Video projection on furniture, domestic installation, food, beverages, dinners, dialogues and other things
Dimension variable
Through shared meals and unending conversation, “Every Pandiculate” opens opportunities of human relationship by blurring and transforming concept of association, strangeness, friendship, identities, cohesion and communication, etc., to look for gaps of a gaze at different levels of life about possibilities of refining art. In this project, participants gathered at the artist’s home at the beginning and then moved to gather at participants’ homes or studios. Among gatherings, the process involved filming day and night for some participants whose homes were willing to be visited and filmed with shared dinners. New participants continue to take part in. Do we memorize why we can have a toast to drink together? While civilized life is no longer clearly defined, how many boarders of that scenery leave to distinguish you and me?
《懶腰》以共餐及不遏止的對談開啓促成人與人關係的契機，模糊並轉化了相交、陌生、摯友、身分、 共聚、溝通等概念，繼而尋找缺口凝視不同層面的生活中重新提煉藝術的可能。計劃中，眾人率先結集於 藝術家的居所，繼而流動於不同參加者的家及工作室，當中涉及日與夜願意被造訪的參加者其臥室拍攝並共進晚餐的部分。新的參加者持續加入，還記起我們何以能舉杯共飲嗎？當不再明確界定諸般文明生活， 那裡映照的風景餘下多少邊界區分我和你？
《懶腰》以共餐及不遏止的對談開啓促成人與人關係的契機，模糊並轉化了相交、陌生、摯友、身分、 共聚、溝通等概念，繼而尋找缺口凝視不同層面的生活中重新提煉藝術的可能。計劃中，眾人率先結集於 藝術家的居所，繼而流動於不同參加者的家及工作室，當中涉及日與夜願意被造訪的參加者其臥室拍攝並共進晚餐的部分。新的參加者持續加入，還記起我們何以能舉杯共飲嗎？當不再明確界定諸般文明生活， 那裡映照的風景餘下多少邊界區分我和你？
I still remember my previous curatorial project dealing with black and white. I replaced the lights in the exhibition to white. Unintentionally, the yellow lights in the adjacent exhibition became too yellow. While confronting white cubes, their walls to me always seem too white. The universe constructed in the white cubes has parted from life more and more. The situations may be even worse that patterns and transformation of contemporary art and postmodernism have reached their bottlenecks. That can be an end to certain romance and drama. Though, I continuously observe and experiment, in order to searching for different meanings of art.
The world
has changed again. It seems to be less and less related to art.
Gradually, art can return in another way. I am amazed. A new mind is slowly and
concretely establishing that the words life and art are no longer able to
illustrate.
However, certain situations remain. A shade in my heart has told me. There is no idea why I should keep doing art. I didn’t go to places crowded with people in the past; now I deliberately go to places packed with people. Luckily there is still someone; luckily there is no one.
Too much creation. Too less life. There are always people questioning about reasons of dining with strangers. In my view, I regard that you are either thinking too much or thinking too less. To chat and eat, is there a need to have extra reasons?
While entering someone’s life and living space, certain situations remain. However, there is another voice has told me. Between entering and leaving, unwittingly, in the interim transferring will experience weight and lightness from every kind of life.
記得一次策展項目談黑白，我將展場的燈全部改用白色，不經意，旁邊展廳的黃燈就顯得很黃。面對白盒子，不少時候，我認為白盒子的牆太白。白盒子建構的世界距離生活越來越遠。甚或，當代藝術、後現代主義等套路與轉化，我怕早達瓶頸。當下是某種浪漫化及戲劇化的終局，我一直在觀察、經驗，意圖捕捉藝術還可以是什麼。
世界一再改變了。改變了，它好像跟藝術越來越不相干，漸漸，藝術可以轉換成另一種方式回應，我感到有趣極了。一種慢慢具體的新的形態，但生活和藝術這兩個字詞再不足以描繪它。
然而，情勢依樣，心底裡有片陰影告訴我，更多時候不知道為何要做下去。從前是人多的地方不要去，現在是人多的地方偏要去。慶幸那裡還有人，也慶幸那裡一個人也沒有。
創造太多；生活太少。總有人不明白我找陌生人進餐的緣由。我認為你大概想太多，或者想太少。吃飯跟傾談，還須要另外找理由嗎？
當真正走進他人的生活及空間，情勢依樣，但心底裡萌生另一道聲音告訴我，在離去又甫進入的過程中，才能不經意體驗到箇中每一種生活的重量與輕盈啊。
