Video projection on furniture, domestic installation, food, beverages, dinners, dialogues and other things
Dimension variable
Through shared meals and endless conversation, Every Pandiculate opens new pathways for human connection by blurring and transforming notions of association, strangeness, friendship, identity, cohesion, and communication. It seeks out the subtle gaps in our gaze—those quiet spaces across different layers of life—where the possibilities for refining art emerge. The project began with gatherings at the artist’s home, later expanding to participants’ homes and studios. Some invited the camera into their lives, allowing day-and-night filming alongside shared dinners. New participants continue to join, each adding their own thread to the evolving tapestry. Do we remember why we raise a glass together? In a world where the contours of civilized life grow increasingly indistinct, how many borders remain to separate you from 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？
I still remember my previous curatorial project exploring black and white. I replaced the exhibition lighting with white, unintentionally making the yellow lights in the adjacent space appear even more yellow. When facing white cubes, their walls always seem too white to me—too sterile. The universe constructed within them feels increasingly detached from life. Perhaps things have worsened: the patterns and transformations of contemporary art and postmodernism seem to have reached their limits. It may mark the end of a certain romance, a certain drama. Still, I continue to observe and experiment, searching for new meanings in art.
The world has changed again. It feels less and less connected to art. And yet, art may return in another form. I’m astonished. A new consciousness is slowly, tangibly emerging—one that the words “life” and “art” can no longer fully express.
Still, some things remain. A shadow in my heart whispers: I don’t know why I continue making art. I used to avoid crowded places; now I deliberately seek them out. Fortunately, there is still someone. Fortunately, there is no one.
Too much creation. Too little life. People often ask why I dine with strangers. To me, you’re either thinking too much or not enough. Must there be a reason to talk and eat together?
When entering someone’s life and living space, certain feelings persist. Yet another voice speaks to me: in the space between arrival and departure, we unknowingly experience both the weight and the lightness of 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。
