當我們拋開外界賦予的名字與身份，如何尋找真正的自己？

The Hartz Project呈獻於M Place新空間的開幕首展《縱使我遺忘了自己的名字》回答了這個問題。是次展覽匯聚七位亞洲女性藝術家：唐咏琪，劉新，鄔湘婕，Kyungmin Jean Lee，Alexis Jang，如心與Goyona Jung，共同探索自我發現的錯綜幾何，並探尋當外界喧囂退去、身上的標籤消解之時，靈魂究竟還剩下什麼。

When we let go of the names and identities the world has given us, how do we find our true selves?

The Hartz Project is pleased to present Even Though I Forgot My Name, the inaugural exhibition at its new gallery space at M Place in Hong Kong. This group show features seven Asian female artists: Yongqi Tang, Liu Xin, Xiangjie Rebecca Wu, Kyungmin Jean Lee, Alexis Jang, Ruxin, and Goyona Jung. The exhibition explores the intricate geometries of self-discovery, questioning what remains of the soul when external noise fades and the labels we carry dissolve.

推介原因 WHY IT MATTERS

《縱使我遺忘了自己的名字》是一場通往存在中心的內省旅程。展覽在多個獨特的自我探索靈性坐標之間，編織出一片集體的意識場域。七位藝術家的創作，引導觀眾從記憶、夢境、情感與自然出發，探索自我與世界的關係。

It is a journey inward to the centre of being. The exhibition weaves a collective consciousness field across various distinct spiritual coordinates of self exploration. The exhibition invites visitors to journey through memory, dreams, emotion, and nature. Along the way, it explores the relationship between the self and the world.

重點一覽 HIGHLIGHTS

唐咏琪：鄉愁與自我 | Yongqi Tang: Nostalgic and self

在《The Stage Builder》中，唐詠琪以自己操控木偶戲的形象，隱喻身份是如何被社會塑造的。她結合在中美兩地生活的經歷，思考人在流動的文化環境中如何不斷調整、建構和表演自己的身份。通過讓自己同時成為掌握結構的築台者與被操縱的主體，作品深刻地揭示了自我意象的流動性。

In The Stage Builder, Yongqi Tang depicts herself as the puppeteer, using the miniature stage as a metaphor for the social construction of identity. Shaped by her experiences between China and the United States, she examines how identity is constantly negotiated, constructed, and performed across fluid cultural landscapes. By positioning herself as both the structural “stage builder” and the subject being manipulated, the piece powerfully exposes the fluidity of self-image, challenging the rigid categories into which we are born.

劉新：潛意識中的愛 | Liu Xin: Love in the subconscious way

隨後，這一旅程移向更深處的潛意識之門。劉新從夢境汲取靈感，用仙人掌、蹺蹺板等意象描繪親密關係中的脆弱、拉扯與消耗。她揭示了愛與孤獨、付出與索取之間反復平衡的過程，以及情感最終可能走向的沈默與疏離。沉睡的兩人神情疲憊麻木，當愛意褪去，只剩毫無溫度的石膏軀體，在慣性的依偎中成為一座靜謐的靈魂墳墓。

Then the journey moves deeper into the subconscious gateway. Drawing inspiration from dreams, Liu Xin uses surreal motifs, cacti, seesaws, and other symbolic forms to evoke the vulnerability, tension, and quiet erosion that exist within intimate relationships. Her paintings reflect the perpetual negotiation between love and solitude, giving and receiving, ultimately revealing how intimacy can fade into silence, detachment, and emotional estrangement. With all active passion dissolved, they are reduced to cold, plaster-like casts, remaining bound to one another purely through the weight of psychological inertia.

如心：超現實中的我 | Ru Xin: Between the tangible and the intangible

如心則以充滿層次的藍色構建介於現實與夢境之間的精神空間。試著在更高維度之外，找到與自我對話的途徑。羅德島設計學院的歷練則加深了其西方邏輯性的視角。正是在這若隱若現的張力之中，她的藝術實踐徐徐展開。源於對生命本源普世價值的持續追問，如心以畫布為媒、視覺為徑，帶領觀者通往超越表象的形而上精神場域。

Ru Xin constructs a meditative space between reality and dreams through nuanced layers of blue. Her works encourage viewers to look beyond the visible, seeking a deeper level of awareness and a quiet dialogue with the self. Rhode Island School of Design sharpened her grasp of Western logical frameworks. Operating at the intersection of these two distinct paradigms, she glimpses a higher-dimensional source where both worlds merge. It is within this subtle, translucent tension that her visual language unfolds. Driven by a continuous inquiry into the universal values of life’s origin, Ru Xin utilizes the canvas as a medium to guide viewers toward a metaphysical spiritual realm that transcends mere surface appearances.

Alexis Jang：母愛的本能 | Alexis Jang: What mother offers

最後，旅程回歸生命最原初的力量。在《Standing between Mountains and Poppy Fields》中，Alexis Jang描繪了一位母親懷抱孩子的畫面。母愛與生命本源，就是人而為人與世界最純粹的連接。將母愛那本能且無界的庇護所框定為一種宇宙力量，將存在的原始脈搏轉化為一片極其靜謐的視覺庇護所。

The journey ultimately returns to the primal essence of life. In Standing between Mountains and Poppy Fields, Alexis Jang portrays a mother cradling her child in an embrace that transcends the personal. Maternal love becomes a universal expression of life’s origin—a reminder that our deepest connection to the world begins with the simple act of being human. Alexis Jang frames the instinctual, boundless sanctuary of maternal love as a cosmic force, translating this bond into a breathtakingly quiet, visual refuge.

當我們暫時放下社會賦予的身份與定義，才能重新認識真正的自己。

你，本身就是存在。

By setting aside the names, identities, and definitions imposed by society, we are given the chance to rediscover who we truly are. We welcome you to forget who you were told to be, and simply remember that you are.

背景 BACKGROUND

The Hartz Project 是成立於香港的當代藝術畫廊，致力於在亞洲及全球展示與推廣新晉藝術家，並推動他們的職業發展。與此同時，其核心使命之一是培養收藏家和藝術愛好者與藝術之間深厚而有意義的關係，引導他們建立既具視覺價值，亦能引發情感與體驗的藝術收藏——喚起快樂，激發生命靈感。

Founded in Hong Kong, The Hartz Project is a contemporary art gallery dedicated to showcasing emerging artists across Asia and beyond, and to empowering their professional journeys. In the meantime, it aims to be an intimate friend to collectors, helping them build meaningful art collections that enrich life and soul, where art evokes joy, inspiration and a sense of well-being.

小貼士 TIPS

走進這個展覽，你會找到一種精神線索，探索自己與自己相處的方式。

Step into the exhibition and discover a thread that speaks to you—one that leads not only to a deeper understanding of yourself, but also to a new way of being with yourself.

縱使我遺忘了自己的名字｜Even Though I Forgot My Name
日期 Dates
2026.07.18 – 2026.08.29

時間 Hours
每週二至週六 上午 11 時至晚上 7 時
11am – 7pm, Tuesday to Saturday

地點 Venue
The Hartz Project畫廊，香港黃竹坑 M PLACE 2301
2301 M Place, 54 Wong Chuk Hang Road, Hong Kong

圖片提供： The Hartz Project畫廊 、參展藝術家 | Courtesy Of: The Hartz Project Gallery and the artists