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Art Practice




Play. Boredom. Worship.

玩樂。 無聊。 崇拜。

Opening reception 開幕:19/10

Exhibition period 展覽:20/10 - 24/11

Co-curated by Alex Yiu & Suze Chan


關於展覽 About the exhibition


藝術上,「瀆神」可以比擬為藝術家創作的手段,諸如挪用和概念轉換,均給予已有事物新的意義。是次展覽由姚少龍和陳凌欣聯合策展,展覽《Play. Boredom. Worship.》將展示香港六位新晉藝術家的作品。藝術家們通過和策展人之間的討論和辯證,他們的作品將以不同的態度和角度去演繹展覽的主題。

South Korean-born German philosopher Byung-Chul Han once quoted an example to explain the Italian philosopher Giorgio Agamben’s concept of ‘profanation’: During the recession period in Greece, a group of children discovered a large amount of banknotes in a ruined house. Instead of using them in the way money is supposed to be used, they played with them, tearing them to shreds. Profanation is the act of taking sacred things from gods and using them by mortals. In this example, Han portrays a post-apocalyptic world where money has lost its meaning, and we are shredding paper for fun.

Perhaps in art, ‘profanation’ could be described in the way artists create through appropriation and conceptualisation. Both ways are giving new meaning to pre-existing objects and subjects. Curated by Alex Yiu and Suze Chan, ‘Play. Boredom. Worship.’ will present new artworks from six emerging artists from Hong Kong. Through dialogue and discussion with the curators, the artists interpret the idea with different perspectives and angles with their artworks.


  • 陳滿的裝置融合多種現成品,以建構世界(worlding)的方式「創造」一個類宗教的信仰,指涉現實世界人類宗教信仰的荒誕。
  • 陳凌欣的錄像裝置紀錄了自己在一所酒店內二十多天的生活,監控己身的行為和與人的互動,自我審視之餘亦包含對房間外各種發生的回應。
  • 陳嘉浚的攝影作品以商業攝影的手法,把立體的人和物平面化,呈現出後網絡時代的超真實(hyperreal),動搖影像的真實。
  • 黃紫嫣的繪畫不單止遊走於虛幻和寫實,其近乎於自動書寫(automatic writing)的創作模式反映了畫者內在的精神世界。
  • 譚煥坤的裝置結合了物料和文字,展示媒介之間的對比和對話,並藉此指涉藝術家的情緒。
  • 朱文雅的平面裝置充滿幽默感,以輕鬆的姿態對抗嚴肅世界的喧鬧。


Coming from different backgrounds, architecture (Chan Moon), graphic design (Suze Chan), cinematography (Harry Chan and Wong Tsz Hin), visual art (Vunkwan Tam), and new media art (Mia Chu), for ‘Play. Boredom. Worship.’, each artist manipulates the interferences and flows in between concepts and materials as ‘artists’, departing from their own practices.

  • Chan Moon’s installation ‘creates’ a pseudo-religion by combining multiple found objects and medium, commenting on the grotesque quality of institutionalised religion and dogmatic belief systems.
  • Suze Chan’s video installation is a documentation of her twenty-day stay in a hotel. Surveilling her intimate habits and interactions with people, the video is not only self-examination but also captures her subtle responses to the events and encounters both inside and outside the room.
  • By applying techniques of commercial photography, Harry Chan presents a flattened version of real objects and delivers the ‘hyperreal’ quality of the post-internet era, making ambiguous what reality we are representing.
  • Wandering between illusion and reality, the paintings of Wong Tsz Yin demonstrate an ‘automatic’ mode of creating, reflecting her inner spiritual world.
  • With different combination of materials and words, Vunkwan Tam highlights the dialogue and contrast that exists between the media. In their juxtaposition and contrasts, the artist’s emotion are unveiled metaphorically.
  • Humour is the central topic in Mia Chu’s installation, resisting the noise of this serious world through light-hearted gestures.

When days are unsettling and mundaneness disappears, the six artists incorporate different methods and practices to realise the multi-dimension of ‘profanation’.

Participating artists 參展藝術家:

Chan Moon 陳滿

Vunkwan Tam 譚煥坤

Harry Chan 陳嘉浚

Suze Chan 陳凌欣

Mia Chu 朱文雅

Wong Tsz Yin 黃紫嫣

開幕演出 Opening performance: 龢wo4、阿杰 ahkit、Teeda @ Play. Boredom. Worship | 玩樂。無聊。崇拜。