心裡無雲，都總可以推理治情，開拓感知。水中有明鏡，明鏡在心中。又或者，有些事情你總是咬著不放。You deserve to be heard. Features, expository and argumentative pieces, in-depth commentary and research-based writing… … Our mind takes forms — thought paths, a statue, a floating object, a system of tales, …
黎仲民的藝術方式通常都悠閒愉快，且以觀眾為主；他堅信觀眾可以令藝術作品變得完整。Lai’s approach to art is generally care-free and audience centred. Andio Lai’s art brings a playful happiness to viewers and exhibition participants; he believes having an audience makes an artwork complete. John Batten spoke with Andio Lai.
Second book launch event (in English), 28 May 2021, introduces 6 of the 49 artists in OUR MANIFESTOS 2, to give us a foretaste of the works and personal manifestos in the 365-page book to be released on 26 May 2021. They speak from the US, Europe and Hong Kong.
First book launch event, 23 May 2021, introduces 4 of the 49 artists in OUR MANIFESTOS 2, to give us a foretaste of the works and personal manifestos in the 365-page book to be released on 26 May 2021.
Linda Lai wrote “Videography as Tentacular Practices” to introduce the “Linda Chiu-han Lai, Retrospective,” 2021,02.05-06.13 at Centro de Creacion Contemporanea de Andalucia (C3A), Cordoba, Spain. 黎肖嫻為 2021,02.05-06.13 在西班牙科爾多瓦的安達盧西亞當代美術館的《黎肖嫻回顧展》寫「錄像書寫作為多觸創作」陳述她的創作方法和理念。
Martha Hatch detected a shift within the art scene in some shows she visited late last year. A new form of resistance? A new way to stay alive? An attempt to preserve a Hong Kong spirit? Hatch in in her final semester researching on art and urban space for her BA graduation thesis.
In the second of a series of field notes as short essays, Linda Lai continues to craft possible histories of Hong Kong’s everyday interiority through the lens of “intelligentsia” responses within the filmmaking community in the immediate post-WW2 years. 一連三篇由「細路祥」出發的第二篇：黎肖嫻繼續探討「細路祥」化身銀幕上，成為了甚麼樣的文化資本。小孩所牽連的是一張複雜的管治的權力網。
In a series of 3 articles, Linda Lai shares her field notes in film studies from a Cultural Studies perspective. The first discusses the kid A-Chang (1950), a HK counter-part of Shanghai’s Three Hairs 1940s. 有關香港「細路祥」三篇連載的第一篇，黎肖嫻潛進環繞苦難中的孩子的沈甸甸而充滿矛盾的論述。
一個小時的飛航時間，把香港和台灣分隔成兩個歷史溯源和軌跡有交疊卻體驗不一樣的生活世界。又或者，貌不似而神似？身為小學老師的「據點」海外作者蔡季妙用今天的視野去「重訪」小時候的自己，不期然想起了教科書。Primary school teacher Vanessa Tsai, FP overseas contributor, revisits her young self through the lens of contemporary society: her primary school textbooks and experiences weigh on her massively. How is Hong Kong and Taiwan linked to and set off from one another other than the 1-hour flight that sets them apart?
2020年5月，陳顯宗從黎肖嫻手裡拿走了共10冊，於1974-76改編並重發的 1947-49年上海《大公報》連載的《三毛流浪記》的最後一集。時值文革尾聲。為何此時重新整理流浪記？有何逼切性？是「創傷性黑暗時代後價值觀」的重新建立？重新尋找容身之地的時代？ Reading the final of the 10 volumes 1976 adaptation of the wanderings of Three Hairs of 1930s-40s, Sam Chan asks if the denouement of the series is also a form of closure to the Cultural Revolution, in search of the ethos and pathos for China’s own post-trauma reconstruction.
The first of a series of articles on children, comic characters, movies and so on, to explore how the “child” is often the subject and object of interpellation to augment instrumental reasons in population management. Linda Lai started with her research notes on Sanmao (Three Hairs), a kid, a comics character created for adults, who has been “resurrected” constantly since his “birth” in 1930s in Shanghai. 以孩子論說苦難，召喚善心的行動，是人口或國民管理常用的工具理性，也是進步思想的倡議的濃縮再現。其實孩子們都是怎樣長大的？我們都曾是孩子。我們是怎樣活過來的？