户尔艺术家 | 香港 Knotting Space「Soft Reality, Hard Dreams」| 正在展出

展览现场 Installation view

Photo by Ray Leung. Image courtesy of Knotting Space.

Soft Reality, Hard Dreams

Vivian Caccuri 薇薇安·卡库里

Chen Jinbin 陈锦彬

Shi Yi 施意

Knotting Space

户尔空间很荣幸在香港巴塞尔艺术展开幕之际，于香港Knotting Space为您呈现展览“Soft Reality, Hard Dreams”。

Hua International is proud to announce the opening of Soft Reality, Hard Dream at Knotting Space, Hong Kong, on the occasion of the opening of Art Basel Hong Kong.

我們即將為香港呈獻新的藝術空間 Knotting Space ，一個以週期性模式運作的策展平台。首個展覽將於2026年3月23日至4月18日，在中環H Queen’s 七樓呈獻。每個展覽將透過精心策劃的組合，匯聚不同規模與背景的藝術單位，營造收藏家、畫廊、藝術機構與非營利組織之間的交流平台。

We are delighted to launch Knotting Space, a cycle-based curatorial platform in Hong Kong, the first cycle will debut on 23 March to 18 April 2026 at 7/F H Queen’s in Central. Through curated pairings across a diverse scale of practices, each cycle turns the space into a meeting ground for collectors, galleries, institutions, and non-profit organisations.

Knotting Space 的願景，是建立一個連結商業與慈善藝術項目的持續平台，致力為觀眾打開本地藝術生態的多元論述，集合新晉至頂尖藝術創作。開幕展覽由 KNOT I： The Drawing Room 與戶爾空間 (HUA International) 攜手帶來展覽「Soft Reality, Hard Dreams」，並由 Knotting Space 總監兼策展人林志恒（Jims Lam）策劃。林志恒為一位香港獨立策展人，同時亦為2026年度藝軒香港（Pavilion Hong Kong）策展。

Knotting Space is conceived as a long-term project that bridges the commercial and charitable projects — a model where audiences are exposed to a wider discourse in the local art ecosystem from emerging to established voices. The debut exhibition Knot I: The Drawing Room and HUA International presents Soft Reality, Hard Dreams will be launched by Director and Curator of Knotting Space, Jims Lam, an independent curator based in Hong Kong who also serves as the curator of the 2026 edition of Pavilion Hong Kong at H Queen’s. With Knotting Space, Lam develops the programmes through deliberate pairings that connect cross-cultural perspectives and cross-regional geographies. He brings together exhibitors with distinct yet compatible approaches, so new readings can emerge through proximity.

在林志恒的構思下，Knotting Space 透過具策略性的配對，連結不同文化背景與地域的藝術視野，讓風格各異卻又能相互對話的參展單位，透過展覽佈局與近距離閱讀引發新的解讀。

「當前的文化格局正在轉變，更集體的協作模式逐漸成為關鍵。Knotting Space的回應是提供一個兼具靈活度與速度、並能持續發展的專業協作平台，讓合作得以聚焦地展開。」

“Across the cultural landscape, infrastructures are shifting, and more collective ways of working are becoming essential,” says Jims Lam. “Knotting Space responds to this moment by offering a stable, professional platform for collaboration that can move quickly, stay focused, and build continuity.”

作為2026年四個展覽週期的序幕，「Soft Reality, Hard Dreams」將展出五位藝術家的新近創作。參展藝術家包括 Vivian Caccuri （1986年生於巴西）、陳錦彬（1994年生於中國）、Mark Justiniani（1968年生於菲律賓）、Matina Partosa （2000年生於菲律賓）以及施意（1993年生於中國）。

The inauguration cycle of a total of four cycles in 2026, KNOT I: The Drawing Room and HUA International titled Soft Reality, Hard Dreams, brings together new and latest works by Vivian Caccuri (b.1986, Brazil), Jinbin Chen (b.1994, China), Mark Justiniani (b.1966, the Philippines), Matina Partosa (b.2000, the Philippines), and Shi Yi (b.1993, China).

「Soft Reality, Hard Dreams」 遊走於夢與現實的邊界，以感官與知覺為線索，探索時間敘事如何被建構。展覽將夢境視為一個由集體記憶與個人想像交織而成的另類空間，它並非虛幻式的抽離或視覺的把戲，而是用來推敲現實張力的一種方法。

Soft Reality, Hard Dreams moves between dream and reality, using sensation and perception to reconfigure how temporal narratives come into view. The exhibition proposes the dream as an alternative dimension shaped by collective experience and personal imagination, approached not as fantasy or an optical trick, but as a method for thinking through tension.

來自 The Drawing Room 的 Mark Justiniani 是菲律賓當代藝術的重要人物，以光、鏡面與空間幻覺建構的沉浸式作品見稱。繼代表菲律賓參加第58屆威尼斯雙年展展出《Island Weather》後，他帶來新作《 The Philippine Wine Dance》，從菲律賓民間舞蹈傳統出發，將微觀歷史與儀式感轉化為空間體驗。Matina Partosa 為馬尼拉年輕一代的畫家，她敏銳地捕捉城市的氛圍，以光、影與反射，讓日常景象浮現新的感知層次。 

From The Drawing Room, Mark Justiniani is a defining figure in the Philippines’ contemporary art, renowned for his immersive works that mobilise light, mirrors, and spatial illusion. Following Justiniani's representation of the Philippines at the 58th Venice Biennale with Island Weather, he extends this inquiry through The Philippine Wine Dance. Drawing from Filipino folk dance traditions, the works reframe micro history and ritual as spatial experience. Matina Partosa comes from a younger Manila based generation of painters, with works attentive to the city’s atmospheres, using light, shadow, and reflection to heighten how the everyday is seen and felt.

戶爾空間帶來的藝術家包括常駐里約熱內盧的 Vivian Caccuri，她既是藝術家也是音樂學者，過去十年創作了一系列聲音主導的裝置與表演，作品曾於聖保羅雙年展（Bienal de S?o Paulo）、科欽-穆吉里斯雙年展（Kochi Muziris Biennale）及紐約新美術館（New Museum）等重要國際平台展出。陳錦彬往來奧斯陸與北京之間，他的繪畫探索親密關係的邊界，往往聚焦於那些未被言說的慾望。施意曾於威尼斯受訓，將文藝復興與巴洛克的宗教圖像語彙，轉化為當代中國的視覺語言，為展覽注入跨文化想像。

HUA International presents Vivian Caccuri. Based in Rio de Janeiro, Caccuri is an artist and musicologist who has developed sound led installations and performances for over a decade, with work shown in major international contexts including the Bienal de S?o Paulo and the Kochi Muziris Biennale, as well as institutions such as the New Museum. Jinbin Chen lives and works between Oslo and Beijing, where his painting expands notions of intimacy, often centring on unspoken desire. Trained in Venice, Shi Yi draws on Renaissance and Baroque devotional imagery and translates it into a contemporary Chinese visual language, sharpening the exhibition’s cross cultural register.

作為Knotting Space的首個展覽，「Soft Reality, Hard Dreams」以聚焦的視野呈現跨地域的藝術對話。展覽並非呈現單一的故事線，而是鋪陳一組條件，在夢與現實的張力之間，探討我們的集體經驗如何被注意力與感知所形塑。

Marking Knotting Space’s first cycle, the exhibition sets a focused cross-regional presentation. Soft Reality, Hard Dreams presents a set of conditions rather than a single storyline, holding the tension between dream and reality to explore how shared experience is shaped by attention and sensation.

Knotting Space (KNOT) 是香港一個以週期性策展模式運作的全新平台，透過配對海外合作夥伴，策劃多元的主題展覽項目。作為收藏家、畫廊、機構及非營利組織的匯聚點，KNOT 亦透過教育項目把每個展覽延伸，支持學習、普及化與交流。KNOT 旨在成為一個中繼站，深植於香港作為自由港與連結通道的歷史脈絡。其項目聚焦跨文化視角與跨地域連結，讓獨特卻能相互啟發的參展單位，在並置中激發新的想像。Knotting Space 由香港 H Queen's 發起並支持。

Knotting Space (KNOT) is a new cycle based curatorial platform in Hong Kong that develops focused exhibitions through deliberate pairings with overseas partners. Operating as a meeting ground for collectors, galleries, institutions, and non profit organisations, KNOT extends each cycle beyond the gallery through educational programmes that support learning, access, and exchange. Positioned as a relay point shaped by Hong Kong’s history as an entrep?t and connective passage, its programme prioritises cross cultural perspectives and cross regional geographies, bringing together exhibitors with distinct yet compatible approaches so new readings can emerge through proximity. Knotting Space is a project initiated and supported by H Queen’s in Hong Kong.

关于艺术家

陈锦彬

Chen Jinbin

陈锦彬（Jinbin Chen，b.1994，广东，中国）目前生活并工作于挪威奥斯陆及中国北京。于2021年获得奥斯陆国立艺术学院（Oslo National Academy of the Arts）艺术硕士学位（MFA），2019年获得海牙皇家艺术学院（Royal Academy of Art, The Hague）艺术学士学位（BFA）。

陈锦彬将自己的创作描述为关于身体、图像、历史、叙事与瞬间之间的相遇，这些看似短暂的交汇，往往蕴含着重新塑造亲密、生成与归属的可能。欲望、性别气质、权力关系以及亲密的政治始终是他创作的核心，它们源自个人经验，同时被延展至更广阔的集体想象之中。

近年来，绘画成为他实践的核心，同时与文字、物件、雕塑等媒介相互交织。他的肖像作品常常描绘朋友、想象中的人物或破碎的身体形象，他们处于开放、脆弱或匿名的状态中。通过这些形象，他尝试构建一种感性而不直白的情色语言。他关注凝视、姿态及人物之间的关系如何同时承载力量与脆弱，以及欲望如何在物化与温柔之间流动。

陈锦彬将绘画视作一层多孔的表面，交织着古典的姿态、科幻或亚文化的叙事、摄影的片段，并将它们融汇为层次丰富的画面，以此思考数字时代的亲密经验、图像的碎片化消费，以及古典或文学意象：如古诗或姿态如何在当代语境中重新出现。贯穿这些方向，他希望创造出一种空间，让欲望与相遇得以被重新想象，在其中，存在与缺席、主导与臣服、亲密与疏离之间的张力不断流动与转换。

Jinbin Chen (b. 1994, Guangdong, China) lives and works between Oslo, Norway, and Beijing, China. He received his MFA from the Oslo National Academy of the Arts in 2021 and his BFA from the Royal Academy of Art, The Hague, in 2019.

Chen describes his practice as encounters between bodies, images, histories, narratives, and moments that may seem fleeting yet hold the potential to transform intimacy, becoming, and belonging. Desire, gender temperament, power hierarchy, and the politics of intimacy remain central to his work, rooted in lived experience yet expanded into collective imaginaries.

Painting has been the core of his practice in recent years, intertwined with text, object, and sculpture. His portraits often depict friends, imagined figures, or fragmented bodies in states of openness, vulnerability, or anonymity. Through these figures, Chen constructs an erotic language that is sensuous without being explicit. He is interested in how the gaze, gestures, and relationships between figures can embody both power and fragility, and how desire operates in the space between objectification and tenderness.

薇薇安·卡库里

Vivian Caccuri

薇薇安·卡库里

1986年于巴西圣保罗出生。居住并工作于里约热内卢，巴西。

薇薇安·卡库里探索音乐文化和广义的声音制作，提出了超越听觉领域的声音实验，包括视觉、身体和技术层面。通过物体、装置、行为和原创音乐，卡库里创造了一些颠覆日常体验的情境，也以此打破了文化中固化的感知结构。艺术家揭示了建立噪音、音乐、自然声音和寂静之间区别的历史和文化制约。在各种材料和背景中建造声音系统突显了集体意义，常常也是对某些音乐表达形式的审查。因此，她的作品具有强烈的政治意义。

Vivian Caccuri

1986, S?o Paulo, Brazil. Lives and works in Rio de Janeiro, RJ. 

Vivian Caccuri investigates musical cultures and sound productions in a broad sense, proposing experiments with sound that go further than the auditory field and encompass the visual, the corporeal, and the technological. Through objects, installations, performances, and original music, Caccuri creates situations that disorient the everyday experience and, consequently, interrupt perceptions sedimented in culture and ingrained in cognitive structures. The artist sheds light on historical and cultural conditionings that establish distinctions between noise, music, natural sounds, and silence. The constructions of sound systems in various materials and contexts highlight the collective meaning and, so often, the censorship of certain musical expressions. Thus, her work assumes a strong political sense.

施意

Shi Yi

施意

1993年出生于广东潮州；2017年本科毕业于广州美术学院版画系，2021年硕士毕业于意大利威尼斯美术学院绘画系，现生活工作于北京。

施意的绘画寄居于宗教、民俗、以及大众传媒。他从中提取具有强烈情感张力的瞬间，通过身体语言的方式，将观众带入心理空间，鼓励观看者对个体情感和社会互动的理解。其画作中表现的身体细节（如肢体动作、面部表情等）既是情感的外化，亦带有深刻的文化和心理象征性，提示着动作和表情背后的社会文化结构和意识形态。

Shi Yi

born in Guangdong in 1993. Graduated from Guangzhou Academy of Fine Arts with a bachelor's degree in 2017. Graduated from Accademia di belle arti di VENEZIA with a master's degree in 2021. Currently works and resides in Beijing.

Shi Yi’s paintings draw from the realms of religion, folklore, and mass media. He captures emotionally charged moments and, through bodily language, invites the audience into a psychological space that fosters a deeper understanding of individual emotions and social interactions. The bodily details depicted in his works—such as gestures and facial expressions—serve not only as externalizations of emotions but also as profound cultural and psychological symbols, hinting at the sociocultural structures and ideologies underpinning these actions and expressions.