Shirley Tse:
Hong Kong in Venice


‘Optic Nerves’, 2016, plastic sheet and metal stand, height adjustable × 94 × 61 cm

Optic Nerves》,2016年,塑膠片、金屬支架,高度可調節 × 94 × 61厘米




Shirley Tse

Los Angeles–based Hong Kong artist Shirley Tse (b.1968) works in the media of sculpture, installation, photography, and text. She at once deconstructs the world of synthetic objects that carry paradoxical meanings and constructs models in which differences might come together. To visualise heterogeneity, Tse conflates different scales, fuses the organic with the industrial, moves between the literal and the metaphorical, merges narratives, and collapses the subject and object relationship.

Tse received a Master of Fine Arts degree from ArtCenter College of Design, Pasadena, and a Bachelor of Arts degree from the Chinese University of Hong Kong Department of Fine Arts. Her work has been exhibited at venues including the Pasadena Museum of California Art (2004/2017); Osage, Hong Kong (2010/2011); K11, Hong Kong (2009); Kettle’s Yard, University of Cambridge (2009); the Museum of Modern Fine Art, Minsk (2006); the Herbert F. Johnson Museum of Art, Cornell University (2005); Para Site, Hong Kong (2000/2005); the Kaohsiung Museum of Fine Arts (2003); the Art Gallery of Ontario (2002); the Bienal Ceará América, Fortaleza (2002); the Biennale of Sydney (2002); Capp Street Project, San Francisco (2002); the Institute of Contemporary Art, Boston (2002); MoMA PS1 (2002); the New Museum (2002); Palazzo dell’Arengo, Rimini (2002); the San Francisco Museum of Modern Art (2001); TENT, Centrum Beeldende Kunst Rotterdam (2001); and Govett-Brewster Art Gallery, New Plymouth, New Zealand (2000). Her work is featured in many articles, catalogues, and other publications including ‘Akademie X: Lessons in Art + Life’ (2015) and ‘Sculpture Today’ (2007).

Tse received the John Simon Guggenheim Memorial Foundation Fellowship in 2009 and has been on the faculty at California Institute of the Arts since 2001, where she is the Robert Fitzpatrick Chair in Art.




謝淑妮於香港中文大學藝術系取得藝術系文學士學位,後於加州帕薩迪納藝術中心設計學院取得藝術碩士學位。她的作品曾於各地展出,包括帕薩迪納加州藝術博物館 (2004年,2017年);香港奧沙畫廊(2010年,2011年);香港K11藝術空間(2009年);劍橋大學Kettle’s Yard畫廊(2009年);明斯克當代藝術博物館(2006年);康奈爾大學Herbert F. Johnson藝術博物館(2005年);香港Para Site藝術空間(2000年,2005年);高雄市立美術館(2003年);安大略美術館(2002年);巴西福塔萊薩美洲塞阿臘雙年展(2002年);悉尼雙年展(2002年);三藩市Capp Street Project實驗藝術空間(2002年);波士頓當代美術館(2002年);紐約現代藝術博物館PS1當代藝術中心(2002年);新當代藝術博物館(2002年);里米尼Palazzo dell’Arengo2002年);舊金山現代藝術博物館(2001年);鹿特丹視覺藝術中心TENT2001年);以及紐西蘭新普利茅斯Govett-Brewster Art Gallery2000年)。其作品也曾見於各大文章、圖錄及刊物,如《Akademie X: Lessons in Art + Life》(2015年)和《Sculpture Today》(2007年)。


‘The Vehicle Series’, installation view, 2016

The Vehicle Series》展出現場,2016


Christina Li

Christina Li is a curator working between Hong Kong and Amsterdam. She graduated from the University of Hong Kong with a degree in Fine Arts (Art History) and Comparative Literature, and completed De Appel Curatorial Programme in 2009. She was the Curator-at-Large at Spring Workshop, Hong Kong, where she served as the Director between 2015 and 2017. At Spring, she curated, among other projects, ‘A Collective Present’ (2017), ‘Wu Tsang: Duilian’ (2016), ‘Wong Wai Yin: Without Trying’ (2016), ‘Days push off into nights’ (2015), and ‘Des hôtes: a foreigner, a human, an unexpected visitor’ (2015). Her most recent exhibition, ‘Dismantling the Scaffold’ (2018), was the inaugural exhibition at Tai Kwun Contemporary, Hong Kong. With Heman Chong, she launched ‘Stationary’, a collection of short stories, and co-edited the upcoming volume with writer and artist Malak Helmy.

Li previously worked as a curator at Para Site in Hong Kong from 2005 to 2008, and was the Assistant Curator of ‘Making (Perfect) World: Harbour, Hong Kong, Alienated Cities and Dreams’, Hong Kong’s participation in the 53rd International Art Exhibition – La Biennale di Venezia, in 2009. Her other projects include ‘The Goethe-Institut’s Pyongyang Reading Room: Between Object and Shadow’ (Goethe-Institut Amsterdam, 2013); ‘A Map of Misreading’ (TENT, Centrum Beeldende Kunst Rotterdam, 2012); ‘Spacecraft Icarus 13: Cinematic Narratives from Elsewhere’ (BAK, Utrecht, 2011); ‘Prologue – Speculations on the Cultural Organisation of Civility’ (SKOR and various locations, Amsterdam, 2010); ‘Not Yesterday, Not Tomorrow’ (Cable Factory, Helsinki, 2009); and ‘Weak Signals, Wild Cards’ (De Appel, Amsterdam, 2009). As a writer, she has contributed to publications including ‘Artforum’, ‘Art Review Asia’, ‘LEAP’, ‘Parkett’, ‘Spike’, and ‘Yishu Journal of Contemporary Art’.



李綺敏是在香港和阿姆斯特丹兩地工作的策展人。她畢業於香港大學,獲得美術(藝術史)和比較文學學位,並於2009年完成De Appel藝術中心策展課程。她是香港Spring工作室的總策展人,並於20152017年間擔任該機構總監。她在Spring工作室策劃的多個項目包括:「共存」(2017年)、「曾吳:對聯/對練」(2016年)、「黃慧妍:不要太努力讓事情發生」(2016年),「日夜雙生」(2015年)及「Des hôtes──人,外人,外來人」(2015年)。她最新的策展項目為大館當代美術館的首個展覽「拆棚」(2018年)。她與張奕滿共同策劃了短篇故事集《寧息》,並與作家及藝術家Malak Helmy合作編輯第二輯故事集。

李綺敏曾於20052008年間擔任Para Site藝術空間(香港)策展人,以及第53屆威尼斯雙年展香港參展項目「製造(完美的)世界:海洋、香港、異邦的城市和夢」的助理策展人。她參與的其他計劃包括:「平壤閱讀室──物件與陰影之間」(阿姆斯特丹歌德學院,2013年);「誤讀地圖」(鹿特丹TENT,2012年);「伊卡洛斯13號航天器──來自他方的電影敘事」(烏特勒BAK,2011年);「序言──對禮節文明構成的猜想」(阿姆斯特丹SKOR等多個場所,2010年);「非昨天,非明天」(赫爾辛基Cable Factory,2009年);及「弱信號,外卡」(阿姆斯特丹De Appel,2009年)。她的文字作品曾刊登於《Artforum》、《Art Review Asia》、《藝術界》、《Parkett》、《Spike》和《典藏國際版》等。

‘Playcourt’, 2019, work in progress, artist’s studio


About M+

M+ is a museum dedicated to collecting, exhibiting, and interpreting visual art, design and architecture, moving image, and Hong Kong visual culture of the twentieth and twenty-first centuries. In Hong Kong’s West Kowloon Cultural District, we are building one of the largest museums of modern and contemporary visual culture in the world, with a bold ambition to establish ourselves as one of the world’s leading cultural institutions. Our aim is to create a new kind of museum that reflects our unique time and place, a museum that builds on Hong Kong’s historic balance of the local and the international to define a distinctive and innovative voice for Asia’s twenty-first century.

To find out more about M+, please visit




About West Kowloon Cultural District

The West Kowloon Cultural District is one of the largest and most ambitious cultural projects in the world. Its vision is to create a vibrant new cultural quarter for Hong Kong on forty hectares of reclaimed land located alongside Victoria Harbour. With a varied mix of theatres, performance spaces, and museums, the West Kowloon Cultural District will produce and host world-class exhibitions, performances, and cultural events, providing twenty-three hectares of public open space, including a two-kilometre waterfront promenade.

To find out more about West Kowloon Cultural District, please visit




About Hong Kong Arts Development Council

Established in 1995, the Hong Kong Arts Development Council (HKADC) is a statutory body set up by the Government to support the broad development of the arts in Hong Kong. Its major roles include grant allocation, policy and planning, advocacy, promotion and development, and programme planning. The mission of HKADC is to plan, promote and support the broad development of the arts including literary arts, performing arts, visual arts as well as film and media arts in Hong Kong. Aiming to foster a thriving arts environment and enhancing the quality of life of the public, HKADC is also committed to facilitating community-wide participation in the arts and arts education, encouraging arts criticism, raising the standard of arts administration and strengthening the work on policy research.

To achieve the three major goals of fostering the development of arts groups, raising the level of artistic standards and exploring development opportunities for artists, the following development strategies are formulated:

  • Supporting promising artists and arts groups in the pursuit of excellence
  • Promoting arts administration to improve the management of arts groups
  • Focusing on the arts environment and proposing policy recommendations
  • Enhancing public participation and exploring arts space
  • Fostering strategic partnerships and bringing arts resources together

HKADC has taken part in the International Art Exhibition – La Biennale di Venezia since 2001, with an aim to enhance exchange and communication between Hong Kong and other countries in the world. About 662,000 people have visited the past nine exhibitions.

To find out more about HKADC, please visit




  • 扶植具潛質的藝術家/藝團,培育卓越發展
  • 推動藝術行政,提升藝團的管理能力
  • 關注藝術環境,提出政策建議
  • 擴闊參與群眾,開拓藝術空間
  • 締結策略伙伴,凝聚藝術資源



‘Bamboo Extension’, 2016, glass, bamboo, and plastic, 228.6 × 43.2 × 17.8 cm

Bamboo Extension》,2016年,玻璃、竹、塑膠,228.6 × 43.2 × 17.8厘米


Victor Lo Chung-wing, Chairman, M+ Board,
West Kowloon Cultural District Authority

Wilfred Wong Ying-wai, Chairman, Hong Kong Arts Development Council

Project Team of M+, West Kowloon Cultural District

Christina Li, Guest Curator

Consulting Curator
Doryun Chong, Deputy Director, Curatorial, and Chief Curator

Olivia Chow, Assistant Curator
Maggie Yim, Curatorial Assistant

Supported by
Veronica Castillo, Deputy Director, Collection and Exhibition
Keri Towler, Senior Registrar
Olatz Irijalba Claramunt, Registrar, Exhibitions
Moody Tang, Associate Registrar

Project Team of
Hong Kong Arts Development Council

Winsome Chow, Chief Executive
Queenie Lau, Arts Development Director
Hilda Ho, Arts Development Manager
Kay Wong, Arts Development Officer

The Working Group of Hong Kong Arts Development Council

Chris Chan

Caroline Cheng
Andy Hei
Indy Lee
Kevin Leung
Ellen Pau
Paulo Pong
Sara Wong

Coordinator in Venice
PDG Arte Communications

Geoff Han &
Julie Peeters
with Immanuel Yang

Arthur Haegeman





客席策展人 李綺敏


策展助理 嚴嘉琪

副總監(藏品及展覧)Veronica Castillo
Keri Towler
藏品管理專員(展覽)Olatz Irijalba Claramunt
副藏品管理專員 鄧夢茵


行政總裁 周蕙心
藝術發展總監 劉慧寧
藝術發展經理 何敏婷
藝術發展主任 黃展麒




PDG Arte Communications

Geoff Han &
Julie Peeters
Immanuel Yang

Arthur Haegeman

‘Negotiated Differences’ (detail), 2019, carved wood and 3D-printed forms in wood, metal, and plastic, dimensions variable

Negotiated Differences》局部,2019年,雕刻木件、3D打印木件、金屬件、塑膠件,尺寸不定




The mechanisms behind the manufacture, consumption, and circulation of objects—as well as the individual and collective relationships they impart—are fundamental touchstones that define socio-economic relations and subjectivities. They are also the raw and reference materials in Shirley Tse’s two-decade- long exploration into contemporary society through her expansive practice. These elements predominately concern consumer plastics and polymers such as polystyrene or styrofoam, which she worked with in the 1990s through the early 2000s. She takes their polymerous uses as entry points to decipher the world, deconstructing their entanglements. Her rigorous investigation into what she calls ‘multiplicities’ within these generic elements engenders ‘a form of materialism which calls for the ability to think fluidly, to understand complexity and to negotiate conflict’1, culminating in poetic and unexpected sculptural amalgams of common materials.

For Hong Kong’s 58th Venice Biennale site-responsive presentation entitled ‘Shirley Tse: Stakeholders, Hong Kong in Venice’, Tse juxtaposes plastics with raw materials, namely wood, and readymades including studio and sports equipment to unravel the histories, imaginations, applications, and technologies embedded within them; the two installations on view, ‘Negotiated Differences’ and ‘Playcourt’ (both 2019), look at individuals as stakeholders in the production, use, and meanings of objects. The individual as producer and user of objects, and most importantly as citizen, is thoroughly articulated through techniques that are new to the artist, namely in ‘Negotiated Differences’, such as woodturning and digital technology. The work, which traipses through the interior space, is a diagrammatic hybrid of constructed wooden forms and found everyday articles such as balusters, baseball bats, prosthetic limbs, and handrails linked together by 3D-printed and hand-carved metal and plastic joints. Each wooden and synthetic articular joint is dynamically counterbalanced in space as determined by multidirectional connectors and gravity. The sprawling display perambulates the room’s surfaces in this former wood storage site. Tse plays with shapes and production in using deliberately erratic 3D-printed articulations based on open-source designs and woodturned reproductions mined from an index of musical instruments, sports equipment, and furniture. Apart from the counterweight of material, form, and craft in the installation, negotiation acquires an added reading. Working with a rotary lathe—an archaic apparatus considered the point of origin for machine tools—the hand becomes intermediary between machine and matter. In the turning process, Tse works with, rather than against, the grain; turning here could be understood as a tactile manifestation of conflict negotiation. The work is an exercise in improvisation where form and composition are in the process of making, a constant process of extemporary negotiation with old and new elements and actors.

The agility of form and function, and the themes of agency, unpremeditated action, and exchange are synchronously addressed in the courtyard installation ‘Playcourt’. The work engages with the domestic function of a cloister with sculptures perched on tripods directing the viewer’s gaze skyward to the alignment of residential laundry lines above. Taking a cue from the makeshift badminton courts of her childhood in Hong Kong, where street furniture stood in for nets, existing works appear alongside new anthropomorphic sculptures on stands and working antennas. They are arranged in two converging lines resembling nets, thus transforming the site into a potential field of play actuated through physical negotiation and imagination. Aside from plastic, other material and personal narratives explored in Tse’s oeuvre—such as her family’s link to colonial trade probed in ‘Quantum Shirley Series’ (2009–ongoing), plastic, technology, and the body— are synthesised and translated into shuttlecocks made out of vanilla beans and rubber. The overlay of site-responsive histories takes on another layer as Tse incorporates amateur radio equipment, forerunner to digital communications, into the presentation. The antennas are designed to pick up non-commercial frequencies and recreational broadcasting, thus making audible flows of communication in proximity to the courtyard, amplifying the cacophonic articulations assembling and negotiating. The playful choreography of Tse’s subjectivities among the sculptures in an organic movement of encounters activates the sculptures as place markers, shaping the potential interactions that unfold within the contested field of action.

Tse works against conventions of protocol and efficiency at the core of productivity-driven mechanisations of contemporary society. The artist rigorously unpacked this early on in her practice, and in ‘Stakeholders’, as an antithetical gesture, espouses slowness. In this transgressive contrarian space of affect, empathy, and ethics, the two-part presentation gives form to turbulent societies circumscribed by individual decisions and the failure of consensus politics. If things are the tools Tse uses to decipher the guiding mechanisms and forces behind them, they are also objects that through activation bring out into the open how they shape societies and those who live in them. Tse’s meticulous approach to objects and process helps visualise dynamics and ethical codes in interactions. The Venice Biennale presentation implicates the public as stakeholders in improvised negotiation, and the manifold processes and materials delicately counterbalanced in ‘Negotiated Differences’ and the imaginary polyphonies conjured by ‘Playcourt’ invite the viewer to consider coexistence in affirming each other’s agency at the core of a shared heterogeneous society. Through her unique sculptural practice, Tse carefully considers what individuals can learn from ubiquitous materials, processes, and structures that shape a pluralistic world.

Christina Li
Guest Curator

1 Shirley Tse, ‘Technology, Plastic, and Art’, Art and Technology Symposium, International Association For Philosophy and Literature 22nd Annual Conference, University of California, Irvine, May 1998, revised May 2003.



在第58屆威尼斯雙年展中,香港將舉辦題為「謝淑妮:與事者,香港在威尼斯」的展覽。這個回應展出場地空間特質的展覽中,謝淑妮把塑膠和多種原材料並置,包括木材及攝影棚設備、運動器材等現成物,從而揭開深藏其中的歷史、想像、應用和相關技術。兩件展出的裝置作品《Negotiated Differences》和《Playcourt》都是2019年的新作,它們均把個人視為物件生產、使用和意義生成過程中的與事者(Stakeholders)。謝淑妮在《Negotiated Differences》中採用一些全新的技巧,包括木車工和數碼技術,個人作為物件的製造者和使用者,還有最重要的是身為公民的角色,這在該作品中得到了充分闡述。這件作品在整個室內空間中盤桓,是一組圖解式的混合物,由各種形態的木製品和日常物品組成,例如欄杆、棒球棍、人體「義肢」般的物件和扶手。它們以3D打印和手工製作的金屬和塑膠連接組件相連。每件以木和合成物料製成的接合節點,在由多向的連接組件和重力所決定的空間中,以動態方式相互平衡。這件貼地蔓生的展品,在曾用作貯木倉庫的展館內徜徉遊走。謝淑妮在創作中嘗試新的形態和手法,刻意採用3D打印時出錯的接合裝置(檔案來自互聯網的開放源碼網站),並以一系列樂器、運動器材和家具為依據,以木車工製造出複製品。除了物料、形態和工藝的平衡展示,協商還需要另一層解讀。車床是一種古老的工具,被視為各種機器工具之源。在旋動的車床上作業時,人的手即變成機器與物質的中介。在車製過程中,謝淑妮要順應木材的紋理,與之合作而非對抗,這可以看作協商矛盾的觸感式呈現。這件作品是一次即興的創作活動,作品的形態和佈局,是在新舊元素和參與者不斷即席協商的過程中生成。


當代社會着眼於生產力而追求機械化,謝淑妮的創作跟此中所講求的程序與效率背道而馳。她在早期作品中已極力顯露這種做法,並在「謝淑妮:與事者」中崇尚緩慢,藉以表現出分庭抗禮的姿態。這個由情感、同理心和倫理道德組成的空間悖離於常軌,反其道而行,這個由兩部分組成的展覽,為因個人決定和共識政治失靈而陷入動盪的社會賦予形態。如果事物是謝淑妮用以破解社會指導機制及其背後力量的工具,那麼這些物件在激活後,也能揭示它們是如何形塑社會和生活於其中的人。謝淑妮以一絲不苟的手法處理物件和過程,有助以視覺化方式呈現互動中的動態變化和道德規範。這次參與威尼斯雙年展的展覽令公眾也參與其中,成為即興協商中的「與事者」。在《Negotiated Differences》中,多種多樣的工序和物料巧妙地相互平衡;而《Playcourt》則呈現出想像的複調聲音,邀請參觀者對共存加以思考,明白共有的異質化社會的核心,在於承認彼此的能動性。謝淑妮藉着獨特的雕塑實踐再三思忖,從塑造多元化世界的那些處處可見的物料、工序和結構中,個人究竟可得到何種領悟。


1謝淑妮,〈Technology, Plastic, and Art〉(演講,Art and Technology SymposiumInternational Association For Philosophy and Literature 22nd Annual Conference,加州大學爾灣分校,1998年5月,20035月修訂)。


“Shirley Tse: Stakeholders, Hong Kong in Venice”
Authors: Christina Li, Evelyn Char, Chris Kraus, Miwon Kwon, Shirley Tse

ISBN: 978-988-78130-0-2
Languages: English and Chinese
Retail Price: HKD280
No. of Pages: 260

Buy online


作者: 李綺敏、 查映嵐、Chris Kraus、權美媛、謝淑妮

ISBN: 978-988-78130-0-2
語言: 英語及中文
價格: 港幣280
頁數: 260


In Venice



Exhibition period 

11 May – 24 November 2019
10am – 6pm

Closed on Mondays (except 13 May, 2 September, 18 November 2019)


Campo della Tana, Castello 2126, 30122, Venice, Italy
(In front of the main entrance of Arsenale)

Vaporetto Stops: Arsenale or Giardini
Line: 1, 2, 4.1, 4.2, 5.1 or 5.2






意大利威尼斯卡斯泰洛區Campo della Tana

Vaporetto 水上巴士站ArsenaleGiardini


As part of its commitment to nurturing local talent interested in working in the visual art field, M+ and the Hong Kong Arts Development Council have launched an internship programme for the 58th International Art Exhibition – la Biennale di Venezia, offering interns the chance to gain unique insight into the workings of the world’s oldest and most renowned international art exhibition. The programme will begin in May, and will be arranged in two divisions, inviting two technical and ten exhibition interns to join the M+ team.

Meet our interns and learn about their experiences while they work with us in Venice through their blog posts.




Venice Biennale

The Venice Biennale, founded in 1895, has been one of the most important cultural institutions in the world. Covering a wide range of disciplines, including art, architecture, cinema, dance, music and theatre, it aims to promote new artistic trends in contemporary arts. The documentation of its main activities is contained in its own ‘Contemporary Arts Archive’, which is a key point of reference for the study of contemporary arts.

For more information, please visit


成立於1895年的威尼斯雙年展是全球最重要的文化機構之一,涵蓋的範疇非常廣泛,包括了藝術、建築、電影、舞蹈、音樂和劇場,旨在促進及推廣各類型當代藝術的嶄新趨勢。其「當代藝術檔案庫」(Contemporary Arts Archive)對雙年展主要活動的記錄更是研究當代藝術的關鍵素材。


Past Exhibitions

Since Hong Kong’s debut in 2001, the goal has always been to use the Venice Biennale as a platform to promote Hong Kong artists on the global stage. The past participating visual art artists include Samson Young, Tsang Kin-wah, Lee Kit, Kwok Mang-ho (Frog King), Pak Sheung Chuen, MAP Office, Hiram To, Amy Cheung, anothermountainman, Chan Yuk-keung, Para/Site Collective, Ho Siu-kee, Leung Chi-wo and Ellen Pau.

The 58th Venice Biennale is the fourth collaboration between M+ and ADC, following the acclaimed reviews for ‘Lee Kit – You (you)’. in 2013, ‘Tsang Kin-wah: The Infinite Nothing’ in 2015, and ‘Samson Young: Song for Disaster Relief’ in 2017 on this representation of Hong Kong contemporary art at one of the most important international platforms.

Links for past exhibitions

2018Vertical Fabric: density in landscape
2017Samson Young: Songs for Disaster Relief
2016Stratagems in Architecture
2015Tsang Kin-wah: The Infinite Nothing
2014Fundamentally Hong Kong? Delta Four 1984 – 2044
2013‘You (you).’ – Lee Kit
2012Inter Cities / Intra Cities: Ghostwriting the Future
2011Frogtopia. Hongkornucopia
2010Quotidian Architectures
2009Making (Perfect) World: Harbour, Hong Kong, Alienated Cities and Dreams
2008Re-making Hong Kong
2006VICE VERSA: displacing acts, lives & thresholds of a hyper city
2005investigation of a journey to the west by micro + polo


2001年於威尼斯雙年展首度亮相以來,我們一直以來的目標都是透過雙年展來向國際藝壇展示香港藝術家的優秀作品。歷來曾經參與威尼斯雙年展的香港藝術家,包括楊嘉輝、曾建華、李傑、郭孟浩(蛙王)、白雙全、MAP Office、杜子卿、張韻雯、又一山人、陳育強、Para/Site Collective、何兆基、梁志和及鮑藹倫。

58屆威尼斯雙年展是M+及香港藝術發展局於2013年、2015年及2017年合辦「你 (你)。」-李傑、「曾建華:無盡虛無」和「楊嘉輝的賑災專輯」後的第四次合作,於這國際舞台呈現香港當代藝術。


2014建基香港 三角四方
2013「你 (你)。」-李傑
2009製造 (完美的) 世界: 海洋、香港、異邦的城市與夢
2006反之亦燃 城市越位

‘Negotiated Differences’ (detail), 2019, carved wood and 3D-printed forms in wood, metal, and plastic, dimensions variable

Negotiated Differences》局部,2019年,雕刻木件、3D打印木件、金屬件、塑膠件,尺寸不定



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