The thickness of the present grows as a writer goes back to the past — to question the protagonists of a situation from the point of view of what they could have done and what they may become capable of. Michael Leung takes off describing how he no longer calls himself a beekeeper as multi-species solidarity becomes growingly important to him.
Several visitors — Evelyn Char, Yang Yeung and Eddie Cheung — have preserved precious impressions for Man Mei-to’s recent 3-week solo show “the Distance of Space” at Floating Projects.
「相片沉了藥水後從一將白紙慢慢顯影。」這就是「曝光」。張才生就個人展覽 《從觀看說起》 及閉幕演出《「曝光」之下》給自己作了一點記錄。Artist Samson Cheung reflects on his “exposure” (exhibition and performance) in his solo show at FP last December (2016).
“…I am still not very used to carrying a camera. Scenes captured in the footage do not have little similarity with what I actually saw on the spot.” Winnie Yan, curator for “Back & Forth,” recalls her videography one year ago.
[FP EXHIBITION REVIEW] Yeung Yang identifies three sets of dilemma – techno-culture, dumb objects, and the challenge of a solo show – and ponders on the place of affect in Wong Chun-hoi’s “Hardworking Burning Electricity.”
[FP EXHIBITION REVIEW) Josef Bares discusses Lee Kai-chung’s strategy of rendering public records to “becoming private,” “expressing some things and feelings too nuanced to be expressed in words.”
[FP EXHIBITION REVIEW] Josef Bares makes sense of an assemblage of cables and switches in Wong Chun-hoi’s solo show — electricity personified…