(est. 2020, based in Hong Kong) is a philosophy, an epistemological ideology, and an artist duo comprised of Joseph Chen and Cas Wong. Named after old public housing estate blocks in Kowloon City, the home of Chen’s grandmother, Virtue Village root their practice in contemporary spirituality, transforming found object, environment, and the body into vessels for parabiotic communion. Tapping into the multiple definitions of ascension, they navigate the planes of collective queer subculture, fetish, and transhumanism.



Virtue Village has exhibited at and created performances for Tai Kwun Contemporary (Hong Kong); Dossier (China); the Hong Kong Arts Center; Parallel Space (Hong Kong) and Present Projects (Hong Kong).

（創立於2020年）是一種哲學、一種認識論意識形態、也是由 Joseph Chen 和 Cas Wong 組成的藝術家二人組合。以Joseph祖母家九龍城的舊公共屋村命名，真善美村將他們的實踐植根於當代靈性，將發現的物體、環境和身體轉化為共生共融的容器。用提升的多重定義，他們在集體酷兒亞文化、戀物和超人類主義的平面上導航。

他們曾在 Parallel Space（香港）和 Present Projects（香港）展出作品和放映電影。 2021年，他們在香港組織了表演平台和展覽活體洞。在2022年，他們參與了大館當代和Sunpride Foundation合作舉辦的神話製造者——光·合作用 III。

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 on paper, she engages in acts of visual translation and interpretation, her source materials being literary fables and stories by contemporary Chinese authors from the 20th and 21st century. In examining the written word and its constructions of society and people, she creates surrealist compositions that are executed in miniature, revealing portraits and scenes within an intimate frame. Xi Jiu's interest in surrealism ties her to the lineage of magical realism in Chinese literature, which in turn relates to our exceedingly uncanny and scientific era.

在1990年出生於中國湖南，於2012年畢業於北京電影學院動畫藝術專業。

昔酒以水彩紙本作為主要的創作手段。通過創作，昔酒將中國當代作家撰寫的寓言和故事進行解讀，並從視覺上翻譯。在審視文字及其構築的社會和人類後，她建構出超現實的微型構圖，在緊密的畫框中描繪肖像和不同的場景。昔酒對於超現實主義的熱愛將她與傳承於中國文學裏的魔幻現實主義聯繫在一起，這與我們現今極度科學化且怪誕的時代產生對照。

Xi Jiu

 (b.1983, Hong Kong) works at the intersection of speculative imagination and research. Merging video with performance and the everyday, she crafts participatory experiences that engender questions of identity, the parameters of time, and alternate realms. In her karaoke-lecture-performances, she moves fluidly between the voices of academia, memoir, philosophy, and pop song, aggregating content from her research. She is currently a faculty member at SVA in New York.


Wong has performed and shown work at Tate Modern (London); Kunstinstituut Melly (Rotterdam); Queens Museum (New York); Para Site (Hong Kong); Tai Kwun Contemporary (Hong Kong); The Kitchen (New York); and the San Francisco Art Institute (San Francisco). She has participated in FRONT Triennial, Cleveland (2022) and The Arctic Circle expeditionary residency (2015) and was a 2021-22 artist-in-residence at The Chinati Foundation in Marfa, Texas. Her work has been collected by M+ Museum (Hong Kong) and Kadist Art Foundation (Paris/San Francisco).

（生於1983年，香港）從事於投機想像與研究的交匯處。她將影像與表演和日常生活相結合，創造了能引發關於身份、時間參數以及替代領域的問題的參與式體驗。在她帶有關係藝術元素的作品——卡啦OK講座表演中，她在學術界、回憶錄、哲學和流行歌曲的聲音之間流暢地移動，從她的研究中將內容匯總。她現為紐約視覺藝術學院任教職員。

黃潔宜曾在Tate Modern（倫敦）；Kunstinstituut Melly（鹿特丹）；皇后區博物館（紐約）； Para Site (香港)；大館當代（香港）；The Kitchen（紐約）和舊金山藝術學院（舊金山）表演及展出作品。她參加了FRONT Triennial, Cleveland（2022）和北極圈遠征駐留項目（2015 年），並且是德州馬爾法The Chinati Foundation 2021-22 年的駐留藝術家。她的作品被 M+ 博物館（香港）和 Kadist 藝術基金會（巴黎/舊金山）收藏。

Wong Kit Yi

(b. 1993) is a multidisciplinary artist based in Hong Kong. Her practice begins as conservation: discarded or rejected objects from public sites or domestic residences are salvaged and brought back to her studio for restoration. Drawing on her background as a hypnotherapist and energy healer, she then communes with these objects in a process of addition and subtraction that involves layers of plaster and pigment that are sanded and drilled away with heavy industrial tools.

Formally, her expanded paintings and sculptural objects engage directly with the artist’s environs. In hand-blending plasters, industrial pigments, and waxy oil pastels, she also folds in the air, smell, and temperature of Hong Kong and its movements of people. This results in an image that is both a palimpsest and landscape portrait, at once a reference to the contemporary conditions of place and a psychological study of society, memory, migration, and change.

Chan Ting holds an MFA in Fine Arts from the Chinese University of Hong Kong and is a certified hypnotherapist and energy healer. She has exhibited works in Tai Kwun Contemporary 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，生活工作於香港）是一位居於香港的跨媒介藝術家。 她的創作始於保育：她將被遺棄或被拒絕的物件從垃圾場回收，帶回工作室進行修復。借助她催眠治療師及能量治療師的背景，與這些物件產生交流。在交流的過程中對這些物件加上或減少層層的石膏和顏料，最後再用重型工業用具進行打磨、鑽孔。

在形式上，陳庭的實驗性畫作及雕塑直接與她周遭的環境相互作用。透過手工混合的石膏、工業用顏料以及帶有蠟質的油粉彩，香港的空氣、味道和溫度也被混入了作品中。這過程帶來的是一幅既像被不斷改寫的手抄本，又像風景畫的圖像，這圖像是對城市當代狀態的參照，也是對其居民心理狀態的研究。

陳庭為香港中文大學藝術碩士，同時也是一位認證的催眠治療師及能量治療師。她的作品曾在大館當代及HART Haus等地點展出。她也曾於2019至2022年參加了富德樓的藝術家駐留計畫，並在這期間合辦了非牟利計畫「負片空間」。她曾獲得Para Site的NoExit無償藝術勞動資助，現在也正在Para Site十樓的藝術空間進行藝術家駐留。

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. A recent work, "

" (2021), utilizes handmade fish-head dolls to illustrate the loss of agency in events of individual or collective trauma. 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. 



She  has shown work at the 14th Shanghai Biennial (Shanghai); Reborn Art Festival, Kyoto Art Centre (Kyoto); Kuandu Museum of Fine Arts (Taipei); VBKÖ (Vienna); and TRAFO Center for Contemporary Art (Szczecin).   Her work has been collected by  BY ART MATTERS, Hangzhou; the Shiga Museum of Art, Shiga; the Akeroyd Collection, 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）。

在笹岡的創作中，她通過各種形式的娛樂來審視代理的限制與潛力，包括戲劇、音樂和集體屏幕。她的不少作品直白或間接地對應了2011年在日本發生的地震和海嘯，嘗試進入處於災難咫尺之間的人們的集體意識，或根據笹岡所形容，「生活在生與死之間的人們」。在小小的電視屏幕上見證了悲劇的發生後，她把這塊平面解讀成一塊薄膜，上面呈現了行動與後果之間虛幻或無法解決的差距。

通過沉浸式影像裝置內的的牽線木偶——一個社會政治操控和性別規範的象徵，笹岡擴大了清醒與夢幻間的裂縫。在她的作品中，她扮演不同的角色，嘗試將性別、身分和歷史議題從保守的敘事中解放。在最近的作品"Planaria" (2021)中，她運用了手工製作的魚頭娃娃來象徵在個人或集體創傷中喪失代理權。無論是通過手偶、傳統木偶還是動畫人物，笹岡探討沉重的議題，並將動態影像和歷史轉化為流動且矛盾的敘事。

她的作品曾在第十四屆上海雙年展、重生藝術節、京都藝術中心（京都）、關渡美術館（台北）、VBKÖ（維也納）和 TRAFO 當代藝術中心（甚切青）展出。 她於 2017 年獲得群馬雙年展青年藝術家大獎。

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 1A Space (Hong Kong); Negative Space (Hong Kong); and Tai Kwun Contemporary (Hong Kong). Her debut solo exhibition at PHD Group, “you, trickling,” was featured in The New York Times, Artforum, ArtReview Asia, Frieze, Ocula, and other publications.



She is a recipient of Soundpocket’s Artist Support Program from 2020-21 and the HART Haus Studio grant in 2021 and was in residence at London’s Delfina Foundation as part of their “Performance as Process” program in 2023.



（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，她研究了身體如何在公共緊張或私人內省的情況下表現和適應。作為回歸後香港的其中一位新興藝術家，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。在她的創作中重要的元素是「屏障」的概念及其如何告知我們社交互動的規範。透過網織成的牆、布料及玻璃，她創造了親密與關懷的儀式，認知到物理上的屏障時常能幫助解構人與人之間不可見、無法觸碰的屏障。

她作品曾展出過在 1A Space（香港）；負片空間（香港）； 和大館當代（香港）。她在2021年獲得Hart Haus的工作室贊助。

Michele Chu

 (b. 1974, based in Hong Kong) is an multidisciplinary artist, educator, and writer. In his practice, he examines colonial histories and identity as articulations of power and politics. 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,” a Paper Monument publication.

Recent solo exhibitions include those at Vancouver Art Gallery Offsite (Vancouver); Tomorrow Maybe (Hong Kong); the Brooklyn Academy of Music (New York); and the Bronx Museum (New York). His multi-component projects have been exhibited at Art Intelligence Global (Hong Kong; Current Plans (Hong Kong); Bard CCS Hessel Museum (New York); Para Site (Hong Kong); Storm King Art Center (New York); the Busan Biennale; MASSMoCA (Massachusets); and the 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，他將殖民歷史和身份視為權力和政治的表達方式。作為藝術教育家和組織者，他領導了關於差異性和非殖民化的研討會。他目前是亞洲藝術文獻庫的執行總監，並與人合編了《Best! 來自藝術界的亞裔美國人的來信》，Paper Monument的出版物。

他的作品曾展出過在 Vancouver Art Gallery Offsite（溫哥華）; Tomorrow Maybe (香港) ; 布魯克林音樂學院（紐約）；及 the Bronx Museum（紐約）。他的多組件項目曾於Current Plans （香港）；Bard CCS Hessel Museum（紐約）；Para Site（香港）；Storm King Art Center (New York)；釜山雙年展；MassMoCa（馬薩諸塞州）；和Queens Museum（紐約）展出。

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) creates 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 New York, 2015; Para Site (Hong Kong); Tai Kwun Contemporary (Hong Kong); Shanghai Biennale XIII, 2021; Singapore Art Museum (Singapore), UCCA Dune, and West Bund Museum (Shanghai). Their work is in the collection of M+ (Hong Kong), IFA (Germany), Fosun Foundation (Shanghai), Museum fur Kunst und Gerwerbe (Hamburg), and Johann Jacobs Museum (Zurich).   







由藝術家Royce Ng及人類學家Daisy Bisenieks組成，鄭馬樂（創立於2009年，工作於香港大嶼山）創作數字媒體，物件，及表演藝術作品，並將作品建基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，鄭馬樂進行了推論性的邂逅——例如探索被懷舊演算法抹去記憶的城市——以及探索跨種族同理心，將焦點放在超越人類的體驗上。

鄭馬樂曾完成過來自KW Insitute for Contemporary Art （柏林）的委託參展，作品更曾展出於 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 New York, 2015 ；Para Site（香港）；大館當代（香港）；第十三屆上海雙年展（2021）；Singapore Art Museum（新加坡）；UCCA 沙丘美術館以及西岸美術館（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）、Museum fur Kunst und Gerwerbe (漢堡)和Johann Jacobs Museum（蘇黎世）。

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