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We are excited to invite you to the opening of IMAGINE A DEAD BLUE WHALE INSIDE THE POCKET OF A GIANT
21.3 | 4-8pm

A group exhibition of 9 Italian and HK artists, curated by Giulia Pollicita and Eunice Tsang

Tap Chan, Adele Dipasquale, Roberto Fassone, Adam Harrison, Ocean Leung, Jennie MaryTai Liu, Simon Liu,
Michela de Mattei, Sara Ravelli

When speech is mistranslated, restricted, or simply fails, what other alphabets remain? Between Italy and Hong Kong—where languages, histories, and governing systems diverge—our exhibition proposes play as a shared, subversive alphabet.

Neither innocent nor trivial, play here becomes a strategic act. The artists turn to games, glitches, and improvised rules to articulate what cannot be said. Within their worlds, prevailing rules are suspended, roles dissolve, and hierarchies are reconfigured. Between docility and insubordination, play emerges as a magical gesture: an agent of both disorder and reorder.

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

31 May | Sunday | 6:00 PM – 8:00 PM
​LIFE IS DRAG: Artist Sharing from Hong Kong & Belgium

​Join us for an intimate evening, co-organized with the Belgian Consulate on the occasion of Belgian drag queen Edna Sorgelsen’s visit to Hong Kong.

While Edna brings the spectacular art of drag from Belgium, this session peels back the layers of performance we all inhabit. We will explore codeswitching, the "in-betweenness" of identity, and the creative strategies used to navigate and survive.
​
​The Panelists

👑​Edna Sorgelsen (Visiting Belgian drag queen)

🔥​Kary Kwok (Photographer and art director)

⚡​Ray Yeung (Docu-flmmaker)

💞​Briar Armani (Dancer and teacher)

💌​Kaitlin Chan (Moderator; Cartoonist and Queer Reads Library co-founder)

6:00 PM: Doors open, snacks and drinks provided by the Belgian Consulate.

6:30 PM: Artist sharing and moderated discussion begins.

This event is a collaborative exchange between Current Plansand the Belgian Consulate in Hong Kong, celebrating cross-cultural queer narratives and the power of artistic expressionism.

31 May | Sunday | 6:00 PM – 8:00 PM
​LIFE IS DRAG: Artist Sharing from Hong Kong & Belgium

​Join us for an intimate evening, co-organized with the Belgian Consulate on the occasion of Belgian drag queen Edna Sorgelsen’s visit to Hong Kong.

While Edna brings the spectacular art of drag from Belgium, this session peels back the layers of performance we all inhabit. We will explore codeswitching, the "in-betweenness" of identity, and the creative strategies used to navigate and survive.
​
​The Panelists

👑​Edna Sorgelsen (Visiting Belgian drag queen)

🔥​Kary Kwok (Photographer and art director)

⚡​Ray Yeung (Docu-flmmaker)

💞​Briar Armani (Dancer and teacher)

💌​Kaitlin Chan (Moderator; Cartoonist and Queer Reads Library co-founder)

6:00 PM: Doors open, snacks and drinks provided by the Belgian Consulate.

6:30 PM: Artist sharing and moderated discussion begins.

This event is a collaborative exchange between Current Plansand the Belgian Consulate in Hong Kong, celebrating cross-cultural queer narratives and the power of artistic expressionism.

31 May | Sunday | 6:00 PM – 8:00 PM
​LIFE IS DRAG: Artist Sharing from Hong Kong & Belgium

​Join us for an intimate evening, co-organized with the Belgian Consulate on the occasion of Belgian drag queen Edna Sorgelsen’s visit to Hong Kong.

While Edna brings the spectacular art of drag from Belgium, this session peels back the layers of performance we all inhabit. We will explore codeswitching, the "in-betweenness" of identity, and the creative strategies used to navigate and survive.
​
​The Panelists

👑​Edna Sorgelsen (Visiting Belgian drag queen)

🔥​Kary Kwok (Photographer and art director)

⚡​Ray Yeung (Docu-flmmaker)

💞​Briar Armani (Dancer and teacher)

💌​Kaitlin Chan (Moderator; Cartoonist and Queer Reads Library co-founder)

6:00 PM: Doors open, snacks and drinks provided by the Belgian Consulate.

6:30 PM: Artist sharing and moderated discussion begins.

This event is a collaborative exchange between Current Plansand the Belgian Consulate in Hong Kong, celebrating cross-cultural queer narratives and the power of artistic expressionism.

31 May | Sunday | 6:00 PM – 8:00 PM
​LIFE IS DRAG: Artist Sharing from Hong Kong & Belgium

​Join us for an intimate evening, co-organized with the Belgian Consulate on the occasion of Belgian drag queen Edna Sorgelsen’s visit to Hong Kong.

While Edna brings the spectacular art of drag from Belgium, this session peels back the layers of performance we all inhabit. We will explore codeswitching, the "in-betweenness" of identity, and the creative strategies used to navigate and survive.
​
​The Panelists

👑​Edna Sorgelsen (Visiting Belgian drag queen)

🔥​Kary Kwok (Photographer and art director)

⚡​Ray Yeung (Docu-flmmaker)

💞​Briar Armani (Dancer and teacher)

💌​Kaitlin Chan (Moderator; Cartoonist and Queer Reads Library co-founder)

6:00 PM: Doors open, snacks and drinks provided by the Belgian Consulate.

6:30 PM: Artist sharing and moderated discussion begins.

This event is a collaborative exchange between Current Plansand the Belgian Consulate in Hong Kong, celebrating cross-cultural queer narratives and the power of artistic expressionism.

31 May | Sunday | 6:00 PM – 8:00 PM
​LIFE IS DRAG: Artist Sharing from Hong Kong & Belgium

​Join us for an intimate evening, co-organized with the Belgian Consulate on the occasion of Belgian drag queen Edna Sorgelsen’s visit to Hong Kong.

While Edna brings the spectacular art of drag from Belgium, this session peels back the layers of performance we all inhabit. We will explore codeswitching, the "in-betweenness" of identity, and the creative strategies used to navigate and survive.
​
​The Panelists

👑​Edna Sorgelsen (Visiting Belgian drag queen)

🔥​Kary Kwok (Photographer and art director)

⚡​Ray Yeung (Docu-flmmaker)

💞​Briar Armani (Dancer and teacher)

💌​Kaitlin Chan (Moderator; Cartoonist and Queer Reads Library co-founder)

6:00 PM: Doors open, snacks and drinks provided by the Belgian Consulate.

6:30 PM: Artist sharing and moderated discussion begins.

This event is a collaborative exchange between Current Plansand the Belgian Consulate in Hong Kong, celebrating cross-cultural queer narratives and the power of artistic expressionism.

31 May | Sunday | 6:00 PM – 8:00 PM
​LIFE IS DRAG: Artist Sharing from Hong Kong & Belgium

​Join us for an intimate evening, co-organized with the Belgian Consulate on the occasion of Belgian drag queen Edna Sorgelsen’s visit to Hong Kong.

While Edna brings the spectacular art of drag from Belgium, this session peels back the layers of performance we all inhabit. We will explore codeswitching, the "in-betweenness" of identity, and the creative strategies used to navigate and survive.
​
​The Panelists

👑​Edna Sorgelsen (Visiting Belgian drag queen)

🔥​Kary Kwok (Photographer and art director)

⚡​Ray Yeung (Docu-flmmaker)

💞​Briar Armani (Dancer and teacher)

💌​Kaitlin Chan (Moderator; Cartoonist and Queer Reads Library co-founder)

6:00 PM: Doors open, snacks and drinks provided by the Belgian Consulate.

6:30 PM: Artist sharing and moderated discussion begins.

This event is a collaborative exchange between Current Plansand the Belgian Consulate in Hong Kong, celebrating cross-cultural queer narratives and the power of artistic expressionism.

Reflecting on an incredible week in Milan. 🇮🇹✨

We were thrilled to be invited as part of the inaugural @aaaahhhparisinternationale Milan edition, participating as a special project. Bringing Ying Bo’s solo exhibition, INKBLOT, to the industrial architecture of Palazzo Galbani allowed us to engage with the city’s energy in a truly memorable way.

A huge thank you to the Paris Internationale team for having us as part of this journey. We are also deeply grateful to the collectors, writers, and friends who visited us on-site. Your support made our first Italian presentation such an unforgettable experience!

Special thanks to: @silviaammon , @marielusa @galeriegregorstaiger , @ninazips , @jenndiagrams , @elisartgal , @observer , @artribune, @julietartmag, @barbaraniniano_, @exibart, @theitalianreview, Gabriele Sassone, @vale.carnevali, @espoarte, @cristianacampanini, @artemagazine.official, @albertonavilli

Reflecting on an incredible week in Milan. 🇮🇹✨

We were thrilled to be invited as part of the inaugural @aaaahhhparisinternationale Milan edition, participating as a special project. Bringing Ying Bo’s solo exhibition, INKBLOT, to the industrial architecture of Palazzo Galbani allowed us to engage with the city’s energy in a truly memorable way.

A huge thank you to the Paris Internationale team for having us as part of this journey. We are also deeply grateful to the collectors, writers, and friends who visited us on-site. Your support made our first Italian presentation such an unforgettable experience!

Special thanks to: @silviaammon , @marielusa @galeriegregorstaiger , @ninazips , @jenndiagrams , @elisartgal , @observer , @artribune, @julietartmag, @barbaraniniano_, @exibart, @theitalianreview, Gabriele Sassone, @vale.carnevali, @espoarte, @cristianacampanini, @artemagazine.official, @albertonavilli

Reflecting on an incredible week in Milan. 🇮🇹✨

We were thrilled to be invited as part of the inaugural @aaaahhhparisinternationale Milan edition, participating as a special project. Bringing Ying Bo’s solo exhibition, INKBLOT, to the industrial architecture of Palazzo Galbani allowed us to engage with the city’s energy in a truly memorable way.

A huge thank you to the Paris Internationale team for having us as part of this journey. We are also deeply grateful to the collectors, writers, and friends who visited us on-site. Your support made our first Italian presentation such an unforgettable experience!

Special thanks to: @silviaammon , @marielusa @galeriegregorstaiger , @ninazips , @jenndiagrams , @elisartgal , @observer , @artribune, @julietartmag, @barbaraniniano_, @exibart, @theitalianreview, Gabriele Sassone, @vale.carnevali, @espoarte, @cristianacampanini, @artemagazine.official, @albertonavilli

Reflecting on an incredible week in Milan. 🇮🇹✨

We were thrilled to be invited as part of the inaugural @aaaahhhparisinternationale Milan edition, participating as a special project. Bringing Ying Bo’s solo exhibition, INKBLOT, to the industrial architecture of Palazzo Galbani allowed us to engage with the city’s energy in a truly memorable way.

A huge thank you to the Paris Internationale team for having us as part of this journey. We are also deeply grateful to the collectors, writers, and friends who visited us on-site. Your support made our first Italian presentation such an unforgettable experience!

Special thanks to: @silviaammon , @marielusa @galeriegregorstaiger , @ninazips , @jenndiagrams , @elisartgal , @observer , @artribune, @julietartmag, @barbaraniniano_, @exibart, @theitalianreview, Gabriele Sassone, @vale.carnevali, @espoarte, @cristianacampanini, @artemagazine.official, @albertonavilli

Reflecting on an incredible week in Milan. 🇮🇹✨

We were thrilled to be invited as part of the inaugural @aaaahhhparisinternationale Milan edition, participating as a special project. Bringing Ying Bo’s solo exhibition, INKBLOT, to the industrial architecture of Palazzo Galbani allowed us to engage with the city’s energy in a truly memorable way.

A huge thank you to the Paris Internationale team for having us as part of this journey. We are also deeply grateful to the collectors, writers, and friends who visited us on-site. Your support made our first Italian presentation such an unforgettable experience!

Special thanks to: @silviaammon , @marielusa @galeriegregorstaiger , @ninazips , @jenndiagrams , @elisartgal , @observer , @artribune, @julietartmag, @barbaraniniano_, @exibart, @theitalianreview, Gabriele Sassone, @vale.carnevali, @espoarte, @cristianacampanini, @artemagazine.official, @albertonavilli

Reflecting on an incredible week in Milan. 🇮🇹✨

We were thrilled to be invited as part of the inaugural @aaaahhhparisinternationale Milan edition, participating as a special project. Bringing Ying Bo’s solo exhibition, INKBLOT, to the industrial architecture of Palazzo Galbani allowed us to engage with the city’s energy in a truly memorable way.

A huge thank you to the Paris Internationale team for having us as part of this journey. We are also deeply grateful to the collectors, writers, and friends who visited us on-site. Your support made our first Italian presentation such an unforgettable experience!

Special thanks to: @silviaammon , @marielusa @galeriegregorstaiger , @ninazips , @jenndiagrams , @elisartgal , @observer , @artribune, @julietartmag, @barbaraniniano_, @exibart, @theitalianreview, Gabriele Sassone, @vale.carnevali, @espoarte, @cristianacampanini, @artemagazine.official, @albertonavilli

Reflecting on an incredible week in Milan. 🇮🇹✨

We were thrilled to be invited as part of the inaugural @aaaahhhparisinternationale Milan edition, participating as a special project. Bringing Ying Bo’s solo exhibition, INKBLOT, to the industrial architecture of Palazzo Galbani allowed us to engage with the city’s energy in a truly memorable way.

A huge thank you to the Paris Internationale team for having us as part of this journey. We are also deeply grateful to the collectors, writers, and friends who visited us on-site. Your support made our first Italian presentation such an unforgettable experience!

Special thanks to: @silviaammon , @marielusa @galeriegregorstaiger , @ninazips , @jenndiagrams , @elisartgal , @observer , @artribune, @julietartmag, @barbaraniniano_, @exibart, @theitalianreview, Gabriele Sassone, @vale.carnevali, @espoarte, @cristianacampanini, @artemagazine.official, @albertonavilli

Reflecting on an incredible week in Milan. 🇮🇹✨

We were thrilled to be invited as part of the inaugural @aaaahhhparisinternationale Milan edition, participating as a special project. Bringing Ying Bo’s solo exhibition, INKBLOT, to the industrial architecture of Palazzo Galbani allowed us to engage with the city’s energy in a truly memorable way.

A huge thank you to the Paris Internationale team for having us as part of this journey. We are also deeply grateful to the collectors, writers, and friends who visited us on-site. Your support made our first Italian presentation such an unforgettable experience!

Special thanks to: @silviaammon , @marielusa @galeriegregorstaiger , @ninazips , @jenndiagrams , @elisartgal , @observer , @artribune, @julietartmag, @barbaraniniano_, @exibart, @theitalianreview, Gabriele Sassone, @vale.carnevali, @espoarte, @cristianacampanini, @artemagazine.official, @albertonavilli

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

In Jennie Marytai and Simon Liu's video installation -force- (2021) a video collage alternating original footage, found material, and digital distortions, composes almost hallucinatory visions of animals punctuated by images of urban landscapes and interiors, producing surreal atmospheres.

A fairy-like voice-over recites a script composed of formulas or spells that are not immediately intelligible: "Maintain Order; Safeguard; Protect; Community; Effectively Communicating" ...

The script is a montage of phrases in which the creative space of encounter between the self and the external world turns into hallucination: it is no longer possible to carve out a habitable space of mediation between these two terms.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

In Jennie Marytai and Simon Liu's video installation -force- (2021) a video collage alternating original footage, found material, and digital distortions, composes almost hallucinatory visions of animals punctuated by images of urban landscapes and interiors, producing surreal atmospheres.

A fairy-like voice-over recites a script composed of formulas or spells that are not immediately intelligible: "Maintain Order; Safeguard; Protect; Community; Effectively Communicating" ...

The script is a montage of phrases in which the creative space of encounter between the self and the external world turns into hallucination: it is no longer possible to carve out a habitable space of mediation between these two terms.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

In Jennie Marytai and Simon Liu's video installation -force- (2021) a video collage alternating original footage, found material, and digital distortions, composes almost hallucinatory visions of animals punctuated by images of urban landscapes and interiors, producing surreal atmospheres.

A fairy-like voice-over recites a script composed of formulas or spells that are not immediately intelligible: "Maintain Order; Safeguard; Protect; Community; Effectively Communicating" ...

The script is a montage of phrases in which the creative space of encounter between the self and the external world turns into hallucination: it is no longer possible to carve out a habitable space of mediation between these two terms.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

In Jennie Marytai and Simon Liu's video installation -force- (2021) a video collage alternating original footage, found material, and digital distortions, composes almost hallucinatory visions of animals punctuated by images of urban landscapes and interiors, producing surreal atmospheres.

A fairy-like voice-over recites a script composed of formulas or spells that are not immediately intelligible: "Maintain Order; Safeguard; Protect; Community; Effectively Communicating" ...

The script is a montage of phrases in which the creative space of encounter between the self and the external world turns into hallucination: it is no longer possible to carve out a habitable space of mediation between these two terms.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

In Jennie Marytai and Simon Liu's video installation -force- (2021) a video collage alternating original footage, found material, and digital distortions, composes almost hallucinatory visions of animals punctuated by images of urban landscapes and interiors, producing surreal atmospheres.

A fairy-like voice-over recites a script composed of formulas or spells that are not immediately intelligible: "Maintain Order; Safeguard; Protect; Community; Effectively Communicating" ...

The script is a montage of phrases in which the creative space of encounter between the self and the external world turns into hallucination: it is no longer possible to carve out a habitable space of mediation between these two terms.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

Art Worlds episode 46 is with Eunice Tsang, a curator who puts community-building at the centre of her practice. Working in Hong Kong, she initiated M+ museum’s Asian Avant-Garde Film Festival @aagff.mplus alongside curating the Live Art programme and at Tai Kwun she began the Asian Artist Book Library.

In 2020, she founded Current Plans @currentplans , a not for profit art space which is playfully multidisciplinary. The industrial space has seen performance parties, communal cooking events and hosts artists in residence.

Eunice spoke to me from Milan, where she had just finished a special project at Paris Internationale @aaaahhhparisinternationale .

To listen, find the link in my bio.

For more about Current Plans:

@oscarvenhuis , ‘The Last Supper podcast episode 48’@thelastsupper.asia

@elainewng , ‘Wong Chuk Hang is Hong Kong’s hot new art quarter’ @financialtimes

@artbasel , ‘Learning from the new wave: charting alternative futures for art in Hong Kong’, @youtube

Image:
Installation shot from ‘Fancy Creatures: The Art of the Wig’, 2023

Art Worlds episode 46 is with Eunice Tsang, a curator who puts community-building at the centre of her practice. Working in Hong Kong, she initiated M+ museum’s Asian Avant-Garde Film Festival @aagff.mplus alongside curating the Live Art programme and at Tai Kwun she began the Asian Artist Book Library.

In 2020, she founded Current Plans @currentplans , a not for profit art space which is playfully multidisciplinary. The industrial space has seen performance parties, communal cooking events and hosts artists in residence.

Eunice spoke to me from Milan, where she had just finished a special project at Paris Internationale @aaaahhhparisinternationale .

To listen, find the link in my bio.

For more about Current Plans:

@oscarvenhuis , ‘The Last Supper podcast episode 48’@thelastsupper.asia

@elainewng , ‘Wong Chuk Hang is Hong Kong’s hot new art quarter’ @financialtimes

@artbasel , ‘Learning from the new wave: charting alternative futures for art in Hong Kong’, @youtube

Image:
Installation shot from ‘Fancy Creatures: The Art of the Wig’, 2023

Turbulence Field (2025) by Tap Chan is a luminous sculpture in which a hawk feather is delicately suspended, held in equilibrium by an almost invisible filament. Across its surface, fragments of shell, bamboo dust, and other materials coalesce into a constellation of elements set against a dark ground, generating a sense of depth and estrangement.

The feather, poised in suspension, responds subtly to the movement of viewers passing through the exhibition space. A field of turbulence continuously alters the balance within the work. The internal logic governing the sculpture’s architecture evokes the structural dynamics of a game.

Its spatial configuration—both autonomous and immersed within the exhibition environment—resonates with early European Surrealism, recalling works such as The Palace at 4 a.m. (1932) by Alberto Giacometti, as well as the filiform constructions of Fausto Melotti (1901–1986). Structured like theatrical stages or game tables, these works establish a poetic plane that is at once simultaneous with, yet distinct from, the dimension of lived reality.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

Turbulence Field (2025) by Tap Chan is a luminous sculpture in which a hawk feather is delicately suspended, held in equilibrium by an almost invisible filament. Across its surface, fragments of shell, bamboo dust, and other materials coalesce into a constellation of elements set against a dark ground, generating a sense of depth and estrangement.

The feather, poised in suspension, responds subtly to the movement of viewers passing through the exhibition space. A field of turbulence continuously alters the balance within the work. The internal logic governing the sculpture’s architecture evokes the structural dynamics of a game.

Its spatial configuration—both autonomous and immersed within the exhibition environment—resonates with early European Surrealism, recalling works such as The Palace at 4 a.m. (1932) by Alberto Giacometti, as well as the filiform constructions of Fausto Melotti (1901–1986). Structured like theatrical stages or game tables, these works establish a poetic plane that is at once simultaneous with, yet distinct from, the dimension of lived reality.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

Turbulence Field (2025) by Tap Chan is a luminous sculpture in which a hawk feather is delicately suspended, held in equilibrium by an almost invisible filament. Across its surface, fragments of shell, bamboo dust, and other materials coalesce into a constellation of elements set against a dark ground, generating a sense of depth and estrangement.

The feather, poised in suspension, responds subtly to the movement of viewers passing through the exhibition space. A field of turbulence continuously alters the balance within the work. The internal logic governing the sculpture’s architecture evokes the structural dynamics of a game.

Its spatial configuration—both autonomous and immersed within the exhibition environment—resonates with early European Surrealism, recalling works such as The Palace at 4 a.m. (1932) by Alberto Giacometti, as well as the filiform constructions of Fausto Melotti (1901–1986). Structured like theatrical stages or game tables, these works establish a poetic plane that is at once simultaneous with, yet distinct from, the dimension of lived reality.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

Questions of control, social anxiety, and agency are central to the works by Sara Ravelli (Crema, Italy, 1993). The Atmosphere #3, #4, and #5 are three pairs of kinetic eyes by Ravelli that nervously scan their surroundings, glancing at one another and cautiously at the viewers.

By marking time, they construct a game of gazes and deferrals that evokes a sense of subterfuge, withdrawal, control, and coercion. The gaze is everything in play. One looks to one’s accomplice, seeking reassurance—an unspoken signal that an ace is still held in reserve—and one studies the opponent, attempting to discern strategy through the slightest expression.

The gaze is essential among allies within the game, yet equally so among adversaries. It becomes even more decisive in moments of deception, when the integrity of the game’s rules is breached and the boundary between play and reality is subtly, deliberately undone.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

Questions of control, social anxiety, and agency are central to the works by Sara Ravelli (Crema, Italy, 1993). The Atmosphere #3, #4, and #5 are three pairs of kinetic eyes by Ravelli that nervously scan their surroundings, glancing at one another and cautiously at the viewers.

By marking time, they construct a game of gazes and deferrals that evokes a sense of subterfuge, withdrawal, control, and coercion. The gaze is everything in play. One looks to one’s accomplice, seeking reassurance—an unspoken signal that an ace is still held in reserve—and one studies the opponent, attempting to discern strategy through the slightest expression.

The gaze is essential among allies within the game, yet equally so among adversaries. It becomes even more decisive in moments of deception, when the integrity of the game’s rules is breached and the boundary between play and reality is subtly, deliberately undone.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

Questions of control, social anxiety, and agency are central to the works by Sara Ravelli (Crema, Italy, 1993). The Atmosphere #3, #4, and #5 are three pairs of kinetic eyes by Ravelli that nervously scan their surroundings, glancing at one another and cautiously at the viewers.

By marking time, they construct a game of gazes and deferrals that evokes a sense of subterfuge, withdrawal, control, and coercion. The gaze is everything in play. One looks to one’s accomplice, seeking reassurance—an unspoken signal that an ace is still held in reserve—and one studies the opponent, attempting to discern strategy through the slightest expression.

The gaze is essential among allies within the game, yet equally so among adversaries. It becomes even more decisive in moments of deception, when the integrity of the game’s rules is breached and the boundary between play and reality is subtly, deliberately undone.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

Questions of control, social anxiety, and agency are central to the works by Sara Ravelli (Crema, Italy, 1993). The Atmosphere #3, #4, and #5 are three pairs of kinetic eyes by Ravelli that nervously scan their surroundings, glancing at one another and cautiously at the viewers.

By marking time, they construct a game of gazes and deferrals that evokes a sense of subterfuge, withdrawal, control, and coercion. The gaze is everything in play. One looks to one’s accomplice, seeking reassurance—an unspoken signal that an ace is still held in reserve—and one studies the opponent, attempting to discern strategy through the slightest expression.

The gaze is essential among allies within the game, yet equally so among adversaries. It becomes even more decisive in moments of deception, when the integrity of the game’s rules is breached and the boundary between play and reality is subtly, deliberately undone.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

Questions of control, social anxiety, and agency are central to the works by Sara Ravelli (Crema, Italy, 1993). The Atmosphere #3, #4, and #5 are three pairs of kinetic eyes by Ravelli that nervously scan their surroundings, glancing at one another and cautiously at the viewers.

By marking time, they construct a game of gazes and deferrals that evokes a sense of subterfuge, withdrawal, control, and coercion. The gaze is everything in play. One looks to one’s accomplice, seeking reassurance—an unspoken signal that an ace is still held in reserve—and one studies the opponent, attempting to discern strategy through the slightest expression.

The gaze is essential among allies within the game, yet equally so among adversaries. It becomes even more decisive in moments of deception, when the integrity of the game’s rules is breached and the boundary between play and reality is subtly, deliberately undone.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

Questions of control, social anxiety, and agency are central to the works by Sara Ravelli (Crema, Italy, 1993). The Atmosphere #3, #4, and #5 are three pairs of kinetic eyes by Ravelli that nervously scan their surroundings, glancing at one another and cautiously at the viewers.

By marking time, they construct a game of gazes and deferrals that evokes a sense of subterfuge, withdrawal, control, and coercion. The gaze is everything in play. One looks to one’s accomplice, seeking reassurance—an unspoken signal that an ace is still held in reserve—and one studies the opponent, attempting to discern strategy through the slightest expression.

The gaze is essential among allies within the game, yet equally so among adversaries. It becomes even more decisive in moments of deception, when the integrity of the game’s rules is breached and the boundary between play and reality is subtly, deliberately undone.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

This vertical sculpture by Tap Chan stages an encounter between natural and urban systems, assembling its structure through modular elements derived from construction “spacer bars,” typically used to reinforce concrete foundations. Stacked in rhythmic succession, these units evoke the vertical expansion of skyscrapers while simultaneously recalling the cellular logic of beehives—architectures shaped by repetition, cooperation, and an underlying promise of order.

Incorporating organic beeswax—the very substance through which bees produce their habitats—the work binds together the artificial and the organic, the engineered and the instinctual. The verticality that once promised elevation becomes stratification; the cooperative model risks turning into rigid hierarchy.

What begins as a speculative, rule-based projection of possibility—whether in architecture, ecology, or the logic of the game—ultimately reveals its fragility. In this slippage from utopia to its betrayal, the work exposes the tension (and fragility) between ideal structures and the unpredictable forces that affect them.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

This vertical sculpture by Tap Chan stages an encounter between natural and urban systems, assembling its structure through modular elements derived from construction “spacer bars,” typically used to reinforce concrete foundations. Stacked in rhythmic succession, these units evoke the vertical expansion of skyscrapers while simultaneously recalling the cellular logic of beehives—architectures shaped by repetition, cooperation, and an underlying promise of order.

Incorporating organic beeswax—the very substance through which bees produce their habitats—the work binds together the artificial and the organic, the engineered and the instinctual. The verticality that once promised elevation becomes stratification; the cooperative model risks turning into rigid hierarchy.

What begins as a speculative, rule-based projection of possibility—whether in architecture, ecology, or the logic of the game—ultimately reveals its fragility. In this slippage from utopia to its betrayal, the work exposes the tension (and fragility) between ideal structures and the unpredictable forces that affect them.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

This vertical sculpture by Tap Chan stages an encounter between natural and urban systems, assembling its structure through modular elements derived from construction “spacer bars,” typically used to reinforce concrete foundations. Stacked in rhythmic succession, these units evoke the vertical expansion of skyscrapers while simultaneously recalling the cellular logic of beehives—architectures shaped by repetition, cooperation, and an underlying promise of order.

Incorporating organic beeswax—the very substance through which bees produce their habitats—the work binds together the artificial and the organic, the engineered and the instinctual. The verticality that once promised elevation becomes stratification; the cooperative model risks turning into rigid hierarchy.

What begins as a speculative, rule-based projection of possibility—whether in architecture, ecology, or the logic of the game—ultimately reveals its fragility. In this slippage from utopia to its betrayal, the work exposes the tension (and fragility) between ideal structures and the unpredictable forces that affect them.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

Handsightings (40-83/756) (2026) by Michela De Mattei (Rome, Italy, 1984) is a series of drawing-based interventions produced by scratching away a darkened patina from photographs.

Much like a scratch card, the artist samples found images — sourced from the depths of the web and from communities of enthusiasts and “believers” — depicting alleged sightings of the Thylacine (also known as the Tasmanian tiger).

Returning to the act of searching and finding implicit in her own method, de Mattei stages the hunt for the tiger within these images, metaphorically encapsulating the game of artistic creation itself: the pursuit (and, after numerous attempts, the possible discovery) of an uncertain, perhaps nonexistent, artistic fulfillment.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

Handsightings (40-83/756) (2026) by Michela De Mattei (Rome, Italy, 1984) is a series of drawing-based interventions produced by scratching away a darkened patina from photographs.

Much like a scratch card, the artist samples found images — sourced from the depths of the web and from communities of enthusiasts and “believers” — depicting alleged sightings of the Thylacine (also known as the Tasmanian tiger).

Returning to the act of searching and finding implicit in her own method, de Mattei stages the hunt for the tiger within these images, metaphorically encapsulating the game of artistic creation itself: the pursuit (and, after numerous attempts, the possible discovery) of an uncertain, perhaps nonexistent, artistic fulfillment.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

Handsightings (40-83/756) (2026) by Michela De Mattei (Rome, Italy, 1984) is a series of drawing-based interventions produced by scratching away a darkened patina from photographs.

Much like a scratch card, the artist samples found images — sourced from the depths of the web and from communities of enthusiasts and “believers” — depicting alleged sightings of the Thylacine (also known as the Tasmanian tiger).

Returning to the act of searching and finding implicit in her own method, de Mattei stages the hunt for the tiger within these images, metaphorically encapsulating the game of artistic creation itself: the pursuit (and, after numerous attempts, the possible discovery) of an uncertain, perhaps nonexistent, artistic fulfillment.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

Handsightings (40-83/756) (2026) by Michela De Mattei (Rome, Italy, 1984) is a series of drawing-based interventions produced by scratching away a darkened patina from photographs.

Much like a scratch card, the artist samples found images — sourced from the depths of the web and from communities of enthusiasts and “believers” — depicting alleged sightings of the Thylacine (also known as the Tasmanian tiger).

Returning to the act of searching and finding implicit in her own method, de Mattei stages the hunt for the tiger within these images, metaphorically encapsulating the game of artistic creation itself: the pursuit (and, after numerous attempts, the possible discovery) of an uncertain, perhaps nonexistent, artistic fulfillment.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

On view at Current Plans (@currentplans) in Hong Kong, ‘Imagine a Dead Blue Whale Inside the Pocket of a Giant’ brings together nine artists from Italy and Hong Kong in a group exhibition curated by Giulia Pollicita (@giulia_pollicita) and Eunice Tsang (@eeunicee).⁠
⁠
Across the exhibition, which features work by Adele Dipasquale, Tap Chan, Roberto Fassone, Adam Harrison, Ocean Leung, Jennie MaryTai Liu, Simon Liu, Michela de Mattei and Sara Ravelli, play unfolds as a shared, subversive language. When words falter, games, glitches, and improvised systems emerge as tools to say what cannot be spoken.⁠
⁠
Ocula joined Pollicita during Hong Kong Art Week for a walkthrough of the exhibition.⁠
⁠
Follow @ocula.art for more from inside the art world.

Adele Dipasquale (Turin, Italy, 1994) identifies linguistic play as a subversive potential against the control of self-expression and communication. In the video installation Lose Voice Toolkit (2023–2025), children’s linguistic play opens up a space of freedom within the conventions and norms imposed by adult life, which by extension become those of society at large.

Installed at the center of the exhibition space, the work invites viewers to enter a children’s tent. By recreating an environment analogous to that of childhood play, the tent becomes a concrete experience of game that, on a symbolic level, articulates a refusal of coercion and the normative force of social conventions.

A group of children in the video narrate a story using a language composed of an invented alphabet. By elevating the individual to a shared experience, language becomes an identitarian and political arena where the political is performed and individual expression negotiated.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

Adele Dipasquale (Turin, Italy, 1994) identifies linguistic play as a subversive potential against the control of self-expression and communication. In the video installation Lose Voice Toolkit (2023–2025), children’s linguistic play opens up a space of freedom within the conventions and norms imposed by adult life, which by extension become those of society at large.

Installed at the center of the exhibition space, the work invites viewers to enter a children’s tent. By recreating an environment analogous to that of childhood play, the tent becomes a concrete experience of game that, on a symbolic level, articulates a refusal of coercion and the normative force of social conventions.

A group of children in the video narrate a story using a language composed of an invented alphabet. By elevating the individual to a shared experience, language becomes an identitarian and political arena where the political is performed and individual expression negotiated.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

Adele Dipasquale (Turin, Italy, 1994) identifies linguistic play as a subversive potential against the control of self-expression and communication. In the video installation Lose Voice Toolkit (2023–2025), children’s linguistic play opens up a space of freedom within the conventions and norms imposed by adult life, which by extension become those of society at large.

Installed at the center of the exhibition space, the work invites viewers to enter a children’s tent. By recreating an environment analogous to that of childhood play, the tent becomes a concrete experience of game that, on a symbolic level, articulates a refusal of coercion and the normative force of social conventions.

A group of children in the video narrate a story using a language composed of an invented alphabet. By elevating the individual to a shared experience, language becomes an identitarian and political arena where the political is performed and individual expression negotiated.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

Adele Dipasquale (Turin, Italy, 1994) identifies linguistic play as a subversive potential against the control of self-expression and communication. In the video installation Lose Voice Toolkit (2023–2025), children’s linguistic play opens up a space of freedom within the conventions and norms imposed by adult life, which by extension become those of society at large.

Installed at the center of the exhibition space, the work invites viewers to enter a children’s tent. By recreating an environment analogous to that of childhood play, the tent becomes a concrete experience of game that, on a symbolic level, articulates a refusal of coercion and the normative force of social conventions.

A group of children in the video narrate a story using a language composed of an invented alphabet. By elevating the individual to a shared experience, language becomes an identitarian and political arena where the political is performed and individual expression negotiated.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.