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【Chloë Cheuk: In Search of Completeness】Artist Monograph [𝗣𝗿𝗲-𝘀𝗮𝗹𝗲] 𝗕𝗼𝗼𝗸 𝗜𝗻𝘁𝗿𝗼𝗱𝘂𝗰𝘁𝗶𝗼𝗻 Chloë Cheuk: In Search of Completeness is the artist Chloë Cheuk’s (中文名：卓思穎, b. 1989) first artist monograph, published as part of 1a space's 2nd edition of the Mid-Career Artist Exhibition & Publication Series. The idea of searching for completeness alludes to Cheuk's process of searching after her own position and path as an artist. Cheuk’s state of perpetual motion, of a circularity that moves her towards an evolving art practice that isn’t fixed to a specific medium, has been her constant in the midst of change. This book explores the contours of Cheuk’s practice through images of her artwork; texts contributed by Christina Chung, Erin Li, Navid Navab, and Yang Yeung; as well as a dialogue between Cheuk and fellow artist Ivy Ma King Chu. Pre-sale price | HKD300 Regular price | HKD350 Year | 2026 Page | 96 ISBN | 979-988-17750-7-8 𝗣𝗨𝗥𝗖𝗛𝗔𝗦𝗘 | link in bio Shipping available to Hong Kong and overseas. Pre-sale purchases will include the Artist's signature. ⎯⎯⎯⎯ [𝗕𝗼𝗼𝗸 𝗟𝗮𝘂𝗻𝗰𝗵] 𝑪𝒉𝒍𝒐ë 𝑪𝒉𝒆𝒖𝒌: 𝑰𝒏 𝑺𝒆𝒂𝒓𝒄𝒉 𝒐𝒇 𝑪𝒐𝒎𝒑𝒍𝒆𝒕𝒆𝒏𝒆𝒔𝒔 𝗗𝗔𝗧𝗘 | 29/3 (Sun) 𝗧𝗜𝗠𝗘 | 1:15-2:00 pm 𝗩𝗘𝗡𝗨𝗘 | Art Basel Hong Kong Exchange Circle (Level 1 Concourse, HKCEC) 𝗟𝗔𝗡𝗚𝗨𝗔𝗚𝗘 | English The idea of searching for completeness alludes to Montreal-based Hong Kong artist Chloë Cheuk's process of searching after her own position and path as an artist. Chloë’s state of perpetual motion, of a circularity that moves her towards an evolving art practice that isn’t fixed to a specific medium, has been her constant in the midst of change. The artist will be present with Christina Chung, researcher and editor of the monograph, Chloë Cheuk: In Search of Completeness, to introduce this new publication and discuss Cheuk's practice and evolving body of experimental work. 𝗦𝗣𝗘𝗔𝗞𝗘𝗥 | Chloë Cheuk - Artist @chloecheuk_ Christina Chung - Researcher and Editor of Chloë Cheuk: In Search of Completeness; Assistant Professor, History of Art and Architecture, University of Oregon 𝗥𝗘𝗚𝗜𝗦𝗧𝗥𝗔𝗧𝗜𝗢𝗡 | RSVP (link in bio)

【down to earth (exhale)】 Thank you for your support The realisation of down to earth (exhale) is the result of dedicated professional collaboration and the generous support of our sponsors. We extend our sincere gratitude to the following organisations for their contribution to the exhibition and the accompanying monograph. SPONSORED BY | Air Canada @aircanada Conseil des arts et des lettres du Québec @lecalq The Consulate General of Canada to Hong Kong and Macau @canadahkmacao Eaton HK @eaton.hk SPECIAL THANKS TO | b minor Videotage @videotage_hk The exhibition concluded today (10/5). We would like to express our heartfelt gratitude to all visitors for your support. The artist monograph Chloë Cheuk: In Search of Completeness @chloecheuk_ remains available for purchase on our website. Pick-up is available at 1a space during office hours. .hk/publications 【著地】感謝支持 展覽嘅實現有賴各方機構及夥伴的鼎力支持。透過跨地域嘅資源整合與專業協作，使本展覽作品及出版得以順利呈現於大眾面前。1a空間謹此向以下單位致以衷心鳴謝。 贊助機構 | 加拿大航空 魁北克藝術與文學委員會 加拿大駐港澳總領事館 香港逸東酒店 特別鳴謝 | b minor 錄映太奇 展覽已於今日（10/5）完滿結束，我哋衷心感謝各位對《著地》展覽嘅支持。藝術家首部專著《卓思穎：尋覓· 完整》現仍於1a空間網頁發售。如欲現場取書，可於辦公時間內到1a空間領取。

黑暗中，螢火蟲閃爍——微弱卻堅毅的光點，在遺忘牠們的風景裡持續燃亮。《蟲火》是一場關於「在場與消逝」的編舞，人與非人的身影在邊緣之地抗拒被抹除。 作品追隨螢火蟲逐漸黯淡的軌跡，橫跨澳門、香港、菲律賓與台灣，映照移工的隱形生活——他們的勞動築造城市的形貌，卻在變遷之中漸被遺忘。 由長期田野研究與集體創作發展而成，作品交織動作、聲音、影像、文獻與光，織就出一個脆弱而堅韌的生存生態。於德國埃森 PACT Zollverein 駐留期間成形，《蟲火》邀請觀眾見證一場對抗消逝的靜默共存。 Fireflies flicker in the dark — fragile lights persisting in landscapes that have forgotten them. “The Bug Is on Fire: First Ignitions” unfolds a choreography of presence and disappearance, where human and non-human bodies resist erasure at the margins. Tracing the fading glow of fireflies across Macao, Hong Kong, the Philippines and Taiwan, this piece traces the unseen lives of undocumented migrants whose labor shapes the city even as their stories fade through its transformation. Developed through long-term field research and collective inquiry, it interweaves movement, sound, image, document and light to form a fragile ecosystem of survival. Shaped during a residency at PACT Zollvere in Essen, this work invites the audience to witness endurance not as spectacle, but as a quiet act of coexistence that flickers against disappearance. Photo credit (cover): Goethe-Institut Philippinen —- Albert Garcia @alleyable Albert Garcia 出生並成長於澳門，擁有菲律賓移民背景，現居台北，是一位跨領域藝術家。作為移民及表演藝術家，他以身體與多媒體為創作媒介，探討混合身份與生存議題。他的作品反映在瞬息萬變的世界中，關於公民身份、勞動與韌性的思考。Garcia 於澳門修讀媒體研究（學士，2012），其後於台北取得舞蹈表演藝術碩士學位（2017）。他的創作實踐以身體動作與敘事為核心，並對個人與集體歷史的交織抱持深厚的好奇。透過其表演與裝置作品，他致力於創造促進對話與反思的空間，聚焦於遷徙、文化傳承與人類處境等議題。 (For english bio, please check the comment.) — 陳偉洛 Chan Wai Lok × Albert Garcia 雙舞作 Double Bill 《作福》及《蟲火》：土地．遷移與神明（香港版） “The Golden and the Fortunate” & “The Bug Is on Fire: First Ignitions” 📅 12, 15–16.06.2026 8pm 📍 牛棚藝術村 1a空間 🎫 $250 🎫 門票現於 Art-mate 公開發售 Tickets now available at art-mate 🔗 詳情及購票連結 More details : Link in bio

《作福》是一場探索財富與運氣的演出，重新想像傳統「財 / 運」符號，將「相信」呈現為充滿不確定性的狀態。身體化為磁性能量的導管，結合民俗美學和解構「假裝（make-believe）」機制的裝置，表演者透過一系列刻意且有張力的肢體動作，映照出人類對於未來的掌控幻想。沉浸式環境中，空氣中瀰漫着焚香氣味與低頻振動，營造出既神聖又諷刺的氛圍。觀眾與表演者之間形成互惠的祝福交流，強化了儀式的「信念地圖（map of faith）」。聲音、熱能與動作的層層堆疊，使這場演出不僅探問吉祥瑞氣的追求，也是對「假裝（as-if）」邏輯的深度思辨，揭示「好運信仰」背後的有趣代碼。 “The Golden and the Fortunate” is an exploration of wealth and luck — a reimagining of traditional symbols of prosperity and fate that presents “belief” as a state charged with uncertainty. The body becomes a conduit for magnetic energy, merging folk aesthetics with an installation that deconstructs the mechanism of make-believe. Through a series of deliberate and tension-filled physical movements, the performer mirrors humanity’s desire to control the future. Immersed in the scent of incense and low-frequency vibrations, a sacred yet ironic atmosphere unfolds. Within this space, the audience and the performer enter a reciprocal exchange of blessings, reinforcing a shared “map of faith” in the ritual. Layers of sound, heat and movement transform the performance from a pursuit of auspicious power into a contemplation on the logic of “as-if”, unveiling the curious codes behind our faith in good fortune. photo credit: Ray Leung —- 陳偉洛 Chan Wai Lok @wailok.cwl 香港編舞及表演藝術家陳偉洛畢業於香港中文大學建築系，其後於比利時 P.A.R.T.S. 及奧地利 SEAD 完成舞蹈訓練。他的創作以概念性與跨領域方法見稱，風格機智幽默、富玩味，挑戰傳統對舞蹈與表演的既定理解。透過編舞作品，陳氏構築多重經驗，探索媒介的邊界。他的作品鼓勵觀眾主動參與及開放詮釋，同時展現他對表演性與編舞實踐的觀點。2020 年，他共同創立獨立藝術空間 ngau4 gat1 dei6，進一步拓展其跨領域創作實踐，並持續投入實驗性表演的發展。 (For english bio, please check the comment.) — 陳偉洛 Chan Wai Lok × Albert Garcia 雙舞作 Double Bill 《作福》及《蟲火》：土地．遷移與神明（香港版） “The Golden and the Fortunate” & “The Bug Is on Fire: First Ignitions” 📅 12, 15–16.06.2026 8pm 📍 牛棚藝術村 1a空間 🎫 $250 🎫 門票現於 Art-mate 公開發售 Tickets now available at art-mate 🔗 詳情及購票連結 More details : Link in bio

今屆 #非關舞蹈祭2026 首個雙舞作節目將於牛棚藝術村 1a space 展開，由陳偉洛《作福》與 Albert Garcia《蟲火》：土地．遷移與神明（香港版）兩個委約新作為舞蹈節揭開序幕。在非劇場空間的近距離凝視與現場互動之中，身份、生態、儀式與運氣交織成一個可被感知的現場。 Opening the festival at 1a space, #DANCELESScomplex2026 presents its first double bill: two newly commissioned works by Chan Wai Lok "The Golden and the Fortunate" and Albert Garcia "The Bug Is on Fire: First Ignitions". Set in the close, intimate environment of a non-theatre space, the evening brings together identity, ecology, ritual, and fortune in a performance that can be truly felt at close range. @wailok.cwl @alleyable --- 陳偉洛 Chan Wai Lok × Albert Garcia 雙舞作 Double Bill 《作福》及《蟲火》：土地．遷移與神明（香港版） “The Golden and the Fortunate” & “The Bug Is on Fire: First Ignitions” 📅 12, 15–16.06.2026 8pm 📍 牛棚藝術村 1a空間 🎫 $250 🎫 門票現於 Art-mate 公開發售 Tickets now available at art-mate 🔗 詳情及購票連結 More details : Link in bio

【down to earth (exhale)】Final Week In times when the art world circulates narratives such as the ‘conceptual’, ‘socially-engaged’, and ‘de-materialised’, Chloë Cheuk remains committed to a practice that is adamantly skill-based. Recognising what serves her art is both a coping mechanism and a transgressive strategy. In these final 7 days, we invite you to experience her sensitivity to timing and bodily orientation. How would you sit, stand, stay, and move with her before the closing? The monograph is available on our website. If you wish to collect your copy at 1a space during your visit, please email us at least one working day in advance. For inquiries, please call 2529 0087 or email [email protected] down to earth (exhale) EXHIBITION｜7/3 - 10/5, 2026 | 11-7pm | Tue – Sun VENUE｜Unit 14, Cattle Depot Artist Village, To Kwa Wan @chloecheuk_ 【《著地》】最後一星期 當藝術世界流傳住「概念性」、「社會參與」，「去物質化」等敘事時，卓思穎依然堅持一種根植於手藝嘅創作實踐。佢清楚邊啲技術先係對作品最好，呢種態度既謙虛又充滿自信，同時係一種應對機制以及越界嘅策略。 展覽進入最後七日。每一件作品都係藝術家用佢嘅手藝、對時機嘅敏銳感知，對情境作出嘅回應。歡迎各位把握最後機會，嘗試喺呢度坐、企、停留及移動。 歡迎於展期內到現場購買藝術家專著《卓思穎：尋覓 · 完整》。於1a空間網上訂購的寄送範圍涵蓋香港及全球主要地區，如欲現場取書請提前電郵預約。查詢請致電 2529 0087 或電郵至 [email protected]。 《著地》卓思穎個展 展覽｜7/3 - 10/5, 2026 | 11-7pm | 週二至週日 展覽場地｜土瓜灣牛棚藝術村14號

【down to earth (exhale)】2 Weeks Left Here, the phrase down to earth does not suggest location, direction, or destination. Neither is it an identifier for the character of a person or the virtue of an artist. Instead, it describes Chloë Cheuk’s disposition to mobilise all that comes along her path to create: everything as in what is abundant; what is lacking; and what situation she chooses to be in as well as what she is thrown into. Join us before 10/5 to witness where her art and life meet. The monograph is available on our website. If you wish to collect your copy at 1a space during your visit, please email us at least one working day in advance. For inquiries, please call 2529 0087 or email [email protected] . down to earth (exhale) A Solo Exhibition of Works by Chloë Cheuk @chloecheuk_ EXHIBITION｜7/3 - 10/5, 2026 | 11-7pm | Tue – Sun VENUE｜Unit 14, Cattle Depot Artist Village, To Kwa Wan Photo by Samson @pakhangs 【著地】展期倒數兩週 喺呢度，「著地」唔係指地點、方向或者目的地。相反，「著地」反映住卓思穎嘅取態——佢會將生命途中遇到嘅一切，無論係豐饒之物、匱乏之境、主動選擇或者被迫身陷嘅處境，都化為創作嘅養分。誠邀各位喺展期結束前，親臨現場見證呢個藝術同生命嘅交匯點。 歡迎於觀展期間到現場購買藝術家專著《卓思穎：尋覓 · 完整》。於1a空間網上訂購的寄送範圍涵蓋香港及全球主要地區，如欲現場取書請提前電郵預約。查詢請致電 2529 0087 或電郵至 [email protected]。 《著地》卓思穎個展 展覽｜7/3 - 10/5, 2026 | 11-7pm | 週二至週日 展覽場地｜土瓜灣牛棚藝術村14號

【down to earth (exhale) 】Curator-led Exhibition Walkthrough Recap Thank you to everyone who joined our Curator-led Exhibition Walkthrough of down to earth (exhale) at 1a space. We are deeply grateful to Curator Yang Yeung for sharing her composed voice-text throughout the walkthrough, shadowing the artworks and providing a reflective framework for reading the exhibition. In the walkthrough, we revisited the exhibition’s inspirations and influences, considered how ideas inform one another, and reflected on the process of art-making—alongside the voices of women artists and writers. We look forward to welcoming you again at 1a space to experience the works in person. down to earth (exhale) A Solo Exhibition of Works by Chloë Cheuk EXHIBITION｜7/3 - 10/5, 2026 | 11-7pm | Tue - Sun
VENUE｜Unit 14, Cattle Depot Artist Village, To Kwa Wan @chloecheuk_ 【著地】策展人導賞回顧 衷心感謝各位蒞臨1a空間參與《著地》嘅策展人導賞。我哋特別感謝策展人楊陽喺導賞期間朗讀佢撰寫嘅文本，配合展品脈絡作延伸，令到大家可以理解作品嘅語境並作出更深入嘅反思。 衷心感謝各位蒞臨1a空間參與《著地》嘅策展人導賞。我哋特別感謝策展人楊陽，由佢撰寫嘅文本並親自朗讀，用聲音帶領大家穿梭喺作品之間，為觀展體驗加添更深入嘅反思。 透過呢次導賞我哋回望展覽嘅靈感，整理創作時唔同嘅諗法點樣互相啟發，並聚焦女性藝術家同作家嘅心聲及反思藝術創作嘅過程。 期待大家嚟到1a空間親身感受展覽嘅作品，把握機會於10/5或之前到訪。 《著地》 卓思穎個展 展覽｜7/3 - 10/5, 2026 | 11-7pm | 週二至週日
 展覽場地｜土瓜灣牛棚藝術村14號

【重點回顧——第十四節｜香港視覺藝術評論培育計劃2025-2026】 ⭐️ 21/3/2026 第十四節： 策展暨藝評？（Critic as a Curator?） 本節工作坊榮幸邀請到策展人周麗珊 @chloechowcls 擔任講者，探討當「藝評」主要面向藝術家而非大眾、著眼於創作過程而非最終呈現時，策展人如何成為陪伴創作的批評者。周麗珊分享如何將傳統展覽後的評價轉化為創作過程中的持續對話與提問，與藝術家共同打磨作品、深化想法，並在信任與張力之間遊走，為藝術實踐開啟新的可能性。 活動同時安排學員到訪WMA Space觀賞黃慧妍「寶安娜與佳德新村」的展覽，讓大家將課堂討論的策展視角與藝評方法落地，進一步體會策展人角色如何在藝術評論中，與藝術家共同形塑過程與意義。 衷心感謝周麗珊的精彩分享，為探討藝評與策展的連繫帶來深刻啟發。 ⭐️11/4/2026 第十五節：藝評人就是藝評人？（Critic as a Critic?） 導師魂游 @this.is.wen.yau 的十五節工作坊迎來最終章，這不只是關於評論的練習，更是一場重構「評論人」身份座標的旅程。大家都分享了自己的「藝評多重宇宙圖」，回顧與整理過往討論過的藝評人角色：推廣藝術、記錄藝術或策展等，在未知的星圖中探索評論的何去何從。「評論是可以改變社會的」，而這份力量有賴更多人參與。我們在星群間不斷叩問：評論人如何以多重身份回應當下？如何對創作與權力保持警覺並帶來改變？ 再次感謝導師魂游詳盡而豐富的導引，帶領大家探索藝評的多重身份，讓評論不再限於文字書寫。評論作品將陸續發表，敬請期待！

Trevor Yeung: Courtyard of Detachments Text：Wing Yan Ng Trevor Yeung‘s exhibition at M+ last summer, an extension of his solo presentation at the 2024 Venice Biennale, Trevor Yeung: Courtyard of Attachments, Hong Kong in Venice, reveals an interplay between personal narrative and collective memory. Through a series of installations, Yeung delves into themes of attachment and absence, ultimately exploring the concept of detachment. Unlike the temporary exhibition at the Venice Biennale, this display at Hong Kong’s global museum of contemporary visual culture focuses on historical and archival research. As Trevor Yeung and curator Oliva Chow note, from a museological standpoint, when artifacts are acquired by museums for preservation, they lose their original functions and transform into static monuments of past lives. Visitors could reflect on the changing roles of these objects and their connections to memory and history. Detachment, as discussed in Erich Fromm’s The Art of Loving, is the root of guilt and anxiety. In his artistic practice, Trevor Yeung frequently utilises plants and goldfish, which are accessible means of attachment and basic relationships through feeding and changing water. Fromm asserts that ”the awareness of human separation, without reunion by love, is the source of shame,“ highlighting how this sense of detachment can lead to profound emotional struggles. This awareness of detachment often expresses as shame, guilt, and anxiety, leading many individuals to conform to group norms, a tendency particularly in Asian societies…… - 🔗Read full article >>https://www.aco.hk/single-post/trevoryeungcourtyardofdetachments - Images provided by Wing Yan Ng & M+ website - This piece was written by a participant in 1a space’s ‘Hong Kong Visual Art Criticism Incubation Programme 2025-2026.’ Since 2017, this programme has provided training and publishing opportunities to emerging local art critics. 此文章由1a空間《香港視覺藝術評論培育計劃 2025-2026》學員撰寫。自 2017 年起，1a空間透過此計劃為本地新晉藝術評論人提供培訓及發布作品的機會。

【巴塞爾藝術展香港展會 #ArtBaselHongKong】感謝支持 Thank you for your support 2026年巴塞爾藝術展香港展會已圓滿結束，衷心感謝 @artbasel 邀請我們擔任文化合作夥伴。 我們亦感謝藝術家區凱琳 @au.hoilam 及張海活 @changhoiwood 在1a空間展位展出作品《再沒有‎ ‎ ‎ ‎ ‎ ‎ 而且永遠不會再有》，並衷心感謝每一位到場觀賞作品、與藝術家交流並給予支持的觀眾。 同時，感謝參與巴塞爾藝術展香港展會藝群匯集：藝術家專著發布《卓思穎：尋覓 · 完整》的藝術家卓思穎 @chloecheuk_ 、研究員及編輯鍾宛芝為大家介紹這本專著，再次感謝加拿大航空 @aircanada 、加拿大駐港澳總領事館 @canadahkmacao 支持及參與的觀眾。 Art Basel Hong Kong 2026 has successfully concluded. We extend our sincere gratitude to for inviting us as a Cultural Partner again. We wish to thank artists AU Hoi Lam and CHANG Hoi Wood for showcasing the work 'Never will there be again' at the 1a space booth. We are truly grateful to every visitor who took the time to view the work, engage with the artists, and express their support. Additionally, we express our gratitude to artist Chloë Cheuk and researcher and editor Christina Chung for introducing the monograph during Art Basel Hong Kong Exchange Circle: Artist Monograph Launch — 𝑪𝒉𝒍𝒐ë 𝑪𝒉𝒆𝒖𝒌: 𝑰𝒏 𝑺𝒆𝒂𝒓𝒄𝒉 𝒐𝒇 𝑪𝒐𝒎𝒑𝒍𝒆𝒕𝒆𝒏𝒆𝒔𝒔. Our thanks also go to Air Canada and the Consulate General of Canada to Hong Kong and Macau for their presence and support, as well as all attendees who participated.

當設計成為策展主題 撰文：Tony 每逢年尾，香港設計圈子都會在中環元創坊舉辦「deTour」。香港以設計為主軸的展覽不多，deTour在當中算是大型。deTour，顧名思義就是「design + tour」的組合，以公開徵集策展計劃的形式進行，歷年來多以設計師為策展人。展覽雖以設計為主軸，不過亦會根據策展人的口味而多少與藝術有所結合。到底設計與藝術的關係是甚麼？ 設計還是藝術 香港的設計生態有個有趣現象，院校設計教育所教的都是標準的設計觀念，強調設計與藝術的不同，甚至有排斥藝術的傾向。而在業界，情況則完全相反，不少設計師均渴望成為「藝術家」，以至產生「香港設計不專業」的聲音。 香港關於設計／藝術是甚麼的討論非常缺乏，常以「明就明，唔明就黎明」的形式交流，本屆deTour展出的多件設計與藝術裝置，亦給人這種感覺。策展人努力組合不同領域的作品，營造合乎主題「想望之器」字面上的整體氛圍。唯放在當下香港社會的語境中，卻缺乏有意義的探討。不過以單件作品來看，還是不失可看之處。 設計作為藝術 《變形的日常——Philo 模組》 by TOUN 「在香港，搬家是常態，每隔幾年空間轉換一次，承載回憶的家具被迫棄置，設計師從這份矛盾出發，研發一套可移動，可變形適應空間的家具。」──TOUN 《Philo》是一組使用模組式設計的家具系統，設計師利用輕盈鋁板設計出幾款模組，自由組合成層架、椅子，桌面等不同用途。跟一般組合家具不同，其外形根據植物的生命形態設計，鋁板不是方方正正的工業刻板印象，而是呈現有機生長的形態。模塊表面沒有額外加工，設計直接表現出鋁材質的冰冷感覺。有機與無機的矛盾結合，是當代設計突出主題的常見手法。 藝術作為設計 「Form follows function」的設計原則，起緣於設計師的前身——工匠／藝術匠。一班掌握工藝技術的匠人，須服務贊助人，完成他們的「功能」要求。一部分「功能」是客觀的，例如建築／馬車等，都有使用上的「客觀功能」——對每個人來說都一樣的功能要求。另一方面，物品亦有其「主觀功能」，即根據使用者的社會地位、文化認知而有所不同。物品的視覺外觀、材質、氣味等，即使未必有「實際功能」，亦總帶有「心靈／社交功能」，例如中世紀的貴族會聘請畫家／雕塑家，以神話故事為他們的家具或建築物裝飾，透過品味作為功能，提升他們的社會與文化資本。又例如，教會領聖餐時，會使用畫師繪製聖經故事的畫櫃進入儀式，這些都是「主觀的功能」。 設計與工藝一直遊走於主客之間，古時能夠使用藝術家服務的人都是貴族，人數不多，所以品味變化不大；而進入工業化大量生產後，設計出現，設計師服務的客群變化就大得多。設計師既要滿足「客觀功能」，亦要迎合不同階層的「主觀品味」。 《Philio》的系統美學，迎來工業生產的第三種矛盾——設計與客製化之間的矛盾。以往設計師的話語權很大，基於生產成本的考量，設計師的「直覺」決定客人的不同品味需求。但自從生產技術不斷提升，「客製化」成為設計的重點，《Philio》的系統正好在設計師與客製化的矛盾之間作出一種嘗試。 - 圖片由作者提供 - 此文章由1a空間《香港視覺藝術評論培育計劃 2025-2026》學員撰寫。自 2017 年起，1a空間透過此計劃為本地新晉藝術評論人提供培訓及發布作品的機會。 This piece was written by a participant in 1a space’s ‘Hong Kong Visual Art Criticism Incubation Programme 2025-2026.’ Since 2017, this programme has provided training and publishing opportunities to emerging local art critics.