Tsui Hou Lam徐皓霖
1 July – August 2025
2025 年 7 月 1 日至 8月 3日
Hou Lam Tsui (b. 1997) is an artist who works across moving image, sculpture, installation, and text. Her practice centres around personal experience, affect, gender politics, and peripheral storytelling. Tsui rethinks how femininity and queerness are imagined within cultures, critically exploring how media and consumer desires shape emotions, our notion of love, femininity, and identities by drawing inspiration from pop culture, advertisement, anime, literature and beyond.
Her work has been previously exhibited and screened at ACMI (Australia), Art Basel Films (Hong Kong), Beijing International Short Film Festival (China), Guangdong Times Museum (China), Para Site (Hong Kong), Tai Kwun Contemporary (Hong Kong), Videoex Festival (Switzerland), among others. Selected recent exhibitions include Follow the Feeling (Guangdong Times Museum, 2024), One is not born a woman (Square Street Gallery, 2023), Post-Human Narratives—In the Name of Scientific Witchery (Para Site; Hong Kong Museum of Medical Sciences, 2022). She is a recipient of the WMA Graduate Award (2024), the Liu Shiming Art Foundation Scholarship (2024), and Para Site’s 2046 Fermentation + Fellowships (2022).
Tsui lives and works in Hong Kong. She received a BA in Fine Art and History of Art from the University of Leeds in 2018 and later obtained an MFA from the Chinese University of Hong Kong in 2024.
徐皓霖（生於1997年）的創作涵蓋多種媒介，包括流動影像、裝置、雕塑和文本。創作實踐圍繞個人經歷、情動、性別政治、邊緣敘事展開。徐重新思索陰柔氣質和酷兒身份在文化中的想像，並從流行文化、廣告、動漫、文學中汲取靈感，探究媒體與消費欲望如何形塑情感、情愛、陰柔氣質及身份。
作品曾於ACMI（澳洲）、巴塞爾藝術展光映現場（香港）、北京國際短片聯展（中國）、廣東時代美術館（中國）、Para Site（香港）、大館當代美術館（香港）、國際實驗電影與錄像藝術節Videoex（瑞士）等地展出和放映。精選近期展覽包括「跟著感覺走」（廣東時代美術館，2024年）、「One is not born a woman」（Square Street畫廊，2023年），以及「後人類敘事——以科學巫術之名」（Para Site、香港醫學博物館，2022年）。
她現於香港生活及工作。2018年畢業於英國列斯大學，獲藝術及藝術史文學士。2024年獲香港中文大學藝術碩士。
Puvamin Indee
1 July – August 2025
2025 年 7 月 1 日至 8月 3日
Puvamin was born in lampang 19 September 1996 graduated from Faculty of Fine Art of Chiangmai University in 2020. He is currently works and lives in Lampang.
Puvamin explores the political-environmental issues, the clash between structural power, capitalism, and local narratives, as well as the consequences that occur to nature and people’s way of life. He often encounters objects that testify to each specific site’s circumstances. His research draws from the forestry concessions issue in northern Thailand to the construction of the Mekong dams in Isaan.
Puvamin participated in festivals and group exhibitions such as When Floods High As Skies, Kish Feast On The Stars (Bangkok 2025, Khon Kaen 2024), Kenduri Seni Patani 2024 (Pattani, 2024) MAIIAM Pavillion- Point of No Concern: Return to the Rhizomatic State (Thailand Biennale Chiang Rai, Chiang Rai, 2023, S.O.E 2023 We Trade Everything (Khon Kaen, 2023), and ART FOR AIR (Chiang Mai, 2022)
https://puvaminindee.wixsite.com/index
Puvamin Indee 于1996年9月19日出生于南邦府（Lampang），2020年毕业于清迈大学美术学院。目前他在南邦府工作和生活。
Puvamin 致力于探索政治与环境问题，包括结构性权力、资本主义与本土叙述之间的冲突，以及这些冲突对自然和人类生活方式的影响。他经常接触到能够反映特定地点状况的物件。他的研究涉及从泰国北部的林业特许经营问题到伊森地区湄公河大坝建设的议题。
普瓦明参与了多个艺术节和群展活动，例如《当洪水高于天空》（When Floods High As Skies）和《吻星盛宴》（Kish Feast On The Stars）（曼谷2025，孔敬2024），《巴塔尼艺术节》（Kenduri Seni Patani 2024）（巴塔尼，2024），MAIIAM Pavilion《无关之地：回归根茎状态》（Point of No Concern: Return to the Rhizomatic State）（泰国双年展清莱，清莱，2023），S.O.E 2023《我们交换一切》（We Trade Everything）（孔敬，2023），以及《为空气而艺术》（ART FOR AIR）（清迈，2022）。
https://puvaminindee.wixsite.com/index
Li Weiyi
31 October -8 December 2024
2024 年 10 月 31 日至 12 月 8 日
During her residency she participated in two The Lab workshops from which two new artworks were created. At the last week of the residency, she presented a new body of artworks produced during her time with us in an exhibiton In Situ.
在驻留期间，她参加了两次The Lab工作坊，并从中创作了两件新作品。在驻留的最后一周，她在 “在地”展览上展示了在驻留期间创作的新作品。
Weiyi Li was born in Changsha City, China, in 1987. She received a BA from theCollege of Architecture & Urban Planning, Tongji University (2009), an MFA from YaleCollege of Art (2012), and a doctorate from the Royal College of Art (2023). Much of herwork has been influenced by her decades-long career as a designer and image-maker. She has reflected on the brutalities of the image industry, the efficiencies and delays ofimage-mediated communication and the question of how we, as creators, can continue to create in a world dominated by increasingly similar digital image tools and fabrications.
As she creates art and receives feedback from audiences, she recognises that art may be the only means by which we can all be united as human beings, for it may be the only place in the world where the power of what is not affirmed and what is misunderstood is still acknowledged. In today’s world, misunderstanding, rather than complete understanding, maybe what brings people from different cultures together to create new things.
李维伊于 1987 年出生，先后在同济大学建筑学院(BA)、耶鲁大学艺术学院(MFA)和皇家艺术学院(Ph.D)完成了一系列与设计相关的项目与研究。她的许多作品都来源于对数十年的设计师和图像制造者生涯的反思，例如图像制造产业中的种种残酷，以图像为媒介的沟通中的效率与延迟，以及这样一个问题：在一个被愈发相似的数码图像工具和建造工具统治下的世界里，作为创造者的我们还如何去创作？在创作和接受来自观众的反馈的过程中，她反复确认了这一点：艺术可能是唯一现存的、将我们所有人类关联起来的机会。因为这是世界上还承认「不被肯定的事物」甚至是「错误理解的事物」的力量的地方，而在此刻的世界里，很可能是「误解」而不是「全然的理 解」能够让有着不同文化背景的人走到一起，并且创作出新的事物。