Rime 韻腳

Rime, 2022
Old things left by the deceased

Dimension variable

Thanks to the child who lived for decades

In Rime, Tang Kwok-hin presents a contemplative installation that serves as a footnote and parallel exhibition to his theatre performance-installation Sunshower. While Sunshower explores the unspoken languages and silent encounters between living people through gestures, movements, and body language in difficult times, Rime shifts the focus inward — to the quiet dialogue with absence, remnants, and the fundamental question of “how things stand.”

Using personal belongings and everyday objects left behind by the deceased, Tang arranges these remnants with the delicate curiosity of a child learning to stand for the first time. The installation examines how objects — once integral to someone’s life — continue to “stand” in the world after their owners have departed. This act becomes a metaphor for validity and meaning in a skeptical age: in times of uncertainty and collective doubt, how do things, values, or truths regain their standing? How can we re-learn to see and feel the world from a purer, more innocent perspective?

As a companion piece to Sunshower, Rime extends the exploration of human connection beyond the realm of the living. Where Sunshower observes how people navigate one another through physical presence and unspoken acts, Rime contemplates the enduring resonance of what remains — the silent “rhyme” (韻腳) that lingers after the main verse has ended. Together, the two works form a dialogue: one about encounters in the present, the other about learning to stand again through memory, loss, and rediscovered purity.

Through veils see faded orange lights.

Neatly stands those hugging wooden pillars.

It takes time to warm up the foot from the forehead, which connects the two blunt carrots.

Crawl up in front of the eyes, with hands not willing to let them go.

Four palms first meet to unveil the sameness among fingers with different lengths.

People peep through the thin lines between pillars.

Frequently interferes.

Every single movement is appreciated.

One day.

The unsettling sky no longer confines the minds.

Climb up the wooden pillars, stand against the barriers.

Everything is so dense.

Chest up, and fall down; up again, and down again.

This change in how one touches the ground.

And you realise.

Standpoint and standpoint.

This 3-dimensional world, is extended from the tiniest touch.

紗帳朦朧舊燈色。

整齊直立的木柱環抱。

腳掌離前額遠，溫度遲緩送達，連繫兩根笨拙的蘿蔔。

曲起來放眼前，雙手緊抓不讓離去。

四掌初見，指頭長幼有序般一個模樣。

木柱的縫隙內人影注視。

時常介入。

一舉手一投足總被鼓舞。

一天。

心神無法被空中的天旋地轉凝住。

沿木柱攀爬，倚欄柵直立。

沉甸甸的這一切。

挺起胸膛；倒下；再挺起；再倒下。

跟地面交匯的方式轉變。

能夠發現。

立足點和立足點。

三維世界，是由細小的接觸面開展的。