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。
FP writer Wai-leung Lai visited group "Mending Years" as sounds from the past collaged to invoke contradicting thoughts about the 1960s and 1970s. Is there a single reading of the past? He starts with Linda Lai's "Domestic Moonlighting," Wong Kar-wai's films and more. 「據點」作者黎偉亮徐步於「縫補歲月」的五人展場中，聲頻片段拼貼湊合的氛圍喚起的是矛盾不一的記憶與論述。到底上世紀六七十年代是怎樣的？真能客觀定斷嗎？先由黎肖嫻的《家居副業》和王家衛等說起。
[Mending Years 縫補歲月] Domestic Moonlighting (2023) adapts a work commissioned for the 9th Shanghai Biennale (2012-13). In the current iteration, Linda Lai highlights domestic moonlighting by women and children in HK in the 1960s-80s, estimated to value at postal volume of 57.5 million kg for RMB94.7 million, sent from Hong Kong to China. 《家居副業》（2023）。黎肖嫻的郵政考察顯示出上世紀六十到八十年代期間，香港婦女和小孩的家居副業從香港向中國支援，投遞了約五千七百五十萬公斤的小郵包物資，郵資總值九千四百七十萬人民幣。還有...
[Mending Years 縫補歲月] Curator Ying-chi Tang sees the present in the 5 stories of the past that harp back onto the 1960s-1970s, arguing that the public and domestic are integrally one, as the artists in the group show present. 策展人鄧凝姿眼中的「縫補歲月」不單是上世紀的六七十年代，也是構成今天的一部份；透過五位創作者的視野，她看見公共領域和家居細活之間的千絲萬縷。
Linda Lai answered a question that MFA students at the School of Creative Media posed to her... 創意媒體學院的藝術碩士生向老師提問。黎肖嫻回答... ...。
11 new zines created in 2023 plus more by Floating Project members and friends initiated a new phase of growing existing resources into more points of sharing. 據點對小誌文化的集體實驗，從手做書、詩話、散文，到嚴肅生活和創作議題的結集，於大館書展4月28-30日與大眾見面。
The second of FP's 2-day intervention-insertion-installation-production performance at Asia Art Archive's new reading room concludes with a show window filled with “live” traces of FP players, friends and on-site visitors. … Another attempt to capture the rich diversities of the happenings, the author's attempt to preserve her own personal glimpses at least.
Between 2000 and 2020, a 6'38" single-take video footage has been turned into a generative series of art moments crossing artistic genres -- from videography, vocalization, sound collage, performance, sound sculpture, back to videography -- all manifesting automatism as a principle, and improvization as a main artistic method. Only the maker Linda Lai herself could elaborate on this secret history of emergence.
Assemblage at Floating Projects (FP Assemblage) started with two personal stories. Initiation of the Assemblage events are documented here in writing, on 14 July 2015, on the eve of FP1.0’s Grand Opening… (this version: updated May 2022 for D-Normal/V-Essay issue 5)
Issues 1-4 of D-Normal/Video-Essay, FP’s online video zine, #1-4 is one of 11 Winners at Ars Electronica’s new initiative “State of the ART(ist)” (2022) dedicated to issues of urgency, from 357 submissions from 40 countries. Four issues of an online video zine, 90 works from 200 submissions worldwide, gathered portraits of survival, existential crises and yearnings for […]