NEWS
相信不少港島人乘巴士前往柴灣，總會經過一道斜坡大馬路，途中有一個巴士站，名為「亞公岩道」，然而我們對它的認識有多少？這地方為甚麼被稱作「亞公岩」呢？而你，又知不知道，位於筲箕灣邊陲的亞公岩村，即將清拆重建，現時正進入收地階段？
亞公岩村是一條古老的客家村落，有接近200年歷史，昔日居民以採石、捕魚和造船維生。時代巨輪不停轉動，它難逃重建的命運，意味香港再多一條歷史悠久的古村消失。收地後，政府計劃原地興建七幢公營房屋，提供1,500伙單位。
攝影師石寶鈞在大約五年前，偶然找到鄰近亞公岩村的工廈單位，其後合租作為藝術工作室，接着因緣際會下認識亞公岩村的村民，經深入交流，了解不少村落的舊時故事。他在一年前，與策展人合作開展藝術項目，希望以藝術的方式記錄及致敬亞公岩這個即將消逝的社區。在他們的眼中，亞公岩承載了怎樣的回憶和人情呢？
曾是石礦場、太平天國遺民來此落地生根、昔日泳棚游水捉鮑魚 攝影師石寶鈞怎樣用花崗岩石留住百年古村記憶？
Review
A Kung Ngam: Shek reviewed by Lily Natasha Lai in MingPao Daily
Available on mpweekly.com
07/08/26
An exhibition at Square Street Gallery examines how language is an evolving marker of sociocultural relations
If language is an intimate form of embodied transmission, whereby words are spoken by individuals whose understanding of their meaning is contingent on contextual and interpersonal relations, then it is through language’s everyday use that a more complex, materialist understanding of culture emerges. The title of Faan1jik6 Zi1gaan1, a three-artist group show, is the Romanised, Cantonese transliteration of 翻譯之間 (meaning: ‘In between translations’) and pointedly reflects on that dynamic in the context of Hong Kong.
What’s In Between Translations - Art Review Asia
Review
Faan1jik6 Zi1gaan1 reviewed by Stephanie Bailey in Art Review Asia.
Available on artreview.com
07/07/26
A Kung Ngam: Shek
Solo Exhibition of photographer Shek Po Kwan
Curator
EJAR RAGORA, Hong Kong
27/06/26 - 21/07/26
A Kung Ngam Village is situated in Shau Kei Wan, next to photographer Shek Po Kwan’s studio. His visual explorations, and personal interactions with inhabitants, document the unique materiality and social fabric of a 180 years old village on the cusp of redevelopment.
石 (Stone) - 1: A solid concretion of earthy or mineral matter of indeterminate size or shape. It can be used in building constructions or taken as a singular unit for other purposes such as demarcation, ornamentation or tool-making. It can be a functional or ritualistic object, continuously appearing in our everyday life. When strong winds sweep across Hong Kong, you can find them anchoring the rooftops of many villages, securing the house together.
石 (Stone) - 2: The foundational material used to construct A Kung Ngam Village (亞公岩村) in Shau Kei Wan (筲箕灣), which was primarily built by […]
Denniston Hill
Residency
Resident curator
Denniston Hill, New York, United States.
13/05/26 - 27/05/26
Selected to take part in the Denniston Hill residency in New York, through A4 Arts Foundation and the 6414.36 nautical miles project .
Denniston Hill is an artist residency and cultural platform rooted in 220 acres of forested land in the southern Catskill Mountains, within the ancestral territory of the Esopus people of Lenapehoking. This land is not just a backdrop. It is a collaborator in the creative life of the community. Since 2004, they have welcomed more than 250 artists from around the world to a residency grounded in care, connection, and shared resources. The residency was Founded by Julie Mehretu, Lawrence Chua and Paul Pfeiffer.
Special thanks to Lacey Romano and Kelsey Leland.
6414.36 nautical miles
Research installation and exhibition with Jody Brand, Jes Fan, and Nolan Oswald Dennis
Co-Curator
At A4 Arts Foundation, Cape Town, South Africa.
20/04/26 - 02/05/26
6414.36 nautical miles is an ongoing curatorial research project beginning with a friendship between two curators across distance. Concluding months of research, what follows is an installation in A4’ Arts Foundation’s Reading Room that prioritises images and interactive elements to detail the project lifecycle. This open presentation unravels through audio discussions that viewers can access through QR codes, considered contact points featuring Davids and Vabre Chau expanding on notions like ‘Ocean’ or ‘Friendship’. Highlighting extracts from roundtables and related projects, the installation also presents compiled reflections by invited practitioners on curatorial and artistic methodology along with meeting details.
Artworks by Jody Brand, Jes Fan, and Nolan Oswald Dennis serve as three coordinates. Jody Brand’s sculptural work, 10 Hail Mary’s (2021), featuring abalone shells, links Brand's ancestral knowledge and faith to a resonance between Cantonese cuisine, Cape foraging, and contemporary trade. Dennis’s model for an endless column (2021) foregrounds an underlying concern of the researchers of turning inherited geographies on their head and insisting on other orientations of the world. Jes Fan's video work, Palimpsest (2023), uses the oyster (a mollusc with a long history in Hong Kong) as a metaphor for colonial violence through language, by embedding words within the oysters' mantles.
Planting the Colony
Essay
Writer
Available on A4 Arts Foundation
21/04/26
An articulation of persisting botanical imperialisms in Cape Town and Hong Kong through artists’ relationships to land, reclamation and cultivation.
“Upon my return to Hong Kong in 2024, I was mesmerised by the luscious mountains across the territory. I thought that no matter what pressure was enacted upon the city, its landscape could evade these constraints. After all, plants are an organic and uncontrollable organism emanating from the natural processes of life, fauna and flora tied to forces much larger than ourselves. As research with Lemeeze Davids grew, however, we realised that our landscape is often indicative of larger patterns of oppression and human intervention.”
Faan1jik6 Zi1gaan1 (In Between Translations)
Group exhibition with CHAN Melody, YAN Wai Yin Winnie and YIP Kai Chun
Curator
At Square Street Gallery, Hong Kong.
29/01/26 - 07/03/26
Faan1jik6 Zi1gaan1(In Between Translations)* is a group show on language, presenting artists working in a translational process. They explore how the transmission of information can fluctuate between being an exposing or obscuring act.
CHAN Melody, YAN Wai Yin Winnie and YIP Kai Chun, are three artists looking at what escapes clear and straightforward communication, favouring simultaneous interpretations instead. Through installations and videos, Chan, Yan, and Yip reveal language to be a contentious site with as much potential for gain as it does for loss.
Treating language as a mutating object, the artists use translation as a tool to dismantle its perceived reliability. In their process, they urge us to question whether incomprehension and opacity render language completely impenetrable, or if ambiguity can instead be a potent doorway to reconfigure our relationship between knowledge, visibility and understanding.
*Faan1jik6 Zi1gaan1 is the Cantonese romanisation (a phonetic alphabetisation) of ‘翻譯之間’ which means ‘In between translations’.
Otherworld Communication
Solo exhibition of French-Vietnamese artist Prune Phi
Curator
At 15 Beautreillis, Paris, France.
09/10 /25 - 15/11/25
Otherworld Communication is a fictitious telecommunication company specialised in contacting the deceased. Created by the artist Prune Phi, it is operated through installations and performances, activated in the form of private consultations.
Part of the French-Vietnamese diaspora, Phi was inspired by the tradition of burning joss paper for the dead, a custom passed down to her from her grandfather. This ritual involves the burning of funerary paper bank notes to send funds to the deceased in the afterlife. This practice has evolved with time and along with bank notes, the living are now offering miniature paper replicas of clothes, luxury items, and even smartphones. The introduction of new technologies into this ancestral rite prompted the artist to explore the role that these elements can play in our cultural knowledge.
Phi activates an immersive two-story installation at galerie 15 Beautreillis, where metallic sculptures of hers will be presented alongisde the performance for the first time.
To mark her upcoming solo exhibition ‘Otherworld Communication’ at 15 Beautreillis, I speak with Prune Phi about her practice and the influences that fuel it, her relationship with materiality, and the underlying fragmentation that permeates her work. This exhibition will run from 9 October to 15 November, 2025, and the performance will be presented for the first time alongside a series of metal sculptures by the artist.
6414.36 Nautical Miles
Curatorial residency and research project
Co-Curator and Co-Researcher, with Lemeeze Davids
A4 Arts Foundation, Cape Town, South Africa. Now ongoing independently.
08/2025 -
6414.36 nautical miles begins with a friendship between two curators across distance. First held in the form of calls between Cape Town and Hong Kong, the project unfolds as a Course of Enquiry shaped by coordinates that are both intimate and socio-historical.
This line between these two cities draws attention to their shared inheritances of imperialism, asking what persists in the ecological, cultural and economic. It is less an attempt at an answer than a mode of sensing: how the urban and natural environment carries traces of the past while conditioning the present, and setting the terms for what is yet to come.
As Lemeeze Davids (Cape Town) and Amandine Vabre Chau (Hong Kong) work together, their research dialogue turns towards form. 6414.36 nautical miles becomes an articulation of a curatorial process, understanding how ideas take shape across time zones, and how research can be held in correspondence. The expression remains deliberately indeterminate, attending to the unfolding of questions as much as to their possible futures. Gradually extending into forms of writing, shared discussion and presentation, each iteration adds to an ongoing process of curatorial exchange.
Magma Poetry Competition 2024/2025
Selected as commended poet
03/2025
Magma Poetry is a UK-based poetry magazine whose editorial board varies from issue to issue. Their aim is to promote the very best in contemporary poetry, writing hat’s alert to the world we live in, that’s honest and above all, unexpected.
It is my honour to announce that my poem was selected as part of the commended poems in the 2024/25 Magma Poetry competition, Judge’s prize category.
Yrellag Gallery
Appointed Gallery Executive
02/2025
I am pleased to announce I have started a new position as Gallery Executive for Yrellag Gallery.
Ripple Effects :
Colours of Humanity Arts Prize
Art Prize - Group Exhibition
Curatorial Team
Hosted by Goethe Institut Hong Kong
14/11/24 - 08/01/25
Colours of Humanity Arts Prize is an annual celebration of diversity, equity, and inclusion through the power of art. Each year we call upon Hong Kong-based artists to showcase the kaleidoscope of human experiences through their creations, unrestricted by medium. This esteemed prize not only offers recognition but also the opportunity to exhibit at the prestigious Goethe Gallery
Emerging Art Professional 2024
Emerging Art Professional
Selected as part of the 2024 participants.
Organised and hosted by Para Site, Hong Kong.
23/09/24
Workshops for Emerging Arts Professionals: New Flows is a laboratory for emerging arts professionals to reflect on the arts ecosystem and their role and agency within it. Adopting a circular model of exchange, leading figures in the field will host exchanges and workshops in Para Site’s Learning Space alongside off-site visits, interrogating the ethics of art work, diasporic solidarity, collaborative models, institutional forms, and sustainable futures.
愛⺠邨 (Oi Man Tsuen) is a publication resulting from a need of reconnection during times of drastic change. Visiting the place where her family grew up, the artist stepped into the largest public housing estate in Kowloon for the first time. In a sweltering summer day, she visited the complex alongside her mother who hadn’t returned in decades. She captured these moments of recollection as keepsake, in the hopes of it grounding them to somewhere they can go back to.
Sueño de la Madrugada (A Midnight’s Dream)
Firelei Báez’s first UK solo show
Co-Curator
65–67 Peckham Road, London, SE5 8UH
28/06/24 - 08/09/24
Sueño de la Madrugada (A Midnight’s Dream) is Firelei Báez's first solo exhibition in the UK. Known for her visually striking and exuberant paintings, she also makes drawings, installations, and sculptures.
Through extensive research and critical engagement with archives, Báez delves into the rich and complex legacies of the Afro-Caribbean diaspora. By resisting binaries and exploring lesser-known histories, she challenges the distorted narratives of colonial powers. In her multi-layered creations, myths and folklore become tools of cultural and spiritual resistance, enabling Báez to create work that encompasses her experiences and allows viewers to reflect on their own.
Interview with Raisa Kabir: Interdisciplinary Artist and Weaver
Interview
Writer
Available in French on Asian Contemporary Art
20/10/23
Raisa Kabir studies the politics of textile and its geographical implications especially related to borders, migration, labour and the body. With her heavy research-based practice, we had plenty to discuss. We met by zoom on the 17th of October, resulting in a fruitful and fertile conversation.
New Curators: Selected as Curatorial Fellow
Curatorial Fellowship
Curatorial Fellow
01/09/23
New Curators is a new twelve-month curatorial training programme based in London for individuals from lower socio-economic backgrounds. It is led by Mark Godfrey and Kerryn Greenberg. Located at the South London Gallery for this first year, the eleven fellows will curate an exhibition for summer 2024 at the Gallery.