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🗣️藝術家與策展人對談|寸土迴聲💬Artist & Curator Talk|Listening to the Land誠邀你加入藝術家潘子懷、生態學家 Coşkun Güçlü,以及共同策劃「方土誌」展覽的 Louise Fedotov-...
05/06/2026

🗣️藝術家與策展人對談|寸土迴聲
💬Artist & Curator Talk|Listening to the Land

誠邀你加入藝術家潘子懷、生態學家 Coşkun Güçlü,以及共同策劃「方土誌」展覽的 Louise Fedotov-Clements 與周麗珊,一同細談《方土誌》的創作脈絡。作品以大帽山北面一片正在進行生態復修的山坡為出發點,透過田野調查、土壤採樣、影像、聲音、記憶與檔案研究,展開一場跨界合作的探索。

在這場對談中,講者將一同討論,假如我們破除自然史、土地使用與主觀記憶之間的藩籬,轉而考察它們在同一片脈絡中的交疊之處——可如何重新理解「復修」?或許它是一連串產生不同迴響的介入——從侏羅紀的火山物質、數百年的石砌梯田、近年的山火記憶,到推想中的未來,這些看似迥異的時間維度,其實都共存於這片土地之中,它怎樣改變我們對自主性、承擔以及「當下」的理解?當人類將科學方法、生命史及藝術實踐同等看待為聆聽土地的其中一種方式時,又如何滋養出新的希望想像?

📆 2026.6.13(六 Sat) 2:30 – 4pm
💬 英語主講 in English
🗿 加入成為會員,即可參加
⛰️ Join as a WMA member (link in bio)

Join artist Tsz Wai Pun, ecologist Coşkun Güçlü, and co-curators Louise Fedotov-Clements and Chloe Chow for a conversation on the making of Bones of Our Land. Centered on a single hillside undergoing ecological restoration on the Northern slopes of Tai Mo Shan, the talk explores how ecological fieldwork, soil sampling, moving image, memory, and archival research came together in an interdisciplinary collaboration.

Rather than treating natural history, land use, and subjective memory as separate issues, the conversation looks at where these concerns intersect across a single hillside. The speakers will unpack interwoven questions: How can we understand restoration as a spectrum of interventions? How does working across multiple temporalities—Jurassic volcanic matter, centuries-old terraces, recent hill fires, speculative futures—change how we think about agency, responsibility, and what counts as "now"? How might we cultivate new forms of hope by engaging scientific tools as one way of listening to the land alongside lived histories and artistic practice?

WMA發布以2025/26年度主題「希冀」為題的全新委約創作——《方土誌》。藝術家潘子懷與生態學家 Coşkun Güçlü以大帽山一片正在進行生態復修的山坡作為考察地,追溯其交織的生態與人文歷史,並視土壤為一種紀錄,承載生態演變與深層時間...
02/06/2026

WMA發布以2025/26年度主題「希冀」為題的全新委約創作——《方土誌》。藝術家潘子懷與生態學家 Coşkun Güçlü以大帽山一片正在進行生態復修的山坡作為考察地,追溯其交織的生態與人文歷史,並視土壤為一種紀錄,承載生態演變與深層時間的痕跡。作品重新理解「時間」如何在不同維度中累積與交錯,並進一步探討這種觀看方式如何促使我們在恆常的不確定中,仍彼此守望、共同協作。

透過影像和聲音創作、檔案、田野調查與土壤DNA分析,藝術家將這片土地視作一份反覆書寫的手稿——在跨越數百年乃至更長的時間裏、人與非人的角力下,火山地質、農耕歷史、山火記憶、殖民介入與當代修復共存於同一片地景中。在此,過去、現在與未來不再依序展開,而是彼此牽連、持續回響。《方土誌》邀請觀眾重新聆聽泥土、森林與深埋其下的活檔案。

展覽由Louise Fedotov-Clements 與周麗珊聯合策展,將於六月十三日(六)正式開幕,屆時將舉行一場藝術家與策展人對談,歡迎參加。一系列會員限定活動,包括在地考察與實驗表演等,將於稍後公布,請密切留意。

📌 展覽 Exhibition
> 2026.6.13 - 9.30
> 12nn-7pm (二至日 Tue-Sun)
🗿加入成為會員,隨時參觀
⛰️Become our member to enjoy hassle-free access (link in bio)

WMA presents ‘Bones of Our Land’, a new commissioned project for its 2025/26 theme Hope. Created by artist Tsz Wai Pun and ecologist Coşkun Güçlü, the project focuses on a single hillside undergoing ecological restoration on the Northern slopes of Tai Mo Shan, tracing its ecological and human history and reading its soil as a record of recent ecological change and deep evolutionary time.Through its layers and transformations, the project rethinks time as something that accumulates at multiple scales—and considers how this way of seeing might help us remain attentive to one another and move forward together, even in the midst of uncertainty.

Through film, sound, archival materials, fieldwork, and soil DNA analysis, the artists approach the hillside as a palimpsest—a landscape continuously rewritten across centuries and beyond. Volcanic geology, agricultural history, destructive hill fires, colonial intervention, and ongoing ecological restoration are all layered within the same landscape. In this reading, a single hillside becomes a site of entanglement, where past, present, and future do not unfold in sequence but coexist and refract through one another. ‘Bones of Our Land’ invites us to listen anew to the soil, the forest, and the living archive buried beneath our feet.

Co-curated by Louise Fedotov-Clements and Chloe Chow, the exhibition opens on Saturday, 13 June, with an artist and curator talk taking place. A series of members-only activities, including field visits and experimental performances, will be announced soon.

主視覺設計 Key Visual design

From ancient face reading to deep neural networks, humans have long tried to read the future from appearance—driven not ...
15/05/2026

From ancient face reading to deep neural networks, humans have long tried to read the future from appearance—driven not only by calculation, but by the desire to live with and manage uncertainty. Today, that impulse is encoded into facial recognition systems and large-scale simulation models, part of a prevailing statistical logic of late-capitalist technics that seeks to render the future computable even as contingency persists. This configuration of prediction, often trained on synthetic data, extends beyond facial recognition and into high-frequency trading, risk modelling, and algorithmic governance In this landscape of surveillance, digital identity, and AI-driven finance, what remains of the human, and what remains of the real?

WMA, in collaboration with encounters and presented in dialogue with Sheung Yiu’s solo exhibition “(Inter)faces of Predictions” at C/O Berlin — brings together Helsinki-based Hong Kong artist Sheung Yiu and artist, researcher, and strategist Felix Ansmann to examine how predictive logics operate across visual culture, biometric computation, and the socio-economic systems that increasingly depend on them, especially finance and risk management.

As a prelude to Sheung Yiu’s performative desktop lecture on 29 May at C/O Berlin , the evening features a screening of his video essay “It’s a Face-Eat-Face World”, followed by short presentations by Sheung Yiu and Felix Ansmann, a conversation on the rise of synthetic data—from deepfakes to 3D‑rendered identities used to train biometric and financial AI systems—and its implications across visual culture, artificial intelligence, and algorithmic governance, moderated by writer Mary Lee , and the launch of the publication “(Inter)faces of Predictions” (co-authored with Megan Williams), with an introduction by Chloe Chow , curator from WMA.

📅 2026.05.27 (Wed)
🕣 7:00-8:30pm
📍 encounters bookspace, Prinzenallee 60, 13359 Berlin
🗣️ Conducted in English

Photo courtesy of Sheung Yiu

‘When Shadow Tells Time’April 16 – May 16, 2026Wed. - Fri. 11-18 hr / Sat. 11-16 hrhaus  Lindenstr. 91, 10969 Berlin📔Tap...
13/05/2026

‘When Shadow Tells Time’
April 16 – May 16, 2026
Wed. - Fri. 11-18 hr / Sat. 11-16 hrhaus Lindenstr. 91, 10969 Berlin

📔Tape
Tsang Ka Wai, Eason 曾家偉
2025

Tape is a 52-metre paper roll documenting torn parcel tape residue. Inspired by its film-like traces and movement between surfaces, the work presents 58 one-to-one sections, turning a familiar packaging material into an image archive.
此書是一卷長 52 米的紙卷,記錄了包裝膠紙被撕下時所留下的殘痕。作品受膠紙上如電影菲林般的殘影,及其在不同平面間移動的軌跡所啟發,展現 58 幀一比一的切面,將一種日常的包裝物料轉化為一個影像檔案庫。

📔fat al right error & SeriousHorse 英雞性的尖、一本馬經
Tracy Cheng & Shera Cho 鄭樂怡及左沁怡
2024

Using Mikado to evoke information overload, it reflects the randomness and hidden links between absurd news stories. Fallen sticks create shifting possibilities, inviting readers to sequence and construct meanings themselves.
作品以傳統遊戲挑竹籤比喻資訊過剩,反映荒誕新聞之間的隨機性與隱含的連結。散落的竹籤形成無限的可能性,邀請讀者自行排列閱讀次序,建構新意義。

SeriousHorse collages HK horse-racing news to explore serendipity, luck, probability, and gambling. Using Jenga as a system, it invites readers to build their own “winning” strategies, creating unexpected narratives and possibilities through chance.
此書透過拼貼香港賽馬新聞,探討偶然、運氣、概率與賭博之間的關係。作品以疊疊樂作為框架,邀請讀者建立自己的「致勝」策略,借助機遇創造出意想不到的故事與可能性。

📔Home Presence
Yip Hei Wun, Hedy 葉晞媛
2025

Home Presence maps identity within a shared family home. The body claims corridors, furniture, and corners as sites of belonging, with intimate interiors shifting between shelter and constraint—each page a room inviting readers to encounter space and self together.
此書探討家庭共居空間對自我身份認同的形成與建構。藝術家將身體置於走廊、傢俱與角落之中,作為她歸屬之處。每一頁都如一個私密房間,暗示庇護、又隱含束縛,讓讀者一同體驗身體與空間的關係。

📔Supects in Reality
Yip Kin Bon, Elvis 葉建邦
2025

Since 2014, the project has collected HK crime clippings featuring suspects with covered heads. Focusing on their clothing, it reveals ironic clashes between printed text, symbols, and arrest scenes—traces of individuality emerging from the rigid visual language of crime reporting.
此計劃自 2014 年起匯集了一系列香港罪案新聞剪報,影像中疑犯的頭部常被遮蓋。作品聚焦於其服飾細節,呈現當中的文字、符號與被捕現場之間的荒謬碰撞,並嘗試從犯罪報導的刻板視覺語言中,尋覓個體性的痕跡。

*Many of these works emerged through 2 editions of Photographic Artists’ Books Masterclass led by Claudia de la Torre and Vincent TSAI Yin-Chin.

‘When Shadow Tells Time’April 16 – May 16, 2026Wed. - Fri. 11-18 hr / Sat. 11-16 hrhaus Lindenstr. 91, 10969 Berlin📔 The...
12/05/2026

‘When Shadow Tells Time’
April 16 – May 16, 2026
Wed. - Fri. 11-18 hr / Sat. 11-16 hrhaus Lindenstr. 91, 10969 Berlin

📔 The Matrix of Metro Station
Jay Lau 劉家俊
2025

Matrix explores the matrix as a womb, print surface, and altered reality. Using AI to erase figures from news images, the artist transfers empty landscapes onto translucent silkscreens, questioning whether images shaped by altered histories can still claim truth.

作品從版畫語境出發,探索「matrix」作為母版、印刷平面與改寫現實的可能性。藝術家運用人工智能抹除新聞影像中的人物,再將這些空蕩的景象轉印至半透明絲網上,藉此追問:當影像由改寫的歷史所形塑,其真實性是否仍然成立?

📔 Annotations from the Unknown 陌生人的註釋
Lam Wing Sze 林穎詩
2025

Annotations from the Unknown is a photobook without photographs, built from anonymous marginalia found in borrowed and second-hand books. Reproducing each source’s size and paper tone, it lets printed text and annotations form new narratives and evoke visual memory.

《陌生人的註釋》是一本沒有影像的攝影書,以借閱及二手書籍中發現的匿名批註構成。作品按每一本原書的尺寸與紙張色調重製再結集成書,讓印刷文字與手寫註釋交織出新的敘事,喚起觀眾的視覺記憶。

📔 4, In Stock
Marty Miller
2024

A book translating four MiniSD cards found in Sham Shui Po into print: metadata, content, paper, order, and inconsistencies reveal both data and human mediation. The cards were returned, files deleted, leaving only the book, where even absence becomes an image.

這是一本把四張於深水埗尋獲的MiniSD記憶卡轉化成印刷形式的書──在轉譯中的元數據、內容、紙張、編排與不一之處,揭示了數據以及人為介入並存的痕跡。這些記憶卡最終被歸還、刪除檔案,剩下來的只有此書。當中,連缺席本身都成為一幀影像。

📔 Wounds Archive
Shaiana Po 布美欣
2025

Wounds Archive explores wildlife rescue as evidence of human-wildlife conflict and repair. Beginning with personal grief, it expands into a public ethical inquiry into human responsibility toward non-human life, where rescue and care exist because human harm makes them necessary.

Wounds Archive 以「野生動物救援」的紀錄為切入點,從個人的哀傷裂口出發,延伸至公共倫理探問──人類對野生動物、以至非人類生物的「拯救」,歸根究底,難道不是正正因為人類所造成的「傷害」?

*Many of these works were developed through two editions of Photographic Artists’ Books Masterclass led by Claudia de la Torre and Vincent TSAI Yin-Chin .aba respectively.
上述絕大部分作品受 WMA「攝影藝術家書籍大師班」啟發創作而成,兩屆大師班分別由導師Claudia de la Torre與蔡胤勤帶領。

‘When Shadow Tells Time’April 16 – May 16, 2026Wed. - Fri. 11-18 hr / Sat. 11-16 hrhaus Lindenstr. 91, 10969 Berlin📔The ...
07/05/2026

‘When Shadow Tells Time’
April 16 – May 16, 2026
Wed. - Fri. 11-18 hr / Sat. 11-16 hrhaus Lindenstr. 91, 10969 Berlin

📔The Dance of the Dancing Plant 跳舞草亂舞
Au Wah Yan 區華欣
2025

‘The Dance of the Dancing Plant’ is a hand-bound book with an etched ear, listening across distance through lithographs, video letters, and prose poems, where dancing plants and sending stones guide silent messages and shared echoes towards one another.

《跳舞草亂舞》是一本由石版畫、影像信與散文詩拼貼而成,並帶着一隻蝕刻耳朵的手工裝幀書。在距離間,跳舞草與傳訊石牽引着無聲的通訊與迴響走向彼此。

📔Green Scroll
Chan Ting 陳庭
2026

This artist’s book reimagines Chinese landscape painting through fluid reading, vivid surfaces, and q***r materials like plaster, pigments, and spray paint. Echoing scrolls and bamboo slips, it blends travel logs and visual narratives to explore movement, connection, and beauty.

這本藝術家書籍以連綿的閱讀體驗、鮮明的質感,以及石膏、顏料、噴漆等帶有酷兒意涵的材料,重新想像中國山水畫。其形式呼應卷軸與竹簡,揉合遊記與視覺敍事,探索移動、連結與美感。

📔00:00
Cheng Lok Yi, Tracy 鄭樂怡
2025

‘00:00’ captures Jardine House darkening after hours, turning its remaining lights into Conway’s Game of Life. As cells die from isolation or overcrowding, the work reflects modern workers trapped in lit cells within a self-consuming system.

《00:00》捕捉怡和大廈在辦公時間過後逐漸暗下來的景象,並將大廈內殘餘的燈光轉化為康威的「生命遊戲」。正如遊戲中因孤立或過度擁擠而消亡的細胞,當代的勞動群體亦注定困於燈火通明的牢籠裏,自我消耗,持續運轉。

📔Mandarin and her Route 41 萬達寧41號
Cheung Hei-Man & Michelle Chan 張希雯及陳韻芝
2025

‘Mandarin and Her Route 41’ combines photography and fictional narrative through Hong Kong’s now-defunct bus Route 41. Michelle documents the route’s landscapes and found objects on expired film, while Clementine responds with a 41-chapter fictional story. The limited edition includes translations and a fading relic print.

《萬達寧41號》由陳韻芝及張希雯共同創作,結合攝影與虛構文學,從香港一條已停運的巴士路線41號出發──前者以過期菲林記錄沿線景觀與現成物,後者則以一篇共四十一章的虛構故事作出回應。作品的限量版本收錄翻譯文本以及一張正在褪色的陳舊照片。

———————
*Many of these works were developed through two editions of Photographic Artists’ Books Masterclass led by Claudia de la Torre and Vincent TSAI Yin-Chin .aba respectively. 上述大部分作品受 WMA「攝影藝術家書籍大師班」啟發創作而成,兩屆大師班分別由導師Claudia de la Torre與蔡胤勤帶領。

👋哈佬,又係我Pollyanna呀~今日係最後一次喺度同大家見!幾日前「寶安娜與佳德新村」展覽終於正式落幕啦,唔知大家仲記得「____已經是我最接近『希望』的情緒」呢張紙仔嗎?我呢兩日將接近千個嘅答案一一細讀,整理咗張圖出嚟。我一直以為題目...
29/04/2026

👋哈佬,又係我Pollyanna呀~今日係最後一次喺度同大家見!

幾日前「寶安娜與佳德新村」展覽終於正式落幕啦,唔知大家仲記得「____已經是我最接近『希望』的情緒」呢張紙仔嗎?我呢兩日將接近千個嘅答案一一細讀,整理咗張圖出嚟。

我一直以為題目會顯示出一道正能量光譜。結果,快樂、平靜、愛呢啲「正向」情緒有接近六成,多到足以形成某種對希望嘅共識。不過當我讀落時,發現呢啲情感往往聚集喺幾個相似嘅詞彙;而「非正向」嘅,幾乎每人嘅表達都唔同,而且有更複雜嘅感受——「好啦,你話咩就咩啦」、「唉...我都唔知啊」、「越失望越希望」。呢啲難被一個詞彙概括嘅情緒,都佔咗整體嘅三成⋯⋯咁意味住啲咩?真實嘅世界真係咁咩?

同時,另一種回答都令人好意外——放工、加人工、少冰少甜、食咖哩魚蛋、星期五晚上等等。呢類好貼地、好香港嘅回答令我感受到,對好多人嚟講,希望唔係必須從宏大嘅理想出發,而係可以由今日最微小、最具體、最在地、最日常嘅小事度發現。當現實宏大嘅希望難以觸及時,可以將希望縮小到一杯奶茶嘅溫度,用輕盈去接住不輕盈。

喺眾多答案入面,有一句我反覆諗起,或者選係展覽最誠實嘅註腳:「越失望越希望」。佢某程度道破咗我一直想講卻講唔清楚嘅事——希望從來都唔係純粹嘅樂觀,而係你喺憤怒、絕望、麻木之中,仍有所渴求嘅嗰股力量。

展覽由始至終都在問:一個總係笑嘅角色承載嘅係咩呢?感謝每位嚟過、放低過答案嘅你。呢一千個回應係呢個項目最真實、最珍貴嘅部分。

Hello, it’s Pollyanna again—my very last hello to you here.

‘Pollyanna and the Glad Town’ finally came to a close. Remember the paper strip asking ‘___ is already the closest emotion I can offer to hope’? Over the days, I read nearly a thousand answers and put them together into a chart.

I expected a neatly positive spectrum. Indeed, nearly 60% gathered around happiness, calm, love—suggesting a consensus on hope. But the more I read, the more I noticed these feelings clustered around just a few similar words, while ‘non-positive’ answers were far more varied and complicated: ‘Fine, whatever’, ‘Sigh... I don't even know’, or ‘The more I despair, the more I hope’. These hard-to-define emotions made up almost 30%. What does that mean? Is the real world really like this?

Another surprise: off-work, a pay rise, ‘less ice, less sugar’, curry fish balls, or Friday nights. These uniquely Hong Kong responses show that hope also exists in the small, everyday details. When grand ideals feel out of reach, it can shrink to the warmth of a cup of milk tea—light enough to hold something heavy.

One line kept coming back—perhaps the exhibition’s most honest footnote: ‘The more I despair, the more I hope’. It captures what I’ve struggled to articulate—hope isn't pure optimism. It’s the lingering spark of longing found within anger, despair, or numbness.

The exhibition always asked: What does a smiling character carry? Thank you for the answers. These thousand responses were the most authentic and precious part of this journey.

👁️‍🗨️ 荒誕劇場嘅角度又會點樣閱讀「寶安娜與佳德新村」?WMA邀請左另一位藝術家竺諺民來書寫對寶安娜計劃嘅觀察。踏足攝影同劇場、個腦好多諗法、乒鈴嘭唥嘅佢,提出呢個除咗係一個關於希冀嘅展覽,亦係一個關於「點樣面對荒誕」嘅問題。喺佢筆下,...
28/04/2026

👁️‍🗨️ 荒誕劇場嘅角度又會點樣閱讀「寶安娜與佳德新村」?

WMA邀請左另一位藝術家竺諺民來書寫對寶安娜計劃嘅觀察。踏足攝影同劇場、個腦好多諗法、乒鈴嘭唥嘅佢,提出呢個除咗係一個關於希冀嘅展覽,亦係一個關於「點樣面對荒誕」嘅問題。

喺佢筆下,「寶安娜與佳德新村」唔只係一個「睇作品」嘅地方,連埋藝術家講座、時延表演嘅超譯導賞一齊諗嘅話,更似係一場粉紅色、持續發酵嘅荒誕劇——係希望同絕望、行動同唔行動、表演同寫實之間交戰,令人一邊睇一邊諗:原來「正能量」啲能量都可以咁唔穩定,令人咁不安。

佢將展覽拉返到你同我度:當「正能量」、「希望」開行 turbo,而「荒誕」成為一種姿態、一種反應,甚至係面對世界嘅方式,我哋又會點樣理解佢?

想讀完整文章?已經上線,快啲去睇。(link in bio)

‘When Shadow Tells Time’ brings together 12 photographic artists' books by Hong Kong artists, developed through Book Lab...
22/04/2026

‘When Shadow Tells Time’ brings together 12 photographic artists' books by Hong Kong artists, developed through Book Lab—a programme initiated by WMA in 2023. Conceiving the artists' book as a photographic practice in its own right, Book Lab supports works that engage contemporary images within their social contexts. The exhibition invites audience to encounter each work as a spatial proposition, where reading becomes navigation and shadow articulates rhythm, depth, and what lies beyond the visible frame.

Join us to return to the physical act of reading and discover how these books unfold time and space.

Exhibition 展覽 ‘When Shadow Tells Time’
April 16 – May 16, 2026 Wed. - Fri. 11-18 hr / Sat. 11-16 hr haus Lindenstr. 91, 10969 Berlin

Exhibiting artists 參展藝術家:
Au Wah Yan 區華欣
Chan Ting 陳庭
Cheng Lok Yi, Tracy 鄭樂怡
Tracy Cheng & Shera Cho 鄭樂怡及左沁悅
Cheung Hei-man, Clementine & Michelle Chan 張希雯及陳韻芝 .rice
Jay Lau 劉家俊
Lam Wing Sze 林穎詩
Marty Miller
Shaiana Po 布美欣
Tsang Ka Wai, Eason 曾家偉
Yip Hei Wun, Hedy 葉晞媛
Yip Kin Bon, Elvis 葉建邦

‘When Shadow Tells Time’ 匯集了 12 本由香港藝術家創作的攝影類藝術家書籍,這些作品均透過WMA 於 2023 年所發起的「書籍實驗所」以臻成熟。該項目致力推動「攝影類藝術家書籍」成為一種獨立的攝影實踐,並透過當代影像連結社會脈絡。

展覽邀請觀眾將翻閱每件作品視為一個空間性的體驗。其中,閱讀成為一種遊走與探索的過程,而隨之誕生的影子則勾勒出節奏、深度,以及超越框架的種種可能性。

誠邀你重新回到實體「閱讀」這種具身體性的經驗之中,去感受書本在被翻閱時所展現的時間與空間。

20/04/2026

🔍Pollyanna調查速報:展覽進入最後階段!
Pollyanna Investigation Update: the exhibition in final countdown!

展覽「寶安娜與佳德新村」倒數最後一星期,我決定深入調查藝術家黃慧妍——表面粉紅,內裏係點?佢到底點解要創造我?仲要放我入香港呢個城市做實驗?

根據我連日狙擊追訪,佢終於願意第一身講下我,Pollyanna,係點黎。原來同屋企人、自己仲有「阿Q」都有關!我本來以為粉紅色只係粉紅色,樂觀只係樂觀,點知愈查愈發現,黃慧妍係借我呢位「極度正面」代表,去追查「希望」究竟係信念,定只係一種表演、一種習慣,甚至一種硬撐。

而佢本人就似乎明知世界唔會咁容易,仍選擇擺出一個面對嘅姿態。唔明?我只能講:有啲答案,影片有講,而更完整嘅線索,就要你親身入場先搵到。

最後一星期,快啲嚟「寶安娜與佳德新村」,同我一齊查清楚:
究竟希望係一種力量,定只係一場粉紅色的自我安慰?

或者睇完所有嘢,你會講一句
Nice try, Pollyanna.

🎥完整影片連結在主頁
Full video link in bio

With only one week left of ‘Pollyanna and the Glad Town’, I’ve decided to launch a full investigation into artist Doris Wong Wai Yin — pink on the surface, complicated underneath. Why did she create me in the first place? And why place me in Hong Kong, of all cities, as part of this experiment?

After days of ambushes and tailing her, she’s finally spilling it firsthand about where I, Pollyanna, came from. Turns out it ties to her family, herself… and even a bit of ‘Ah Q’! I thought pink was just pink, and optimism was just optimism, but the deeper I look, the more I realise Doris is using this ‘extremely positive’ of mine to probe whether hope is a conviction, a performance, a habit, or simply a way of holding yourself together.

To her, it seems that even if the world won’t play nice, she would still strike that defiant pose. Confused? All I can say: some answers are there in the video, but the fuller picture can only be found in the exhibition itself.
Final week — come see ‘Pollyanna and the Glad Town’ and help me crack it.

Is hope really a source of strength,
or just a rose-tinted self-consolation?

Or perhaps, having seen it all, you’ll say:
‘Nice try, Pollyanna.’

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