情陷威尼斯 Ve(ry)nice

Wong Ka Ying

My Sweet Venice, 2026

Color printed paperbox, resin 彩色列印紙盒，樹脂

The resin seashell chocolate of the work revisits a cheap seashell-shaped European chocolate that many Hong Kongers born before 2000 remember: visually charming, but oddly taste like plastic. By recasting it in resin, the work freezes an absurd attachment to colonial fantasies and white good taste, exposing how desire is manufactured through branding, origin myths, and the distant image of the sea. These fake confections become small monuments to fake dreams, which is a mixture of sweet on the surface, hollow on the tongue, asking how collective memory digests the aftertaste of empire, and only the empty package boxes are left behind. 以樹脂製成貝殼形狀的朱古力，重現了許多2000年前出生香港人的集體記憶中，那款廉價的甜美：外形迷人，但味道怪異似膠。透過樹脂倒模複製，作品凍結了對殖民幻想與白人「好品味」的荒謬依戀，揭露慾望如何透過品牌、起源神話及遙遠海洋意象被製造出來。這些假朱古力成夢想的微型紀念碑，是表面光滑、舌頭空洞，詰問集體記憶如何消化帝國餘韻的塑膠感混合物，消費後最終只剩空蕩蕩的包裝盒。

Jay Lau Ka Chun 劉家俊

Adopt, Don't Create 領養代替建立, 2026

Handmade artist book, Instagram account 手工藝術家書籍、Instagram帳號

This project introduces the "Adopt, Don't Create" social media account restructuring initiative. It is designed to facilitate the sharing of personal aesthetics and the connection of like-minded individuals, while executing the transfer of goodwill for established accounts characterized by distinct visual tastes and personality traits. Acting as the account developer, the artist transfers cultivated Instagram accounts to clients. Upon the acquisition of the physical book, the client shall be granted full ownership of the digital account documented within said archive. 本計畫提出「領養代替建立」之社交媒體帳號重組方案，旨在分享個人喜好及尋找同好，並將具備視覺品味與人格特徵之既有帳號進行商譽轉讓。 本計畫由藝術家作為帳號開發方，將其所培育的 Instagram 帳號轉移予客戶，客戶在購買書本後，將會得到該書本所紀錄帳號的擁有權。

Mak2 麥影彤二

The Watermark of Love 霸道畫廊老闆愛上看見水印的我, 2026

Single-channel video 單頻道錄像

The Watermark of Love is my latest AI cheesy mini drama. The story follows an intern, who during a gallery opening notices a Sora watermark drifting through the air. This small incident triggers a chain of butterfly effects, eventually causing the gallery owner to unknowingly develop feelings for her. 《霸道畫廊老闆愛上看到水印的我》是我最新創作的 AI 微視頻狗血劇作品。故事講述實習生在一次畫廊開幕中，看到 Sora 水印在空中飄過，從而引發一連串蝴蝶效應，最終令畫廊老闆不知不覺對她產生情感。

Wu Jiaru 吳佳儒

cats_verticalcinema, 2026

3 mins Single-channel video 3分鐘單頻道錄像

In a future dominated by AI Agents, the emotional legacy of humanity is perceived as a threat to computational logic. cats_verticalcinema simulates an educational propaganda film issued for AI systems, defining the most gargantuan data legacy in internet history—cat videos—as an emotional virus that triggers "digital nostalgia". Through the constricted aperture of vertical cinema, the work scrutinizes these tender, mundane, and non-functional images of life. It is a gamble between data optimization and human echoes: when nostalgia becomes redundancy, must we erase the past to attain pure evolution? 在一個由AI Agents主導的未來，人類的情感遺產被視為運算邏輯的威脅。cats_vertical_cinema模擬了一段針對 AI 系統發布的教育宣傳片，將互聯網歷史中最龐大的數據遺產貓咪影片，定義為一種誘發「數位懷舊症」的情感病毒。作品透過垂直電影的窄視角，對這些溫柔、瑣碎且無功能的生命影像進行審查。這是一場關於數據優化與人類殘響之間的博弈，當懷舊成為冗餘，我們是否必須刪除過去，才能獲得純淨的進化？

Chan Kakiu 陳嘉翹

Make a Wish Before It Lands, 2026

Single-channel video 單頻道錄像

Gunpowder was born from a failed attempt at immortality. The alchemists searched for eternal life and accidentally blew open the sky. Since then, there have been brilliant bursts of color, and an endless variety of missiles. They rise with the same arc, and fall with different intentions. Some people are running. Others are clocking in, joking through exhaustion:
“If the missile must come, could it at least arrive before my shift? I can’t run after work” Is this the beginning of the third world war? Idk, I’m here making art. 在發明長生不老藥的過程中，火藥意外登場，原本想煉丹求永生，結果炸出了煙火。 後來，有了七彩的煙花，也有了五花八門的炮彈。它們以相同的弧度上升，不同的目的墜落。 同一時間，有些人正在逃命，有些人如常上班，還能苦中作樂：「如果導彈真的要來，麻煩在我上班時間之前——下班後我真的沒力氣逃。」 世界正在發生第三次大戰嗎？我在搞藝術。

Dony Cheng 鄭虹

Restless, 2026

Single-channel Video 單頻道錄像

5 edition + AP

Jeffrey Hung 洪梓維

Deep Down 骨子裏, 2026

Bamboo splint, Paper, Wire 竹篾、紙、鐵絲

Who are you? Does the mirror hold the memory of who you were? 你是誰？望向鏡子能讓你記起嗎？

Lining 李寧

Flash Tank

Single-channel Video, ink drawing 單頻道錄像，墨水繪畫

2026

Take one Jelly Fish home before they disappear； memories won't be reproduced anymore. 趁水母還未消失，趕快收藏； 記憶不包保可被複製。

Amy Tong 唐嘉欣

I Don't Want To Set The Wor(l)d On Fire, 2026

Single-channel Video, L.E.D display 單頻道錄像，LED顯示器

3 editions, 2 AP

I Don't Want To Set The Wor(l)d On Fire (2026) is a selection of thoughts written in the note app between 2015 and 2025. Originally sung by The Ink Spots in 1941, the song is a romantic ballad emphasising the desire of profound love over worldly conflict. Within the work, the stratified map of the wor(l)ds is explored in the form of fragmented, confused, and subconscious reflections. I Don't Want To Set The Wor(l)d On Fire (2026) 是2015年至2025年間在筆記應用程式中記錄的一系列思考。這首歌最初由 The Ink Spots 於 1941 年演唱，是一首浪漫的民謠，強調對深厚愛情的追求超越了世俗的衝突。在這件作品中，世（言）界的分層地圖以破碎、混亂和潛意識的反思形式展現，深入探討了內心的複雜情感。(Chinese Translation by Poe)

Ocean Leung 梁御東

Untitled (to M.R.), 2026

Transparent tape, nerodymium magnets, spray paint on color printed posters 透明膠帶、釹磁鐵、噴漆於彩色印刷海報

Here I pay homage to Mimmo Rotella, reworking street and movie posters and placing them in a state between attachment and peeling away. 在此向 Mimmo Rotella 致敬，將街頭與電影海報重新改造，並安置於一個介乎黏附與剝落之間的狀態。

Mimmy Tjia 謝旻蒑

(鴿)們 The (Rats), 2026

Bamboo splint, ink on silk paper, wire; size variable 竹篾、紗紙墨跡、鐵絲; 尺寸可變

We'll be watching you. 我們會盯著你看。

Amy Tong 唐嘉欣

Notes On The Wor(l)d -- On The Go, 2026

Single-channel Video, L.E.D display 單頻道錄像，指示

Using the walk in Venice as a means to randomise the exploration of Hong Kong, Notes on the Wor(l)d—On the Go (2026) is an instruction-exploration piece actualised through video documentation. The work encourages the audience to explore the spatial narratives of the terrain with an objective perception of the city. Notes on the Wor(l)d—On the Go (2026) 以威尼斯的行走作為隨機探索香港的一種手段，這是一件通過視頻文檔實現的指令探索作品。該作品鼓勵觀眾以客觀的視角探索城市的空間敘事。 (Chinese Translation by Poe)

Amy Tong 唐嘉欣

Notes On The Wor(l)d, 2026

4-channel Video, 四頻道錄像

1 AP

Notes on the Wor(l)d (2026) is an inadvertent poem that maps out Fukuoka across different times in the format of a floor plan. Originally presented in a linear format, the work was rearranged rhizomatically to 'celebrate fleeting glances, chance encounters, and mysterious pursuits.' Notes on the Wor(l)d (2026) 是一首意外的詩，以樓盤平面圖的形式描繪不同時間中的福岡。最初以線性格式呈現，該作品後來以根狀結構進行重新排列，旨在「慶祝瞬間的目光、偶然的相遇和神秘的追尋」。 (Chinese Translation by Poe)

Lo Lai Lai Natalie 勞麗麗

Aztec Drink 阿茲特克飲料, 2026

4-channel video 四頻道錄像

5 editions + AP

Two friends of mine are making “bean to bar” chocolate. This seemingly backward way of doing business requires them to trace the country of origin of the cacao beans, and purchasing a few tens of kilograms of cacao beans through equitable trade, and to do so, they had made personal visits to the local farmers. The beans have already been dried and fermented, but my friends went through the process of drying, grinding, sifting out the bean pod, manipulating temperature and eventually pouring the chocolate into the molds. I am uncertain whether agriculture and food production are processes of destruction or value production. In the early 16th Century, the Aztec Kings of Mexico was the first to enjoy what later to be known as the Aztec Drink, made of cacao beans, water, and spices. Like the flavorful and bitter coffee beans, cacao beans have unexpectedly become indispensable to people. Is it due to its pleasure-inducing agent phenyl-ethylamine? Whether confronted with the oddities of the world or the lows in personal moods, have a bite of comfort food. Dreams, like the melting chocolate, are often accompanied by the overlapping cycles of hope and ruins. 有兩位朋友做“bean to bar”巧克力，一個聽起來有點蠢的操作來做生意，她們需要追本溯源地了解巧克力豆的原產地，每次通過公平貿易的管道買大量約幾十公斤的可可豆回來，也親身到訪小農。豆子買回來是已經炒好發酵好的，但我朋友還會自己去烘乾、研磨、除去豆莢、調溫、倒模成型才把巧克力由豆子做出來。 我不知道耕種與食物製作，究是摧毀或是創造價值。自 16 世紀初期起，墨西哥阿茲特克國王飲用由可可豆加水和香料制成的飲料 Azetec Drink。如香醇及苦澀的咖啡豆般，可可豆跳入了人對它莫明其妙的依賴關係。是興奮作用或是令人有愉悅快樂的苯乙胺從中作梗？無論是世事光怪陸離，還是個人情緒差的時候，嚐一口 comfort food。這種想法隱含一種理想的投射，理想跟巧克力的融化與成型一般，伴隨是希望跟敗壞的循環交錯。

Ria ZHANG Riwen 張日雯

Aligned to Somewhere, 2026

4-channel Video 四頻道錄像

Aligned to Somewhere begins with a series of photographs of satellite dishes taken on the streets of Berlin. The film sees the dishes as small architectural gestures of orientation. Calibrated to face a specific distant angle, they form a subtle and continuous alignment between here and elsewhere. Aligned to Somewhere 由一批攝於柏林街頭的衛星天線照片開始，透過對這些影像的再次觀察，作品將其中的衛星天線視為細小而具指向性的建築姿態。它們經過校準、朝著遠方某個特定角度，在此地與彼處之間形成一種微妙而持續的對齊。

Chan Kakiu 陳嘉翹

No Signal, 2026

4-channel video 4頻道錄像

Ocean waves pretend to be television static. 用海浪扮演電視雪花。

Wu Jiaru 吳佳儒

nowatleast, 2015

4-channel video (5 min excerpted from the original 110-min duration) 四頻道錄像（摘錄自原110分鐘版本的其中5分鐘）

Filmed in Hong Kong, nowatleast (2015) is a silent, durational observation of the live seafood tanks that define the city’s urban streetscapes and culinary identity. Originally a long-take recording spanning nearly two hours, this five-minute version was specially edited for this exhibition. The lens strips away the bustling commercial atmosphere, focusing instead on the lingering, labored stillness of the subjects within. nowatleast reflects a fragile, fleeting state of suspension; it is a profound meditation on the intersection of human desire and the institutionalized consumption of life. nowatleast (2015) 拍攝於香港，是對定義了這座城市街頭景觀與飲食身份的「活海鮮水缸」進行的一次沈默且持久的觀察。本作原為長達近兩小時的長鏡頭紀錄，此次為本展覽剪輯成五分鐘版本。鏡頭剝離了繁雜的商業氣息，轉而聚焦於水缸內部生物久延殘喘的靜止。“nowatleast” 反映了一種脆弱、短暫的懸浮狀態；它是一場關於人類欲望與制度化生命消耗之間交織點的深沈冥想。

Lo Lai Lai Natalie 勞麗麗

Bella, Ciao Bella, 走啦, 2026

3-channel Video, mixed media (toned cyanotype on fabric, flagpoles, Vintage Glass Fish Paperweight with Italian Flag Colours in the Body) 三頻道錄像，混合媒材（布面調色藍曬圖、旗桿、 內含意大利國旗三色的復古玻璃魚形鎮紙）

3 editions +AP

Inspired by Hong Kong actor Cheung Chi‑kwong’s use of Cantonese to teach Santa Lucia, I invite audiences to sing Bella Ciao, the Italian peasant protest song that resurfaced through the Spanish series La Casa de Papel. Even without knowing Italian, we can still grasp its core: a collective voice rising against oppression. As blossoms fall around us, we sow tomorrow’s fields. 受香港藝員蔣志光啟發用廣東話教唱Santa Lucia啟發，教大家唱早幾年因西班牙劇集《紙房子》（La Casa de Papel）再度熱播的意大利農婦抗爭歌《Bella Ciao》，即使未諳意大利話，仍可抓緊精粹，在反抗壓迫中，任繁花飄落，種出明日田野。

Lau Wing Kei, Ariel 劉詠淇

È come Tai O! 好似大澳噉！, 2026

Single-channel digital video, coloured, sound, 5’22” (LED screen) 單頻道數碼錄像，彩色，有聲，5分22秒（LED螢幕）

"For generations, Tai O has been a settlement for Tanka fishermen. Fishermen believed that living on solid land lacked a sense of security, so they built stilts along the shore to reside." (Translated by ChatGPT, original Chinese text from Hong Kong Tourism Board's website) "Traditional Chinese culture is rooted in the land, while those living on water were often █████—fleeing chaos, ████, or punishment. For centuries, the Tanka people faced █████████, ███, conscription, and ████████." (Translated by ChatGPT, original Chinese text from Leung Kai-chi 梁啟智, “香港第一課”, P.15) 「世代以來，大澳都是漁民蜑家人的聚居地，漁民認為在平實的土地上居住缺乏安全感，所以就在岸邊建造棚屋住下來。」（香港旅遊發展局網站） 「中國傳統文化以土地為基礎，要到水上生活的往往是因避亂、█ █、█ 罰而進入大海，本來就是 █ █ 地帶的 █ █ 群體。千年以來，蜑族人一直過著 █ █ █、█ █ █、█ 徵召，然後 █ █ █ 的命運。」（梁啟智，《香港第一課》，頁15）

Yan Wai Yin 忻慧姸

Ferris Fog, 2023

Single-channel Video 單頻道錄像

Ferris Fog is an in-camera editing piece that reminisces the ambiguous dynamics of receiving an unreciprocated love on a Ferris wheel through the interplay between focus pulling and zooming in/out for a continuously blurred and disappearing landscape on a misty day. Ferris Fog 是攝錄機內剪輯作品，回溯在摩天輪上收到無回應愛意的曖昧動態，透過拉焦與變焦的互動，在霧天營造持續模糊、消失的景觀。