How not to forget history? Wai-leung Lai turns to the concrete contribution of an object-based approach in installation art, following up on his last piece on the show Mending Years to assert the place of the non-expert in completing an art event as a form of social commemoration. 據點作者黎偉亮要求「歷史毋忘」要具體，也許在以「物」為軸的場域特定展覽《縫補歲月》中，他找到了裝置藝術所盛載的一點貢獻。
An assembly line of human figures grinding human figures for food, dolls feed dolls, doll eats dolls. Ironing, flattering, being dressed, being cut up, being tamed… Beyond Svankmajer’s dramatization of carnivorous acts, Steven Tsang sees the politics of nonsense, which the animator structured against the paradigm of human civilization. The animator wants us to see differently, and asks a different sort of questions in following a narrative unique to his use of stop-motion animation. 看到喂小娃娃的大娃娃就知道是女的，看到舞動的水手裝就自動知道是男的。再看下去，人吃人，有血有肉的黑貓時不時推倒積木，一面是歷史砌圖，另一面是迷宮的路線…最終，它被鎖在籠裏動彈不得。屋子裡一個「人」也沒有，卻充滿了人類的活動。物件長年累月吸收了人類強加它們身上的「用途」、「價值」，也穿背著人類的規範，像鬼魅的模仿著我們的「正常」活動。曾俊良看到歷史、文明、性別的社會結構。能看到，因為看穿了動畫大師史文梅耶以物件為本的獨特敘事結構和跨媒想像。
On the eve of The Ventriloquists’ physical opening, … Adapting Ben Hjorth’s “Philosophies of Non-sense: Jan Svankmajer’s Jabberwocky”; Senses of Cinema, issue 71, 2014, Harmanjeet Singh pays special attention to Švankmajer’s object play.
To remember the crab cuisine of our city is also to remember the rise and fall of her glamour. FP writer Wai stock-took a dozen of connoisseur recipes and other popular ways to prepare crabs … 記住吃過甚麼，是記住自己存在過的一種方法。往事煙消雲散，舊物亦難再回味，FP 黎偉亮衹好挖掘記憶留下文字聊以解饞，亦算為本土飲食文化最輝煌時代留下點滴印記。十幾款蟹菜。一些消失了的名店。一些 DIY 的提示。
In the 6th piece of his “Just Around You” ficto-documentary series, FP writer Wai tells a familiar story often told in Hong Kong movies and TV series except that it is a real one. 黎偉亮在虛擬式記錄系列「總在你身邊」6 說了個耳熟能詳的香港邊緣人的故事，像極了電影電視橋段，只是…。「不是要寫一篇警世的文章，只想訴說人生的無奈，可憐可悲還可恨，祇能由自己決定。」
有關Zoom的激烈討論至今已冷卻，如今又聽聞中學生要求罷用Zoom作網上學習。為了趕得上，黎肖嫻以這文章的上下集用自己的經驗為Zoom的爭辯寫個讀書報告。沒有純科技問題。如何活在大數據時代？Linda Chiu-han Lai follows her own footprints of using and struggling with Zoom since mid-February, and turns it into an extended reading report to situate her thoughts. This is part 2 to complete: how to live in a big data milieu?
有關Zoom的激烈討論至今已冷卻，如今又聽聞中學生要求罷用Zoom作網上學習。為了趕得上，黎肖嫻以這文章的上下集用自己的經驗為Zoom的爭辯寫個讀書報告。Linda Chiu-han Lai follows her own footprints of using and struggling with Zoom since mid-February, and turns it into an extended reading report to situate her thoughts.
Manifesto 2 artists have started to meet on-line to examine the what, why and how of their videographic practices as ways to remember. This is the first of a series to report on the artists’ conversations. We kick off with team-members’ words from Linda Lai, Winsome Wong and Elaine Wong on how they envision the project. 「錄像宣言2」的創作者的在線對話已經啟動，將在此園地陸續發表。首先，團隊成員的其中三位 – 黎肖嫻、黃慧心、黃淑賢 — 先來道出這次計劃點滴心思與憧憬。
FP Art Engineer Hoi9 (Wong Chun-hoi) reviewed his ever-growing work-in-progress, a generative series that began with turning electricity into artistic raw material. An impulse: undress thickly dressed media art pieces, show the skeleton, open the black box.
7 artists get out of the moving image frame and turn their thoughts on home into a spatial dialogue on site, as part of “Have a Balanced Diet 3: Home Making, a project by FP member Ding Cheuk-laam.