Michael Leung’s “Publishing (to Find Each Other)” grows on-site through his month-long residency as he fills Floating Projects week by week with his 8-year collection and documented encounters. 駐場的一個月是片諾大的空間。梁志剛的小誌、社關活動和理念研究逐一冒現，把一個不可能的、長達八年的相遇與關係網絡的展陳、聚會變得可能。
In this show, Michael Leung’s zine publishing proliferates into a hybrid event — from storytelling, zine workshops, and ad hoc planting of new material during the month. 因書仔而相遇協作。30天的展場進駐，梁志剛把小誌出版打開，變為多源匯集的跨界分享，知己知彼。
From her pool of automatic drawings turned wooden fragments of her dreamwork, young artist Cherie Wong shows us a certain inquisitive state of mind. 王晴雯從她的木製「夢」碎片寶庫裡再掏出另一首圖文對話的詩，是尋問的現在進行式。
From her pool of automatic drawings turned wooden fragments of her dreamwork, young artist Cherie Wong goes round and round in circles. An endless journey. 王晴雯從她的木製「夢」碎片寶庫裡再掏出另一首圖文對話的詩，太空無邊際，峰迴路轉卻有軌跡。
聲音無處不在，聲音藝術始終難以被定義。鳥因歌而鳴，源自內在的想望，聲音多變因理念與堅持，才能被發掘與被聽見。黎仲民、張靜瑜呈現他們對聲音不同的觀察與研究方向，傳輸交流。Sound is ubiquitous. To produce meaning through/with sound is another issue. Many artists have forged many paths to explore sounds. Like tracing their steps on forking paths, Andio Lai and Annisa Cheung tenaciously follow their desires disregard what answers they may get. The two artists have been selected for Contemporary Musiking Hong Kong’s Sonic Transmission Artist Exchange Program 2019/20.
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。
「我跟彈珠人有一種緣份，跨越了二十多年時間，這種特殊的喜愛也是一樣的。無論在小學，還是到現在，相比其他漫畫，這個故事情節也比較真實…。」（2017，黃福權）成年人眼中的沈溺，在一個小孩來說，或許是有他們的原因的，也可以是一生的能源的暗出口。今天的他再回顧小六時候的記憶。Wong Fuk-kuen sees a clear linkage between the young kid and the adult of himself through the marble shooting toy B-Daman. Here, he speaks of the 20-something-year attachment.
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?