Charlene K. Lau

  • Howie Tsui, Joyride, 2018, lenticular print in light box, 25 × 37 × 2 1/2".

    Howie Tsui

    Political dissidence in Hong Kong has reached a fever pitch but has been stifled by the Chinese Communist Party’s introduction of a national security law, passed last June. Yet this unraveling in post-handover Hong Kong has been gradual, mostly imperceptible to outsiders. Situated in this context, Howie Tsui’s exhibition “From swelling shadows, we draw our bows” focused on the fantastical yet subversive qualities of mou hap (in Cantonese) or wuxia (in Mandarin): namely, a martial-arts film and literary genre that has been banned repeatedly in mainland China for its anarchic, justice-seeking ways

  • Bridget Moser, My Crops Are Dying But My Body Persists, 2020, HD video, color, sound, 21 minutes 57 seconds. Bridget Moser.

    Bridget Moser

    Bridget Moser’s solo exhibition “My Crops Are Dying But My Body Persists” opened in mid-March, just as Covid-19 lockdown measures were put in place. As the title suggests, a spectral virus seemingly lurks in the background of her work, casting a shadow over a show without an audience. And, like Covid-19, Moser’s seminarrative performance video—central to her installation—has since spread more widely, having been made available for viewing online.

    The video begins with the artist holding a giant set of plastic tangerine lips—a beauty gadget meant to be fitted into one’s mouth and bitten into