2020年的世界經歷著各種各樣的改變，處於失常時代，我們應如何提升對當代生存境況的洞察和自覺？Francis Alÿs與Mika Rottenberg分別在大館舉行的首個香港個展也許會為你帶來新的立腳點去檢視世界。

In an era of abnormality, how should we gain insight or awareness into the paradoxes of contemporary existence? Francis Alÿs and Mika Rottenberg’s first solo exhibitions in Hong Kong may offer you new standing points to look at the world.

N世代踏入第25個年頭，科技或許讓人與人的交流變少了，但也在非常時期讓我們能夠團結一致，無論國界，無論語言，科技有讓世界更緊密的能力。
It is the 25th year of the Generation N, in the age of rapid development of society and technology, face-to-face communication became not as natural, yet the power of technology also unites the people during this critical period of time. Regardless of nationality, regardless of language.

「畫畫對我來說是情緒的載體，也是我與他人連結的橋，這條橋能通往的地方愈來愈多，因此我開始加深對香港不同社區的認識，例如北角春秧街街市的浪漫、鴨脷洲街坊的熱情、土瓜灣急速轉變的不捨、西貢老店日常的細水長流等，這一切所成就的社區地圖、插畫、鐵閘畫、壁畫等的工作項目使我能維持生計，並為將來要發的夢作準備。」—— 慧惠

“Painting to me is a carrier of emotions and a bridge to connect with others. This bridge can lead to many places so I began to deepen my understanding of different districts, such as the romance of the Chun Yeung Street market at North Point, the enthusiastic vibe of the neighborhoods in Ap Lei Chau, the rapid transformation of To Kwa Wan, and the daily life of traditional boutiques in Sai Kung. The community maps, illustrations, iron gate paintings, and murals are the art projects that enabled me to make a living and prepare for future dreams” —— Wai Wai    

人長大了，情感變得複雜了，變得很難只用一言半語來表達所想。但許多人其實並不了解自己，誤會自己的感受，逃避面對真實內心的想法。香港本地藝術家Joanne Chan陳頌欣在6月19號至8月1號期間舉行的個人展覽會「無用之用」，紀錄了她在各個時期的情感變化。

As we grow up, our emotions also pile up and become more complex, it becomes difficult to express ourselves using simple words. Many people do not actually understand themselves accurately with their emotions, avoid from facing the forthright thoughts deep in their mind. Local Hong Kong artist Joanne Chan is having her solo exhibition “the usefulness of uselessness”, between 19th June and 1st August, a record of her emotional journeys throughout the years. 

雖然說我們時常抱怨香港高壓的生活，但我們對這片彈丸之地可以說是又愛又恨；就算生活辛苦，但仍然熱愛這片土地。

Even though we complain about the stressful urban life in Hong Kong a lot, yet, people have a love-and-hate relationship with this small piece of land; life is tough, but it doesn’t affect our love for this piece of land. 

「這個系列是一面鏡，我希望觀者從中看到自己。過着有尊嚴和自尊的生活是眾人皆有的權利；我們有公民責任作出正當決定。我想展現出微笑行動為唇顎裂患者帶來的轉變。」 —— 西山瑞貴

“This series is a mirror. I want the audience to take a good look at themselves. Living with dignity and pride is a deserved right. It is our civil responsibility to make righteous decisions. I am showing the transformative impact [Operation Smile] offers.” —— Mizuki Nishiyama

過去與現在不是兩個點，而是一條線。過去與現在的交流，不只僅於教科書；許多香港藝術家對香港的過去，現在，與未來充滿這嚮往與想像。在一件過去的藏品身上，在創作者眼裡是一個又一個的故事；在香港藝術館展出的《原典變奏——香港視點》，14位香港藝術家共展出了14件精選館藏，各以現代的方式回應了過去香港不同的面貌。

Past and present, they are not two points, but lie on a line. The communication between the past and the present should be limited to textbooks. Many local Hong Kong artists are extremely curious and creative about the past, the present, and the future of Hong Kong. The exhibition “Classic Remix: The Hong Kong Viewpoint” at HKMOA included 14 collections of 14 Hong Kong artists, responding to different sides of the old Hong Kong with different modern ways. 

自1997年，香港是在地球上唯一一個執行一國兩制的城市；一國兩制，從根本上是一個實驗，沒有前車之鑑，亦沒有後事之師。這不單單只是政治層面上的一種生態，從民生，到藝術創作，都是一個陌生且獨特的環境。

Since 1997, Hong Kong is the only city on earth that operates “One Country, Two Systems”; this system is in fact an experiment in nature, there is no prior history nor reference to refer to, it is literally a new and experimental concept. This is not only regarding certain aspects of politics but also from daily lives to art creation, the system creates a strange and unique environment.