︎︎︎下拉至中文
Room at the End of the World 天涯一室
08/10/2026 - 21/12/2026
Curator: Eunice Tsang (HK)
Octone Foundation, Hong Kong, CN
Artists: Dave Chow (HK), Andy Li San Kit (HK), Henry D’Ath (NZ), Liao Wen(CN), Chris Zhongtian Yuan (CN/UK), I Gusti Ayu Kadek Murniasih (IND), Evelyn Taocheng Wang (CN/NL)
Throughout history, the cave has served as both a quiet sanctuary and a power plant for the mind. Carved into mountains or discovered in subterranean landscapes, these chambers have long acted as spaces of psychological rebellion: rooms where the mind detaches from the world's momentum and constraints, and expands into a freedom of its own making.
For the inaugural exhibition of the Octone Foundation, 99F Wellington Street becomes our modern-day stone chamber. Sitting within Hong Kong’s hyper-dense and uber-consumerist core, this pre-war shophouse has lived many lives. Within its concrete bones vibrate strange frequencies and subcultural rhythms - first as a Malaysian merchant’s trading post, a clandestine underground jazz bar, a neighborhood hair salon and now, a sanctuary for contemporary art and experimentation. Stepping into it carries both the thrilling responsibility of stewarding a new art space and the trepidation of entering an unexplored cave; a delicate suspension of time where historical echoes encounter a nascent state of possibility.
The seven artists convene here to map out the volatile mental topography of creative exploration, traversing stages of uncertainty, curiosity, danger, discovery, and joy. Each deploys distinct methodologies to carve out personal niches, building emotional fortresses against the world's relentless acceleration. The cave is reimagined as a psychological sanctuary which artists laboriously hand-carve with intention and care, just as those who passed before us did, each with their own distinct voice. Refuge, chaos, delusion and joy collide, revealing how the act of making becomes an act of radical self-liberation and survival.
At the end of the world, how does the act of making create refuge? What desires and monsters emerge when we give ourselves permission to step into the shadow?
Text by Eunice Tsang
Photo by ©️Felix SC Wong
About the featured work
Tears of Succubus, 2024
hand-carved and painted linden, stainless steel, Metaplexis japonica seeds
118 x 288 x 210 cm
I attempt to explore the delicate boundary between love and possession, intimacy and violence in relationships through this piece. Inspired by natural behaviors in the biological world, such as the sexual cannibalism of mantises and the seed dispersal mechanisms of plants, I have blended forms of humans, insects, and plants in this work. The Succubus, a gender-shifting demonic figure, serves as a vehicle to reveal the societal imposition of guilt and stigma on women or sexual minorities for their own desires.
By the artist
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In a precarious balance, a fictional copulation seems to be taking place between a male and female praying mantis. The penetration of the female’s abdomen is responded by the foreseeably brutal, post-mating devouring of the male mantis, an act reminiscent of the succubus – a demon in female form who seduces and drains sleeping men – which the work is named after. Lifting this scene of sexual cannibalism are light feathery seeds inserted onto the back of the female mantis, as if letting out a sigh of lament as she (involuntarily) ingests her lover. When taken out of their shell, these seeds’ soft bristles burst out in an uncontrollable and irreversible expansion of vigour. It is as if libido has taken over their body, a desire that threatens to rupture the border between the bodies.
By Sophia Lam (2024）
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Tears of the Succubus (2024) portrays a female and a male praying mantis in the act of copulation. The mantis is helplessly driven by her nature and unable to keep from eating her partner, while simultaneously, she weeps over the solitary fate her compulsion engenders. In this work, the mouth bears a strong correlation with the eye; the eye is directly referenced by the female gaze, but also indirectly by her tears. In the words of Alberto Moravia in his preface to George Bataille History of the Eye: “The lover wants to bite, devour, murder, destroy the lover, in an impossible effort of communication and identification.” On the back of the female, an element of novelty is added: seeds sprout, as if they were antennas straightened up by desire, or as a way to prolong, in vain, the transient symbiosis between the two bodies. A parallelism as suggested by the title exists between the mantis and the succubus (from the Latin succuba, “lover”), a demon of androgynous appearance who, according to legend, seduced men (especially monks) and women, to make them subject to her will. Liao Wen, here, seems to point to another layer of meaning: the sense of atavist guilt of a liberated feminine sexuality.
By Manuela Lietti (2024）
「天涯一室」（Room at the End of the World）
08/10/2026 - 21/12/2026
策展人：曾智愛怡 (Eunice Tsang, HK)
拾壹基金會（Octone Foundation），香港，中國
藝術家：周睿宏 (Dave Chow, HK)、李新傑 (Andy Li San Kit, HK)、Henry D’Ath (NZ)、廖雯 (Liao Wen, CN)、袁中天 (Chris Zhongtian Yuan, CN/UK)、伊·古斯提·阿育·卡德可·穆妮阿緒 (I Gusti Ayu Kadek Murniasih, IND)、王伊芙苓韜程 (Evelyn Taocheng Wang, CN/NL)
縱觀歷史，洞穴既是靜謐的庇護所，亦是驅動心靈的發電廠。無論是開鑿於高山，抑或隱現於地底，這些幽閉之境長久以來即是心理反叛的場域：在此，心智得以從俗世的洪流與框架中抽離，向內延展出一方由自我構建的自由之境。
在拾壹基金會的開幕首展中，威靈頓街99F化身為我們當代的石室。這座戰前唐樓隱身於香港極度稠密且高度消費主義的城市腹地，歷經多次前世今生。多重文化層疊的次文化頻率在這棟建築的骨架內共振出奇異律奏——從馬來西亞商人的貿易站、隱秘的地下爵士酒吧、街坊理髮店，到如今蛻變為當代藝術與實驗性創作的庇護所。步入其中，既承載著全新藝術空間之激励人心的信念，亦伴隨著宛如未知洞穴般的敬畏與忐忑；在此，時間被微妙地懸置，歷史的迴音與充滿未知可能性的模糊狀態相互交匯。
七位藝術家在此集結，共同勾勒創作探索中變幻莫測的心理地景，游走於未知、好奇、危險、發現與喜悅的重重階段之間。每位藝術家皆運用獨特的方法論來開闢個人的棲息之所，築起情感之堡壘，以抵禦世界無休止的加速。洞穴被重新想像為一處心理庇護所。藝術家們傾注意念與關懷，潛心雕鑿這方空間，宛如前人那般，留下各自獨具的聲音。庇護、混沌、妄念與狂喜在此碰撞，揭示「創作」這一行為如何成為一場激進的自我解放與生存之道。
在世界的盡頭，「創作」的實踐將如何築起庇護之所？當我們允許自己步入暗影，又將喚醒怎樣的慾望與巨獸？
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關於參展藝術作品
《撒克巴斯的泪水》（2024）
手工雕刻和上色椴木、不鏽鋼、摩羅種子
118 x 288 x 210釐米
「透過這件作品，我試圖探究在親密關係之中，愛與佔有、親密與暴力之間那道微妙的邊界。我從螳螂的『性食同類』（sexual cannibalism）與植物的種子散播機制等生物界的自然法則中汲取靈感，將人類、昆蟲與植物的形態交織相融。魅魔（Succubus）作為一個性別流動的惡魔意象，在此化作一種載體，揭示了社會如何將罪疚感與污名強加於女性或性少數群體自身的慾望之上。」