Between art and society, time unfolds and lingers.

From traditional seal carving, the fermentation of tea leaves, to the connection between neighbourhood and the grocery store, and the human–machine collaboration in letterpress printing— these four local small businesses operate without advanced systems, yet preserve a different sense of time. In this fast-paced city, can we take a moment to experience “time” that cannot be fully measured?

Curated by Shan Wong, SATA Fest: “Between the Between” brings together artist-mentors Fung Wing Lam, Rogerger Ng, Sing Jantzen Tse, Liv Tsim, and 20 artist-mentees, to conduct a year-long research and development. Through sonic art, graphic art, electronic art and bio art, they reinterpret and respond to these small businesses’ operation models, opening up a contemporary dialogue on time.

Beyond the exhibition, SATA Fest also invites overseas artists to HK for talks and artwork presentations, offering new perspectives on the relationship between art, technology, and the city.

在藝術與城市之間，時間在縫隙中延續與流動。

從手工印章的雕刻工序、茶葉的發酵過程，到雜貨店的人情往來與印務店的人機協作，這四間本地商號沒有智能化或自動化的營運模式，卻保存著另一種時間感。在這個講求效率的城市裡，我們仍能短暫停留，感受那種無法被完全測量的生命經驗嗎？

SATA Fest：「間之間」由黃詠珊策劃，邀請藝術家馮穎琳、伍啓豪、謝振聲、詹昫嵐擔任導師，並聯同20位不同領域的藝術家深入四家傳統商號，展開為期一年的研究與創作。藝術家透過聲音藝術、平面藝術、電子藝術與生物藝術，重新詮釋並回應這些店舖的運作方式與生活節奏，開展一場關於「時間」的當代對話。

除了展覽，SATA Fest 亦特邀多位海外藝術家來港交流及展出作品，讓公眾從不同角度理解藝術、科技與城市之間的關係。

Our inaugural media art exhibition SATA Fest: “Between the Between” is now OPEN! During the Opening Reception, SATA’s co-founders, Shan Wong and Kachi Chan, artist-mentors Fung Wing Lam, Rogerger Ng, Sing Jantzen Tse, and Liv Tsim, and 20 artist-mentees, shared the artistic theme and concepts with guests. We sincerely thank all who joined us – especially the owners of the four collaborating traditional shops and the participating overseas artists.🥂

Centred on the theme of Time, the exhibition explores labour, memory, community, and technology through works created by local and international artists. In a fast-paced city, we invite you to pause and experience time differently.⏳

由 SATA 主辦的首個大型媒體藝術展覽 SATA Fest：「間之間」正式揭幕！SATA 兩位創辦人黃詠珊及陳家智，聯同四位藝術家導師馮穎琳、伍啓豪、謝振聲、詹昫嵐，20位藝術家學員，與來賓分享展覽主題及作品概念。

感謝各位嘉賓的參與，特別感謝四間合作商號的店主來臨，欣賞藝術家在考察一年後啟發而成的製成品，更要感謝多位參與展覽的海外藝術家親自來港支持。

As digital technology and AI take over daily life, will the traditional shops tucked away in our streets and alleys fade into the tides of time? Or might art-tech offer fresh ways to reinterpret the stories of these community treasures?

Last year, “SATA Summer School” saw four artists and their mentees study four long-established shops in the Central and Western District through four artistic approaches—Bio Art, Sonic Art, Graphic Art and Electronic Art—unearthing and reinterpreting the shops’ wisdom and value.

Inspired by these journeys, “SATA Satellite” distills the project into a mini exhibition of selected works alongside a series of art workshops. Join us to discover unique local shops through the fusion of art and technology, and expand your imagination across different media!

當數碼科技與AI極速佔據日常，街頭巷尾的傳統商號會否消逝於時代洪流？藝術科技可否以全新方式演譯這些社區寶藏的故事，帶來不一樣的視角？

去年夏秋舉行的「SATA夏季學院」，四位藝術家導師與一眾藝術家學員，走訪中西區四間商號，循生物藝術（Bio Art）、聲音藝術（Sonic Art）、平面藝術（Graphic Art）和電子藝術（Electronic Art）四種進路，探討傳統商號的智慧與價值，再以藝術作詮釋及轉譯。

「SATA外傳」粹取四組藝術創作歷程的精華，呈獻精選作品展覽及多場藝術工作坊，邀請大家從藝術與科技之中，認識本地寶藏商號，藉不同媒介的創作開拓想像！

As digital technology and AI take over daily life, will the traditional shops tucked away in our streets and alleys fade into the tides of time? Or might art-tech offer fresh ways to reinterpret the stories of these community treasures?

Last year, “SATA Summer School” saw four artists and their mentees study four long-established shops in the Central and Western District through four artistic approaches—Bio Art, Sonic Art, Graphic Art and Electronic Art—unearthing and reinterpreting the shops’ wisdom and value.

Inspired by these journeys, “SATA Satellite” distills the project into a mini exhibition of selected works alongside a series of art workshops. Join us to discover unique local shops through the fusion of art and technology, and expand your imagination across different media!

當數碼科技與AI極速佔據日常，街頭巷尾的傳統商號會否消逝於時代洪流？藝術科技可否以全新方式演譯這些社區寶藏的故事，帶來不一樣的視角？

去年夏秋舉行的「SATA夏季學院」，四位藝術家導師與一眾藝術家學員，走訪中西區四間商號，循生物藝術（Bio Art）、聲音藝術（Sonic Art）、平面藝術（Graphic Art）和電子藝術（Electronic Art）四種進路，探討傳統商號的智慧與價值，再以藝術作詮釋及轉譯。

「SATA外傳」粹取四組藝術創作歷程的精華，呈獻精選作品展覽及多場藝術工作坊，邀請大家從藝術與科技之中，認識本地寶藏商號，藉不同媒介的創作開拓想像！

我們邀請四位活躍於藝術與科技交 界的藝術家教育者，擔任二十位學員 的導師— 學員背景涵蓋在校學生 至新晉藝術家。學員分為四組，就選 定的傳統本地商號進行田野研究，並 發展相應的藝術創作，最終於SATA Fest呈現成果。計劃同時設有內部導 修課、講座及工作坊，由藝術家、策展 人與學者主持，涵蓋議題包括:研究 作為藝術實踐、技術培訓、人類學，以 及批判性經濟學。

《導師工具包》是SATA夏季學院的 實踐與概念指南。它概述了計劃的六 個環節，每個環節結合講座與導修 課，透過直接取材自導師自身研究實 踐的案例，示範計劃的教學理念。工 具包將導師背景、教學哲學、工作坊 指引、成果反思，以及學員如何發展 最終項目的示例整合於一處，為學習 過程提供清晰框架。

《導師工具包》是SATA夏季學院的 實踐與概念指南。它概述了計劃的六 個環節，每個環節結合講座與導修 課，透過直接取材自導師自身研究實 踐的案例，示範計劃的教學理念。工 具包將導師背景、教學哲學、工作坊 指引、成果反思，以及學員如何發展 最終項目的示例整合於一處，為學習 過程提供清晰框架。

《導師工具包》是SATA夏季學院的 實踐與概念指南。它概述了計劃的六 個環節，每個環節結合講座與導修 課，透過直接取材自導師自身研究實 踐的案例，示範計劃的教學理念。工 具包將導師背景、教學哲學、工作坊 指引、成果反思，以及學員如何發展 最終項目的示例整合於一處，為學習 過程提供清晰框架。

R&D
Process Archive

This zone offers visitors a space to pause and think—through a behind-the-scenes presentation, audiences can explore the process, framework, and development of the programme—from the summer school mentorship to SATA Fest — and gain insight into the intentions, methodologies, and trajectory of the two-year SATA project.

研究與發展過程檔案區

本展區為觀眾提供一個停下來思考的空間。透過幕後呈現，觀眾得以深入了解計劃的過程、框架與發展脈絡——從夏季學院的師徒關係到SATA Fest的呈現——並對這個歷時兩年的SATA項目的初衷、方法論與發展軌跡有更深入的認識。

Bio Art Group 生物藝術組

Cheung Ching Yu Annisa 張靜瑜

Servo motor, microcontroller, silicone panel, table frame, print
伺服摩打、微控制器、矽膠板、桌架、印刷

SATA Fest Zone Description 展區介紹

Duration 時延

This zone represents organic, non-linear time—the slow, messy, biological rhythms that negotiate with control and measurement / slip away from neat quantification.The living SCOBY and tea works embody durée (lived time) in contrast to commodified clock time.

Tea, as it circulates globally, plays a crucial role at the ecological, political, and cultural nexus. From soil and bodies to microbial communities, its interactions reveal dense ecological entanglements. Old tea shops, as key vessels of Hong Kong’s community history, have witnessed everyday neighbourhood life, migration routes, and trans-local connections; Kee Heung Chun Tea Co. is one such site where sensory memories and travelling stories gather.

The exhibition is approached as a continuously operating living network, tracing how tea, SCOBY cultures, humans, and other species intra-act to reshape matter and meaning. Here, the life of tea is not a linear cycle but a process that repeatedly unfolds—across cultivation, fermentation, circulation as commodity, ingestion, and decomposition—each phase becoming a site of transformation across species and scales.

Within these transformations, the growth and reproduction of kombucha SCOBY is read as an instance of what Jane Bennett calls ‘vibrant materiality’ (Bennett 2010): microbes, tea, and sugar form a metabolic assemblage whose fermentation makes the agency of matter palpable rather than merely instrumental. Human gestures of measuring, feeding, touching, and ingesting take part in a posthuman kin-making with these nonhuman actants, as tea and SCOBY traverse the porous interface of the skin and momentarily blur species boundaries. Even in decomposition, tea leaves and residues move into cycles of composting and regeneration, nourishing other organisms and soils, making ‘waste’ a shared condition of living-together and echoing Donna Haraway’s call to ‘stay with the trouble’ in a damaged, multispecies-entangled world (Haraway 2016).

The five works each focus on a different moment in these entangled lives: Tian Zhang’s Leaving Feeds Living treats SCOBY grown from Tibetan tea and migrant bodily data as a living ID of affective belonging; Melody Qingmei Li’s Concurrent Residue turns a family tea tray and tea dregs into a sensory memory machine; Aaron Lam Kwok Yam’s Holding Breath refigures tea trade and colonial routes through gas-driven floating forms; Gabriella Lai’s Tea Pe(s)t: Sooty centres tea ‘pests’ and their traces to question how value is assigned in economic and ecological systems; and Cheung Ching Yu Annisa’s Gathering stages SCOBY clusters as ‘living fountains’ whose collective movements model the resilience of more-than-human communities.

本展區呈現有機且非線性的時間——那些緩慢、混亂的生物節律，既與控制與測量相互交織，又從整齊的量化中悄然溜走。活體 SCOBY 與茶藝作品體現了「持續時間（durée，即被體驗的時間）」，以此對比商品化的時鐘時間。

全球流通的茶葉，於生態、政治與文化的紐帶之中一直扮演重要角色，從土壤、身體到微生物群落，茶的各種互動展現了生態糾纏。老茶店作為香港社區歷史的重要載體，與茶葉一同見證街坊生活、遷移足跡與跨地域連結，而奇香村茶行正是承載這些感官記憶與流動故事的場域。小組將展覽視為一個持續運作的生命網絡，探索茶葉、紅茶共生菌、人類與其他物種的內在互動，如何不斷重塑物質與意義。茶的生命在此並非線性循環，而是一種反覆展開的過程——涵蓋種植、發酵、被銷售、體內消耗與分解，每一階段皆是跨越物種與尺度的轉化場域。

在這些轉化之中，紅茶共生菌 (SCOBY) 的繁殖被理解為 Jane Bennett 所謂「活力物質性」(Bennett 2010) 的具體呈現：微生物、茶與糖形成代謝性組裝，透過發酵生成酸度、氣體與纖維素，展現物質本身的能動，而非僅是人類意志的被動載體。人類的測量、餵養與觸碰，則與這些非人行動者共同構成人類的親緣關係；當茶液與紅茶共生菌穿過皮膚這多孔的界面，物種邊界變得暫時而模糊，生成混雜且由多物種共同書寫的身體。即使在分解之中，茶葉與茶渣亦不被視為終點，而是進入堆肥與再生循環，持續餵養其他生物與土壤生態，讓「廢棄」成為共居的條件之一。這種對殘餘、腐敗與再生的關注，回應 Donna Haraway 所提出「與困境共處」(Haraway 2016) 的實踐：承認我們身處一個已受損且多物種纏結的世界，與微生物、害蟲、植物與殖民歷史的物質痕跡持續共存，而不是尋求簡單復原或潔淨逃離。

小組區域呈現的五項實踐，分別指向這種糾纏生命中的不同時刻：微生物物質性、殖民貿易歷史、多物種協商、人類身體作為相遇場域，以及身體記憶。張天的《Leaving Feeds Living》將藏茶培養的紅茶共生菌與自身在異地的日常生活數據相連結，讓紅茶共生菌成為茶磚上的活體身分證，回應「身體作為相遇場域」與遷徙中的歸屬感。李清美的《並置殘留》把承載奇香村家族記憶的舊茶盤轉化為記憶機器，透過手部泡茶動作的投影與茶渣氣味，召喚觀者感官記憶，讓茶葉殘渣凝聚為跨時間、跨地域的記憶載體。林國鑫的《屏息》以發酵產生的懸浮充氣器，將茶葉貿易路徑與殖民遷徙的地圖轉化，揭示殖民主義作為一種持續在當下內部運作的壓力場域，使茶成為全球貿易與權力結構中不斷被調節的漂浮物。黎家欣的《Tea Pe(s)t: Sooty》關注茶文化中時間與痕跡如何被折算進經濟價值——從壺壁的茶垢、可收藏的茶餅，到人工塑造的陳化效果，並追問昆蟲與自然系統互動所留下的痕跡又如何在經濟體系中被承認與估值；作品把這些非人痕跡轉化為人造書寫工具（墨），以此描繪人類對自然產物的剝削與再加工。張靜瑜的《聚會》則透過 SCOBY 聚集與振動的反應，對照人類的聚會形式，將這些共生菌視為感知與匯聚能量的「活體噴泉」，以小誌與裝置記錄微生物社群的韌性與可觀測的微觀集體行為。這些實踐共同強調分散的行動性、超越人類的親緣關係，以及茶作為物質與意義之間所展現的轉化性生命力，並邀請觀眾與這些發酵、腐敗與再生中的麻煩一同停留。

生態糾纏將本次展覽區域框定為一個持續運作的生命網絡，在其中茶、SCOBY、人類與其他物種彼此內在互動，不斷重塑物質與意義。茶的生命在此並非被視為線性的循環，而是一種反覆展開的過程——涵蓋栽培、發酵、消費與分解，每一階段皆是跨越物種與尺度的轉化場域。

本展區呈現的五項實踐，揭示了糾纏生命中的不同時刻：微生物物質性、殖民貿易歷史、多物種協商、人類身體作為相遇場域，以及身體記憶。這些實踐共同強調分散的行動性、超越人類的親緣關係，以及茶作為物質與意義所蘊含的轉化性生命力。

Bio Art Group 生物藝術組

Gabriella Lai 黎家欣

Sensor, humidifier, collagen casing, twigs, tea and ferrous sulfate solution, LED light
感應器、加濕器、樹枝、膠原蛋白腸衣、茶與硫酸亞鐵溶液、LED 燈

SATA Fest Zone Description 展區介紹

Duration 時延

This zone represents organic, non-linear time—the slow, messy, biological rhythms that negotiate with control and measurement / slip away from neat quantification.The living SCOBY and tea works embody durée (lived time) in contrast to commodified clock time.

Tea, as it circulates globally, plays a crucial role at the ecological, political, and cultural nexus. From soil and bodies to microbial communities, its interactions reveal dense ecological entanglements. Old tea shops, as key vessels of Hong Kong’s community history, have witnessed everyday neighbourhood life, migration routes, and trans-local connections; Kee Heung Chun Tea Co. is one such site where sensory memories and travelling stories gather.

The exhibition is approached as a continuously operating living network, tracing how tea, SCOBY cultures, humans, and other species intra-act to reshape matter and meaning. Here, the life of tea is not a linear cycle but a process that repeatedly unfolds—across cultivation, fermentation, circulation as commodity, ingestion, and decomposition—each phase becoming a site of transformation across species and scales.

Within these transformations, the growth and reproduction of kombucha SCOBY is read as an instance of what Jane Bennett calls ‘vibrant materiality’ (Bennett 2010): microbes, tea, and sugar form a metabolic assemblage whose fermentation makes the agency of matter palpable rather than merely instrumental. Human gestures of measuring, feeding, touching, and ingesting take part in a posthuman kin-making with these nonhuman actants, as tea and SCOBY traverse the porous interface of the skin and momentarily blur species boundaries. Even in decomposition, tea leaves and residues move into cycles of composting and regeneration, nourishing other organisms and soils, making ‘waste’ a shared condition of living-together and echoing Donna Haraway’s call to ‘stay with the trouble’ in a damaged, multispecies-entangled world (Haraway 2016).

The five works each focus on a different moment in these entangled lives: Tian Zhang’s Leaving Feeds Living treats SCOBY grown from Tibetan tea and migrant bodily data as a living ID of affective belonging; Melody Qingmei Li’s Concurrent Residue turns a family tea tray and tea dregs into a sensory memory machine; Aaron Lam Kwok Yam’s Holding Breath refigures tea trade and colonial routes through gas-driven floating forms; Gabriella Lai’s Tea Pe(s)t: Sooty centres tea ‘pests’ and their traces to question how value is assigned in economic and ecological systems; and Cheung Ching Yu Annisa’s Gathering stages SCOBY clusters as ‘living fountains’ whose collective movements model the resilience of more-than-human communities.

本展區呈現有機且非線性的時間——那些緩慢、混亂的生物節律，既與控制與測量相互交織，又從整齊的量化中悄然溜走。活體 SCOBY 與茶藝作品體現了「持續時間（durée，即被體驗的時間）」，以此對比商品化的時鐘時間。

全球流通的茶葉，於生態、政治與文化的紐帶之中一直扮演重要角色，從土壤、身體到微生物群落，茶的各種互動展現了生態糾纏。老茶店作為香港社區歷史的重要載體，與茶葉一同見證街坊生活、遷移足跡與跨地域連結，而奇香村茶行正是承載這些感官記憶與流動故事的場域。小組將展覽視為一個持續運作的生命網絡，探索茶葉、紅茶共生菌、人類與其他物種的內在互動，如何不斷重塑物質與意義。茶的生命在此並非線性循環，而是一種反覆展開的過程——涵蓋種植、發酵、被銷售、體內消耗與分解，每一階段皆是跨越物種與尺度的轉化場域。

在這些轉化之中，紅茶共生菌 (SCOBY) 的繁殖被理解為 Jane Bennett 所謂「活力物質性」(Bennett 2010) 的具體呈現：微生物、茶與糖形成代謝性組裝，透過發酵生成酸度、氣體與纖維素，展現物質本身的能動，而非僅是人類意志的被動載體。人類的測量、餵養與觸碰，則與這些非人行動者共同構成人類的親緣關係；當茶液與紅茶共生菌穿過皮膚這多孔的界面，物種邊界變得暫時而模糊，生成混雜且由多物種共同書寫的身體。即使在分解之中，茶葉與茶渣亦不被視為終點，而是進入堆肥與再生循環，持續餵養其他生物與土壤生態，讓「廢棄」成為共居的條件之一。這種對殘餘、腐敗與再生的關注，回應 Donna Haraway 所提出「與困境共處」(Haraway 2016) 的實踐：承認我們身處一個已受損且多物種纏結的世界，與微生物、害蟲、植物與殖民歷史的物質痕跡持續共存，而不是尋求簡單復原或潔淨逃離。

小組區域呈現的五項實踐，分別指向這種糾纏生命中的不同時刻：微生物物質性、殖民貿易歷史、多物種協商、人類身體作為相遇場域，以及身體記憶。張天的《Leaving Feeds Living》將藏茶培養的紅茶共生菌與自身在異地的日常生活數據相連結，讓紅茶共生菌成為茶磚上的活體身分證，回應「身體作為相遇場域」與遷徙中的歸屬感。李清美的《並置殘留》把承載奇香村家族記憶的舊茶盤轉化為記憶機器，透過手部泡茶動作的投影與茶渣氣味，召喚觀者感官記憶，讓茶葉殘渣凝聚為跨時間、跨地域的記憶載體。林國鑫的《屏息》以發酵產生的懸浮充氣器，將茶葉貿易路徑與殖民遷徙的地圖轉化，揭示殖民主義作為一種持續在當下內部運作的壓力場域，使茶成為全球貿易與權力結構中不斷被調節的漂浮物。黎家欣的《Tea Pe(s)t: Sooty》關注茶文化中時間與痕跡如何被折算進經濟價值——從壺壁的茶垢、可收藏的茶餅，到人工塑造的陳化效果，並追問昆蟲與自然系統互動所留下的痕跡又如何在經濟體系中被承認與估值；作品把這些非人痕跡轉化為人造書寫工具（墨），以此描繪人類對自然產物的剝削與再加工。張靜瑜的《聚會》則透過 SCOBY 聚集與振動的反應，對照人類的聚會形式，將這些共生菌視為感知與匯聚能量的「活體噴泉」，以小誌與裝置記錄微生物社群的韌性與可觀測的微觀集體行為。這些實踐共同強調分散的行動性、超越人類的親緣關係，以及茶作為物質與意義之間所展現的轉化性生命力，並邀請觀眾與這些發酵、腐敗與再生中的麻煩一同停留。

生態糾纏將本次展覽區域框定為一個持續運作的生命網絡，在其中茶、SCOBY、人類與其他物種彼此內在互動，不斷重塑物質與意義。茶的生命在此並非被視為線性的循環，而是一種反覆展開的過程——涵蓋栽培、發酵、消費與分解，每一階段皆是跨越物種與尺度的轉化場域。

本展區呈現的五項實踐，揭示了糾纏生命中的不同時刻：微生物物質性、殖民貿易歷史、多物種協商、人類身體作為相遇場域，以及身體記憶。這些實踐共同強調分散的行動性、超越人類的親緣關係，以及茶作為物質與意義所蘊含的轉化性生命力。

Bio Art Group 生物藝術組

Tian Zhang 張天

Physiological data-cultivated kombucha pellicle, 3D printed parts, tea, screen, electronic, video
利用身體生理數據培養而成的康普茶茶膜、3D打印部件、茶、螢幕、電子元件、影片

SATA Fest Zone Description 展區介紹

Duration 時延

This zone represents organic, non-linear time—the slow, messy, biological rhythms that negotiate with control and measurement / slip away from neat quantification.The living SCOBY and tea works embody durée (lived time) in contrast to commodified clock time.

Tea, as it circulates globally, plays a crucial role at the ecological, political, and cultural nexus. From soil and bodies to microbial communities, its interactions reveal dense ecological entanglements. Old tea shops, as key vessels of Hong Kong’s community history, have witnessed everyday neighbourhood life, migration routes, and trans-local connections; Kee Heung Chun Tea Co. is one such site where sensory memories and travelling stories gather.

The exhibition is approached as a continuously operating living network, tracing how tea, SCOBY cultures, humans, and other species intra-act to reshape matter and meaning. Here, the life of tea is not a linear cycle but a process that repeatedly unfolds—across cultivation, fermentation, circulation as commodity, ingestion, and decomposition—each phase becoming a site of transformation across species and scales.

Within these transformations, the growth and reproduction of kombucha SCOBY is read as an instance of what Jane Bennett calls ‘vibrant materiality’ (Bennett 2010): microbes, tea, and sugar form a metabolic assemblage whose fermentation makes the agency of matter palpable rather than merely instrumental. Human gestures of measuring, feeding, touching, and ingesting take part in a posthuman kin-making with these nonhuman actants, as tea and SCOBY traverse the porous interface of the skin and momentarily blur species boundaries. Even in decomposition, tea leaves and residues move into cycles of composting and regeneration, nourishing other organisms and soils, making ‘waste’ a shared condition of living-together and echoing Donna Haraway’s call to ‘stay with the trouble’ in a damaged, multispecies-entangled world (Haraway 2016).

The five works each focus on a different moment in these entangled lives: Tian Zhang’s Leaving Feeds Living treats SCOBY grown from Tibetan tea and migrant bodily data as a living ID of affective belonging; Melody Qingmei Li’s Concurrent Residue turns a family tea tray and tea dregs into a sensory memory machine; Aaron Lam Kwok Yam’s Holding Breath refigures tea trade and colonial routes through gas-driven floating forms; Gabriella Lai’s Tea Pe(s)t: Sooty centres tea ‘pests’ and their traces to question how value is assigned in economic and ecological systems; and Cheung Ching Yu Annisa’s Gathering stages SCOBY clusters as ‘living fountains’ whose collective movements model the resilience of more-than-human communities.

本展區呈現有機且非線性的時間——那些緩慢、混亂的生物節律，既與控制與測量相互交織，又從整齊的量化中悄然溜走。活體 SCOBY 與茶藝作品體現了「持續時間（durée，即被體驗的時間）」，以此對比商品化的時鐘時間。

全球流通的茶葉，於生態、政治與文化的紐帶之中一直扮演重要角色，從土壤、身體到微生物群落，茶的各種互動展現了生態糾纏。老茶店作為香港社區歷史的重要載體，與茶葉一同見證街坊生活、遷移足跡與跨地域連結，而奇香村茶行正是承載這些感官記憶與流動故事的場域。小組將展覽視為一個持續運作的生命網絡，探索茶葉、紅茶共生菌、人類與其他物種的內在互動，如何不斷重塑物質與意義。茶的生命在此並非線性循環，而是一種反覆展開的過程——涵蓋種植、發酵、被銷售、體內消耗與分解，每一階段皆是跨越物種與尺度的轉化場域。

在這些轉化之中，紅茶共生菌 (SCOBY) 的繁殖被理解為 Jane Bennett 所謂「活力物質性」(Bennett 2010) 的具體呈現：微生物、茶與糖形成代謝性組裝，透過發酵生成酸度、氣體與纖維素，展現物質本身的能動，而非僅是人類意志的被動載體。人類的測量、餵養與觸碰，則與這些非人行動者共同構成人類的親緣關係；當茶液與紅茶共生菌穿過皮膚這多孔的界面，物種邊界變得暫時而模糊，生成混雜且由多物種共同書寫的身體。即使在分解之中，茶葉與茶渣亦不被視為終點，而是進入堆肥與再生循環，持續餵養其他生物與土壤生態，讓「廢棄」成為共居的條件之一。這種對殘餘、腐敗與再生的關注，回應 Donna Haraway 所提出「與困境共處」(Haraway 2016) 的實踐：承認我們身處一個已受損且多物種纏結的世界，與微生物、害蟲、植物與殖民歷史的物質痕跡持續共存，而不是尋求簡單復原或潔淨逃離。

小組區域呈現的五項實踐，分別指向這種糾纏生命中的不同時刻：微生物物質性、殖民貿易歷史、多物種協商、人類身體作為相遇場域，以及身體記憶。張天的《Leaving Feeds Living》將藏茶培養的紅茶共生菌與自身在異地的日常生活數據相連結，讓紅茶共生菌成為茶磚上的活體身分證，回應「身體作為相遇場域」與遷徙中的歸屬感。李清美的《並置殘留》把承載奇香村家族記憶的舊茶盤轉化為記憶機器，透過手部泡茶動作的投影與茶渣氣味，召喚觀者感官記憶，讓茶葉殘渣凝聚為跨時間、跨地域的記憶載體。林國鑫的《屏息》以發酵產生的懸浮充氣器，將茶葉貿易路徑與殖民遷徙的地圖轉化，揭示殖民主義作為一種持續在當下內部運作的壓力場域，使茶成為全球貿易與權力結構中不斷被調節的漂浮物。黎家欣的《Tea Pe(s)t: Sooty》關注茶文化中時間與痕跡如何被折算進經濟價值——從壺壁的茶垢、可收藏的茶餅，到人工塑造的陳化效果，並追問昆蟲與自然系統互動所留下的痕跡又如何在經濟體系中被承認與估值；作品把這些非人痕跡轉化為人造書寫工具（墨），以此描繪人類對自然產物的剝削與再加工。張靜瑜的《聚會》則透過 SCOBY 聚集與振動的反應，對照人類的聚會形式，將這些共生菌視為感知與匯聚能量的「活體噴泉」，以小誌與裝置記錄微生物社群的韌性與可觀測的微觀集體行為。這些實踐共同強調分散的行動性、超越人類的親緣關係，以及茶作為物質與意義之間所展現的轉化性生命力，並邀請觀眾與這些發酵、腐敗與再生中的麻煩一同停留。

生態糾纏將本次展覽區域框定為一個持續運作的生命網絡，在其中茶、SCOBY、人類與其他物種彼此內在互動，不斷重塑物質與意義。茶的生命在此並非被視為線性的循環，而是一種反覆展開的過程——涵蓋栽培、發酵、消費與分解，每一階段皆是跨越物種與尺度的轉化場域。

本展區呈現的五項實踐，揭示了糾纏生命中的不同時刻：微生物物質性、殖民貿易歷史、多物種協商、人類身體作為相遇場域，以及身體記憶。這些實踐共同強調分散的行動性、超越人類的親緣關係，以及茶作為物質與意義所蘊含的轉化性生命力。

Bio Art Group 生物藝術組

Aaron Lam Kwok Yam 林國鑫

Kombucha, acrylic, stainless steel faucet, 3D printed parts, plastic membrane, barometer
康普茶、壓克力、不鏽鋼水龍頭、3D打印部件、塑膠薄膜、氣壓計

SATA Fest Zone Description 展區介紹

Duration 時延

This zone represents organic, non-linear time—the slow, messy, biological rhythms that negotiate with control and measurement / slip away from neat quantification.The living SCOBY and tea works embody durée (lived time) in contrast to commodified clock time.

Tea, as it circulates globally, plays a crucial role at the ecological, political, and cultural nexus. From soil and bodies to microbial communities, its interactions reveal dense ecological entanglements. Old tea shops, as key vessels of Hong Kong’s community history, have witnessed everyday neighbourhood life, migration routes, and trans-local connections; Kee Heung Chun Tea Co. is one such site where sensory memories and travelling stories gather.

The exhibition is approached as a continuously operating living network, tracing how tea, SCOBY cultures, humans, and other species intra-act to reshape matter and meaning. Here, the life of tea is not a linear cycle but a process that repeatedly unfolds—across cultivation, fermentation, circulation as commodity, ingestion, and decomposition—each phase becoming a site of transformation across species and scales.

Within these transformations, the growth and reproduction of kombucha SCOBY is read as an instance of what Jane Bennett calls ‘vibrant materiality’ (Bennett 2010): microbes, tea, and sugar form a metabolic assemblage whose fermentation makes the agency of matter palpable rather than merely instrumental. Human gestures of measuring, feeding, touching, and ingesting take part in a posthuman kin-making with these nonhuman actants, as tea and SCOBY traverse the porous interface of the skin and momentarily blur species boundaries. Even in decomposition, tea leaves and residues move into cycles of composting and regeneration, nourishing other organisms and soils, making ‘waste’ a shared condition of living-together and echoing Donna Haraway’s call to ‘stay with the trouble’ in a damaged, multispecies-entangled world (Haraway 2016).

The five works each focus on a different moment in these entangled lives: Tian Zhang’s Leaving Feeds Living treats SCOBY grown from Tibetan tea and migrant bodily data as a living ID of affective belonging; Melody Qingmei Li’s Concurrent Residue turns a family tea tray and tea dregs into a sensory memory machine; Aaron Lam Kwok Yam’s Holding Breath refigures tea trade and colonial routes through gas-driven floating forms; Gabriella Lai’s Tea Pe(s)t: Sooty centres tea ‘pests’ and their traces to question how value is assigned in economic and ecological systems; and Cheung Ching Yu Annisa’s Gathering stages SCOBY clusters as ‘living fountains’ whose collective movements model the resilience of more-than-human communities.

本展區呈現有機且非線性的時間——那些緩慢、混亂的生物節律，既與控制與測量相互交織，又從整齊的量化中悄然溜走。活體 SCOBY 與茶藝作品體現了「持續時間（durée，即被體驗的時間）」，以此對比商品化的時鐘時間。

全球流通的茶葉，於生態、政治與文化的紐帶之中一直扮演重要角色，從土壤、身體到微生物群落，茶的各種互動展現了生態糾纏。老茶店作為香港社區歷史的重要載體，與茶葉一同見證街坊生活、遷移足跡與跨地域連結，而奇香村茶行正是承載這些感官記憶與流動故事的場域。小組將展覽視為一個持續運作的生命網絡，探索茶葉、紅茶共生菌、人類與其他物種的內在互動，如何不斷重塑物質與意義。茶的生命在此並非線性循環，而是一種反覆展開的過程——涵蓋種植、發酵、被銷售、體內消耗與分解，每一階段皆是跨越物種與尺度的轉化場域。

在這些轉化之中，紅茶共生菌 (SCOBY) 的繁殖被理解為 Jane Bennett 所謂「活力物質性」(Bennett 2010) 的具體呈現：微生物、茶與糖形成代謝性組裝，透過發酵生成酸度、氣體與纖維素，展現物質本身的能動，而非僅是人類意志的被動載體。人類的測量、餵養與觸碰，則與這些非人行動者共同構成人類的親緣關係；當茶液與紅茶共生菌穿過皮膚這多孔的界面，物種邊界變得暫時而模糊，生成混雜且由多物種共同書寫的身體。即使在分解之中，茶葉與茶渣亦不被視為終點，而是進入堆肥與再生循環，持續餵養其他生物與土壤生態，讓「廢棄」成為共居的條件之一。這種對殘餘、腐敗與再生的關注，回應 Donna Haraway 所提出「與困境共處」(Haraway 2016) 的實踐：承認我們身處一個已受損且多物種纏結的世界，與微生物、害蟲、植物與殖民歷史的物質痕跡持續共存，而不是尋求簡單復原或潔淨逃離。

小組區域呈現的五項實踐，分別指向這種糾纏生命中的不同時刻：微生物物質性、殖民貿易歷史、多物種協商、人類身體作為相遇場域，以及身體記憶。張天的《Leaving Feeds Living》將藏茶培養的紅茶共生菌與自身在異地的日常生活數據相連結，讓紅茶共生菌成為茶磚上的活體身分證，回應「身體作為相遇場域」與遷徙中的歸屬感。李清美的《並置殘留》把承載奇香村家族記憶的舊茶盤轉化為記憶機器，透過手部泡茶動作的投影與茶渣氣味，召喚觀者感官記憶，讓茶葉殘渣凝聚為跨時間、跨地域的記憶載體。林國鑫的《屏息》以發酵產生的懸浮充氣器，將茶葉貿易路徑與殖民遷徙的地圖轉化，揭示殖民主義作為一種持續在當下內部運作的壓力場域，使茶成為全球貿易與權力結構中不斷被調節的漂浮物。黎家欣的《Tea Pe(s)t: Sooty》關注茶文化中時間與痕跡如何被折算進經濟價值——從壺壁的茶垢、可收藏的茶餅，到人工塑造的陳化效果，並追問昆蟲與自然系統互動所留下的痕跡又如何在經濟體系中被承認與估值；作品把這些非人痕跡轉化為人造書寫工具（墨），以此描繪人類對自然產物的剝削與再加工。張靜瑜的《聚會》則透過 SCOBY 聚集與振動的反應，對照人類的聚會形式，將這些共生菌視為感知與匯聚能量的「活體噴泉」，以小誌與裝置記錄微生物社群的韌性與可觀測的微觀集體行為。這些實踐共同強調分散的行動性、超越人類的親緣關係，以及茶作為物質與意義之間所展現的轉化性生命力，並邀請觀眾與這些發酵、腐敗與再生中的麻煩一同停留。

生態糾纏將本次展覽區域框定為一個持續運作的生命網絡，在其中茶、SCOBY、人類與其他物種彼此內在互動，不斷重塑物質與意義。茶的生命在此並非被視為線性的循環，而是一種反覆展開的過程——涵蓋栽培、發酵、消費與分解，每一階段皆是跨越物種與尺度的轉化場域。

本展區呈現的五項實踐，揭示了糾纏生命中的不同時刻：微生物物質性、殖民貿易歷史、多物種協商、人類身體作為相遇場域，以及身體記憶。這些實踐共同強調分散的行動性、超越人類的親緣關係，以及茶作為物質與意義所蘊含的轉化性生命力。

Bio Art Group 生物藝術組

Melody Qingmei Li 李清美

3D printed parts with customised filaments of tea waste, paper mulberry fiber, customised scent, single-channel video
3D打印部件、茶渣自製耗材、桑樹纖維、自製氣味、單通道錄像

SATA Fest Zone Description 展區介紹

Duration 時延

This zone represents organic, non-linear time—the slow, messy, biological rhythms that negotiate with control and measurement / slip away from neat quantification.The living SCOBY and tea works embody durée (lived time) in contrast to commodified clock time.

Tea, as it circulates globally, plays a crucial role at the ecological, political, and cultural nexus. From soil and bodies to microbial communities, its interactions reveal dense ecological entanglements. Old tea shops, as key vessels of Hong Kong’s community history, have witnessed everyday neighbourhood life, migration routes, and trans-local connections; Kee Heung Chun Tea Co. is one such site where sensory memories and travelling stories gather.

The exhibition is approached as a continuously operating living network, tracing how tea, SCOBY cultures, humans, and other species intra-act to reshape matter and meaning. Here, the life of tea is not a linear cycle but a process that repeatedly unfolds—across cultivation, fermentation, circulation as commodity, ingestion, and decomposition—each phase becoming a site of transformation across species and scales.

Within these transformations, the growth and reproduction of kombucha SCOBY is read as an instance of what Jane Bennett calls ‘vibrant materiality’ (Bennett 2010): microbes, tea, and sugar form a metabolic assemblage whose fermentation makes the agency of matter palpable rather than merely instrumental. Human gestures of measuring, feeding, touching, and ingesting take part in a posthuman kin-making with these nonhuman actants, as tea and SCOBY traverse the porous interface of the skin and momentarily blur species boundaries. Even in decomposition, tea leaves and residues move into cycles of composting and regeneration, nourishing other organisms and soils, making ‘waste’ a shared condition of living-together and echoing Donna Haraway’s call to ‘stay with the trouble’ in a damaged, multispecies-entangled world (Haraway 2016).

The five works each focus on a different moment in these entangled lives: Tian Zhang’s Leaving Feeds Living treats SCOBY grown from Tibetan tea and migrant bodily data as a living ID of affective belonging; Melody Qingmei Li’s Concurrent Residue turns a family tea tray and tea dregs into a sensory memory machine; Aaron Lam Kwok Yam’s Holding Breath refigures tea trade and colonial routes through gas-driven floating forms; Gabriella Lai’s Tea Pe(s)t: Sooty centres tea ‘pests’ and their traces to question how value is assigned in economic and ecological systems; and Cheung Ching Yu Annisa’s Gathering stages SCOBY clusters as ‘living fountains’ whose collective movements model the resilience of more-than-human communities.

本展區呈現有機且非線性的時間——那些緩慢、混亂的生物節律，既與控制與測量相互交織，又從整齊的量化中悄然溜走。活體 SCOBY 與茶藝作品體現了「持續時間（durée，即被體驗的時間）」，以此對比商品化的時鐘時間。

全球流通的茶葉，於生態、政治與文化的紐帶之中一直扮演重要角色，從土壤、身體到微生物群落，茶的各種互動展現了生態糾纏。老茶店作為香港社區歷史的重要載體，與茶葉一同見證街坊生活、遷移足跡與跨地域連結，而奇香村茶行正是承載這些感官記憶與流動故事的場域。小組將展覽視為一個持續運作的生命網絡，探索茶葉、紅茶共生菌、人類與其他物種的內在互動，如何不斷重塑物質與意義。茶的生命在此並非線性循環，而是一種反覆展開的過程——涵蓋種植、發酵、被銷售、體內消耗與分解，每一階段皆是跨越物種與尺度的轉化場域。

在這些轉化之中，紅茶共生菌 (SCOBY) 的繁殖被理解為 Jane Bennett 所謂「活力物質性」(Bennett 2010) 的具體呈現：微生物、茶與糖形成代謝性組裝，透過發酵生成酸度、氣體與纖維素，展現物質本身的能動，而非僅是人類意志的被動載體。人類的測量、餵養與觸碰，則與這些非人行動者共同構成人類的親緣關係；當茶液與紅茶共生菌穿過皮膚這多孔的界面，物種邊界變得暫時而模糊，生成混雜且由多物種共同書寫的身體。即使在分解之中，茶葉與茶渣亦不被視為終點，而是進入堆肥與再生循環，持續餵養其他生物與土壤生態，讓「廢棄」成為共居的條件之一。這種對殘餘、腐敗與再生的關注，回應 Donna Haraway 所提出「與困境共處」(Haraway 2016) 的實踐：承認我們身處一個已受損且多物種纏結的世界，與微生物、害蟲、植物與殖民歷史的物質痕跡持續共存，而不是尋求簡單復原或潔淨逃離。

小組區域呈現的五項實踐，分別指向這種糾纏生命中的不同時刻：微生物物質性、殖民貿易歷史、多物種協商、人類身體作為相遇場域，以及身體記憶。張天的《Leaving Feeds Living》將藏茶培養的紅茶共生菌與自身在異地的日常生活數據相連結，讓紅茶共生菌成為茶磚上的活體身分證，回應「身體作為相遇場域」與遷徙中的歸屬感。李清美的《並置殘留》把承載奇香村家族記憶的舊茶盤轉化為記憶機器，透過手部泡茶動作的投影與茶渣氣味，召喚觀者感官記憶，讓茶葉殘渣凝聚為跨時間、跨地域的記憶載體。林國鑫的《屏息》以發酵產生的懸浮充氣器，將茶葉貿易路徑與殖民遷徙的地圖轉化，揭示殖民主義作為一種持續在當下內部運作的壓力場域，使茶成為全球貿易與權力結構中不斷被調節的漂浮物。黎家欣的《Tea Pe(s)t: Sooty》關注茶文化中時間與痕跡如何被折算進經濟價值——從壺壁的茶垢、可收藏的茶餅，到人工塑造的陳化效果，並追問昆蟲與自然系統互動所留下的痕跡又如何在經濟體系中被承認與估值；作品把這些非人痕跡轉化為人造書寫工具（墨），以此描繪人類對自然產物的剝削與再加工。張靜瑜的《聚會》則透過 SCOBY 聚集與振動的反應，對照人類的聚會形式，將這些共生菌視為感知與匯聚能量的「活體噴泉」，以小誌與裝置記錄微生物社群的韌性與可觀測的微觀集體行為。這些實踐共同強調分散的行動性、超越人類的親緣關係，以及茶作為物質與意義之間所展現的轉化性生命力，並邀請觀眾與這些發酵、腐敗與再生中的麻煩一同停留。

生態糾纏將本次展覽區域框定為一個持續運作的生命網絡，在其中茶、SCOBY、人類與其他物種彼此內在互動，不斷重塑物質與意義。茶的生命在此並非被視為線性的循環，而是一種反覆展開的過程——涵蓋栽培、發酵、消費與分解，每一階段皆是跨越物種與尺度的轉化場域。

本展區呈現的五項實踐，揭示了糾纏生命中的不同時刻：微生物物質性、殖民貿易歷史、多物種協商、人類身體作為相遇場域，以及身體記憶。這些實踐共同強調分散的行動性、超越人類的親緣關係，以及茶作為物質與意義所蘊含的轉化性生命力。

Graphic Art Group 平面藝術組

Ceci Lavina 余思行

Mixed media installation (Galvanized steel pipes structure, resin printed handle, interactive audio program, rotation sensor, speakers)
混合媒材裝置（鋅鋼管結構、樹脂打印手柄、互動音響程式、旋轉傳感器、喇叭）

SATA Fest Zone Description 展區介紹

Composing 排組

This zone focuses on the labour, patterns, pressure, and rhythm of letterpress printing—a pre-digital, tactile measurement of time.

In an era of digital efficiency, where complex layouts are completed in seconds, traditional letterpress workshops like Kwong Wah Printing Company embody a profound density of time and human commitment. Participation in the workshop at Kwong Wah Printing Company revealed the craft’s inherent limitations. Printing a simple table required one to two full days of meticulous hand labour, carefully aligning every horizontal and vertical line by hand, while the same task takes mere seconds in the digital realm. This contrast prompts reflection on how technology, which promises greater efficiency and easier lives, has paradoxically left people busier and more overwhelmed. These constraints offer fresh insight into the human dimensions of time, labour, and the humanity of machines.

The exhibition consists of four works inspired by the operational procedures and intrinsic constraints of letterpress printing. These works explore the relationship between time and the humanity of machines. Sams Cheung’s Between Type transforms the tedious hunt for individual letterpress sorts into a playful, tactile game of discovery, inviting viewers to linger in the quiet joy of material encounter. Yiu Cheng and Issac Li’s Six Thirty utilises a malfunctioning clock as the driving mechanism for the printing process, reflecting on the contemporary possibilities of letterpress printing. Ceci Lavina’s The Human Crank translates the visual syntax of letterpress into a visceral, bodily experience, threading the intimate personal histories of Kwong Wah Printing Company’s owner through the rhythm of the press. Finally, Frank Chan and Rogerger Ng’s Entropic Process subjects copper plates to calibrated pressure, revealing the fragility and resilience of both material and maker in a poignant meditation on impermanence and endurance.

Through these works, the exhibition encourages viewers to move beyond regarding letterpress as a mere relic of the past and to embrace it instead as a living, deeply humanistic practice that bridges history and the present, labour and creativity, materiality and emotion. It further explores how movable-type printing can transcend its original functional role to become a vital artistic medium that extends across disciplines and media.

本展區著重探討活字印刷的勞動、規律、壓力與節奏——這是一種在數位時代當下、透過觸感來丈量時間的方式。

在數位效率主導的時代，複雜的版面設計只需數秒就能完成，而像光華印務公司這樣的傳統活字印刷工作室，卻體現了時間的深厚密度與人類的投入。參與光華印務的工作坊讓人深刻體會到這門工藝的本質限制。即使排印一張簡單的表格，也得用上一至兩天以人手逐條橫線和直線對上；在數位時代，同樣的工作只需短短幾秒就能完成。這種對比促使我們反思，科技帶來更高的效率，但高效率反而讓人們變得更加忙碌與疲憊。這門傳統工藝的限制令我們對時間、勞動，以及機器的「人性」有了新的體會。

本展區由四件作品組成，這些作品皆從活字印刷的工序與本質限制中獲得啟發，並共同探討時間與機器的「人性」之間的關係。張琛的《辦尋》將尋找活字的繁瑣過程，轉化為一場充滿遊戲性與觸感的發現之旅，邀請觀者沉浸在與物質相遇的靜謐喜悅之中。鄭耀林與李競暉的《六點三十分》以故障的時鐘作為推動壓印工序的機制，反思活字印刷在當代的各種可能性。余思行的《The Human Crank》把活字印刷的視覺語法轉譯成一種內在且身體性的感受，並連繫著光華印務的故事與回憶。陳意峰與伍啟豪的《熵化過程》以為銅板的壓力測試為主要媒介，探問一段關係的韌性。

透過這些作品，本區域鼓勵大眾不再將活字印刷視為過去的遺跡，而是擁抱它作為一種充滿生命力且深具人文性的實踐，連結歷史與當代、勞動與創造、物質與情感。本區域也進一步探索活字印刷如何超越其原本的功能性角色，轉化為一種跨越多重領域與媒介的重要藝術形式。

Graphic Art Group 平面藝術組

Sams Cheung 張琛

Mixed media installation (Webcam, motion capture system, real-time generative visuals)
混合媒材裝置（網絡攝影機、動態捕捉系統、即時生成影像）

SATA Fest Zone Description 展區介紹

Composing 排組

This zone focuses on the labour, patterns, pressure, and rhythm of letterpress printing—a pre-digital, tactile measurement of time.

In an era of digital efficiency, where complex layouts are completed in seconds, traditional letterpress workshops like Kwong Wah Printing Company embody a profound density of time and human commitment. Participation in the workshop at Kwong Wah Printing Company revealed the craft’s inherent limitations. Printing a simple table required one to two full days of meticulous hand labour, carefully aligning every horizontal and vertical line by hand, while the same task takes mere seconds in the digital realm. This contrast prompts reflection on how technology, which promises greater efficiency and easier lives, has paradoxically left people busier and more overwhelmed. These constraints offer fresh insight into the human dimensions of time, labour, and the humanity of machines.

The exhibition consists of four works inspired by the operational procedures and intrinsic constraints of letterpress printing. These works explore the relationship between time and the humanity of machines. Sams Cheung’s Between Type transforms the tedious hunt for individual letterpress sorts into a playful, tactile game of discovery, inviting viewers to linger in the quiet joy of material encounter. Yiu Cheng and Issac Li’s Six Thirty utilises a malfunctioning clock as the driving mechanism for the printing process, reflecting on the contemporary possibilities of letterpress printing. Ceci Lavina’s The Human Crank translates the visual syntax of letterpress into a visceral, bodily experience, threading the intimate personal histories of Kwong Wah Printing Company’s owner through the rhythm of the press. Finally, Frank Chan and Rogerger Ng’s Entropic Process subjects copper plates to calibrated pressure, revealing the fragility and resilience of both material and maker in a poignant meditation on impermanence and endurance.

Through these works, the exhibition encourages viewers to move beyond regarding letterpress as a mere relic of the past and to embrace it instead as a living, deeply humanistic practice that bridges history and the present, labour and creativity, materiality and emotion. It further explores how movable-type printing can transcend its original functional role to become a vital artistic medium that extends across disciplines and media.

本展區著重探討活字印刷的勞動、規律、壓力與節奏——這是一種在數位時代當下、透過觸感來丈量時間的方式。

在數位效率主導的時代，複雜的版面設計只需數秒就能完成，而像光華印務公司這樣的傳統活字印刷工作室，卻體現了時間的深厚密度與人類的投入。參與光華印務的工作坊讓人深刻體會到這門工藝的本質限制。即使排印一張簡單的表格，也得用上一至兩天以人手逐條橫線和直線對上；在數位時代，同樣的工作只需短短幾秒就能完成。這種對比促使我們反思，科技帶來更高的效率，但高效率反而讓人們變得更加忙碌與疲憊。這門傳統工藝的限制令我們對時間、勞動，以及機器的「人性」有了新的體會。

本展區由四件作品組成，這些作品皆從活字印刷的工序與本質限制中獲得啟發，並共同探討時間與機器的「人性」之間的關係。張琛的《辦尋》將尋找活字的繁瑣過程，轉化為一場充滿遊戲性與觸感的發現之旅，邀請觀者沉浸在與物質相遇的靜謐喜悅之中。鄭耀林與李競暉的《六點三十分》以故障的時鐘作為推動壓印工序的機制，反思活字印刷在當代的各種可能性。余思行的《The Human Crank》把活字印刷的視覺語法轉譯成一種內在且身體性的感受，並連繫著光華印務的故事與回憶。陳意峰與伍啟豪的《熵化過程》以為銅板的壓力測試為主要媒介，探問一段關係的韌性。

透過這些作品，本區域鼓勵大眾不再將活字印刷視為過去的遺跡，而是擁抱它作為一種充滿生命力且深具人文性的實踐，連結歷史與當代、勞動與創造、物質與情感。本區域也進一步探索活字印刷如何超越其原本的功能性角色，轉化為一種跨越多重領域與媒介的重要藝術形式。

Graphic Art Group 平面藝術組

Frank Chan  Rogerger Ng
陳意峰,伍啓豪

Mixed media installation (Copper plate, stainless steel components, wood, electromagnetic impact device)
混合媒材裝置（銅板、不鏽鋼組件、木頭、電磁鐵撞擊裝置）

SATA Fest Zone Description 展區介紹

Composing 排組

This zone focuses on the labour, patterns, pressure, and rhythm of letterpress printing—a pre-digital, tactile measurement of time.

In an era of digital efficiency, where complex layouts are completed in seconds, traditional letterpress workshops like Kwong Wah Printing Company embody a profound density of time and human commitment. Participation in the workshop at Kwong Wah Printing Company revealed the craft’s inherent limitations. Printing a simple table required one to two full days of meticulous hand labour, carefully aligning every horizontal and vertical line by hand, while the same task takes mere seconds in the digital realm. This contrast prompts reflection on how technology, which promises greater efficiency and easier lives, has paradoxically left people busier and more overwhelmed. These constraints offer fresh insight into the human dimensions of time, labour, and the humanity of machines.

The exhibition consists of four works inspired by the operational procedures and intrinsic constraints of letterpress printing. These works explore the relationship between time and the humanity of machines. Sams Cheung’s Between Type transforms the tedious hunt for individual letterpress sorts into a playful, tactile game of discovery, inviting viewers to linger in the quiet joy of material encounter. Yiu Cheng and Issac Li’s Six Thirty utilises a malfunctioning clock as the driving mechanism for the printing process, reflecting on the contemporary possibilities of letterpress printing. Ceci Lavina’s The Human Crank translates the visual syntax of letterpress into a visceral, bodily experience, threading the intimate personal histories of Kwong Wah Printing Company’s owner through the rhythm of the press. Finally, Frank Chan and Rogerger Ng’s Entropic Process subjects copper plates to calibrated pressure, revealing the fragility and resilience of both material and maker in a poignant meditation on impermanence and endurance.

Through these works, the exhibition encourages viewers to move beyond regarding letterpress as a mere relic of the past and to embrace it instead as a living, deeply humanistic practice that bridges history and the present, labour and creativity, materiality and emotion. It further explores how movable-type printing can transcend its original functional role to become a vital artistic medium that extends across disciplines and media.

本展區著重探討活字印刷的勞動、規律、壓力與節奏——這是一種在數位時代當下、透過觸感來丈量時間的方式。

在數位效率主導的時代，複雜的版面設計只需數秒就能完成，而像光華印務公司這樣的傳統活字印刷工作室，卻體現了時間的深厚密度與人類的投入。參與光華印務的工作坊讓人深刻體會到這門工藝的本質限制。即使排印一張簡單的表格，也得用上一至兩天以人手逐條橫線和直線對上；在數位時代，同樣的工作只需短短幾秒就能完成。這種對比促使我們反思，科技帶來更高的效率，但高效率反而讓人們變得更加忙碌與疲憊。這門傳統工藝的限制令我們對時間、勞動，以及機器的「人性」有了新的體會。

本展區由四件作品組成，這些作品皆從活字印刷的工序與本質限制中獲得啟發，並共同探討時間與機器的「人性」之間的關係。張琛的《辦尋》將尋找活字的繁瑣過程，轉化為一場充滿遊戲性與觸感的發現之旅，邀請觀者沉浸在與物質相遇的靜謐喜悅之中。鄭耀林與李競暉的《六點三十分》以故障的時鐘作為推動壓印工序的機制，反思活字印刷在當代的各種可能性。余思行的《The Human Crank》把活字印刷的視覺語法轉譯成一種內在且身體性的感受，並連繫著光華印務的故事與回憶。陳意峰與伍啟豪的《熵化過程》以為銅板的壓力測試為主要媒介，探問一段關係的韌性。

透過這些作品，本區域鼓勵大眾不再將活字印刷視為過去的遺跡，而是擁抱它作為一種充滿生命力且深具人文性的實踐，連結歷史與當代、勞動與創造、物質與情感。本區域也進一步探索活字印刷如何超越其原本的功能性角色，轉化為一種跨越多重領域與媒介的重要藝術形式。

Graphic Art Group 平面藝術組

Yiu Cheng , Issac Li

鄭耀林, 李競暉

Clock, movable type block, sensor, kinetic device, stainless steel component, wood

時鐘、活字粒、感應器、動力裝置、不銹鋼組件、木

SATA Fest Zone Description 展區介紹

Composing 排組

This zone focuses on the labour, patterns, pressure, and rhythm of letterpress printing—a pre-digital, tactile measurement of time.

In an era of digital efficiency, where complex layouts are completed in seconds, traditional letterpress workshops like Kwong Wah Printing Company embody a profound density of time and human commitment. Participation in the workshop at Kwong Wah Printing Company revealed the craft’s inherent limitations. Printing a simple table required one to two full days of meticulous hand labour, carefully aligning every horizontal and vertical line by hand, while the same task takes mere seconds in the digital realm. This contrast prompts reflection on how technology, which promises greater efficiency and easier lives, has paradoxically left people busier and more overwhelmed. These constraints offer fresh insight into the human dimensions of time, labour, and the humanity of machines.

The exhibition consists of four works inspired by the operational procedures and intrinsic constraints of letterpress printing. These works explore the relationship between time and the humanity of machines. Sams Cheung’s Between Type transforms the tedious hunt for individual letterpress sorts into a playful, tactile game of discovery, inviting viewers to linger in the quiet joy of material encounter. Yiu Cheng and Issac Li’s Six Thirty utilises a malfunctioning clock as the driving mechanism for the printing process, reflecting on the contemporary possibilities of letterpress printing. Ceci Lavina’s The Human Crank translates the visual syntax of letterpress into a visceral, bodily experience, threading the intimate personal histories of Kwong Wah Printing Company’s owner through the rhythm of the press. Finally, Frank Chan and Rogerger Ng’s Entropic Process subjects copper plates to calibrated pressure, revealing the fragility and resilience of both material and maker in a poignant meditation on impermanence and endurance.

Through these works, the exhibition encourages viewers to move beyond regarding letterpress as a mere relic of the past and to embrace it instead as a living, deeply humanistic practice that bridges history and the present, labour and creativity, materiality and emotion. It further explores how movable-type printing can transcend its original functional role to become a vital artistic medium that extends across disciplines and media.

本展區著重探討活字印刷的勞動、規律、壓力與節奏——這是一種在數位時代當下、透過觸感來丈量時間的方式。

在數位效率主導的時代，複雜的版面設計只需數秒就能完成，而像光華印務公司這樣的傳統活字印刷工作室，卻體現了時間的深厚密度與人類的投入。參與光華印務的工作坊讓人深刻體會到這門工藝的本質限制。即使排印一張簡單的表格，也得用上一至兩天以人手逐條橫線和直線對上；在數位時代，同樣的工作只需短短幾秒就能完成。這種對比促使我們反思，科技帶來更高的效率，但高效率反而讓人們變得更加忙碌與疲憊。這門傳統工藝的限制令我們對時間、勞動，以及機器的「人性」有了新的體會。

本展區由四件作品組成，這些作品皆從活字印刷的工序與本質限制中獲得啟發，並共同探討時間與機器的「人性」之間的關係。張琛的《辦尋》將尋找活字的繁瑣過程，轉化為一場充滿遊戲性與觸感的發現之旅，邀請觀者沉浸在與物質相遇的靜謐喜悅之中。鄭耀林與李競暉的《六點三十分》以故障的時鐘作為推動壓印工序的機制，反思活字印刷在當代的各種可能性。余思行的《The Human Crank》把活字印刷的視覺語法轉譯成一種內在且身體性的感受，並連繫著光華印務的故事與回憶。陳意峰與伍啟豪的《熵化過程》以為銅板的壓力測試為主要媒介，探問一段關係的韌性。

透過這些作品，本區域鼓勵大眾不再將活字印刷視為過去的遺跡，而是擁抱它作為一種充滿生命力且深具人文性的實踐，連結歷史與當代、勞動與創造、物質與情感。本區域也進一步探索活字印刷如何超越其原本的功能性角色，轉化為一種跨越多重領域與媒介的重要藝術形式。

Electronic Art Group 電子藝術組

Interactive experience 互動體驗

SATA Fest Zone Description 展區介紹

Sweep 掃動

This zone explores leftover time—the dust, echoes, and fragments left behind after the act of making. It addresses what remains when time is spent: the overlooked residues of traditional craft in an age of efficiency.

‘Silent Echoes: Letting scattered whispers shape the space.’ The works bring into focus the overlooked, the discarded, and the marginal—fragments of daily life often swept away.

The works unfold in two parts—‘Gaze’ and ‘Listening’—as a group’s interpretation of Pun Han Sin Koon. It invites visitors to experience how fragments casually scattered in simple daily routines are reassembled and re-situated within a confined space. ‘Gaze’ and ‘Listening’ form a continuous shift of attention: ‘Gazing’ through the traces left behind, and ‘Listening’ through the connections caught within the space.

Drift with the Wind focuses on traditional seal carving, where powder is often regarded as useless. When the seal-carving tool presses down and the master blows and brushes, the powder becomes a product of negative space—dispersed, swept aside, and vanished into a series of simple gestures. The work collects those powders that are meant to be discarded, placing them into a rotating vessel so they continue to flow. Here, the powder is no longer merely neglected debris; it becomes an echo of negative space and a fragment of names.

3 x 6 feet focuses on the essence of the shop and the master’s relationship to it. Within a working space measuring only 3 x 6 feet, a radio serves as a medium connecting to the outside world, interwoven with customers’ inquiries. Listening becomes an essential mode of perception in the shop—an attention that reaches out toward people and things nearby. The work attempts to compose a sound map: chatter from all directions, the quick passage of moving workers through narrow lanes, and information drifting in from the radio at the back—these layers intersect. Through active listening, visitors enter the soundscape and come to know a corner of Man Wa Lane.

The artworks do not seek to restore a pure original form. Instead, it presents how fragments and frequencies within negative space are made visible and audible in the present—and how, through the viewer’s intervention, what has been overlooked can be reintroduced as the starting point of narrative.

本展區探討「殘餘的時間」——創作行為結束後留下的塵埃、回聲與碎片。它探討時間流逝後所留下的痕跡：在這個崇尚效率的時代，傳統工藝中那些被忽略的殘餘。

「空白回聲，讓被吹散的細響成為場域的形狀。」作品希望把日常中被忽視、被清除或被視為邊緣的事物呈現於這展覽區域之中。

作品以「凝視」與「聆聽」兩個部分呈現小組對於半閒山館的詮釋。體驗如何以那些在簡單日常吹散的片段重組於狹小空間中在此被重新安置。凝視由印章雕刻留下的碎屑，聆聽於空間中所捕捉的外界聯繫。

《張揚》聚焦於傳統印章雕刻中常被視為無用之物。篆刻刀用力按下，師傅一吹、一撥，粉末便是負空間的產物，它們被揮散、被清掃，消失在簡單的動作之中。作品旨在收集那些理應被丟置的粉末，並置入旋轉器皿內持續流動。粉末在此不再是被忽略的碎屑，而成為負空間的回聲與名字的碎片。

《3 x 6 尺》則關注店舖的本質與師傅自身的關係。在僅有 3 x 6 尺的工作空間中，收音機作為聯繫外界的媒介，並穿插客人的查詢。聆聽成了店舖中一個重要的感知，探視身邊的人和事。作品嘗試製作一張聲音地圖：四方八面傳來街坊的嘮叨話語、搬貨工人的穿梭聲響，與後方收音機傳來的資訊彼此交疊。觀眾透過主動聆聽（active listening）進入聲音景觀，以聲音認識文華里的一角。

作品並用意在復原一個純粹的原貌，而是在當下呈現負空間裡的碎屑與頻率如何被看見、被聽見，並在觀者介入中將被忽略之物重新呈現為敘事的起點。

Electronic Art Group 電子藝術組

Mixed media installation 混合媒材裝置

SATA Fest Zone Description 展區介紹

Sweep 掃動

This zone explores leftover time—the dust, echoes, and fragments left behind after the act of making. It addresses what remains when time is spent: the overlooked residues of traditional craft in an age of efficiency.

‘Silent Echoes: Letting scattered whispers shape the space.’ The works bring into focus the overlooked, the discarded, and the marginal—fragments of daily life often swept away.

The works unfold in two parts—‘Gaze’ and ‘Listening’—as a group’s interpretation of Pun Han Sin Koon. It invites visitors to experience how fragments casually scattered in simple daily routines are reassembled and re-situated within a confined space. ‘Gaze’ and ‘Listening’ form a continuous shift of attention: ‘Gazing’ through the traces left behind, and ‘Listening’ through the connections caught within the space.

Drift with the Wind focuses on traditional seal carving, where powder is often regarded as useless. When the seal-carving tool presses down and the master blows and brushes, the powder becomes a product of negative space—dispersed, swept aside, and vanished into a series of simple gestures. The work collects those powders that are meant to be discarded, placing them into a rotating vessel so they continue to flow. Here, the powder is no longer merely neglected debris; it becomes an echo of negative space and a fragment of names.

3 x 6 feet focuses on the essence of the shop and the master’s relationship to it. Within a working space measuring only 3 x 6 feet, a radio serves as a medium connecting to the outside world, interwoven with customers’ inquiries. Listening becomes an essential mode of perception in the shop—an attention that reaches out toward people and things nearby. The work attempts to compose a sound map: chatter from all directions, the quick passage of moving workers through narrow lanes, and information drifting in from the radio at the back—these layers intersect. Through active listening, visitors enter the soundscape and come to know a corner of Man Wa Lane.

The artworks do not seek to restore a pure original form. Instead, it presents how fragments and frequencies within negative space are made visible and audible in the present—and how, through the viewer’s intervention, what has been overlooked can be reintroduced as the starting point of narrative.

本展區探討「殘餘的時間」——創作行為結束後留下的塵埃、回聲與碎片。它探討時間流逝後所留下的痕跡：在這個崇尚效率的時代，傳統工藝中那些被忽略的殘餘。

「空白回聲，讓被吹散的細響成為場域的形狀。」作品希望把日常中被忽視、被清除或被視為邊緣的事物呈現於這展覽區域之中。

作品以「凝視」與「聆聽」兩個部分呈現小組對於半閒山館的詮釋。體驗如何以那些在簡單日常吹散的片段重組於狹小空間中在此被重新安置。凝視由印章雕刻留下的碎屑，聆聽於空間中所捕捉的外界聯繫。

《張揚》聚焦於傳統印章雕刻中常被視為無用之物。篆刻刀用力按下，師傅一吹、一撥，粉末便是負空間的產物，它們被揮散、被清掃，消失在簡單的動作之中。作品旨在收集那些理應被丟置的粉末，並置入旋轉器皿內持續流動。粉末在此不再是被忽略的碎屑，而成為負空間的回聲與名字的碎片。

《3 x 6 尺》則關注店舖的本質與師傅自身的關係。在僅有 3 x 6 尺的工作空間中，收音機作為聯繫外界的媒介，並穿插客人的查詢。聆聽成了店舖中一個重要的感知，探視身邊的人和事。作品嘗試製作一張聲音地圖：四方八面傳來街坊的嘮叨話語、搬貨工人的穿梭聲響，與後方收音機傳來的資訊彼此交疊。觀眾透過主動聆聽（active listening）進入聲音景觀，以聲音認識文華里的一角。

作品並用意在復原一個純粹的原貌，而是在當下呈現負空間裡的碎屑與頻率如何被看見、被聽見，並在觀者介入中將被忽略之物重新呈現為敘事的起點。

Sonic Art Group 聲音藝術組

Vincent Cheung 張志麟

Multi-channel digital video (CNN neural network visualization, Composite image)

多屏數位錄像（CNN 神經網絡視覺化影像、合成影像）

SATA Fest Zone Description 展區介紹

Resonant 共振

This zone highlights embodied and relational time—the warmth of physical labour, the rhythm of human gestures, and the irreplaceable value of tactile experience that digital systems cannot replicate.

In an era of digital marketing and algorithmic logic, this zone explores Chu Wing Kee to initiate a conceptual experiment on the monotony of modern consumption. We focus on the ‘Value of Touch and Perception’—a warmth accumulated through physical labor and a form of human resilience that digital logic cannot replicate. Rooted in long-term ethnographic research, the project documents the shop’s manual rhythms: from the physical weight of fetching stock to the systematic labour of categorising thousands of everyday objects using index cards and intuitive memory. These threads transform the shop’s materiality into sensory interventions that challenge the sanitised order of modern retail, highlighting a back-to-basics, people-oriented approach that reshapes our cognition and problem-solving abilities.

Beginning with an auditory exploration of material, Wong Winsome Dumalagan, Chet Pong investigate the acoustic properties of ceramics by recording the sounds of tapping and touching—mimicking the proprietor’s quality-testing methods. By reassembling broken fragments and utilising sonic transducers, they transform the ‘material chorus’ into a tactile sensory experience. This auditory focus extends to the act of consumer ‘selection’ in the work of Pang Chun Fu William. Through an interactive interface, visitors compose arrangements using recorded shop sounds. By paralleling artistic choice with daily purchasing, and storing these compositions on NFC tags, the work challenges our understanding of ownership and the tension between physical souvenirs and data.

The focus then shifts to the operational core. Wu Ho Mui utilises microscopic visual records to center on the proprietor’s hands. Her imagery delicately captures the skilled gestures and traces of movement accumulated over decades. By materialising the abstraction of ‘time’, she prompts viewers to reconsider the importance of human presence, encouraging a deeper gaze and a longer stay within the physical space.

Sing Jantzen Tse examines the shop’s unique labeling strategy, transforming forgotten objects into transparent 3D models. Paired with real-time printed transcripts of store conversations, the work reconstructs a dialogue between the ‘soul-like’ essence of objects and their authentic narratives.

Finally, Vincent Cheung confronts the impact of e-commerce by deconstructing ‘search by image’ algorithms. By highlighting the gap between human visual warmth and machine computation, the work invites reflection on the unquantifiable memories and community bonds lost to efficiency. Together, these responses remind us that in this space, stories are never silent. Reflecting the proprietor’s philosophy, this shop offers more than goods; it offers a soulful human flexibility built on authentic dialogue.

本展區著重於具身與關係性的時間——體力勞動的溫暖、人類動作的節奏，以及數位系統無法複製的觸覺體驗之不可取代價值。

在網絡營銷與演算法時代，本展區旨在透過探索「朱榮記」，開啟一場再思現代消費單調性的概念實驗。我們聚焦於「觸碰和感知的價值」——這是一種由勞動參與所累積的溫度，更是數位邏輯無法複製的人文韌性。研究過程植根於店內環境的長期考察：從高架取貨的體力負擔，到老闆運用索引紙卡與直覺記憶分類數千件生活用品的系統化勞作。這些線索將店內的物質性與真實敘事，轉化為一系列對抗無塵化零售秩序的感官干預，藉此帶出老闆所強調反璞歸真、以人為本的銷售方式，重塑我們對物品的認知與解難能力。

區域首先從聽覺出發，引導觀眾探索店內的物料。黃慧心與龐百勤深入研究陶瓷的聲學特性，透過記錄敲擊與觸碰的音訊——模擬店主測試品質的手法——將破碎的陶瓷碎片重新拼合。這些物件透過音波傳感器，將店內的「物質合奏」轉化為可觸知的感官經驗。

這種聽覺探索進一步延伸至顧客的「選擇」行為。彭俊富透過互動界面，邀請觀眾利用店內錄製的聲音進行創作。作品將藝術選取與日常購物並置，並透過 NFC 數據標籤挑戰我們對擁有權的認知，探討物質紀念品與數據之間的張力。

視角隨後轉向店舖的營運核心。胡昊梅以微觀的視覺記錄聚焦於店主的雙手。影像細膩捕捉了經營者在漫長歲月中留下的熟練手勢與動作痕跡，將抽象的「時間」具象化，誘發觀眾重新思考「人的參與」之重要性，進而在實體空間中投射更多的逗留與凝視。

謝振聲則研究店主獨特的標籤策略，將被時代遺忘的物件轉化為透明的 3D 模型，並配合即時打印的店內對話文稿，在物件的「靈魂精髓」與真實存在的敘事之間重構對話。

最後，區域直面網絡營銷對實體店的衝擊。張志麟透過解構電商平台的「以圖搜尋」演算法，批判全球化貿易的擴張。作品揭示了人類視覺溫度與機器計算之間的落差，邀請觀眾反思在追求效率的背後，那些無法被系統量化的記憶、關係與社區溫度。

這些集體回應提醒著我們：在這個空間裡，故事總是有跡可循，而物件從不真正沈默。回到朱老闆的經營哲學，這所店所提供的從來不只是商品或解難服務，更是一種建立於對話的人際交流，一種無法被替代的人心靈活。

Sonic Art Group 聲音藝術組

Pang Chun Fu William 彭俊富

Interactive digital installation (NFC tags, generative audio system)

互動數位裝置（NFC 標籤、生成式音訊系統）

SATA Fest Zone Description 展區介紹

Resonant 共振

This zone highlights embodied and relational time—the warmth of physical labour, the rhythm of human gestures, and the irreplaceable value of tactile experience that digital systems cannot replicate.

In an era of digital marketing and algorithmic logic, this zone explores Chu Wing Kee to initiate a conceptual experiment on the monotony of modern consumption. We focus on the ‘Value of Touch and Perception’—a warmth accumulated through physical labor and a form of human resilience that digital logic cannot replicate. Rooted in long-term ethnographic research, the project documents the shop’s manual rhythms: from the physical weight of fetching stock to the systematic labour of categorising thousands of everyday objects using index cards and intuitive memory. These threads transform the shop’s materiality into sensory interventions that challenge the sanitised order of modern retail, highlighting a back-to-basics, people-oriented approach that reshapes our cognition and problem-solving abilities.

Beginning with an auditory exploration of material, Wong Winsome Dumalagan, Chet Pong investigate the acoustic properties of ceramics by recording the sounds of tapping and touching—mimicking the proprietor’s quality-testing methods. By reassembling broken fragments and utilising sonic transducers, they transform the ‘material chorus’ into a tactile sensory experience. This auditory focus extends to the act of consumer ‘selection’ in the work of Pang Chun Fu William. Through an interactive interface, visitors compose arrangements using recorded shop sounds. By paralleling artistic choice with daily purchasing, and storing these compositions on NFC tags, the work challenges our understanding of ownership and the tension between physical souvenirs and data.

The focus then shifts to the operational core. Wu Ho Mui utilises microscopic visual records to center on the proprietor’s hands. Her imagery delicately captures the skilled gestures and traces of movement accumulated over decades. By materialising the abstraction of ‘time’, she prompts viewers to reconsider the importance of human presence, encouraging a deeper gaze and a longer stay within the physical space.

Sing Jantzen Tse examines the shop’s unique labeling strategy, transforming forgotten objects into transparent 3D models. Paired with real-time printed transcripts of store conversations, the work reconstructs a dialogue between the ‘soul-like’ essence of objects and their authentic narratives.

Finally, Vincent Cheung confronts the impact of e-commerce by deconstructing ‘search by image’ algorithms. By highlighting the gap between human visual warmth and machine computation, the work invites reflection on the unquantifiable memories and community bonds lost to efficiency. Together, these responses remind us that in this space, stories are never silent. Reflecting the proprietor’s philosophy, this shop offers more than goods; it offers a soulful human flexibility built on authentic dialogue.

本展區著重於具身與關係性的時間——體力勞動的溫暖、人類動作的節奏，以及數位系統無法複製的觸覺體驗之不可取代價值。

在網絡營銷與演算法時代，本展區旨在透過探索「朱榮記」，開啟一場再思現代消費單調性的概念實驗。我們聚焦於「觸碰和感知的價值」——這是一種由勞動參與所累積的溫度，更是數位邏輯無法複製的人文韌性。研究過程植根於店內環境的長期考察：從高架取貨的體力負擔，到老闆運用索引紙卡與直覺記憶分類數千件生活用品的系統化勞作。這些線索將店內的物質性與真實敘事，轉化為一系列對抗無塵化零售秩序的感官干預，藉此帶出老闆所強調反璞歸真、以人為本的銷售方式，重塑我們對物品的認知與解難能力。

區域首先從聽覺出發，引導觀眾探索店內的物料。黃慧心與龐百勤深入研究陶瓷的聲學特性，透過記錄敲擊與觸碰的音訊——模擬店主測試品質的手法——將破碎的陶瓷碎片重新拼合。這些物件透過音波傳感器，將店內的「物質合奏」轉化為可觸知的感官經驗。

這種聽覺探索進一步延伸至顧客的「選擇」行為。彭俊富透過互動界面，邀請觀眾利用店內錄製的聲音進行創作。作品將藝術選取與日常購物並置，並透過 NFC 數據標籤挑戰我們對擁有權的認知，探討物質紀念品與數據之間的張力。

視角隨後轉向店舖的營運核心。胡昊梅以微觀的視覺記錄聚焦於店主的雙手。影像細膩捕捉了經營者在漫長歲月中留下的熟練手勢與動作痕跡，將抽象的「時間」具象化，誘發觀眾重新思考「人的參與」之重要性，進而在實體空間中投射更多的逗留與凝視。

謝振聲則研究店主獨特的標籤策略，將被時代遺忘的物件轉化為透明的 3D 模型，並配合即時打印的店內對話文稿，在物件的「靈魂精髓」與真實存在的敘事之間重構對話。

最後，區域直面網絡營銷對實體店的衝擊。張志麟透過解構電商平台的「以圖搜尋」演算法，批判全球化貿易的擴張。作品揭示了人類視覺溫度與機器計算之間的落差，邀請觀眾反思在追求效率的背後，那些無法被系統量化的記憶、關係與社區溫度。

這些集體回應提醒著我們：在這個空間裡，故事總是有跡可循，而物件從不真正沈默。回到朱老闆的經營哲學，這所店所提供的從來不只是商品或解難服務，更是一種建立於對話的人際交流，一種無法被替代的人心靈活。

Sonic Art Group 聲音藝術組

Sing Jantzen Tse 謝振聲

Mixed media sculpture (3D printed objects, plastic mesh bags, thermal receipts)

混合媒材雕塑（3D 列印物件、塑膠網袋、熱感應收據）

SATA Fest Zone Description 展區介紹

Resonant 共振

This zone highlights embodied and relational time—the warmth of physical labour, the rhythm of human gestures, and the irreplaceable value of tactile experience that digital systems cannot replicate.

In an era of digital marketing and algorithmic logic, this zone explores Chu Wing Kee to initiate a conceptual experiment on the monotony of modern consumption. We focus on the ‘Value of Touch and Perception’—a warmth accumulated through physical labor and a form of human resilience that digital logic cannot replicate. Rooted in long-term ethnographic research, the project documents the shop’s manual rhythms: from the physical weight of fetching stock to the systematic labour of categorising thousands of everyday objects using index cards and intuitive memory. These threads transform the shop’s materiality into sensory interventions that challenge the sanitised order of modern retail, highlighting a back-to-basics, people-oriented approach that reshapes our cognition and problem-solving abilities.

Beginning with an auditory exploration of material, Wong Winsome Dumalagan, Chet Pong investigate the acoustic properties of ceramics by recording the sounds of tapping and touching—mimicking the proprietor’s quality-testing methods. By reassembling broken fragments and utilising sonic transducers, they transform the ‘material chorus’ into a tactile sensory experience. This auditory focus extends to the act of consumer ‘selection’ in the work of Pang Chun Fu William. Through an interactive interface, visitors compose arrangements using recorded shop sounds. By paralleling artistic choice with daily purchasing, and storing these compositions on NFC tags, the work challenges our understanding of ownership and the tension between physical souvenirs and data.

The focus then shifts to the operational core. Wu Ho Mui utilises microscopic visual records to center on the proprietor’s hands. Her imagery delicately captures the skilled gestures and traces of movement accumulated over decades. By materialising the abstraction of ‘time’, she prompts viewers to reconsider the importance of human presence, encouraging a deeper gaze and a longer stay within the physical space.

Sing Jantzen Tse examines the shop’s unique labeling strategy, transforming forgotten objects into transparent 3D models. Paired with real-time printed transcripts of store conversations, the work reconstructs a dialogue between the ‘soul-like’ essence of objects and their authentic narratives.

Finally, Vincent Cheung confronts the impact of e-commerce by deconstructing ‘search by image’ algorithms. By highlighting the gap between human visual warmth and machine computation, the work invites reflection on the unquantifiable memories and community bonds lost to efficiency. Together, these responses remind us that in this space, stories are never silent. Reflecting the proprietor’s philosophy, this shop offers more than goods; it offers a soulful human flexibility built on authentic dialogue.

本展區著重於具身與關係性的時間——體力勞動的溫暖、人類動作的節奏，以及數位系統無法複製的觸覺體驗之不可取代價值。

在網絡營銷與演算法時代，本展區旨在透過探索「朱榮記」，開啟一場再思現代消費單調性的概念實驗。我們聚焦於「觸碰和感知的價值」——這是一種由勞動參與所累積的溫度，更是數位邏輯無法複製的人文韌性。研究過程植根於店內環境的長期考察：從高架取貨的體力負擔，到老闆運用索引紙卡與直覺記憶分類數千件生活用品的系統化勞作。這些線索將店內的物質性與真實敘事，轉化為一系列對抗無塵化零售秩序的感官干預，藉此帶出老闆所強調反璞歸真、以人為本的銷售方式，重塑我們對物品的認知與解難能力。

區域首先從聽覺出發，引導觀眾探索店內的物料。黃慧心與龐百勤深入研究陶瓷的聲學特性，透過記錄敲擊與觸碰的音訊——模擬店主測試品質的手法——將破碎的陶瓷碎片重新拼合。這些物件透過音波傳感器，將店內的「物質合奏」轉化為可觸知的感官經驗。

這種聽覺探索進一步延伸至顧客的「選擇」行為。彭俊富透過互動界面，邀請觀眾利用店內錄製的聲音進行創作。作品將藝術選取與日常購物並置，並透過 NFC 數據標籤挑戰我們對擁有權的認知，探討物質紀念品與數據之間的張力。

視角隨後轉向店舖的營運核心。胡昊梅以微觀的視覺記錄聚焦於店主的雙手。影像細膩捕捉了經營者在漫長歲月中留下的熟練手勢與動作痕跡，將抽象的「時間」具象化，誘發觀眾重新思考「人的參與」之重要性，進而在實體空間中投射更多的逗留與凝視。

謝振聲則研究店主獨特的標籤策略，將被時代遺忘的物件轉化為透明的 3D 模型，並配合即時打印的店內對話文稿，在物件的「靈魂精髓」與真實存在的敘事之間重構對話。

最後，區域直面網絡營銷對實體店的衝擊。張志麟透過解構電商平台的「以圖搜尋」演算法，批判全球化貿易的擴張。作品揭示了人類視覺溫度與機器計算之間的落差，邀請觀眾反思在追求效率的背後，那些無法被系統量化的記憶、關係與社區溫度。

這些集體回應提醒著我們：在這個空間裡，故事總是有跡可循，而物件從不真正沈默。回到朱老闆的經營哲學，這所店所提供的從來不只是商品或解難服務，更是一種建立於對話的人際交流，一種無法被替代的人心靈活。

Sonic Art Group 聲音藝術組

Wu Ho Mui 胡昊梅

6-channels video installation 6 頻道錄像裝置

SATA Fest Zone Description 展區介紹

Resonant 共振

This zone highlights embodied and relational time—the warmth of physical labour, the rhythm of human gestures, and the irreplaceable value of tactile experience that digital systems cannot replicate.

In an era of digital marketing and algorithmic logic, this zone explores Chu Wing Kee to initiate a conceptual experiment on the monotony of modern consumption. We focus on the ‘Value of Touch and Perception’—a warmth accumulated through physical labor and a form of human resilience that digital logic cannot replicate. Rooted in long-term ethnographic research, the project documents the shop’s manual rhythms: from the physical weight of fetching stock to the systematic labour of categorising thousands of everyday objects using index cards and intuitive memory. These threads transform the shop’s materiality into sensory interventions that challenge the sanitised order of modern retail, highlighting a back-to-basics, people-oriented approach that reshapes our cognition and problem-solving abilities.

Beginning with an auditory exploration of material, Wong Winsome Dumalagan, Chet Pong investigate the acoustic properties of ceramics by recording the sounds of tapping and touching—mimicking the proprietor’s quality-testing methods. By reassembling broken fragments and utilising sonic transducers, they transform the ‘material chorus’ into a tactile sensory experience. This auditory focus extends to the act of consumer ‘selection’ in the work of Pang Chun Fu William. Through an interactive interface, visitors compose arrangements using recorded shop sounds. By paralleling artistic choice with daily purchasing, and storing these compositions on NFC tags, the work challenges our understanding of ownership and the tension between physical souvenirs and data.

The focus then shifts to the operational core. Wu Ho Mui utilises microscopic visual records to center on the proprietor’s hands. Her imagery delicately captures the skilled gestures and traces of movement accumulated over decades. By materialising the abstraction of ‘time’, she prompts viewers to reconsider the importance of human presence, encouraging a deeper gaze and a longer stay within the physical space.

Sing Jantzen Tse examines the shop’s unique labeling strategy, transforming forgotten objects into transparent 3D models. Paired with real-time printed transcripts of store conversations, the work reconstructs a dialogue between the ‘soul-like’ essence of objects and their authentic narratives.

Finally, Vincent Cheung confronts the impact of e-commerce by deconstructing ‘search by image’ algorithms. By highlighting the gap between human visual warmth and machine computation, the work invites reflection on the unquantifiable memories and community bonds lost to efficiency. Together, these responses remind us that in this space, stories are never silent. Reflecting the proprietor’s philosophy, this shop offers more than goods; it offers a soulful human flexibility built on authentic dialogue.

本展區著重於具身與關係性的時間——體力勞動的溫暖、人類動作的節奏，以及數位系統無法複製的觸覺體驗之不可取代價值。

在網絡營銷與演算法時代，本展區旨在透過探索「朱榮記」，開啟一場再思現代消費單調性的概念實驗。我們聚焦於「觸碰和感知的價值」——這是一種由勞動參與所累積的溫度，更是數位邏輯無法複製的人文韌性。研究過程植根於店內環境的長期考察：從高架取貨的體力負擔，到老闆運用索引紙卡與直覺記憶分類數千件生活用品的系統化勞作。這些線索將店內的物質性與真實敘事，轉化為一系列對抗無塵化零售秩序的感官干預，藉此帶出老闆所強調反璞歸真、以人為本的銷售方式，重塑我們對物品的認知與解難能力。

區域首先從聽覺出發，引導觀眾探索店內的物料。黃慧心與龐百勤深入研究陶瓷的聲學特性，透過記錄敲擊與觸碰的音訊——模擬店主測試品質的手法——將破碎的陶瓷碎片重新拼合。這些物件透過音波傳感器，將店內的「物質合奏」轉化為可觸知的感官經驗。

這種聽覺探索進一步延伸至顧客的「選擇」行為。彭俊富透過互動界面，邀請觀眾利用店內錄製的聲音進行創作。作品將藝術選取與日常購物並置，並透過 NFC 數據標籤挑戰我們對擁有權的認知，探討物質紀念品與數據之間的張力。

視角隨後轉向店舖的營運核心。胡昊梅以微觀的視覺記錄聚焦於店主的雙手。影像細膩捕捉了經營者在漫長歲月中留下的熟練手勢與動作痕跡，將抽象的「時間」具象化，誘發觀眾重新思考「人的參與」之重要性，進而在實體空間中投射更多的逗留與凝視。

謝振聲則研究店主獨特的標籤策略，將被時代遺忘的物件轉化為透明的 3D 模型，並配合即時打印的店內對話文稿，在物件的「靈魂精髓」與真實存在的敘事之間重構對話。

最後，區域直面網絡營銷對實體店的衝擊。張志麟透過解構電商平台的「以圖搜尋」演算法，批判全球化貿易的擴張。作品揭示了人類視覺溫度與機器計算之間的落差，邀請觀眾反思在追求效率的背後，那些無法被系統量化的記憶、關係與社區溫度。

這些集體回應提醒著我們：在這個空間裡，故事總是有跡可循，而物件從不真正沈默。回到朱老闆的經營哲學，這所店所提供的從來不只是商品或解難服務，更是一種建立於對話的人際交流，一種無法被替代的人心靈活。

Sonic Art Group 聲音藝術組

Wong Winsome Dumalagan , Chet Pong

黃慧心, 龐百勤

Mixed media installation (Ceramic fragments from Chu Wing Kee, transducers, sound loop)

混合媒材裝置（朱榮記陶瓷碎片、換能器、聲音循環）

SATA Fest Zone Description 展區介紹

Resonant 共振

This zone highlights embodied and relational time—the warmth of physical labour, the rhythm of human gestures, and the irreplaceable value of tactile experience that digital systems cannot replicate.

In an era of digital marketing and algorithmic logic, this zone explores Chu Wing Kee to initiate a conceptual experiment on the monotony of modern consumption. We focus on the ‘Value of Touch and Perception’—a warmth accumulated through physical labor and a form of human resilience that digital logic cannot replicate. Rooted in long-term ethnographic research, the project documents the shop’s manual rhythms: from the physical weight of fetching stock to the systematic labour of categorising thousands of everyday objects using index cards and intuitive memory. These threads transform the shop’s materiality into sensory interventions that challenge the sanitised order of modern retail, highlighting a back-to-basics, people-oriented approach that reshapes our cognition and problem-solving abilities.

Beginning with an auditory exploration of material, Wong Winsome Dumalagan, Chet Pong investigate the acoustic properties of ceramics by recording the sounds of tapping and touching—mimicking the proprietor’s quality-testing methods. By reassembling broken fragments and utilising sonic transducers, they transform the ‘material chorus’ into a tactile sensory experience. This auditory focus extends to the act of consumer ‘selection’ in the work of Pang Chun Fu William. Through an interactive interface, visitors compose arrangements using recorded shop sounds. By paralleling artistic choice with daily purchasing, and storing these compositions on NFC tags, the work challenges our understanding of ownership and the tension between physical souvenirs and data.

The focus then shifts to the operational core. Wu Ho Mui utilises microscopic visual records to center on the proprietor’s hands. Her imagery delicately captures the skilled gestures and traces of movement accumulated over decades. By materialising the abstraction of ‘time’, she prompts viewers to reconsider the importance of human presence, encouraging a deeper gaze and a longer stay within the physical space.

Sing Jantzen Tse examines the shop’s unique labeling strategy, transforming forgotten objects into transparent 3D models. Paired with real-time printed transcripts of store conversations, the work reconstructs a dialogue between the ‘soul-like’ essence of objects and their authentic narratives.

Finally, Vincent Cheung confronts the impact of e-commerce by deconstructing ‘search by image’ algorithms. By highlighting the gap between human visual warmth and machine computation, the work invites reflection on the unquantifiable memories and community bonds lost to efficiency. Together, these responses remind us that in this space, stories are never silent. Reflecting the proprietor’s philosophy, this shop offers more than goods; it offers a soulful human flexibility built on authentic dialogue.

本展區著重於具身與關係性的時間——體力勞動的溫暖、人類動作的節奏，以及數位系統無法複製的觸覺體驗之不可取代價值。

在網絡營銷與演算法時代，本展區旨在透過探索「朱榮記」，開啟一場再思現代消費單調性的概念實驗。我們聚焦於「觸碰和感知的價值」——這是一種由勞動參與所累積的溫度，更是數位邏輯無法複製的人文韌性。研究過程植根於店內環境的長期考察：從高架取貨的體力負擔，到老闆運用索引紙卡與直覺記憶分類數千件生活用品的系統化勞作。這些線索將店內的物質性與真實敘事，轉化為一系列對抗無塵化零售秩序的感官干預，藉此帶出老闆所強調反璞歸真、以人為本的銷售方式，重塑我們對物品的認知與解難能力。

區域首先從聽覺出發，引導觀眾探索店內的物料。黃慧心與龐百勤深入研究陶瓷的聲學特性，透過記錄敲擊與觸碰的音訊——模擬店主測試品質的手法——將破碎的陶瓷碎片重新拼合。這些物件透過音波傳感器，將店內的「物質合奏」轉化為可觸知的感官經驗。

這種聽覺探索進一步延伸至顧客的「選擇」行為。彭俊富透過互動界面，邀請觀眾利用店內錄製的聲音進行創作。作品將藝術選取與日常購物並置，並透過 NFC 數據標籤挑戰我們對擁有權的認知，探討物質紀念品與數據之間的張力。

視角隨後轉向店舖的營運核心。胡昊梅以微觀的視覺記錄聚焦於店主的雙手。影像細膩捕捉了經營者在漫長歲月中留下的熟練手勢與動作痕跡，將抽象的「時間」具象化，誘發觀眾重新思考「人的參與」之重要性，進而在實體空間中投射更多的逗留與凝視。

謝振聲則研究店主獨特的標籤策略，將被時代遺忘的物件轉化為透明的 3D 模型，並配合即時打印的店內對話文稿，在物件的「靈魂精髓」與真實存在的敘事之間重構對話。

最後，區域直面網絡營銷對實體店的衝擊。張志麟透過解構電商平台的「以圖搜尋」演算法，批判全球化貿易的擴張。作品揭示了人類視覺溫度與機器計算之間的落差，邀請觀眾反思在追求效率的背後，那些無法被系統量化的記憶、關係與社區溫度。

這些集體回應提醒著我們：在這個空間裡，故事總是有跡可循，而物件從不真正沈默。回到朱老闆的經營哲學，這所店所提供的從來不只是商品或解難服務，更是一種建立於對話的人際交流，一種無法被替代的人心靈活。

SATA Fest：「間之間」由黃詠珊策劃，邀請藝術家馮穎琳、伍啓豪、謝振聲、詹昫嵐擔任導師，並聯同20位不同領域的藝術家深入四家傳統商號，展開為期一年的研究與創作。藝術家透過聲音藝術、平面藝術、電子藝術與生物藝術，重新詮釋並回應這些店舖的運作方式與生活節奏，開展一場關於「時間」的當代對話。

除了展覽，SATA Fest 亦特邀多位海外藝術家來港交流及展出作品，讓公眾從不同角度理解藝術、科技與城市之間的關係。”