“Do you know that worldly affairs are ever-changing? Change is the only constant." This line from the TV drama theme song "A House is Not a Home," written by Mr. James Wong, a pop lyricist who grew up in Sham Shui Po, has been frequently "quoted" amidst the tremendous changes Hong Kong society has undergone in the past five years. It simultaneously applauds the lyricist's insight into the nature of the world and laments the myriad transformations Hong Kong is experiencing. The lyrics, akin to a scientific theorem, emphasise that change is perpetually occurring. Over a longer timeline, change is an incessant state of operation, and eternity is the neutral, constant state of continuous change. For decades, this line has served as a reminder to listeners that they must embrace change, gradually accumulating into a collective understanding of change among locals.

Indeed, Hong Kong has been in a constant state of flux, evolving from a small fishing port to a cargo transhipment hub, then to an industrial powerhouse, followed by a densely populated concrete jungle, and finally to a global financial centre. This transformative journey has been ongoing since the city's establishment in 1842, spanning 182 years. When Mr. James Wong penned the lyrics of "A House is Not a Home" in the 1970s, reflecting on the changes Hong Kong was experiencing at that juncture, the city was in the golden era of real estate development. Hong Kong was rapidly evolving, with the construction of modern buildings, swiftly transforming the urban landscape into a cluster of high-rises. The ironic term "concrete jungle" simultaneously symbolised economic prosperity and barrenness. As we reflect on the past from our current vantage point, we see that since the early 1970s, under the leadership of Hong Kong's Governor, Sir MacLehose, a series of social reforms encompassing infrastructure and economic development laid the groundwork for Hong Kong's future transformation into a world-class city. This blueprint paved the way for the city's metamorphosis into a thriving modern society.

The 1980s saw Hong Kong not only emerge as an Asian economic powerhouse due to the flourishing stock market and real estate development - but also achieve remarkable successes in tourism, art, culture, and cinema. Hong Kong was hailed as the Pearl of the Orient, captivating global attention. However, starting from 1989, compounded by the impending transfer of sovereignty, a significant number of Hongkongers, apprehensive about potential changes in the socio-political landscape, chose to emigrate or relocate to various parts of the world. The diaspora of Hong Kong's population had already begun in the early 1990s. Subsequently, to assuage the concerns of Hongkongers, a clever plan was devised, projecting a 50-year timeline of "unchanging" prosperity for the "ever-changing" Hong Kong. This created a dynamic interplay between the concepts of "constant change" and "never-changing" from 1997 to 2046...

The subsequent line, "Riding out the wind and waves, bad luck will turn into good luck," is often overlooked.

In the decade spanning from 2014 to 2019 and culminating in 2023, Hong Kong society witnessed a rapid replacement of its long-standing indigenous systems. The assumption of "unchanging" stability that had been made years ago faltered midway through this period. Now, in 2024, it is believed that Hong Kong has weathered the storm and emerged on the other side. I often ponder how a city shattered by misfortune can transform its fortunes and find good luck.

During the planning of this exhibition, we sought a term that encapsulates the essence of change, variation, alteration, transformation, mutation, modification, and metamorphosis. Ultimately, the alchemical term "Transmutation" (translated as "嬗變 sin6 bin3" in Chinese) was chosen as the exhibition title. This term encompasses the notion of refinement and represents the experimentation with the transformation of various substances by humans before the advent of modern science – a method of reshaping the presentation of matter through artificial means. I often liken the works created by artists using diverse media to the endeavours of alchemists who transmute ordinary sand and stone into precious metals like gold, silver, and bronze. As Parallel Space commemorates its sixth anniversary, we are deeply honoured to invite seven Hong Kong-based artists to showcase their unique artistic alchemy.

Envision Hong Kong as a ship whose components have been gradually replaced over time. When all the original parts have been substituted, does the ship retain its original identity? Elizabeth Li Shan Shan's graduation work boldly echoes the philosophical conundrum posed by the 1st-century Greek writer Plutarch in "The Ship of Theseus". In the 21st century, as Hong Kong undergoes profound changes, this question, which great minds like Heraclitus, Socrates, and Plato grappled with, resurfaces. The title of this ship-inspired artwork is "The City of Theseus".

Now, imagine if the replaced parts of this ship were reassembled. Could they potentially be used to build another ship in the future? Would this reconstituted vessel still be considered the original ship? Giraffe Leung Lok Hei has taken the flat map of Hong Kong, meticulously torn it asunder, and then interwoven elements from Hong Kong Island, Kowloon, the New Territories, and the outlying islands to construct a reimagined Hong Kong. As an artist, he employs pencil drawings to document this perfect nation of his own creation.

The "opaCity" series by Mososisi Studio, featuring miniature replicas of nostalgic Hong Kong buildings, recreates an alternate model city within a mirrored environment.

The latest work by Phoebe R, a British artist residing in Hong Kong who has passionately devoted years to crafting miniature cityscapes depicting various districts, preserves her cherished memories of the city in paintings enshrined within hanging boxes.

Alice Mourou's "Ephemeral Sculptures", composed of fragments from disparate objects, captures the inherent beauty that emerges from the state of scattered collapse.

Visitors are invited to immerse themselves in Kevin Ling Chung Wan's installation work "Camping" and, within the confines of a tent, view Albert Yu Ka Ho's short film "A Memoir from the Future". This experience evokes the sensation of witnessing the transformation of a city from a future perspective, all while inhabiting a temporary, transient space...

Through the message conveyed by this sixth-anniversary exhibition, I extend my wishes to all those who remain in Hong Kong, including myself and Parallel Space. May we all possess the ability to extract precious metals from the depths of misfortune and transmute our lives into a state of good fortune.

Message from the Founder & Curator of Parallel Space, Kim Lam

English Translation by K.T

More about the exhibition ( English version )

https://docs.google.com/document/d/1Vo2k_As3OKDpWISLsw8GJBta0N4T42m55-BiAe0HL2I/

Parallel Space 6th Anniversary exhibition 

《 Transmutation 嬗變 》

Participated artists & creatives ︳藝術家及創意單位包括
Albert Yu  Ka Ho ︳余家豪
Alice Mourou at Oddity Studio
Andrew & Tom at Mososisi Studio ︳李孝恩 與 岑嘉俊 無鎖事事 工作室
Elizabeth Li Shan  Shan ︳李珊珊
Giraffe Leung  Lok Hei ︳梁洛熙
Kevin Ling Chung Wan ︳凌中雲   
Phoebe R

Date ︳展期: 11.10 - 3.11. 2024

Presented by Parallel Space ︳主辦: 平行空間

Curated by: Kim Lam ︳策展人: 林偉健 

有關展覽更多資料中文版https://docs.google.com/document/d/1z9rcxKnvJttGXoxRhRFg_oQi0ownBC-vVitE3ejCuzQ/