory, surfacing through specific moments, objects, and lingering sensations. Tianyi Zheng activates institutional archives through an unmanned surveillance station, where glitches, loops, and delays register personal and collective recollections as unstable signals. Tolia Astakhishvili compresses time into displaced objects, holding intimacy and loss within materials that feel both present and out of place. These works do not reconstruct the city as a whole. Instead, they recreate a feeling of place, suggesting that familiarity often arrives through recurrence: partial, mistaken, or repeated, still persistent. In this sense, remembering is not a faithful return, but an ongoing practice through which lived space is maintained.

Other works widen the frame to consider how contemporary cities increasingly resemble one another, shaped by global circulation, generic landmarks, and shared infrastructural logics. Stella Zhong builds an architectural structure that looks like a tilted building, invoking forms found across disparate urban environments to question the sensations and scales such structures produce. In Bo Wang and Lu Pan’s essay-documentary, selected excerpts reflect on the shopping mall and the Wardian case, a nineteenth-century terrarium, alongside the glass and steel architectures that define commercial modernity and its controlled interiors. Covey Gong’s work follows a drifting figure across landscapes of development, moving from sites of ruin towards distant skylines. Across these works, the city appears as both promise and pressure. Under the surface of new construction, emotions accumulate: anxiety, nostalgia, aspiration, fatigue, and moments of joy. As the city shifts, the question becomes

not only what changes, but how individuals position themselves in relation to that change.

Nawin Nuthong and Anna Sew Hoy bring the exhibition into a closer focus, where large systems become legible through minute details and material decisions. Sew Hoy recomposes clay, steel and found objects through heat, pressure and improvisation, producing forms that carry the density and contradiction of layered urban environments. Nuthong maps projected GIF animations across a cityscape-like structure, where the grid becomes a fragmentary narrative drawn from history, folklore, and popular references. Cultural memory appears here as plural and contested, refusing the authority of a single story. Even within conditions of control, these works emphasise the vitality of the individual: the ways agency, humour, desire, and invention continue to circulate, and how difference itself becomes a source of urban complexity.

Heman Chong and Ko Sin Tung focus on boundaries and the ways they are enforced, felt, and reinterpreted. Walking along a national border, Chong documents the subtle effect of a hard line: the quiet tensions, hesitations, and atmospheres that official maps cannot capture. Ko outlines space with raw construction materials and barbed wire, materialising constraint as something simultaneously physical and symbolic. These works reference the defensive appearance of boundaries while insisting that meaning does not end there. Boundaries may be sharp and disciplinary, yet they are repeatedly negotiated through lived experience, where the personal can twist, soften, or reroute what seems fixed.

‘Site-seeing’ asks how we watch, speak, remember, and live within this flow. Revisiting the 1996 exhibition title, we are reminded that the institution itself began as a tactical way of occupying space, a temporary project that used the accumulation of shared moments to substitute for the physical permanence it did not yet have. Para Site was never meant to be a fixed monument. It began as a gesture of cultural production that lived first in the personal memories of its founders and gradually entered the public consciousness of the city. For thirty years, the site of Para Site has not been defined by walls, addresses, or its migrations through the urban grid, but by the people, meanings, and shared experiences it has hosted. It endured by rooting itself in the collective memory of its publics, showing that a space finds its foundation not only in architecture, but in the values and attention that sustain it.

Against the pressures of regulation and the ahistorical present, the exhibition insists on the persistence of lived space: the uneven memories we carry, the stories we compose from fragments, and the sensations that return when we least expect them. If the city is continually built, erased, and remade, then ‘Site-seeing’ proposes a parallel task: to keep making space through attention and memory, holding on to what cannot be zoned, regulated, or fully archived.

Yuanyu Li

「易過借房」取自機構創始成員文晶瑩與黃志恒於 1996 年── Para Site 藝術空間成 立首年──所舉辦的同名雙人展。透過這層歷史的視角，我們重新看待城市：它不 是固定的背景，而是一種持續變動的狀態。當城市環境不斷被重塑，我們該如何把 握對地方感的認知？正如 1996 年展覽所提出的問題，「易過借房」探討的再次觀看

不僅是單純的觀察，而是重新進入，透過多元視角感受城市。

我們居住的城市是層次分明且臨時的。它們固然由行政、規劃和發展所塑造，卻也 透過日常的慣例、繞道、停頓與偶遇而不斷被形塑。我們所謂的「地方」， 從不僅 限於被建造或指定的空間；它同樣存在於那些被察覺與重複的行為中，以及那些被 迴避、銘記並承傳的事物裏。亨利．列斐伏爾在《空間的生產》( 1974 年）中主張， 空間並非被動的容器，而是透過三種維度──感知的、構想的，以及生活的──所 產生的社會產物。這些維度並非一成不變的框架。檔案轉化為記憶，線條成為界 限，地標只剩下痕跡。意義往往藏於細微之處：一瞬的遲疑、身體信賴的路線、不 假思索的步伐節奏，或是光線與物質表面如何影響每一次的選擇。「易過借房」追 索這些變動的維度，在規劃的僵化邏輯與記憶及欲望的閃爍殘餘之間來回穿梭。

由展出作品所示，空間寄居於記憶之中，並透過特定時刻、物件與縈繞不散的感 受浮現。鄭天依以一座無人監控站活化機構檔案，其中的錯亂、循環與延遲將個人 與集體的回憶轉化為不穩定的訊號。 Tolia Astakhishvili 將時間壓縮進錯置的物件 中，讓親密與失落停駐於既在場又顯得格格不入的物料之中。這些作品無意重構城 市的整全面貌，而是試圖喚起一種對地方的感知。它們揭示了那種莫名的熟悉感往 往源於片段、誤認或重複中的反覆現身，且始終揮之不去。在此，記憶並非一場忠 實的回望，而是一種持續的實踐，以此讓生活的空間得以延續。

另一些作品則拉遠視角，思考當代城市如何在全球流通、通用地標與共享的基礎建 設邏輯之下，變得日益趨同。鐘笛鳴創造了一個傾斜的建築結構，借用了在不同城 市環境中皆可見的形態，藉此質問此類建築所產生的感官經驗與尺度。在王博與潘 律的散文紀錄片中，透過選取片段探討了購物商場與十九世紀的植物生態缸「華德 箱」， 並進一步剖析了由玻璃與鋼鐵架構出的現代商業空間及其受控特質。龔柯維 的影片跟隨一個漂泊的身影穿梭在一座發展中的城市，從廢墟走向遠方的天際線。

在這些作品中，城市既是承諾也是壓力所在。在新建工程的表面下，情緒不斷堆 積：焦慮、懷舊、期待、疲憊與喜悅的瞬間。隨着城市更迭，問題不 僅在於發生了甚麼變化，更在於個人如何在變化中安身立命。

P. 12-13

Nawin Nuthong 與 Anna Sew Hoy 將展覽帶入更細微的焦點，在微 小細節與材料選擇中揭示巨大系統的運作。 Sew Hoy 透過熱力、壓 力與即興創作，重組陶土、鋼材和現成物，生成的形態承載着層疊都 市環境的密度與矛盾。 Nuthong 在模仿城市景觀的結構上投影 GIF 動

畫，在網格上呈現取材自歷史、民俗與流行文化的碎片化敘事。文化記憶變為多元 且具爭議性的場域，拒絕單一敘事的權威。即使在受控的條件下，這些作品仍強調 個體的生命力：能動性、幽默、欲望與創造力持續流動，而差異本身也成為城市複 雜性的來源。

張奕滿與高倩彤聚焦於邊界，以及其被執行、感知與重新詮釋的方式。張氏沿着國 界行走，記錄強硬界線產生的微妙作用：那隱匿於寧靜中的張力、遲疑與氛圍，亦 是官方地圖無法捕捉的風景。高氏則利用原始建材與鐵絲網勾勒空間，呈現約束的 物理與象徵意義。這些作品指涉邊界的防禦姿態，同時強調意義並未止步於此。邊 界或許尖銳且具規訓意味，卻在生活經驗中被反覆協商，由個人來扭轉、軟化或重 新導向那些看似固定的界限。

「易過借房」探問我們如何在此流動中觀看、講述、記憶與生活。回顧 1996 年展覽 的標題，提醒我們機構起初正是以策略性佔用空間的方式，以共享經驗的累積來暫 時替代尚未具備的持久營運基礎。 Para Site 從不意圖成為固定的紀念碑，它始於一 種文化生產的姿態，最初存在於創始成員們的個人記憶中，隨後逐漸進入城市的公 共意識。三十年來， Para Site 的「空間」並非由牆壁、地址或其在城市網絡中的遷 移所界定，而是由它所承載的人、意義與共同經驗所定義。它透過紮根於公眾的集 體記憶而延續，表明一個空間之所以能立足，不僅來自其物理空間，更來自支撐它 的價值與持續投入的關注。

面對規範的壓力與去歷史化的現狀，展覽堅持「生活空間」的韌性：我們背負的崎 嶇記憶、從碎片中編織的故事，以及在最不經意時閃現的感官體驗。如果城市是不 斷被建造、抹除與重塑，「易過借房」則提出一項平行的任務：透過關注與記憶持 續創造空間，守護那些無法被劃界、規管或完全記錄的事物。

李沅鈺

Works on View

b. 1974, Tbilisi; based in Tbilisi and Berlin 1974 年生於第比利斯，現居第比利斯及柏林

Tolia Astakhishvili

Tolia Astakhishvili’s architectural and sculptural interventions demonstrate an attentiveness to the human impulse to make and to discard. In her multidimensional, total environments, domestic debris, disavowed objects and clutter divorced from its former use are gathered and sorted into new arrangements. In forbidden place, Astakhishvili turned a discarded boiler that was previously installed in the garden shed of the Nicoletta Fiorucci Foundation into a site-specific container for her hand-drawn animation, HIM. In HIM, we encounter the passing of time as both a non-generative and accumulative force, a notion often reflected in Astakhishvili’s spatial and layered use of drawings, writings, paintings and animations. Her practice centers on what the artist terms ‘configurative processes’, in which memories and desires are in constant exchange with the present.

Tolia Astakhishvili 以建築與雕塑介入空間，敏銳地洞察人類創造與丟棄的本能。

她創作多維度且自成一體的環境，蒐集家居廢棄物、被遺棄的物件，以及脫離了原 功能的雜物，整理成新的秩序。在《禁地》中，藝術家挪用一個曾安裝於威尼斯 Nicoletta

Fiorucci

基金會花園小屋內的廢棄鍋爐，把它改裝為場域特定的容器，用 以承載其手繪動畫《他》。

在《他》之中，我們體會到時間的流逝：它既不生成新 事物，又兼具累積的力量。這種觀點也體現於藝術家對素描︑書寫︑繪畫與動畫的 空間與層疊運用之上。她的實踐核心在於其所稱的「組構過程」， 記憶與欲望與當下 不斷交錯互動。

forbidden place

2025

Pipes, boiler, monitor; HIM, hand-drawn animation, 2 mins, loop

100 × 46 × 32 cm

Courtesy of the artist, Emalin, London and LC Queisser, Cologne/Tbilisi Initially shown as a site-specific work in ‘to love and devour’ at the Nicoletta Fiorucci Foundation, Venice.

《禁地》

2025年

管道、鍋爐、顯示器；《他》，手繪動畫，2分鐘，循環播放 100 × 46 × 32 厘米

由藝術家、Emalin（倫敦）及 LC Queisser（科隆／第比利斯）提供 最初以場域特定形式，於威尼斯 Nicoletta Fiorucci 基金會的展覽 「to love and devour」中展出。

P. 18-19

2025年。展覽現場，威尼斯 Nicoletta Fiorucci 基金會，2025年。圖片由 Tolia

Tolia Astakhishvili is an interdisciplinary artist whose practice spans sculpture, drawing, painting, sound, video and writing. Astakhishvili’s work unfolds as a series of nested interiors, collaged worlds within worlds where multiple registers intersect. Within this simultaneity, architecture becomes a structural material that is responsive and unfixed, rewritten by bodies and histories that move through it.

Recent solo exhibitions include ‘a wound on my plate’, Emalin, London; ‘to love and devour’, Nicoletta Fiorucci Foundation, Venice (2025); ‘Result’, LC Queisser, Tbilisi; ‘between father and mother’, SculptureCenter, New York (2024); ‘The First Finger (chapter II)’, Haus am Waldsee, Berlin (2023); ‘The First Finger’, Bonner Kunstverein, Bonn (2023); and ‘I Think It's Closed’, Kunstverein Bielefeld, Bielefeld (2023). Her work has been shown in exhibitions at Fondation Pernod Ricard, Paris; MoMA PS1, New York (2025); MACRO Museum, Rome; galerie frank elbaz, Paris; Condo Complex, London (2024); Kunsthalle Zürich, Zurich; Emalin, London; and Galerie Molitor, Berlin (2023).

Tolia Astakhishvili 是一位跨學科藝術家，其創作涵蓋雕塑、素描、繪畫、聲音、錄 像與寫作。她的作品常以一系列套疊式的內部空間展開，如同多個拼貼世界互相交 錯，多重語境在此交匯。在不同層次同時展開的狀態中，建築轉化為一種具回應性且 非固定的結構材料，不斷被穿梭其中的身體與歷史所重寫。

其近期個展包括：倫敦 Emalin「a wound on my plate」、威尼斯 Nicoletta Fiorucci 基金會「to love and devour」（ 2025年）、第比利斯 LC Queisser「Result」、 紐約 雕塑中心「between father and mother」（ 2024 年）、柏林 Haus am Waldsee 「The First Finger  (chapter II)」（ 2023 年）、波恩藝術協會「The First Finger」 (2023年），以及比勒費爾德藝術協會「I Think It’s Closed」（ 2023年）。 她的作品也 曾展出於巴黎保樂力加基金會、紐約現代藝術博物館 PS1（ 2025年）、 羅馬當代藝術 博物館、巴黎 galerie frank elbaz、倫敦 Condo Complex（2024年）、 蘇黎世美術館、 倫敦 Emalin，以及柏林 Galerie Molitor（ 2023年）。

P. 20-21

b. 1977, Muar; based in Singapore

Heman Chong

Perimeter Walk is an expansive, long - term project that involves the artist walking the entire perimeter of Singapore. For over a decade, Chong photographed the island’s edges, capturing thousands of images that depict ordinary, and often overlooked, urban features of the nation-state. Accumulating a vast archive of images in the process, Chong selected 550 images which he eventually printed as postcards. Detailing surveillance signs, tents used by migrant workers, people resting on the roadside and lush vegetation, Perimeter Walk exposes Singapore’s complex relationship with control, order, and boundaries. Complicating Singapore’s image as a popular tourist destination, the work is installed as a temporary postcard store in the exhibition space, allowing visitors to purchase the cards. Chong approached the process of selecting the images as akin to writing a novel, where collectively, the snapshots form a narrative that unfolds sequentially. Yet, as the artist remarks, the work is ultimately about ‘not arriving anywhere’, and instead understanding that borders are zones of negotiation. For the edition presented at Para Site, the selected images will be on weekly rotation, allowing returning visitors to experience a fresh perspective of Singapore’s urban environment with every encounter.

《邊緣漫步》是一項規模龐大且持續多年的項目，記錄了藝術家徒步環繞新加坡全境 邊界的過程。十多年來，張氏持續拍攝島嶼邊緣的景象，累積了數以千計的圖像， 捕捉這個國家往往被忽視的日常都市細節。隨着影像檔案不斷增長，藝術家從中挑選 了 550 張照片，並將其印製成明信片。透過監視告示牌、外勞使用的帳篷、路邊休憩 者，以及茂密植被等景觀，《邊緣漫步》揭示了新加坡與控制、秩序及邊界之間的複 雜關係。此作在展覽空間內以臨時明信片商店的形式呈現，可供觀眾購買。由此，作 品使新加坡作為熱門旅遊勝地的既有形象變得更為複雜。張氏將挑選照片的過程比擬 為小說創作，這些快照共同構成了一個循序展開的敘事。然而，如藝術家所言，作品 最終指向的並非某個目的地，而是理解邊界其實是協商的空間。在 Para Site 展出的版 本中，展出的明信片將每週輪替，讓重訪的觀眾以新的角度體驗新加坡的城市環境。

PerimeterWalk

2013–24

550 postcards, wooden shelves Each postcard 9.5 × 13.8 cm

Courtesy of the artist Commissioned by UCCA Center for Contemporary Art; supported by M Art Foundation

《邊緣漫步》

2013–24年

550張明信片、木架

每張明信片 9 5 × 13 8 厘米

由藝術家提供

UCCA尤倫斯當代藝術中心委約作品；

亦獲 M Art 基金會支持

PerimeterWalk, 2013–24, (detail). Photo courtesy of the artist 《邊緣漫步》局部，2013–24年。圖片由藝術家提供

Heman Chong’s work operates at the intersection of image, performance, situations and writing. Characterised by acerbic wit, Chong’s work addresses contemporary geopolitics and the infrastructural ironies of a data-driven and networked society. His practice can be read as an imagining, interrogation and sometimes intervention into infrastructure as an everyday medium of politics.

Chong’s work has been the subject of institutional solo exhibitions at the Singapore Art Museum; UCCA Dune, Qinghuangdao; STPI, Singapore; Het Nieuwe Instituut, Rotterdam; Weserburg Museum, Bremen; Jameel Arts Centre, Dubai; Swiss Institute, New York; Art in General, New York; Art Sonje Center, Seoul; Rockbund Art Museum, Shanghai; South London Gallery; and NUS Museum, Singapore, among others. Chong is the co-director and founder, with Renée Staal, of The Library of Unread Books, a library made up of donated books previously unread by their owners. The project was most recently installed at the Serpentine Pavilion 2024, designed by Minsuk Cho.

張奕滿的創作橫跨影像、行為、情境與寫作等領域，其作品以辛辣的幽默感見長，關 注當代地緣政治，以及在數據驅動與網絡化社會中所隱含的基礎建設矛盾。他的實 踐可被理解為對作為日常政治媒介的基礎建設所進行的想像與質詢，以及時而為之 的介入。

張氏曾於多個藝術機構舉辦個展，其中包括：新加坡美術館、秦皇島 UCCA 沙丘美術 館、新加坡泰勒印刷學院、鹿特丹荷蘭新研究院、不萊梅威悉堡現代藝術博物館、杜 拜賈米爾藝術中心、紐約瑞士藝術學院、紐約 Art in General、首爾善宰藝術中心、 上海外灘美術館、南倫敦畫廊，以及新加坡國立大學博物館等。張氏與 Renée Staal 共同創辦並擔任「未讀之書圖書館」的聯合總監，該項目由藏書者捐出未曾閱讀過 的書籍組成，最近一次展出於由曹敏碩設計的 2024 年蛇形畫廊展亭。

24-25

Covey Gong

After the World follows an unnamed protagonist as he leads a camel—an allu sion to the theme parks proliferating across Chinese cities in recent years—through the topography of an unnamed city. In the film, abandoned buildings exist in close proximity to glass-clad, high-rise skyscrapers, forming part of a continuously updating urban landscape in which different temporalities and functions coexist. The work explores how fantasy and desire, fuelled by spectacles and mediated images that permeate public space, come to texture everyday life in the city. Yet, these very images exist in tension with the film's anonymous narrator, whose introspective voice reflects on both personal and collective anxieties. Grappling with themes of displacement, alienation and societal fragmentation, the work presents a poignant meditation on how much of contemporary life is shaped by the rapid economic expansion and globalisa tion in second-tier cities. The wandering camel appears as a symbol of the gap between one’s dream world and the harsh socio-economic realities that undergird present-day life.

《世界之後》追隨一位牽着駱駝的無名主角，穿行於一座無名的城市中；這頭駱駝 暗示了近年在中國內地城市中激增的主題樂園。影片中廢棄建築與玻璃幕牆摩天大 樓彼此相鄰，構成了一幅持續變遷的都市景觀，不同的時間維度與功能在此共存。作

品探討了充斥於公共空間的奇觀與媒介影像如何塑造幻想與欲望，並使其滲入都市 日常生活的肌理。然而，這些影像與片中匿名敘述者的自白形成張力，其內省聲音 觸及了個人與集體的焦慮。作品圍繞離散、異化與社會分裂等主題展開，思索在二 線城市快速經濟擴張與全球化進程下，當代生活如何被重新建構。徘徊的駱駝在此 象徵着個人夢想世界與支撐當下生活的嚴酷社會經濟現實之間的落差。

After the World, 2025, (still). Photo courtesy of the artist 《世界之後》截圖，2025年。圖片由藝術家提供

After the World 2025

4K video with colour and sound 9 mins 36 secs

Courtesy of the artist and Antenna Space, Shanghai/Hong Kong

《世界之後》

2025年

4K 彩色有聲錄像

9 分 36 秒

由藝術家及天線空間（上海／香港）提供

Covey Gong’s sculptures and installations are driven by an inquiry into the politics of aesthetics. They investigate how narratives are mediated through structures of display, revealing tensions between past and present, fiction and reality. Gong explores spectacle as both a site of control and a space for subversion, foregrounding the hybrid nature of cultural production in which motifs and narratives are repurposed and transformed. These questions are particularly urgent in an era shaped by digital media and the accelerated circulation of images. By juxtaposing seemingly unrelated forms and images, Gong excavates hidden historical and theoretical relationships between different periods and places, revealing how the spectacle of exoticism has been incorporated into the machinery of the present.

Recent solo and duo exhibitions include Antenna-tenna, Shanghai (2025); Empty Gallery, Hong Kong (2025); Bel Ami, Los Angeles (2024, with Monique Mouton); Derosia, New York (2023); Lubov, New York (2022, with Eli Ping); And Now, Dallas (2019); Bodega at Derosia, New York (2019); and Salt Projects, Beijing (2018-19). Gong’s works have been included in group exhibitions at Aranya Art Center, Qinhuangdao (2025); Catskill Octagon House, Catskill (2025); Derosia, New York (2025); inge, Los Angeles (2024); ADZ, Lisbon (2024); Winter Street Gallery, New York (2024); Murmurs, Los Angeles (2024); Laurel Gitlen, New York (2023); Lomex, New York (2022); and Baader-Meinhof, Omaha (2022).

龔柯維的作品涵蓋雕塑與裝置，創作核心源於對美學政治的持續探問。他研究敘事 如何透過展示結構進行轉譯，進而揭示過去與現在、虛構與現實之間的張力。龔氏 將景觀視為受控的場域，同時也是顛覆的空間；他強調文化生產的雜合本質，探討 符號與敘事如何在其中被重新賦予用途並轉換。這些問題在數碼媒體主導、影像加 速流通的時代尤顯迫切。透過並置看似無關的形式與圖像，龔氏挖掘出不同時期與 地域之間隱匿的歷史與理論連結，進而揭示異域的奇觀如何被納入當下的社會運作 機制之中。

近期個展與雙人展包括：上海天線的線（ 2025年）、香港 Empty Gallery（ 2025年）、 洛杉磯 Bel Ami（ 2024 年，與 Monique Mouton 合作）、紐約 Derosia（ 2023年）、 紐約 Lubov（ 2022年，與 Eli Ping合作）、達拉斯 And Now（ 2019 年）、紐約 Bodega (現為 Derosia）（2019年）， 以及北京 Salt Projects（2018–19年）。其作品亦曾於秦皇島

阿那亞藝術中心（2025年）、卡茨基爾八角屋（2025年）、 紐約 Derosia（2025年）、洛杉 磯 inge（ 2024年）、里斯本 ADZ（ 2024年）、紐約 Winter Street Gallery ( 2024年）、

洛杉磯 Murmurs（2024年）、紐約 Laurel Gitlen（2023年）、紐約 Lomex（2022年），

以及奧馬哈 Baader- Meinhof（ 2022年）展出。

P. 28-29

Ko Sin Tu ng

Ko Sin Tung works across painting, installation, and sculpture to examine how physical environments shape emotional states and reflect social behaviour. In this site-specific presentation, raw industrial materials are used to divide and organise the exhibition space. Experimental Field introduces low metal railings and a matrix of cut bottle-like containers that form fragile yet restrictive barriers, appearing provisional while quietly exerting control. In An Acute Manner , hand-twisted barbed wires are reconfigured into vertically suspended curtain panels mounted to the ceiling beam. Activated by a mechanical system, these wires move laterally across the space, shifting defensive structures into forms that suggest latent threat. Together, the works construct a charged spatial scenario defined by tension, exposure, and risk. These barriers condition how bodies move and orientate within the space, foregrounding the way spatial arrangements operate as mechanisms of discipline.

高倩彤的創作橫跨繪畫、裝置與雕塑，旨在探究物理環境如何影響情感狀態， 並反映社會行為。是次場域特定的展示中，藝術家運用原始工業材料來分割與 組織展覽空間。《實驗場》引入了低矮的金屬欄杆，以及由切割後的瓶狀容器 所組成的矩陣，構成了脆弱卻具約束力的屏障，看似臨時搭建，實則在無形中 施加控制。在《更尖銳的方式》中，手工盤繞的鐵絲網被重組成垂直懸掛在天 花板橫樑上的簾幕。在機械系統的驅動下，這些鐵絲網在空間中橫向移動，將 原本的防禦性結構轉化為暗示着潛在威脅的形態。兩件作品共同構建出一個充 滿張力、暴露與風險的空間。這些屏障限制了身體在空間中的移動與定位，進 而凸顯空間配置作為一種規訓機制的運作方式。

Experimental Field , 2021, (detail). Installation view, Kiang Malingue, Hong Kong, 2021. Photo courtesy of the artist

《實驗場》局部， 2021 年。展覽現場，馬凌畫廊， 2021 年。圖片由藝術家提供

An Acute Manner 2021. Installation view, Kiang Malingue, Hong Kong, 2021. Photo courtesy of the artist

《更尖銳的方式》， 2021 年。展覽現場，馬凌畫廊， 2021 年。圖片由藝術家提供

An Acute Manner

2021

Motorised curtain system, wire, lead sinkers

Dimensions variable

Experimental Field

2021

Galvanised threaded rods, polyethylene bottles, stainless steel pipe fittings, stainless steel pipe brackets, povidone-iodine

Dimensions variable

Courtesy of the artist and Kiang Malingue, Hong Kong/New York

《更尖銳的方式》

2021年

電動窗簾裝置、鐵線、鉛墜 尺寸可變

《實驗場》

2021年

電鍍絲桿、塑膠瓶、不銹鋼接駁件、 不銹鋼水喉碼、聚維酮碘 尺寸可變

由藝術家及馬凌畫廊（香港／紐約）提供

Ko Sin Tung graduated from the Department of Fine Arts at the Chinese University of Hong Kong in 2009 and is currently pursuing a master’s degree in sculpture at the Hochschule für bildende Künste Hamburg. Drawing from ever-changing urban environments, her practice explores distorted moments shaped by human activities such as construction, demolition, beautification and consumption. Through the modification and arrangement of artificial objects, she creates site-resonant works that subtly reflect the passive condition of individuals within complex social dynamics and political structures.

Her work has been exhibited locally and internationally, including at Die Möglichkeit einer Insel, Berlin (2025); Pink Snow, Berlin (2024); Tokyo Arts and Space Hongo, Tokyo (2023); Nariwa Museum, Okayama (2023); Tai Kwun Contemporary, Hong Kong (2022) and The Bunker, Beijing (2019).

高倩彤於 2009 年畢業於香港中文大學藝術系，目前正於漢堡美術學院修讀雕塑碩 士學位。她的創作實踐取材自瞬息萬變的城市環境，探索由建設、拆卸、美化與消費 等人類活動中衍生的變形時刻。透過對人造物件的改造與編排，她創作出與場域相 互呼應的作品，微妙地反映了個體在複雜社會動態與政治結構中被動的生存狀態。

其作品曾於本地及國際展出，包括：柏林 Die Möglichkeit einer Insel（ 2025 年）、 柏林 Pink Snow（ 2024 年)、東京 Tokyo Arts and Space 本鄉（ 2023年)、高梁市成 羽美術館（ 2023年)、香港大館當代藝術館（ 2022年)，以及北京掩體空間（ 2019年）。

P. 32-33

Nawin Nuthong

Primarily working with the visual language of video games, GIFs, and other digital media, Nawin Nuthong’s multimedia practice reflects his interest in examining the creation of cultural memory. Evoking the architecture of a cityscape, Nuthong presents three video works across a structured surface. Comprising looping scenes that draw on history, folklore, and pop cultural references, the projected GIFs combine to form a restless ‘screen-scape’. The work mirrors contemporary experiences of navigating a city made increasingly complex by the coexistence of news, myths, and personal memories in one visual plane. Each moving image creates its own dynamic world, referencing gaming universes, cinema aesthetics, and actual historical sites. Within this layered field, Nuthong demonstrates how cultural memory is not fixed, but continually updated, circulated, and reanimated through everyday life in the city.

Nawin Nuthong 運用電子遊戲、 GIF

動畫以及其他數碼媒介的視覺語言，探索文 化記憶的生成。 Nuthong 仿效城市景觀的建築環境，在一個結構化表面投影了三 部 GIF 錄像作品。這些循環播放的場景取材自歷史、民間傳說與流行文化，共同 構成了一幅躁動不安的「螢幕景觀」。作品反映了在當代城市穿梭的經驗：隨着新 聞、神話與個人記憶在同一視覺平面上共存，都市環境變得日益複雜。在這種層 疊的場域中，文化記憶並非固定不變，而是在日常生活中不斷地被更新、流傳並 重新激活。

(from

（從左至右），《島嶼噴泉》截圖，2024年；《市集》截圖，2024年；《突然飢餓的探險者》截圖，2024年。圖片由藝術家提供

Island Fountain 2024

Single-channel video, silent 1 min, loop Bazaar 2024

Single-channel video, silent 1 min, loop

SeekerAccidentallyHungry 2024

Single-channel video, silent 1 min, loop

Courtesy of the artist and Bangkok CityCity Gallery

《島嶼噴泉》 2024年

單頻道錄像，無聲 1分鐘，循環播放

《市集》 2024年

單頻道錄像，無聲 1分鐘，循環播放

《突然飢餓的探險者》 2024年

單頻道錄像，無聲 1分鐘，循環播放

由藝術家及曼谷 CityCity畫廊提供

Nawin Nuthong is a contemporary artist and curator exploring the connections between history and cultural media through a wide range of mediums. Melding myths and legends with pop culture references from video games, comics, and films, he examines the role technology plays in reconfiguring the learning and understanding of history.

Nuthong graduated with a major in film studies and digital media from King Mongkut’s Institute of Technology Ladkrabang. Since 2024, his work has been exhibited at venues including Rumah Tangsi, Kuala Lumpur (2024) and Arts Maebashi, Maebashi (2024), and he was a participating artist in the Bangkok Art Biennale 2022. His video work 2 sec before revolution in a leaf (2023) was selected by the SAM S.E.A. Focus Art Fund 2024 for inclusion in the Singapore Art Museum collection. Solo exhibitions and projects at Bangkok CityCity Gallery include ‘THE IMMORTALS ARE QUITE BUSY THESE DAYS’ (2020), ‘A Room, Where They Are COEVALs [Precise at a Dig Site Door]’ (2021), ‘Heaven Crumbles: The Marvellous Misadventures of Sudsakorn’ (2021) and ‘Fountain Foundation’ (2025).

Nawin Nuthong 是一位當代藝術家及策展人，其創作橫跨多種媒介，探索歷史與文 化媒介之間的聯繫。他將神話及傳說與來自電子遊戲、漫畫及電影等大眾流行文化 元素融合，探討科技如何重構歷史的學習與理解方式。

Nuthong 畢業於泰國先皇技術學院，主修電影研究與數碼媒體。自 2024 年起，他 的作品曾於多個機構展出，包括吉隆坡 Rumah Tangsi（ 2024 年）及前橋美術館 (2024年)，並曾參與 2022 年曼谷藝術雙年展。他的錄像作品《 2 sec before revolution in a leaf》( 2023年）獲 2024 年 SAM S. E. A.  Focus 藝術基金選入新加坡美術館館藏。

他在曼谷 CityCity 畫廊舉辦的個展及項目包括：「THE IMMORTALS ARE QUITE BUSY THESE DAYS」( 2020年) 、「A Room, Where They Are COEVALs [Precise at a Dig Site Door]」( 2021年) 、「Heaven Crumbles: The Marvellous Misadventures of Sudsakorn」( 2021年) ， 以及「Fountain Foundation」( 2025年）。

Anna Sew Hoy

Part of the artist’s Growing Ruins series, these sculptures build on Sew Hoy’s long-standing practice using clay and her exploration of the ways space can be held and enveloped. Combining hand-sculpted arches with industrial metal and found objects, Sew Hoy’s sculptures evoke a dense, urban sprawl. Layered with references to vernacular life and built environments, these sculptures were created by firing both clay and cage simultaneously in a kiln, before embarking on a process of ‘re-inhabiting’ the structure with gathered detritus. Although each sculpture begins with materials that reference captivity, control, and discipline, this process of organic and spontaneous development results in vibrant, animated sculptures. It underscores how seemingly static cityscapes are constantly remade through dynamic exchanges, reflecting the urban condition in which people, materials, and structures continuously shape one another.

作為「生長的廢墟」系列的一部分，這兩組雕塑體現了藝術家長期以來的陶藝實 踐，並進一步探索空間如何被承載與包裹。作品結合手工捏製的拱形結構、工業 金屬及現成物，喚起一種緊密交疊的都市蔓生景觀。 Sew Hoy 的雕塑參照了層疊 的在地生活與建築環境。在創作過程中，她將陶土與金屬籠同時放入窯中燒製， 隨後展開「重新棲居」的過程，將搜集而來的殘骸碎片重新填入結構之中。雖然 每件雕塑的原材料皆有暗示囚禁、控制與規訓，但其有機且自發的生成過程最終 展現出生命力與動感。這種轉化凸顯了看似靜止的城市景觀實則在多樣的交流中 不斷被重塑；在此都市條件下，人、物質與結構皆持續地相互影響。

HeavySun and Commotion, 2022. Installation view, San Francisco Museum of Modern Art, San Francisco, 2023. Photo: Don Ross 《烈日喧囂》， 2022年。展覽現場，三藩市現代藝術博物館，2023年。攝影：Don Ross

HeavySun and Commotion 2022

Fired clay and glaze, found metal, Hydrocal and mixed media

79 × 102 × 98 cm

Hard Swamp Ecstatic Return 2022

Fired clay and glaze, found metal, Hydrocal and mixed media

82 × 107 × 96 cm

Courtesy of the artist and Commonwealth and Council

《烈日喧囂》

2022年

燒製陶土與釉料、現成金屬、石膏及混合媒介

79 × 102 × 98 厘米

《濁澤欣歸》

2022年

燒製陶土與釉料、現成金屬、石膏及混合媒介

82 × 107 × 96 厘米

由藝術家及

Commonwealth and Council提供

Hard Swamp Ecstatic Return, 2022. Installation view, San Francisco Museum of Modern Art, San Francisco, 2023. Photo: Don Ross 《濁澤欣歸》， 2022年。展覽現場，三藩市現代藝術博物館，2023年。攝影：Don Ross

Anna Sew Hoy uses sculpture, ceramics, public art, and performance to connect with the environment and foreground the power found in the fleeting and the handmade. Her work has been at the forefront of a re-engagement with clay in contemporary art and is closely associated with a critical rethinking of the relationship between art and craft.

Sew Hoy received an MFA from Bard College in 2008 and a BFA from the School of Visual Arts in 1998. She serves on the faculty of the University of California, Los Angeles. Selected solo exhibitions have been held at Commonwealth and Council, Los Angeles (2025); San Francisco Museum of Modern Art (2023); and Various Small Fires, Los Angeles (2019). Selected group exhibitions include Institute of Contemporary Art, Los Angeles (2024); Commonwealth and Council, Los Angeles (2024); Albertz Benda, Los Angeles (2023); Jason Jacques Gallery, New York (2023); American Academy of Arts and Letters, New York (2022); Museum of Contemporary Art San Diego (2021); and Sokyo Gallery, Kyoto (2021).

Sew Hoy is a recipient of the Fellows of Contemporary Art Grant (2023), the John Simon Guggenheim Memorial Foundation Fellowship (2022), and the Anonymous Was A Woman Award (2021). Her work is held in the collections of the Hammer Museum, the Los Angeles County Museum of Art, the Museum of Contemporary Art San Diego and the San Francisco Museum of Modern Art.

Anna Sew Hoy 創作雕塑、陶藝、公共藝術與行為與環境建立連結，並凸顯短暫之 物與手工製作所蘊含的力量。她的創作處於當代陶藝的前沿，同時亦推動對藝術與 工藝之間的批判性反思。

Sew Hoy 於 2008 年獲得巴德學院藝術碩士學位，並於 1998 年獲得紐約視覺藝術學 院藝術學士學位。她現任教於加州大學洛杉磯分校。近期個展曾於以下機構舉辦： 洛杉磯 Commonwealth and Council（ 2025 年)、三藩市現代藝術博物館（ 2023 年)，以及洛杉磯 Various Small Fires（ 2019 年)。群展包括：洛杉磯當代藝術學院 ( 2024 年）、 洛杉磯 Commonwealth and Council（ 2024 年）、 洛杉磯 Albertz Benda（ 2023年）、 紐約 Jason Jacques 畫廊（ 2023年）、 紐約美國藝術暨文學學 會（ 2022年）、 聖地牙哥當代藝術博物館（ 2021年）， 以及京都艸居畫廊（ 2021年）。

Sew Hoy 曾獲 Fellows of Contemporary Art 獎助金（ 2023 年）、古根漢獎學金 ( 2022 年）以及 Anonymous Was A Woman 獎（ 2021年）。其作品獲多間機構收 藏，包括洛杉磯漢默美術館、洛杉磯郡立美術館、聖地牙哥當代藝術博物館及三藩 市現代藝術博物館。

P. 40-41

& Bo Wang & Lu Pan

An excerpt from Wang and Pan’s essay-documentary of the same name, Many Undulating Things presents a historical view of commercial development in Hong Kong and its ‘mallification’—a term describing the dominance of retail architecture as a primary form of public space in the city. Focusing on the shopping mall, the film traces the evolution of its spatial form, typified by glass, concrete and enclosed structures, and considers how its architectural mechanisms optimise spending and consumption through environmental control. Despite being influenced by layered commercial interests, the mall also paradoxically emerges as a site where collective desires for belonging are projected and asserted. Exploring the contested nature of urban space in Hong Kong, Many Undulating Things offers a reflection on how containment, conditioning, and consumer culture become entangled with everyday prac tices of meaning-making.

《湧浪之間》節選自王博與潘律的同名散文紀錄片，從歷史視角呈現香港商業發展 及其「商場化」的進程——此概念意指零售建築主導城市公共空間的現象。影片聚 焦於購物商場，追溯其空間形式的演變，當中以玻璃、混凝土及封閉式結構為典型 特徵，並探討其建築機制如何透過環境調控來促使消費與支出。儘管商場深受多重 商業利益的影響，它卻也弔詭地成為人們投射並宣示集體歸屬欲望的場所。《湧浪

之間》探討了香港都市空間充滿爭議的特質，反思了空間限制、環境調節及消費文 化如何與日常生活的意義緊密相連。

Many Undulating Things 2019/2026, (still). Photo courtesy of the artists

2019/2026

ManyUndulatingThings

2019/2026

4K video with colour and sound 19 mins (excerpt)

Courtesy of the artists

《湧浪之間》

2019／2026年

4K 彩色有聲錄像 19

Bo Wang is an artist, filmmaker and researcher based in Amsterdam. His work has been exhibited internationally, including at the Guggenheim Museum, New York; MoMA, New York; Garage Museum, Moscow; International Film Festival, Rotterdam; CPH:DOX, Copenhagen; Visions du Réel, Nyon; LUX, London; Seoul Mediacity Biennale; and Sharjah Film Platform, among others. He is a recipient of major international awards, including New:Vision at CPH:DOX, Golden Dove at DOKLeipzig, O.F.F. Prize at Sesc_Videobrasil and Best Doc Short at Sharjah Film Platform. He currently teaches at LUCAS, Leiden University, and is finishing his PhD in cultural studies at ASCA, University of Amsterdam.

Lu Pan is an Associate Professor in the Department of Chinese History and Culture at The Hong Kong Polytechnic University. Her research interests cover a wide range of topics in cultural studies, with a focus on visual culture, city, media and memory. As a filmmaker, she has co-directed Many Undulating Things (2019), Miasma, Plants, Export Paintings (2017) and Traces of an Invisible City: Three Notes on Hong Kong (2016) with Bo Wang, Anachronic Chronicles: Voyages Inside/ Out Asia (2021) with Yu Araki and her independent work Island Fever (2026). She was one of the curators of Kuandu Biennale, Taipei, 2018.

王博是一位現居於阿姆斯特丹的藝術家、電影製作人及研究 者。他的作品曾於多個國際機構及影展展出，包括：紐約古根漢 美術館、紐約現代藝術博物館、莫斯科車庫當代藝術博物館、

鹿特丹國際電影節、哥本哈根國際紀錄片影展、尼翁國際紀錄 片影展、倫敦 LUX 媒體藝術中心、首爾媒體城市雙年展，以及沙 迦電影平台等。王氏曾獲得多項國際大獎，包括哥本哈根國際紀 錄片影展的「New:Vision」獎、萊比錫紀錄片影展的「金鴿獎」、

Sesc_Videobrasil的「O.F.F.  Prize 」以及沙迦電影平台的「最佳 紀錄短片獎」等。他目前任教於萊頓大學社會藝術中心，並即 將完成阿姆斯特丹大學文化分析學院的文化研究博士學位。

潘律現任香港理工大學中國歷史及文化學系副教授。她的研究 興趣涵蓋文化研究的多個領域，重點關注視覺文化、城市、媒 介與記憶。作為電影製作人，她曾與王博共同執導《湧浪之間》 （ 2019 年）、《瘴氣、植物、外銷畫》（ 2017年）及《隱形城市的 蹤跡：香港三記》（ 2016 年）；與荒木悠共同執導《倒錯的編年 史：出/入亞洲之旅》（ 2021年），以及獨立作品《Island Fever》 （ 2026年）。她亦是2018年台北關渡雙年展的策展人之一。

b. 1995, Wuhan; based in Rotterdam and Hong Kong 1995 年生於武漢，現居鹿特丹及香港

Tianyi Zheng

A Station That Never Sleeps is a new site-specific commission taking the form of an unmanned surveillance station. Constructed from office shelves, found objects and monitors, the installation centres on a makeshift console resembling the security stations found across the city. Stemming from the artist’s multimedia practice, which investigates the entangled relationship between urban space and memory, the work was developed in conversation with Para Site’s archival materials spanning its three-decade history. Activated by the movement of visitors, the work appears to function on residual energy, evoking a sense of eerie disquiet.

Based between Hong Kong and Rotterdam, Zheng previously worked at Para Site before pursuing a career as a practising artist. Archival materials from Para Site’s past exhibitions circulate through the work as fragmented loops, glitches and distortions. Here, the archive becomes a living and recursive process shaped by repetition, interference and accumulation. Within this work, the collective and personal memories of the institution and the city, intersect hauntingly.

《展場夜更》是一件全新的場域特定委約作品，以無人監控站的形式呈現。裝置由 辦公室收納架、現成物及顯示器構成，圍繞一座臨時組裝的控制台，其外觀近似 城市中隨處可見的保安監控站。作品延續藝術家一貫的多媒體實踐，探討都市空 間與記憶的纏繞關係，並在創作過程中與 Para Site 橫跨三十年的檔案資料展開對 話。作品隨觀者的移動而啟動，其運作彷彿依賴殘餘的能量，營造出一種詭譎而 不安的氛圍。

藝術家現居香港與鹿特丹之間，在投身全職藝術創作前曾於 Para Site 工 作。機構過往展覽的檔案資料在作品中不時出現，形成循環︑故障與扭曲的片斷︒ 在此，檔案不再是靜態紀錄，而是轉化為一個重複、干擾與累積的循環過程。機 構與城市的集體記憶與個人記憶彼此交織，縈繞不散。

AStationThatNeverSleeps, 2026, (still). Photo courtesy of the artist

AStationThatNeverSleeps 2026

Mixed media installation (steel shelving, CRT monitors, CCTV camera, custom software, archival materials, electronic components, found objects) Dimensions variable

Courtesy of the artist Commissioned by Para Site

《展場夜更》 2026年

混合媒介裝置（鋼製層架、 CRT 顯示器、閉路電視攝影 機、客製化軟件、檔案材料、 電子零件及現成物） 尺寸可變

由藝術家提供

Para Site 藝術空間委約作品

Tianyi Zheng is an artist and researcher whose practice explores how space holds memory, displacement and affect, with a focus on spatial narration, diasporic experience, and hauntological approaches. Working with mixed-media installation, performance, video, sound and found objects, she often reconstructs or re-stages interiors to examine how personal and collective histories persist through repetition, absence and temporal slippage.

Zheng received an MFA from the Frank Mohr Institute in 2021 and a BA in Fine Arts from The Chinese University of Hong Kong in 2018. Her work has been presented at TANK, Shanghai; Simose Art Museum, Hiroshima; Art Rotterdam; and Het Wilde Weten, Rotterdam. She completed the Young Arts Tech Talents Residency, Hong Kong (2024–25), following a residency at K11 Art Village, Wuhan (2024). She is a recipient of the Jan Naaijkens Prize and has received support from Mondriaan Fonds, Amarte Fonds, and CBK Rotterdam.

鄭天依是一位藝術家及研究者，其創作實踐探索空間如何承載記憶、遷移與情感， 並聚焦於空間敘事、離散經驗及「幽靈學」的研究路徑。她運用混合媒介裝置、行 為、錄像、聲音及現成物創作，重構或重新佈置室內場景，檢視個人與集體歷史如何 在重複、缺席與時間錯位中持續留存。

鄭氏於 2021 年獲得荷蘭 Frank Mohr 學院藝術碩士學位，並於 2018 年獲得香港中文 大學藝術學士學位。其作品曾展出於上海油罐藝術中心、廣島下瀨美術館、鹿特丹藝 術博覽會，以及鹿特丹 Het Wilde Weten。她曾在 2024 年於武漢 K11 藝術村駐留，隨 後完成了香港「藝術科技人才駐場計劃」（ 2024 –25年）。 她是 Jan Naaijkens 獎得 主，其創作亦曾獲蒙德里安基金會、Amarte 基金會及鹿特丹 CBK 支持。 P. 48-49

Stella Zhong

Warp Until Fearless draws on Zhong’s experiences of various urban environments, including Shenzhen, where she grew up, and Jakarta, where the first iteration of this work was developed. The geographical proximity between Hong Kong and Shenzhen situates the work within a network of rapidly transforming cities shaped by shared conditions of density, possibility and infrastructural growth. Evoking the appearance of skyscrapers, Zhong refers to an architectural type that reproduces itself globally, often disregarding cultural specificity or local context. Zhong explores how a sense of the ahistorical is captured in this monumental form, where urban structures appear interchangeable and detached from any particular temporal and spatial anchors. In developing Warp Until Fearless, Zhong envisioned a pavilion lying on its side, no longer conforming to gravity. Installed horizontally, the structure reflects a glaring ‘sun’ that confront the viewers, while smaller sculptural elements that look like molecules, industrial debris or otherworldly sites are dispersed across the space and emerge into view beyond the sun. Through shifts in scale, proportion and placement, the work constructs a space defined by distorted relations between objects, foregrounding planetary interactions independent of human presence.

《彎到無所畏懼為止》汲取了鐘笛鳴在不同城市環境中的生活經驗，包括她成長 的深圳，以及作品最初構思所在地雅加達。因香港與深圳地理相鄰，作品被置於 一個快速轉型的城市網絡之中，被高密度、發展潛力與基礎建設擴張等共通條件 所界定。鐘氏藉由摩天大樓的意象，指涉一種在全球不斷複製的建築類型。其設 計往往漠視文化差異或在地語境。她探討這種宏偉形態中所呈現的去歷史感：都 市結構看似可以互換，且脫離了特定的時空錨點。在構思《彎到無所畏懼為止》 時，藝術家想像了一座橫臥、不受重力束縛的亭子。這座水平安裝的結構，反射 了一個耀眼的「太陽」，直逼進入空間的觀眾；而一些形似分子、工業殘骸或異世 界遺址的小型雕塑元素則散布在各處，並在視線適應光線後逐漸浮現。作品轉換尺 度、比例與位置的常規，構建出一個物件相互關係被扭曲的空間，彰顯了獨立於人 類的行星互動。

Free-Range Suns, 2025. Installation view, ROH, Jakarta, 2025. Photo courtesy of the artist and ROH 《Free-Range Suns》， 2025年。展覽現場，雅加達ROH，2025年。圖片由藝術家及ROH

Warp Until Fearless 2026

Glass, vinyl, steel, string, wire, various clays, magnet, plastic, pompom, wood, bead, mylar, resin

450 × 250 × 200 cm

Courtesy of the artist, Antenna Space, Shanghai/Hong Kong and ROH, Jakarta Commissioned by Para Site

《彎到無所畏懼為止》

2026年

玻璃、乙烯基、鋼、繩線、鐵線、各種陶土、磁鐵、塑膠、 絨球、木材、珠子、mylar膠片、樹脂

450 × 250 × 200 厘米

由藝術家，天線空間（上海／香港）及ROH（雅加達）提供 Para Site藝術空間委約作品

Stella Zhong’s sculpture calibrates to both the particulate and the cosmic, holding them in proximity through opaque volumes. Her installations magnify this fundamental gap within existential and political conditions, articulating incommensurability, indeterminacy and simultaneity.

Zhong holds an MFA from Yale University and a BFA from Rhode Island School of Design. Selected solo exhibitions include ROH, Jakarta; Antenna Space, Shanghai; The Intermission, Piraeus; Chapter NY, New York; Fanta-MLN, Milan; Adams and Ollman, Portland; and Guan Shanyue Art Museum, Shenzhen. She has exhibited internationally at The Power Station, Dallas; Asia Society Texas, Houston; Leeum Museum of Art, Seoul; SculptureCenter, New York; The Aldrich Contemporary Art Museum, Ridgefield; Deborah Schamoni, Munich; Grimm Gallery, London and New York; Jeffrey Deitch, Los Angeles; and Blindspot Gallery, Hong Kong. Her work has been reviewed in Artforum, FlashArt, ArtAsiaPacific, Mousse magazine, Texte zur Kunst, the New York Times, and Art in America. She is the recipient of the 2025 Gold Art Prize.

鐘笛鳴的雕塑創作遊移在微觀粒子與宏觀宇宙的尺度之間，並以隱晦的形體結合兩 者。她的裝置擴大這一分野，將其置於存在與政治條件下，並指向相悖性︑模糊性與 同時性。

鐘氏擁有耶魯大學藝術碩士學位及羅德島設計學院藝術學士學位。其個展曾於多間 畫廊及機構舉行，包括：雅加達 ROH、上海天線空間、比雷埃夫斯The Intermission、 紐約 Chapter NY、米蘭 Fanta - MLN、波特蘭 Adams and Ollman以及深圳關山月 美術館。她的作品亦曾於多個國際機構展出，包括：達拉斯 The Power Station、侯 斯頓亞洲協會德州中心、首爾三星美術館、紐約雕塑中心、里奇菲爾德奧爾德里奇 當代藝術博物館、慕尼黑 Deborah Schamoni、倫敦及紐約 Grimm畫廊、洛杉磯 Jeffrey Deitch，以及香港刺點畫廊。其作品評論見於《 Artforum》、《 FlashArt》、  《 ArtAsiaPacific》、《 Mousse magazine》、《 Texte zur Kunst》、《紐約時報》及  《 Art in America》。她是 2025 年 Gold Art Prize 得主。 P. 52-53

Site-seeing 易過借房 14.3–14.6.2026

Curators 策展人

Junni Chen 陳君妮

Yuanyu Li 李沅鈺

Exhibition Manager 展覽經理

Miki Hui 許彥彤

Graphic Design 平面設計 The Exercises

Copy Edit 校對

Orit Gat

Jaren Ng 吳致寧

Special Thanks 特別鳴謝

Dea Aprilia

Maruto Ardi

Nina Bakhtadze

Cusson Cheng 鄭家醇

Mui Cheng 鄭泳昕

Young Chung

Eythos HK Limited

Annie Hägg

Ho Siu Chuen 何兆川

Lorraine Kiang

Kibum Kim

Kopo Production

Herman Lau 劉志鏗

Ed Lee 李治中

Alberta Leung

Edouard Malingue

Ng Kai Fung 吳啟峰

Lisa Offerman

Supamas Phahulo

Solar Solutions Limited

Akapol Op Sudasna

Jun Tirtadji

Simon Wang

Xinyu Zhang

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 ‘Site-seeing’ 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 organisers of ‘Site-seeing’ 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「易過借房」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 「易過借房」的推行機構的觀點，並不代表香港特別行政區政府 的觀點。

Additional Support 協力贊助

Media Partner 媒體夥伴

Hospitality Partner 款待夥伴

Para Site thanks our Patrons’ Circle, whose patron memberships go a long way in underwriting essential support for our exhibitions and programmes, including those who choose to remain anonymous:

Para Site向我們的襄贊者致誠懇謝意， 他們的長久支持令我們的展覽及活動得以持續：

Global Council & Founding Friends 環球協會及始創好友

Shane Akeroyd

Jean-Marc Bottazzi

Stephen and Helen Cheng

Mimi Chun and Chris Gradel

Mara Coson

Hawk He

Alan Lau

Yuki Terase

Oscar Wang

Virginia Sun Yee

Schoeni Projects

Yenn and Alan Lo Foundation

SUNPRIDE FOUNDATION PERROTIN

David Zwirner Gallery

Friends 好友

Cheng-Lan Foundation

Lawrence and Natalie Chu

Jane Debovoise

Jason Karas

Bernhard and Cordula Kotanko

Carl Tancaktiong and Maggie Kwei

Angelle Si-yang Le

Jina Lee

Pak Man Lee

William and Lavina Lim

Brady Ng

Justin Ng

Fabio Rossi

Tabula Rasa Gallery

Associates 協力夥伴

Sandy Au

Gagosian

Hauser and Wirth

Monica Heslington

Christopher K. Ho

Brian Ip

Elaine Kwok

Vicky Lam

Shirley Lau

Timothy Tan

Elia Mourtzanou

Kee Foong and Andres Vejrano

Roman Ruan and Freda Yang

Zheyuan Zhang

PARA SITE TEAM

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

Yuanyu Li 李沅鈺 Assistant Curator 助理策展人

Miki Hui 許彥彤 Exhibition Manager 展覽經理

Lydia Tai 戴雍晴

Communications Manager 傳訊經理

Holly Leung 梁皓涵 Gallery Manager

畫廊經理

Stefan Luk 陸其叡 Project Coordinator 項目統籌

Lynna Lam 林珊 Development Assistant 發展助理

Spring 2026 Interns 2026春季實習生

Chan Sum Yi 陳心宜

Woo Hiu Ki 胡曉其

Leung Wan Wei Vivian 梁蘊慧

Wong Jocelyn Cheuk Lam 王卓琳

PARA SITE BOARD

PARA SITE 董事局

Alan Lo 羅揚傑

Chair 主席

Sara Wong Chi Hang 黃志恒

Secretary 秘書

Shane Akeroyd 安定山

Dr. Yeewan Koon 官綺雲博士

Alan Lau 劉家明

Adeline Ooi 黃雅君

Federico Tan 陳奕明

Honus Tandijono 陳松正

Yuki Terase 寺瀨由紀

Para Site champions original developments in contemporary art by centring 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 80 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。其中許多 已成為當代藝術界的重要力量，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，接待逾 80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。

聯絡我們 CONTACT

www.para-site.art

香港鰂魚涌英皇道677

號榮華工業大廈22樓

22/F, Wing Wah Industrial Building, 677 King’s Road, Quarry Bay, Hong Kong t. +852 25174620

e. info@para-site.art

星期三至星期日下午12時至晚上7時 星期一︑星期二與公眾假期休息 Wednesday to Sunday, 12:00–19:00

Closed on Monday, Tuesday, and Public Holidays

Facebook/Instagram: @parasite.hk

Wechat: parasitehongkong