Five female artists will juxtapose their works to tackle gender inequality, showing how women across East Asia are fighting hand in hand to reassert their bodily control in their terms.
La Casa 3: The Apartments records a series of apartments, from Manhattan to different parts of Hong Kong, where the artist and her partner took abode. A 18-minute exercise of the mind’s power to remember, from the most material to the unspeakable… 如何說自己的居所？只想為生活的內部節奏留些可歌可譜的痕跡，核心是白日的失神、晚間的夢魘、錯置、不明所以，走一步就是一步。作品，就在表達與木訥之間進行了一次18分鐘裹藏著的念力。
19 June 2021 六月十九日. Three video essays on living through time with one’s bodily presence. Tracey Ngai acts out her retrospection. Faith Monsod turns image objects into a passage to the infinite liminal. Pun Tsz-wai’s past resides in media artefacts and urban legends. Three fresh videos completed in May 2021, premiered at Floating Projects. 三個今年五月新鮮出爐的錄像文章。據點首次亮相。記憶是甚麼？我是誰？我的根是甚麼？用身體的實存與行動。魏芷軍演述；潘子懷在都市神話中設置自己；Faith Monsod 的主體盡在可翻開可啄蘑的聲影碎片中。
It is perhaps a maker’s natural obsession to narrate oneself, deliberately or not, but through one’s life-time. A Trip to There, Tracey’s graduation thesis, is in a way a monumental push to enter this journey in flux. Embracing all she can, there also always seems to be void to fill. Traces of her having been there are as concrete with a forensic rigor. 每個創作者都曾經 — 以至窮盡一生 — 有意識或不自覺的記述自我。年青藝術創作人魏芷軍很用力的穿過這甬道，滿滿的收穫，卻又惘然若失。實在的卻是用時間和身體鑄出來的創作道途。愛看（錄像）作品的朋友們：這裡，你會讀到一個認真地記下來的寶貴創作歷程。潛進後，我們會對藝術的耕耘多一份敬意嗎？
Is there an intangible essence that might embody who we are? What positions do memories hold in forming one’s identity? Do our physical bodies suffice in representing us? How much of our sense of self relies on the reflexive process that governs our interpersonal relationships? HK-born Faith Monsod commits her graduation thesis to the quest.「我是誰」可以被理解為無形的實質嗎？例如，記憶能賦予我個人身份嗎？我的身體足以表徵我時誰？我的「自我意識」有多少是由我與別人的變動中的關係所衍生的？出生於香港的 Faith Monsod 用一個21分鐘的畢業作品去回應。
“Born in the later part of 97, I never got to experience Lai Yuen. For me, it is a place constructed by words and stories. … I would hear bits and pieces about the park and, somehow, it became part of my own childhood, part of my own memory.” (Pun Tsz-wai)「我出生於1997年的下半年，從未經驗過荔園是怎樣的。它是個由別人的字詞和故事合成的地方。一點一滴的聽著，荔園好像就是我自己的童年，是我個人的記憶。」– 潘子懷
In “Home Making” (“Have a Balanced Diet” #3, 2019.07.12-26) FP member Ding Cheuk-laam and 14 other artists/researchers extend the quest for experimentation as a general attitude of life to home-making. What kind of habitats do we seek to create? How have we actually constructed our home via artistic imagination?「 間房要不要牆? 」是FP成員丁卓藍發起的《日常飲像影食》系列的第3部，連同14為創作和研究者繼續堅持實驗（性）作為一種整體的生活態度，並以房子這個熟悉而具體的日常空間為前題，看如何因著創作的行動，人的主體與媒體技術的互相啟發，「家」、房子就成了發聲運動的起點。