簡述：

在一個鬆動、臨時的空間裡思考此前與此後的事。以身體充當媒介，也把媒介當作身體；安置簇新的舊物，追索非人工的視野，或者留下刻意與偶然的痕跡。支架、階梯與坡道看似脆弱，卻自顧自接通了未知或已知的光景。
我們從何處來？我們是什麼？我們往何處去？
我們不從何處來，我們不是什麼，我們不往何處去。
（Life is elsewhere, life isn‘t elsewhere.）

牛油紙上噴墨打印文字：

《在往後之前：臨別照》

此時，
在以保護為名的圍柵內，
他被夾在青與黃的家具之間。

此時，
厚重身板，頸項蜷縮，一如往常。

此時，
器皿的影子朝三個方向躺開，
碎餐是無聲的失能。

此時，
黯然籠罩。

而他掌心始終緊執──

一塊軟韌的矽。

往後，
由庇蔭（或祈求）姿態積存的熱量，
以至事物或生命本身，
將於何時下墜？
又歸到何處？

----

Synopsis:

In a loose, temporary space, we contemplate what came before and what will follow. We use the body as a medium, and treat the medium as a body; we place brand‑new old things, seek a non-artificial gaze, or leave traces both deliberate and accidental. Scaffolds, stairs, and ramps seem fragile, yet on their own they connect to scenes unknown or already known.
Where do we come from? What are we? Where are we going?
We do not come from anywhere, we are not anything, we are not going anywhere.
(Life is elsewhere, life isn’t elsewhere.)

Inkjet‑printed text on tracing paper:

Before What Comes After: A Parting Portrait

At this moment,
within a fence raised in the name of protection,
he is wedged between furniture of green and yellow.

At this moment,
his heavy frame, neck tucked in, as always.

At this moment,
the vessels’ shadows lie open in three directions,
the broken meal is a voiceless incapacity.

At this moment,
a dimness descends.

And in his palm he keeps clutched—

a pliant, resilient piece of silicon.

Afterwards,
the heat accrued by a posture of shelter (or supplication),
and even things or life itself—
when will they fall?
And to where will they return?

Photo credit: IV Chan, Rose Li