Pak Sheung Chuen (白双全)
1977 Born in Fujian, China;
1984 Immigrated to Hong Kong;
Currently works and lives in Hong Kong.
1977 Born in Fujian, China;
1984 Immigrated to Hong Kong.
2002 Graduated from the Chinese University of Hong Kong,
B.A., Major in Fine Arts, Minor in Theology. Lives and works in Hong Kong
Pak Sheung Chuen was born in 1977 in Fujian (China) and immigrated to Hong Kong in 1984, Pak Sheung Chuen currently lives and works in Hong Kong. He obtained his B.A. degree in Fine Arts and Theology from Chinese University of Hong Kong in 2002. One of the most promising conceptual and performance artists working today, Pak’s practice often deals with and reflects upon the contradicting absurdness and ordinariness of everyday life in a poetic and humorous nature, thus creating a critical yet poignant sentiment for its viewers. His works was published in a local newspaper Ming Pao almost weekly 2003-07. Pak was awarded the Overseas Exchange Prize (Chinese Performance Art) by the Macao Museum of Art in 2005 and 2008 respectively, the Lee Hysan Foundation Fellowship by the Asian Cultural Council in 2006. Pak authored ODD ONE IN: Hong Kong Diary, ODD ONE IN II: Invisible Travel, and See Walk What on 1 July.
Pak has participated in numerous international exhibitions, including Taipei Biennial (2010 and 2012), Biennale Cuvee 10 (2010), 3rd Yokohama Triennial (2008), 3rd Guangzhou Triennial (2008), China Power Station: Part 2 (2007) and 6th Busan Biennale (2006). His solo exhibition Page 22 is permanently installed in New York’s 58th Street Branch Library. His artworks were collected by Tate Modern Museum, Astrup Fearnley Museum of Modern Art etc. He is the core member of 2nd Floor 5 Sons Studio. He represented Hong Kong in 2009, the 53rd Venice Biennale. In Almanac 2011, Art Asia Pacific selected Pak as one of 5 Outstanding Artists and Promising Figure for 2011. In 2012, his exhibition Left & Right, Blue & Sky got the best stand prize in Frieze London. At the same year, he got the Best Artist Award in the Chinese Contemporary Art Awards (CCAA) 2012. He alos got the Best Artist Award in Hong Kong Arts Development Awards 2012. Personal website: www.oneeyeman.com
Solo Exhibitions (Selected)
Traveler's Notes: San Antonio 2013.5.28-2013.7.14, Hiromiyoshi Tokyo, Tokyo, Japan
Left & Right, Blue & Sky, Vitamin Creative Space, Frieze Art Fair, London, United Kingdom
Killing 3000, He Xiangning Art Museum, Shenzhen, China
Hong Kong Diary, Hong Kong Museum of Art, Hong Kong
Travel without Visual Experience, Guangdong Museum of Art, Guangzhou, China
Making (Perfect) World, 53rd Venice Biennale, Hong Kong Pavilion, Venice, Italy
All Day(s) All Night(s), Vitamin Creative Space, Guangzhou, China
From Everyday Objects to Eternity, Diogene Bivaco Urbano, Turin, Italy
Page 22, 58th Street Branch Library, New York, U.S.A.
Artysta z Hong Kongu, WAA Art Space, Warsaw, Poland
Group Exhibitions (Selected)
Harmonious Society, The third Asia Triennial in Manchester, Centre for Chinese Contemporary Art, Manchester, United Kingdom
Islands off the Shore of Asia, Spring Workshop, Hong Kong
We Love Video This Summer, Pace Beijing, Beijing, Chin
Northern New Territories: Our Land, Roving Exhibition, PMQ, Hong Kong
Arafudo Art Annual, Festival of Art, Tsuchiyu Onsen, Fukushima, Japan
Bringing the World into the World, Queens Museum, New York, US
A Journal of the Plague Year. Fear, ghosts, rebels, SARS, Leslie and the Hong Kong Story,TheCube Project Space, Taipei, Taiwan
Cloud of Unknowing: A City with Seven Streets, Taipei Fine Arts Museum, Taipei, Taiwan 2014
simple life is interesting!, Klein Sun Gallery, New York, U.S.
Tales From the Taiping Era, Red Brick Art Museum, Beijing, China
We have never participated, 8th Shenzhen Sculpture Biennale, OCT Contemporary Art Terminal, Shenzhen, China
Vitamin Creative Space at Art|Basel Hong Kong 2014, Hong Kong
15 Years Chinese Contemporary Art Award (CCAA), Power Station of Art, Shanghai, China
The Traveler’s Note, Hive Centre For Contemporary Art, Beijing, China
The Invisible Hand: Curating as Gesture, The 2nd CAFAM Biennale, CAFA Art Museum,Beijing, China
A Better Tomorrow - A Contemporary Art Exhibition Relating to Hong Kong,Yan Club Art Centre, 798, Beijing, China
Little Water, Dojima River Biennale 2013, Dojima River Forum, Osaka, Japan
A Journal of the Plague Year. Fear, ghosts, rebels, SARS, Leslie and the Hong Kong Story,Para/Site, Hong Kong
Hong Kong Eye, Saatchi Gallery, London, United Kingdom / Artistree, Hong Kong 2013
Writing Without Borders, Lehmann Maupin, Hong Kong
Taipei Biennial 2012, Taipei Fine Arts Museum, Taipei, Taiwan
Liverpool Biennial 2012, Tate Liverpool, Liverpool, United Kingdom
No Trans-national - Liquid Borders and Empty Promises, ISE Cultural Foundation, New York,U.S
CAFAM - Future Exhibition, CAFA Art Museum, Beijing, China
Mobile M+, West Kowloon Cultural District Authority, Hong Kong
Vision of Nature: Lost & Found in Asian Contemporary Art, Hong Kong Arts Centre, Hong Kong
Power of Doubt, Times Museum (GZ), Guangzhou, China
Measuring the City with the Body, St Paul St Gallery, Auckland
Crystal City, Dowse Art Museum, Lower Hutt, New Zealand
Somewhere Else, Nogueras Blanchard Gallery, Barcelona, Spain
PHotoEspana 2011: International Festival of Photography and Visual Arts,(Power of Doubt section), Madrid, Spain
Driftwood, Horizon and Four Malay Stories, Vitamin Creative Space at Art HK 2011,Hong Kong
Slipping Transmission, Osage SOHO, Hong Kong
A Wedding, Para/Site Art Space, Hong Kong
Encounter with the Passerby ABC, Juming Museum, Jinshan, Taiwan
Twelve Chinese Artists, Iberia Center for Contemporary Art, Beijing, China
China Power Station, Pinacoteca Giovanni e Marella Agnelli, Turin, Italy
Somnambulism: Phantasmagoric Fugue, Tina Keng Gallery, Taipei, Taiwan
Legacy and Creations – Art vs Art Exhibition, Shanghai MoCA, Shanghai, China
Images, Festival des Arts Visuels de Vevey, Switzerland
Light from Light, State Library of Queensland, Brisbane, Australia
Taipei Biennial 2010, Taipei Fine Arts Museum, Taipei, Taiwan
18 Degrees of Acclimation, White Box Gallery, New York, U.S.
I’m Not Here, de Appel Curatorial Programme, Amsterdam, The Netherland
Biennale Cuvee 10, OK Center for Contemporary Art, Linz, Austria
At the Crossroad, National Taiwan Museum of Fine Arts, Taichung, Taiwan
Jungle, Platform China, Beijing, China
Pak Sheung-chuen Solo Project, Vitamin Creative Space at Frieze Art Fair 2009, London 2009
One Degree of Separation, Chinese Arts Centre, Manchester, U.K.
Louis Vuitton: A Passion for Creation, Hong Kong Museum of Art, Hong Kong
The First Stop on the Super Highway, The Nam June Paik Art Center, Seoul, Korea
Charming Experience, Hong Kong Museum of Art, Hong Kong
Departure, He Xiangning Art Museum, Shenzhen, China
Beijing Map Games, Birmingham Museum, Birmingham, U.K.
A Question of Evident, Thyssen-Bornemisza Art Contemporary, Vienna, Austria
The 3rd Yokohama Triennale, Shinko Pier, Yokohama, Japan
The 3rd Guangzhou Triennial, Guangzhou Museum of Art, Guangzhou, China
Inside Looking Out, Osage Singapore Gallery, Singapore
Du Dialogue Social, Motorenhalle, Dresden, Germany
Ethnographies of the Future, Rotunda Gallery, New York, U.S.A.
Everyday Anomalies, Phoenix Art, Brighton, England
China Power Station: Part II, Astrup Fearnley Museum of Modern Art, Oslo, Norway
Reversing Horizons, MOCA, Shanghai, China
AIRPORT: Flying Thought, Space E6, Shenzhen, China
Stranger, Contemporary Art Factory, Tokyo, Japan
Arrivals and Departures: New Art Perspectives of Hong Kong, Urbis, Manchester, U.K.
hk.cityu.hk, CityU Gallery, Hong Kong
The 6th Busan Biennale, Busan Contemporary Museum, Busan, Korea
Yellow Box Art Project, Shanghai, China
Art in Progress: Performance Festival in Paris, Paris, France
Realm with No Coordinates, NTUE Nan Hai Gallery, Taipei, Taiwan
Away, 1a Space, Hong Kong
Inward Gazes - Documentaries of Chinese Performance Arts, Macao Museum of Art, Macau
Power Plays, Para/Site Art Space, Hong Kong
melbourneconnectionasia 2004, Urbanart Group Inc, Melbourne, Australia
Man Made, Para/Site Art Space, Hong Kong
Fotanian 2003, Fotan Industrial Centre, Hong Kong
Small, Hands, Made, Hui’s Gallery, CUHK, Hong Kong
Hong Kong Art Biennial Exhibition 2001, Hong Kong Museum of Art, Hong Kong
Mission/Vision: An Artistic Dialogue with Religion, Para/Site Art Space, Hong Kong
Artist in Residency Programme
Artpace, San Antonio, U.S.
Juming Museum, Jinshan, Taiwan
Ox Warehouse, Macau
AAA (Asian Art Archive), Hong Kong
Diogene Bivaco Urbano, Turin, Italy
ISCP (International Studio and Curatorial Program), New York, U.S.A.
The Best (Visual Arts) Artist - Hong Kong Arts Development Awards 2012, Hong Kong Art Developing Council, Hong Kong
The Best Artist - Chinese Contemporary Art Awards 2012, Chinese Contemporary Art Awards,Beijing, China
Frieze London Best Stand Prize, Frieze London Art Fair 2012, London, United Kingdom
5 Outstanding Artists and Promising Figure for 2011, Almanac 2011, Art Asia Pacific
Representative Artist of Hong Kong Pavilion in the 53rd Venice Biennale, Hong Kong Art Developing Council, Hong Kong
Outstanding Prize, “Inward Gazes – Documentaries of Chinese Performance Arts”, Macao Museum of Art, Macau
Lee Hysan Foundation Fellowship (12 months in U.S.A.) of Asian Cultural Council, Hong Kong
Oversea Exchange Prize, “Inward Gazes – Documentaries of Chinese Performance Arts”, Macao Museum of Art, Macao
PAK Shuung-chuen (2011), 2011( )10( )24: Journal of PAK Sheung Chuen, Hong Kong: Hong Kong Art Centre
PAK Shuung-chuen (2009), Odd One In II: Invisible Travel, Hong Kong: MCCM Creations, Para / Site Art Space
PAK Shuung-chuen (2005), Odd One In: Hong Kong Diary, Hong Kong: Artopia Publishing Limited and 70+ art/words
PAK Shuung-chuen (2005), See Walk What on 1 July, Hong Kong: Artopia Publishing Limited and 70+ art/words
2014 An Art Class At The Edge, HKDI & IVE, Hong Kong
Pak Sheung Chuen: That Light
17 Dec 2016 – 26 Feb 2017
Mirrored Gardens, Guangzhou
Pak Sheung Chuen: That Light
17 Dec 2016 – 26 Feb 2017
Mirrored Gardens, Guangzhou
22 July – 18 Sept 2016
Kuandu Museum of Fine Arts, Taipei
Mountain Sites: Views of Laoshan
5 June – 5 Oct 2016
Sifang Art Museum, Nanjing
Tales From The Taiping Era
23 May – 24 Aug 2015
Red Brick Art Museum, Beijing
Breathing in a House
An apartment (6.7M x 2.7M x 2.2M) in Busan, Korea
1-10.09.2006 (10 days)
Video documentation: 6m22s
Selected works and artist’s statements
Pak Sheung Chuen’s playful work slyly alters the experience of everyday life. He explores, on the one hand, the mental and social “space” between everything that is structured, routine, and stable in our world, and on the other, he investigates coincidence, chance encounters, the arbitrary, and the imaginative. In so doing, he reveals artistic moments in everyday life and brings to the fore the interwoven nature of reality and the imaginary. He prefers to use himself and his writings as a medium, conceiving his works as actions or subtle manipulations of the regular course of events. In most cases these performative actions have no audience; rather, they consist of journeys and self-experiments that engage with ever-changing environments.
In an earlier work called “Waiting for a Friend (without Appointment)”, Pak went to the Kowloon Tong MTR station waiting area and waited until someone he knew walked out. He has also created a large permanent installation in the New York Public Library. In this project, the artist folded page twenty-two of every second book in the library. Another work consisted of a five-day trip to Malaysia, during which he kept his eyes closed the whole time; he took pictures so he could discover the country after he returned home. A similar project in Tokyo called “Valley’s Trip” (2007), for which the artist travelled from southern to northern Tokyo by walking only in the areas corresponding to the middle folds of his map. For his project “Going Home” for the Taipei Biennial 2010, Pak looked for people in the museum lobby who would allow him to accompany them to their homes.
A Little Flower for the Passer-by
I arranged five one-dollar coins into the shape of a flower and placed them at the street corner. Then I drew it a twig and leaf and date (as a mark), waiting for those “in need” to pick them up. The one who picked them up would be like to receive a flower. The twig and leaf and date would remain, as well as the feeling of luck and blessing.
Beginning form 2003, I worked for a Hong Kong mainstream newspaper “Ming Pao” as an art columnist. I published a piece of conceptual artwork almost every week until 2006 (totally 3 years). All the artworks were initiated by the experience of everyday life in Hong Kong. I worked for them in full page (58cm x 35cm), half page or 1/4 page.
The Horizon Placed at Home
Victoria Harbor, Hong Kong
I drew a horizontal line on the map of Victoria Harbor. The horizontal line went through five coasts. I collect a bottle of seawater from every coast. The seawater is of the same height. I put the five bottles of seawater at home. A horizon emerged.
Miracle of $132.30
Shatin CRC Supermarket, Hong Kong
I bought 8 commodities from a supermarket and got a bill. If you read carefully on every second words of each names on the bill, from top to the bottom, you will discover a miracle: 信/他/的/人/必/得/永/生. (Translation: Whoever / believes / in / him / should… have / eternal / life.) (John 3:16, Bible)
Waiting for All the People Slept
Tokin Street, Sham Shui Po
27.12.2006 22:30 – 28.12.2006 06:00
I kept standing in front of a 13 floors building at Sham Shui Po. Waiting there, until all the people slept. Time of the photos: 22:38 / 01:40 / 02:36 / 04:09 / 05:04.
Waiting for a Friend (without Appointment)
Kowloon Tong MTR Station, Hong Kong
Without any appointment, I stood in a specific place waiting for a friend to come. This time, Jacky appeared at 16:38. He asked me, “How did you know I’d be here?” I told him, “I really didn’t know… but I’ve been expecting you at here for a long time!”
Breathing in a House
A apartment (6.7M x 2.7M x 2.2M) in Busan, Korea
1-10.09.2006 (10 days)
Video Documentation: 6:22
I live in a small house, Breathing Until I use up all the air in the whole house.
Map: Tokyo 23rd District (1:10,000 / 2006-1 Edition)
I walked vertically from p.1 to p.296, total 24 pages.
Period: 27-28.2.2007, 1-2.3.2007, 5.3.2007
I found a small thick Tokyo 23 District map book. I opened the map, the map spread across both sides of the pages, leaving the middle (near where the binding is) unclear even if I tried pushing the pages down really hard. When I saw the gap, suddenly it clicked inside me like the journey was meant to be. Therefore I made plan to walk from page 1 to 296, one pages after another (there are 24 pages in total), from the south of Tokyo to the North end.
New York Public Library Project (NYPLP) 4:
Sleeping in a Mountain
This artwork was created to commemorate Mr. Law Chi Wah (羅志華), the owner of the Youth Literary Book Store (青文書屋), who was found dead under a pile of books on the 4th Feb 2008, 14 days after the books collapsed onto him. The work was collected by the Mid-Manhattan Library as a piece of artwork. This drawing will appear as long as books on check-out list are piled up in order into the shape of a mountain. / Position: Mid-Manhattan Library, 455 Fifth Avenue at 40th Street, New York, close on Sunday / Document: 2 Photographs: 270x60cm, 46x18cm
White Library / A Mind Reaching for Emptiness
Location of the Collection: Asia Art Archive
11/F Hollywood Centre, 233 Hollywood Rd, Hong Kong. Close on Sunday
A blank page is a pause of time in reading. It could also be readable, offering infinite imagination. A blank page creates a common link in different books, giving us a vision of the whole. During my residency in Asia Art Archive, I tried to photocopy all the blank pages from its collection, attempting to create an alternative to the archive’s collection.
006. Freedom of Expression in the Arts (Edited by Eddin Khoo, Ramdas Tikamdas, Elizabeth Wong)
Using the Light of the Waning Moon to Draw a Full Moon
Photography: 90cm x 120cm
I took this photograph with long exposure: I aimed the camera at the new moon, and then rotated the camera in a full circle within 1.3 seconds. The light from the new moon was traced as an orbit in the film. After hundreds of attempts, the new moon finally became a full moon.
A Travel without Visual Experience
Malaysia, (5-days/4-nights tour)
I joined a 5-day/4-nights tour group to Malaysia, a country that I had never been before. From Hong Kong to Malaysia then back to Hong Kong, I either closed or covered up my eyes (in order to pretend that I was blind) for the entire journey. During the trip, I was still doing all the sightseeing and took many photos, but instead of seeing, I only used my body to sense and experience my surroundings. These photographs enabled my “future” eyes to view the documented foreign landscapes at a later stage. My images, along with photography and videos from other members of the tour group, became the sole reference of my indirect memories and visual experience for Malaysia. I will never step foot into Malaysia again.
More on: http://invisibletravel.blogspot.hk/
Going Home Projects
A project for Taipei Biennial 2010, Taiwan
12.8.2010 – 8.11.2010
An artist stands in the museum lobby, waiting for an audience willing to let him accompany him/her home. He has placed a vertical banner in the lobby that reads “Let the artist go home with you!” to recruit viewers on the scene to participate in his event. Go Home is a site “artist” and “audience” can exchange their roles. On the way, the audience takes a position of parity with the artist, both acting as audience and providing creative content, while the artist similarly plays dual roles as creator and viewer. In this way, between the two people and the road, four roles are shared.
When the viewer enters the museum to view works of art he encounters the artist instead. Is this equal to/not equal to art? If an art work is an object placed in a museum for people to view, when you encounter an artist in a museum you are coming face to face with a fluid art work and a mobile museum. You meet the work of art in a point to point encounter, but you and the artist in transit are two overlapping parallel lines, where each moment along the time line can be art. And you might even believe that you are the artist.
The artist himself becomes an “audience” as he stands in the lobby waiting for an audience to appear. Like viewing a film, he anticipates the appearance of unexpected surprises and exciting developments before his eyes: first is an unknown person, followed by an unknown route, and finally an unknown place. “The unknown” is both mysterious and magnetic, and the biggest creative impetus. When the audience leads the artist to depart the museum, the audience becomes the leading role. They become the follow travelers on the way. Their role are changing. When the artist arrived the audience’s home, audience become “artist”, and his home become a “museum”.
The Go Home Project places the artist and viewer on equal footing, to get to know and discover each other, both stressing the importance of exchange and trust, and placing importance on arbitrariness and randomness in the creative process. It is not a finished work, per se; perhaps the finished work is a variable itself.
Going Home Projects: First Day (2010-8-12), Pak Sheung Chuen and Ms. C.
When audiences enter the museum to see the artworks, they meet the artist instead. Can the artist replace artworks? If an artwork is an object placed in a museum for people to view, then when you meet an artist in the museum, you are running into a lively artwork and mobile museum. You “meet” the works of art in a point-to-point way, but you and the artist are two parallel lines that somehow overlapped. Each moment along the timeline is art. And you might even believe that you are an artist.
The artist himself becomes an “audience” as he stands in the lobby waiting for a company. He is looking for surprises and exciting moments: first comes a stranger, followed by an unfamiliar route, and finally he goes to a new place. This is like shooting a film based on someone’s real life. The unknown and mysterious parts are joyful.
Going Home Projects is a scene where the artist and the audience exchange their roles. In the audience’s home, the artist becomes a viewer. It is a plan that takes audiences away from the museum as museum is not the only place to exhibit art. Art can be everywhere: at your home or even on the way. However, for me, Going Home Projects is more of a “travel plan with a stranger” at public expense. It’s flattering to go on a guided tour in Taiwan by a Taiwanese. So I’d like to thank the museum and the audience for your support.
The Going Home Projects was planned by the artist and was accomplished with the help of the audience. It places the artist and the viewer on equal positions, where they get to know each other and create artworks together. Communication and trust are key here, as well as randomness in the creative process. It is not a finished work, per se; the finished work is only a variable in the process.
Journal of PAK Sheung Chuen 2011.7.27 – 2011.11.14
Not only we lost the natures, but the most terrible part is, we also the connections with natures. We no longer please the beautiful things; we never realize our insignificancy; we don’t fear of darkness; we don’t know how to revere; we have nothing to look forward; we have no thoughts… In this set of work, I attempt to provoke the primitive spiritual and sentimental reactions to nature that we suppose to have. Nature is not necessarily about greeneries or trees. I, myself, my body and all the things around are the part of nature. From sound, lightness, temperature, air, changes of seasons, to speed, distance, scenery we see, things we touch, relationships between people and between people and nature etc., we create different scenes in daily life to rebuild this instinctive sensation which we should have.
I wandered in the city and rested at home, until I was peaceful enough to listens what my heart spoke, which were the natural reactions to the things around. I jotted them from 2011.7.27 to 2011.11.14. During these 111 days, I wrote 417 short sentences on my sketch book. I excerpted 242 sentences for the book, and some sentences printed on the wall. I and students explored in the city as a workshop. We put some of the ideas into practice, and recorded the process…..
Pak Sheung Chuen’s sketch book
-Reading an email just like watching an exhibition. / An exhibition that can be held in an email.
-Go and see an exhibition, but only focus on the space of the venue. / Imagine the artworks never exist.
-Read a newspaper in others’ hands.
-The man who only leaflets to women.
-I bought a cylinder glass. Everytime I hold the glass, my hand forms a whole circle naturally.
-Wait at a door which no one else is waiting on the MTR platform for someone who comes to you.
-Two people coming together means one person with two bodies, their worries will be doubled as well.
-Visual art is – when you read, images emerge in your mind.
-When a daughter is taller than her mom.
-The moon hangs on the exact spot where the sun stays in the daytime.
-The bird starts singing at dawn. / It is the most tranquil moment in the world, when most people are still sleeping.
-The glass was moved slightly after you drank the water. / You saw two circular watermarks overlapping on the table.
-Climb up to the peak, and stare at each other with the top floor of a building. (Choi Yun)
-Listen to stereo music with a single ear.
-Connect the last scene of your dream with the first scene you wake up to.
Exhibition view of “Vision of Nature: Lost & Found”, Hong Kong Arts Centre, 2011
Journal of Guangzhou I (2011.12.14-17)
Journal of Guangzhou II (2012.01.14-18)
I travelled in the city to capture the interesting ideas. I wrote down the ideas in short sentences, some sentences turn into photosand videos. I also tried to put some of the ideas into practice. The whole project is still in developing…
1. Remain silent to a cab driver. 2011-12-15
2. When leaving, one prefer the view in front of the train; all the scene are rolling backwards on return. 2011-12-15
3. Look into the eyes of those sitting across and not watching you until they notice. 2011-12-15
4. There is fire at your pupils when staring at a fire; it is consuming all the darkness in your eyes. 2011-12-15
5. Staring at the sun until its circle impressed in your memory. 2012-3-8
30. Study body aesthetics with men who never see adult video. 2011-12-17
31. Put an unmarked adult video DVD copy in a corner in the church and secretly tell a church member about it. 2011-12-17
32. Not to waste time equals having a long life. 2011-12-17
33. Collect the snowflake from a TV station in Iceland. 2011-12-17
49. Search the image of “a bad person” with google and look for one of your acquaintances; do it again with the image of “a good person”. 2011-12-18
50. The sound of placing two microphones together. 2011-12-18
51. The time spending on waiting for a lady using the bathroom in a shopping mall. 2011-12-18
52. Assemble people with the same height and form a cube with a human shape. 2011-12-18
68. A queue of bus drivers moves from one spot to another on an empty road. 2012-3-19
69. Travel from the southern border to the northern border of a country and stand on the meeting point of two countries. 2012-3-19
70. Make all the emotions you use in daily life. 2012-3-19
75. A white orange. 2012-3-19
Exhibition view of Sensory Training, Vitamin Creative Space, GUANGZHOU, 2012
C reative Space, GUANGZHOU, 2012
Exhibition view of Sensory Training, Vitamin
(All images: Courtesy the artist and Vitamin Creative Space, Text: Vitamin Archive)