:')

back โ€” work




Art


He Said, They Said, last dispatch from Beijing on Hu Wei's "Affairs" at DRC No. 12, suspicion, foreign bodies, crimes of silence and crimes of passion
Spike #72

A review of Mak2's solo show "House of Fortune" at de Sarthe, Hong Kong
Spike #70

A conversation with Ho Tzu Nyen
Spike #69

A review of Candice Lin's solo exhibition "Pigs and Poison" at Guangdong Times Museum, Guangzhou
Spike #68

A letter about the contemporary silence of Chinese contemporary art museums
Spike online



Books


On reading ๐™๐™๐™š ๐™„๐™ข๐™ฅ๐™ค๐™จ๐™จ๐™ž๐™—๐™ก๐™š ๐˜พ๐™ž๐™ฉ๐™ฎ by Karen Cheung and ๐™„๐™ฃ๐™™๐™š๐™ก๐™ž๐™—๐™ก๐™š ๐˜พ๐™ž๐™ฉ๐™ฎ by Louisa Lim and the state of postcolonial writing from the margins of Anglo-American empire
The Baffler

An interview with Na Zhong about translating Sally Rooney's novels into Chinese
Chaoyang Trap

A review of ๐˜ฝ๐™ก๐™ค๐™˜๐™ ๐™˜๐™๐™–๐™ž๐™ฃ ๐˜พ๐™๐™ž๐™˜๐™ ๐™š๐™ฃ ๐™๐™–๐™ง๐™ข by Xiaowei Wang, the shanzhai of shanzhai and social justice tourism as a genre
The Baffler


Film


On leaks, anti-spectacle and making an unfuckable text in Tiffany Sia's Nแด‡แด แด‡ส€ Rแด‡๊œฑแด›/Uษดส€แด‡๊œฑแด›
Spike #66

On watching Hong Kong's iconic cop movies after police brutality
The Nation

On filmmaking as a response to political uncertainty
ArtAsiaPacific


Hong Kong


Why the new Hong Kong gallery Property Holdings Development Group gives me hope
Spike #71

A conversation about Hong Kong noise legend Xper.Xr, archival exhibitions, and narratives of disappearance
Spike online

On dancing after Covid-19 and a brief history of nightlife in Hong Kong
Electronic Beats

On the legacy of Hong Kong 70s leftists in contemporary art
Spike #62

On how going to protests is fucking boring
The Baffler


China


A conversation with migrant worker poet Xiao Hai about Cao Fei's career retrospective in Beijing
Chaoyang Trap

A profile of Knopha, one of the best DJs in China at the moment (also in Chinese)
Groove (๐˜ฎ๐˜ข๐˜ฅ๐˜ฆ ๐˜ฑ๐˜ฐ๐˜ด๐˜ด๐˜ช๐˜ฃ๐˜ญ๐˜ฆ ๐˜ฃ๐˜บ ๐˜Ž๐˜ญ๐˜ฐ๐˜ฃ๐˜ข๐˜ญ ๐˜Ž๐˜™๐˜–๐˜–๐˜๐˜Œ ๐˜น ๐˜Ž๐˜ฐ๐˜ฆ๐˜ต๐˜ฉ๐˜ฆ-๐˜๐˜ฏ๐˜ด๐˜ต๐˜ช๐˜ต๐˜ถ๐˜ต ๐˜Œ๐˜ญ๐˜ฆ๐˜ค๐˜ต๐˜ณ๐˜ฐ๐˜ฏ๐˜ช๐˜ค ๐˜”๐˜ถ๐˜ด๐˜ช๐˜ค ๐˜‘๐˜ฐ๐˜ถ๐˜ณ๐˜ฏ๐˜ข๐˜ญ๐˜ช๐˜ด๐˜ฎ ๐˜ž๐˜ฐ๐˜ณ๐˜ฌ๐˜ด๐˜ฉ๐˜ฐ๐˜ฑ)

On Fang Fang's ๐™’๐™ช๐™๐™–๐™ฃ ๐˜ฟ๐™ž๐™–๐™ง๐™ฎ, pandemic narratives and the privilege of translation
The Nation

On the work of Rural Urban Framework/University of Hong Kong and Fujianese tulou renovation
Architectural Review