 was born in 1973 in Seoul. After studying photography at the Berlin University of the Arts, he returned to Korea, where he currently lives and works.

Kim's practice is rooted in contemporary shamanism and the belief that boundary expansion might supersede historical violences of dispossession and disconnection. In his earlier photographs, sculpture, performance, and installation works, Kim studied hierarchical processions of people and non-human entities, whether in traditional mourning rituals, political protest, or communal gatherings of healing. Shopping carts, chilis, eggs, and other ubiquitous objects of commodity feature in his totem-like sculptures, reflecting the tensions of a hyper-capitalistic society against the deep-rooted political traumas of a fractured Korea. His recent work looks at the role of spirituality in contemporary culture, in particular the subconscious presence of "night," referring to the divine feminine, the dream state, and generative processes of gestation.

Kim's works have been shown at the 16th Sharjah Biennial, the 13th Gwangju Biennial, the 10th Seoul Mediacity Biennial, the 7th Asia Pacific Triennial of Contemporary Art, New Museum New York, Ilmin Museum of Art, MMCA, and Art Sonje Center. He is the recipient of the 12th Hermès Foundation Missulsang prize. His work is in the collections of M+, MMCA, Seoul Museum of Art, and other private collections.

於1973年出生在首爾，曾於柏林藝術大學攻讀攝影專業，學成歸國後目前在韓國生活與工作。

金相敦的藝術實踐根植於當代薩滿文化，以及一種相信激進的多元化體系能夠替代有關剝奪與分離的歷史性暴力的信念。在其早期創作的攝影、雕塑、表演及裝置作品中，無論是傳統哀悼儀式、政治抗議還是療癒性集會，藝術家始終致力於探討人類與非人類實體之間存在的等級秩序。購物車、辣椒、雞蛋等消費社會的尋常意象，在他圖騰般的雕塑中出現，折射出超資本主義社會張力與深植於分裂的朝鮮半島中的政治創傷。他近期的創作則聚焦靈性在當代文化中的存在價值，尤其探索「夜」的潛意識維度——指向女神信仰、夢境狀態及孕育的生成機制。

金相敦的作品曾展出於第16屆沙迦雙年展、第13屆光州雙年展、第10屆首爾媒體城市雙年展、第7屆亞太當代藝術三年展、紐約新美術館、一民美術館（Ilmin Museum of Art）、韓國國立現代美術館、善宰藝術中心（Art Sonje Center）等機構。他曾獲第12屆愛馬仕韓國美術獎，作品被韓國國立現代美術館、首爾市立美術館等機構以及私人收藏。

Kim Sangdon

 (est. 2020, based in Hong Kong) is a philosophy, an epistemological ideology, and an artist duo comprised of curator-artist Joseph Chen and artist Cas Wong. Named after public housing estate blocks in Kowloon City, the home of Chen’s grandmother, Virtue Village root their practice in collective memory, contemporary spirituality, and queer theory. Confronting the performative gaze toward the queer community, Virtue Village challenges constructions of the uncanny and the taboo, creating intimate and personal experiences. Their studio practice encompasses sculpture, video, painting, performance, and assemblage, while their curatorial work—established through Joseph Chen's position as the director of culture at Eaton Hong Kong—embraces the collaborative and experimental nature of the international queer community.


Virtue Village has exhibited at and created performances for Tai Kwun Contemporary (Hong Kong); DOSSIER (China); Hong Kong Arts Centre; Parallel Space (Hong Kong); and Present Projects (Hong Kong). Their work is in the collection of Sunpride Foundation and other private collections.

（成立於2020年，生活和工作於香港）既是一種哲學理念、一種認識論意識形態，也是由策展人兼藝術家Joseph Chen和藝術家Cas Wong組成的雙人藝術家組合。以Joseph祖母家位於九龍城的舊公共屋邨命名，真善美村將他們的創作根基深植於集體記憶、當代靈性與酷兒理論之中。直面社會對酷兒群體的表演性凝視，真善美村挑戰「詭異」與「禁忌」的既定框架，營造親密而私人的體驗。他們的工作室創作涵蓋雕塑、錄像、繪畫、表演及裝置，而他們的策展工作——通過Joseph Chen作為香港逸東酒店文化總監的身份所展開——則致力呈現國際酷兒社群協作與實驗的精神。


真善美村曾展出作品及創作表演於大館當代美術館（香港）、DOSSIER札記（上海）、香港藝術中心、Parallel Space（香港）以及Present Projects（香港）。作品被收藏於驕陽基金會（Sunpride Foundation）及多個私人收藏中。

Virtue Village

 was born 1990 in Hunan, China. She graduated from the Beijing Film Academy's Department of Animation in 2012.

Working primarily in watercolor and mineral pigment on paper, she engages in acts of visual translation and interpretation, her sources drawn from the intimacies of daily life, the subconscious, and literary fables. Most of her paintings, often executed in miniature, are original compositions for books. Her relationship to the written word marks a broader interaction with narrative storytelling. In examining constructions of society and people, she reveals portraits and scenes that embody the movements, and stillness, of contemporary life.

在1990年出生於中國湖南，2012年畢業於北京電影學院動畫藝術專業。



昔酒以水彩及顏彩紙本作為主要的創作手段。她的創作從日常生活的親密瞬間、潛意識和文學寓言中汲取靈感，進行視覺上的翻譯和詮釋。她的畫作常為書籍而創作，並呈現出微型的構圖。她與文字的關係彰顯了她與敘事性故事的廣泛互動。透過審視社會和人群的結構，她揭示了當代生活中動態與靜態交織的肖像與場景。

Xi Jiu

 (b. 1993) is a multidisciplinary artist based in Hong Kong. Her work features secondhand objects sourced from marketplaces or domestic residences. After collecting these objects and their personal stories, she transforms them in her studio through a meditative practice of painting, sanding, polishing, and varnishing. In exploring the lost functions of these objects, often abandoned or displaced by previous owners, she examines hyper-capitalist attachments to fixed value and use, and the paradox of an ever-accumulating world that still feels empty.


Through “painting” these objects with green industrial pigment, a material typically found in hardware stores in Hong Kong, Chan Ting highlights reinvention and reclamation. Once varnished, the lustrous green skin also evokes moss, an ancient organism that subverts conventional ideas of growth and reproduction. Unlike flowering plants, moss thrives without seeds or roots, propagating asexually and adapting to marginal environments in an embodiment of resilience and queer ways of being.


Chan Ting holds an MFA in Fine Arts from the Chinese University of Hong Kong. She has exhibited works in Tai Kwun Contemporary, Para Site, and HART Haus, among other venues, and participated in a residency at Foo Tak building from 2019 to 2022, during which she co-founded the nonprofit project Negative Space. She was one of the grantees of the NoExit Grant for Unpaid Artistic Labour organized by Para Site and was the resident artist at Para Site’s 10/F space in 2023.

（生於1993年）是一位現居香港的跨媒介藝術家。她的作品使用從市集或家中收集來的二手物件。在收集這些物件及其背後的故事之後，她在工作室里通過冥想式的繪畫、打磨、拋光和上漆等手法對其進行改造。在探究這些物件原有的、已經喪失的功能時——它們往往被之前的主人拋棄或遺落——她審視了高度資本主義社會對固定價值和用途的執著，以及在一個不斷積累的世界里仍感到空虛的矛盾。


陳庭用在香港五金店常見的綠色工業顏料「描繪」這些物件，突出了改造與再利用。一旦塗上清漆，這層光亮的綠色外衣還會讓人聯想到苔蘚，這種古老的生物顛覆了人們對於生長和繁殖的傳統觀念。苔蘚不像開花植物那樣需要種子或根系，它通過無性繁殖在邊緣環境中茁壯成長，是堅韌和非傳統生存方式的體現。


陳庭於香港中文大學獲得藝術碩士學位。她的作品曾在大館當代美術館、Para Site藝術空間及HART Haus等地展出。她也曾於2019至2022年參加了富德樓的藝術家駐留計畫，並在這期間合發起非盈利計畫負片空間。她曾獲得Para Site藝術空間的NoExit無償藝術勞動資助計劃，同時也在Para Site十樓的空間進行了藝術家駐留項目。

Chan Ting

 was born in 1988 in Osaka, Japan. She received her MFA in oil painting and pursued a doctorate in media art from the Kyoto City University of Arts.


In her practice, Sasaoka investigates the limits and potentiality of representation through various modalities of entertainment, including theater, song, and the collective screen. Many of her works respond, whether explicitly or indirectly, to the 2011 tsunami and earthquake in Japan, tapping into the collective consciousness of those who live close to disaster, or, as Sasaoka says, “between life and death.” Witnessing the tragedy unfold on a tiny television screen, Sasaoka interpreted the flat surface to be a membrane that presented an unreality or unresolvable gap between action and consequence.


Through immersive video installations that often involve the idea of the marionette—a symbol of sociopolitical puppeteering and gendered normativity—she expands the interstitial spaces between the surreal and the lucid. In her works, she performs as multiple characters, liberating narratives from rigid ideas around gender, identity, and history, and referencing Osaka's long storytelling traditions. For a recent work, "Animale" (2024–25), Sasaoka investigated the historical roles of animals in society—from fables and pets to their use in political diplomacy and labor—through a large-scale sound-and-video installation featuring totemic singing creatures. Whether through hand puppets, traditional marionettes, or animated figures, Sasaoka addresses critical topics, rendering the moving image and history itself as a fluid and conflicted narrative.


Her work is included in the Osaka World Expo and has been shown at the 14th Shanghai Biennial (Shanghai); various festivals, biennales, and triennials across Japan; Kuandu Museum of Fine Arts (Taipei); VBKÖ (Vienna); and TRAFO Center for Contemporary Art (Szczecin, Poland). Her work has been collected by BY ART MATTERS, Hangzhou; Shiga Museum of Art, Shiga; Akeroyd Collection; ZHI Art Foundation, Beijing; and more.

（生於1988年，生活工作於京都）出生於日本大阪，她在京都市立藝術大學取得了油畫碩士學位以及攻讀了媒體藝術博士課程（PhD）。

在笹岡由梨子的創作中，她通過各種形式的娛樂——包括戲劇、音樂和集中的屏幕呈現——來審視代表性的限制與潛力。她的不少作品直白或間接地回應了2011年在日本發生的地震和海嘯，嘗試連接那些距離災難咫尺之遙的人們的集體意識，或根據笹岡由梨子所形容，那些「生活在生與死之間的人們」。她在小小的電視屏幕上見證了悲劇一步步發生演變後，認為這塊屏幕似乎是一片薄膜，上面呈現了行動與後果之間虛幻或無法解決的差距。

她通過沉浸式錄像裝置——常以牽線木偶為意象，隱喻社會政治的操控與性別規範的束縛——拓展着清醒與超現實之間的臨界地帶。在她的作品中，她扮演不同的角色，嘗試打破有關性別、身分和歷史議題的刻板框架，並借鑑大阪敘事藝術的悠久歷史。在近期作品「Animale」（2024–25）中，她通過載有圖騰般的歌唱生物的大型聲像裝置探討了動物在社會中的歷史角色——從寓言故事、寵物到政治外交與勞動領域的運用。無論是通過手偶、傳統木偶還是動畫人物，笹岡由梨子探討富有批判性的議題，並將流動影像和歷史本身轉化為多變且矛盾的敘事。

她的作品曾呈現於大阪世博會，並曾在第十四屆上海雙年展、日本的眾多藝術節與雙年展、關渡美術館（台北）、VBKÖ（維也納）以及TRAFO當代藝術中心（甚切青）展出。她的作品收藏於杭州天目里美術館、滋賀縣立美術館、Akeroyd Collection、北京之已基金会等。

Sasaoka Yuriko

 (b. 1984, based in Taipei) dissects the familiar and the ephemeral in the day to day, extrapolating from communal experiences and habitats choreographed by narratives of social interaction and memory.



Responding to codes and symbolism of common objects and patterns, he traces the body and its psychosomatic responses through displaced materials of nostalgia: an artificial scent, a public bathroom sink, a song only heard at night. For the institutional exhibition “Like a Urinal in a Nightclub” at Taipei Fine Arts Museum in 2021, Luo constructed a “broken nightclub” by distorting coded sounds, smells, and images from these nocturnal environments, mimicking queered spaces which filter, process, and hold experiences of intimacy.



His work has been shown at Taipei Fine Arts Museum (Taipei); Liverpool Biennial 2021; National Taiwan Museum of Fine Arts (Taichung); MoCA Taipei; Taipei Contemporary Art Centre; Asia Cultural Center (Gwangju); Times Museum (Guangzhou); and Queens Museum (New York).


（生於 1984 年，生活工作於台北）剖析日常中熟悉的轉瞬即逝的事物，從社會互動和記憶的敘事編排的公共體驗和棲息地中推斷出來。

回應常見物體和圖案的代碼和象徵意義，他通過懷舊的替代材料追踪身體及其心身反應：例如人造氣味、公共浴室水槽、只有在晚上才能聽到的歌曲。在 2021 年台北市立美術館的大型個展《像是一個夜店的小便鬥》中，羅智信通過從這些夜間環境中扭曲編碼的聲音、氣味和圖像，模仿這些過濾、處理、並擁有親密的體驗。

他作品曾展出過在台北市立美術館（台北）； 2021 年利物浦雙年展；國立台灣美術館（台中）；台北當代藝術館；台北當代藝術中心；亞洲文化中心（光州）；時代美術館（廣州）；和 Queens Museum（紐約）。

Luo Jr-Shin

 (b. 1994, based in Hong Kong) is a multidisciplinary artist engaged in practices of intimacy and ritual. In her experimentations with different materials and elements, she investigates how the body manifests and adapts in situations of public tension or private introspection. As one of the many emerging artists practicing in post-handover Hong Kong, Chu examines ephemerality and ludic play in relation to intense social change and communal relationships.


Her work has been shown at Aranya Art Center (Qinghuangdao); Para Site (Hong Kong); Tai Kwun Contemporary (Hong Kong); Delfina Foundation at Young Space (London); 1a space (Hong Kong); and Negative Space (Hong Kong). Her debut solo exhibition at PHD Group, “you, trickling,” was featured in 


She is a recipient of soundpocket’s Artist Support Programme from 2020–21 and the HART Studio Grant in 2021 and was in residence at London’s Delfina Foundation as part of their “Performance as Process” program in 2023. Her work is in the Burger COLLECTION and other private collections.

（生於 1994 年，生活工作於香港）是一位跨媒介藝術家，從事親密和儀式的實踐。在她對不同材料和元素的實驗中，她研究身體如何在公共空間的張力或私人空間的內之中表現和適應的。作為工作生活於香港回歸後的一位新興藝術家，她探討劇烈社會變革及共有關係中的瞬息萬變及隨性玩味。


她作品曾展出於阿那亞藝術中心（秦皇島）、Para Site藝術空間（香港）、大館當代美術館（香港）、Delfina Foundation於Young Space（倫敦）、1a space（香港）及負片空間（香港）。她在PHD集團舉辦的首次個展「you, trickling」被《紐約時報》、《藝術論壇》、《ArtReview Asia》、《Frieze》、《Ocula》等媒體報道。


她是2020–21年度聲音掏腰包（soundpocket）藝術家支持計劃和2021年HART工作室資助的獲得者，並於2023年在倫敦Delfina Foundation駐留，作為他們2023年「表演作為過程」計劃的一部分。她的作品也收藏於Burger COLLECTION以及其他私人收藏。

Michele Chu

 (b. 1974, based in Hong Kong) is a multidisciplinary artist, educator, and writer. In his practice, he examines articulations of history and place, grounded in an interest in architecture and spatial organization. In his role as arts educator and organizer, he has led workshops on otherness and decolonization. He is currently executive director of Asia Art Archive in Hong Kong and co-edited 

Best! Letters from Asian Americans in the Arts


Recent solo presentations include those at Below Grand (New York); Vancouver Art Gallery Offsite (Vancouver); Tomorrow Maybe (Hong Kong); Brooklyn Academy of Music (New York); and Bronx Museum (New York). His multi-component projects have been exhibited at Asia Society Texas; Art Intelligence Global (Hong Kong); Current Plans (Hong Kong); Hessel Museum of Art, Bard College (New York); Para Site (Hong Kong); Storm King Art Center (New York); Busan Biennale; MASS MoCA (Massachusetts); and Queens Museum (New York).

（生於 1974，生活工作於香港）是一位跨媒介藝術家、教育家和作家。在他的實踐中，他以對建築和空間規劃的興趣為起點，探究歷史和地方的關聯性。作為藝術教育家和組織者，他發起了關於差異性和非殖民化的研討會。他目前於亞洲藝術文獻庫擔任執行總監，並聯合編輯了由Paper Monument出版的《Best! Letters from Asian Americans in the Arts》。


他的近期個展曾舉辦於Below Grand（紐約）、Vancouver Art Gallery Offsite（溫哥華）、Tomorrow Maybe（香港）、布魯克林音樂學院（紐約）及Bronx Museum（紐約）。他的多組件項目曾展出於Asia Society Texas、Art Intelligence Global（香港）、Current Plans（香港）、巴德學院Hessel Museum of Art（紐約）、Para Site藝術空間（香港）、Storm King Art Center（紐約）、釜山雙年展、MASS MoCa（馬薩諸塞州）和Queens Museum（紐約）。

Christopher K. Ho

(b. 1980, based in Tokyo) is a multidisciplinary artist and sensitive observer of our habitats. Attempting to capture the non-tangible—sound, light, wind—she facilitates networks of self-contained ecosystems. Within these systems, she emphasizes the presence of chance, error, and silences, noting the various modes of dialogue between us and our surroundings. For “Decomposition,” a work involving fresh fruit bowl, plug-in wires, and speakers, a responsive composition is calibrated by evolving moisture levels, the act of decay transformed into an auditory experience. 

Her work has been shown at the 14th Gwangju Biennale (2023); Tai Kwun Contemporary (Hong Kong); Palais de Tokyo (Paris); Museum of Contemporary Art (Tokyo); 23rd Biennale of Sydney (2022); 34th Bienal de São Paulo (2021); and Kochi-Muziris Biennale (2016). Her work has been collected by M+ (Hong Kong); Centre Pompidou (Paris); and Queensland Art Gallery | Gallery of Modern Art (Brisbane). She will represent Japan in the 60th Venice Biennale in 2024.   

（生於1980，生活工作於東京）是一位跨媒介藝術家，也是對我們棲息地的敏感的觀察者。為了捕捉無形的元素——聲音、光線、風——她促進了自成體系的生態網絡。在這些生態系統內，她強調機會、錯誤及寂靜的存在，並關注我們與環境間不同的對話模式。 在作品"Decomposition" 中，新鮮水果、插入式電線和音響通過水果不斷變化的濕度，產生了相應的樂曲，將腐爛的過程轉化為聽覺體驗。

她的作品曾展出過在第十四屆光州雙年展（2023），大館當代（香港）；Palais de Tokyo（巴黎）；Museum of Contemporary Art（東京）；第二十三屆悉尼雙年展（2022）；第三十四屆聖保羅雙年展（2021）；和科欽·穆茲里斯雙年展（2016）。她的作品也曾被收藏於M+（香港）；Centre Pompidou（巴黎）；和Queensland Art Gallery | Gallery of Modern Art（布里斯班）。她將於2024年代表日本參加第六十屆威尼斯雙年展。

Yuko Mohri

Formed by artist Royce Ng and anthropologist Daisy Bisenieks, 

 (est. 2009, based on Lantau Island, Hong Kong) create digital media, objects, and performance works, grounding their practice in long-term, research-based projects. Examining the broader interactions between nature and technology, Zheng Mahler engage in speculative encounters—such as a city’s memory wiped out by a nostalgia algorithm—and interspecies empathy, with a focus on more than human experiences.


Zheng Mahler have shown work at and completed major commissions for KW Institute for Contemporary Art (Berlin); Helsinki Biennial 2023; Kunsthalle Mainz (Mainz); Institut für Auslandsbeziehungen (IFA) (Germany); Johann Jacobs Museum (Zurich); Akademie der Künste der Welt (Cologne); Performa 15 (New York); Para Site (Hong Kong); Tai Kwun Contemporary (Hong Kong); 13th Shanghai Biennale; Singapore Art Museum (Singapore), UCCA Dune (Beidaihe), and West Bund Museum (Shanghai). Their work is in the collection of M+ (Hong Kong), IFA (Germany), Fosun Foundation (Shanghai), Cc Foundation (Shanghai), Museum für Kunst und Gewerbe (Hamburg), Johann Jacobs Museum (Zurich), and more.

由藝術家Royce Ng及人類學家Daisy Bisenieks組成，

（創立於2009年，生活工作於香港大嶼山）創作數字媒體、物件及表演藝術作品，並將作品建立於以長期研究為基礎的項目上。透過審視自然與科技間更廣泛的互動，鄭馬樂專注於思辨性的邂逅——例如探索被懷舊演算法抹去記憶的城市——以及探索跨種族的同理心，將焦點放在超越人類的體驗上。


鄭馬樂曾被多個機構委託創作作品，包括KW Insitute for Contemporary Art（柏林）、2023年赫爾辛基雙年展、Kunsthalle Mainz （緬因斯）、Institut für Auslandsbeziehungen（IFA）（德國）、Johann Jacobs Museum（蘇黎世）、Akademie der Künste der Welt（科隆）、Performa 15（紐約）、Para Site藝術空間（香港）、大館當代美術館（香港）、第十三屆上海雙年展、新加坡美術館（新加坡）；UCCA 沙丘美術館（北戴河）以及西岸美術館（上海）。他們的作品也被收藏於M+（香港）、IFA（德國）、复星藝術中心（上海）、Cc基金会（上海）、Museum für Kunst und Gewerbe（漢堡）、Johann Jacobs Museum（蘇黎世）及其他。

Zheng Mahler

 (b. 1987, Seoul) is a painter whose canvasses often articulate narratives of representation, gaze, and consumption. Her  works interrogate the surface of painting and our disillusions with image as distorted by the mechanisms of social media as well as sociopolitical soft power. She is one half of the artist duo Expansion Colony. Lee Eunsae is currently in residence at Rijksakademie in Amsterdam.

Her works have been exhibited at the Ilmin Museum of Art (Seoul); Nam-Seoul Museum of Art (Seoul); Suwon Museum of Art (Suwon); SeMA Nanji (Seoul); and MMCA Gwacheon.

（生於 1987 年，生活工作於首爾）的畫作經常呈現代理、凝視與消費的敘事，並描繪人物無精打采地划動手機或藏身超現實的景觀中。她較近期的作品審視繪畫的表面，並揭示由社交媒體機制和社會政治軟實力扭曲的圖像所帶來的幻滅。她是雙人藝術組合"Expansion Colony" 的一員。

她作品曾展出過在Ilmin美術館（首爾）； 南首爾美術館（首爾）； 水原美術館（水原）；  SeMA Nanji（首爾）； 和 MMCA 果川。

Artists