點石成液
No Time To Die: An Inert Liquid Assembly

概念/視覺藝術家 Concept/Visual Artist
唐納天 Nadim Abbas

概念/編舞/演出 Concept/Choreographer/Performer
陳偉洛 Chan Wai-lok

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無形之手，操弄著無牆之屋；數碼的交響，深居的義肢。

物換不移，一事無成。

廢骸之園，敗瓦叠成山柱，被資訊之海滅頂。

經濟被注意力瓜分，以千臉勾消繳付。

無家的虛空誰在乎，不過是一場早有預謀的淘汰。

對表演的執迷，已被焦慮的生產輾壓。

生者與逝者，如不朽存有，永久自物世剝離。

一列假動作清單，黏稠、惛鈍、斑駁。

既是家居，亦是物流倉庫——由香港編舞家和表演者陳偉洛與視覺藝術家唐納天在跨域策劃及製作單位 No Discipline Limited 的策動下，融匯他們的共感構作而成的空間。當生活被資訊填塞飽和，人們再無法聚焦，持續分心的精神狀態已經成為現代人的常態。兩位創作人試圖探問在科技發展與經濟流動性的浪潮下，物件/物質的價值如何？

現今推動世界運行前進的無形力量，與其說是對物質的慾求，實質是由消費資訊所取代。這將如何影響我們在一個無物可抓、無從定位的境況裡頭，尋索乃至塑造自身的脆弱存在？飄浮在教人怠惰的數位海洋，甘願投進物流式的身體操作，享受浸沒在停滯黏稠低效能生產的湧動之中。

是裝置展覽（日間）同時是裝置・演出（晚上），在兩個時空中形成灰色地帶。《點石成液》邀請觀眾從中經歷不同層次的意狀氛圍。驟看表演者似是在體現一種以「靜默放棄」作為低限存在的社會性精神狀態。但在怠惰之中又湧動著一股動能，有如被遺忘的包裝物料，圍繞著永遠缺席的物品，在不斷拆解與重組。這是否在對當下虛幻的真實的一種構想？

House without walls, operated by invisible hands, a symphony of digits, a domestic prosthetic.

Work done is zero when there is no-thing to displace.

Garden of ruin, accumulating isles of junk bathed in a sea of information.

Economy divided by attention, paid in multiples of a face.

Who cares to redeem these homeless voids, their mere existence a programmed obsolescence?

Where the production of anxiety outweighs the compulsion to perform.

Like immortal beings permanently estranged from the world of things, the living and the dead.

An inventory of false movements, sticky, obtuse and worn.

Part domestic interior, part logistics warehouse – this is the space that has materialised from the merging sensibilities of Hong Kong choreographer and performer Chan Wai-lok and visual artist Nadim Abbas, under the auspices of cross-disciplinary platform No Discipline Limited. Taking as their starting point the prolonged experience of distracted attention that characterises the day-to-day life of information-saturated urban dwellers, Chan and Abbas pose questions about the value of things swept up by the twin waves of economic fluidity and technological progress.

If the nebulous forces driving the world forward today have less to do with possessing things than with consuming information, how does this affect our ability to navigate, let alone shape our own precarious existence, with no-thing to grasp and find one’s bearings? Enter a logistics of movement that does not attempt to escape from the straitjacket of digital lethargy, but rather embraces immobility like an accomplice from the sticky shores of inefficiency and purposelessness.

Occupying a grey zone between exhibition (by day) and performance (by night), No Time To Die: An Inert Liquid Assembly invites audiences to encounter the piece via different levels of immersion and engagement.  On immediate impression, the performers actions may be likened to the social phenomena of “quiet quitting”, a term used to describe the passive defiance of employees contributing with only the bare minimum of work required.  However, there remains an enigmatic ambiguity in this refusal to perform, simultaneously reflected by the mute and paradoxically performative inventory of packaging material, perpetually dismantled and re-formed around an ever-absent product.  Could this be an imaginary capture of the real unreality of the world today?

《點石成液》是「自由舞」2025 節目之一
No Time To Die: An Inert Liquid Assembly is a programme of Freespace Dance 2025.

Photo: Thomson Ho / Graphic: Pollux Kwok / Logotype: Studio Hik

短評/ 觀察文章 Reviews / Articles

日間展覽（包括「時延性」演出）
Daytime Exhibition (with durational performance)

晚間劇場演出
Evening Theatre Performance

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概念/視覺藝術家 Concept/Visual Artist
唐納天 Nadim Abbas

唐納天的作品探索記憶和映像，在形神之間的穿插：複雜的裝置中，物件與其映像關係曖昧，形體與空間交錯。透過指涉一系列對象，包括地堡考古學與御宅次文化，為泛濫的形體帶來陌生的聯繫，藉此描繪滲透於現實生活中看似無害的「隱形暴力」。

Nadim Abbas explores the mercurial properties of images and their ambiguous relationship with reality.  This has culminated in the construction of complex set pieces, where objects disappear into their own semblance and bodies succumb to the seduction of space.  Referencing a diverse range of subjects – from bunker archaeology to otaku subcultures – he instills generic forms with unfamiliar associations, in an attempt to describe the “invisible violences” that permeate seemingly innocuous facets of everyday life.

vntrlq.com

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概念/編舞/演出 Concept/Choreographer/Performer
陳偉洛 Chan Wai-lok

生於香港，創作人及表演者，香港中文大學建築系畢業。其後就讀SEAD（奧地利），並畢業於P.A.R.T.S.（比利時）。運用概念性和跨域的方法，陳偉洛的作品充滿幽默感和戲謔性，挑戰舞蹈和表演的固有觀念。他通過編創去塑造探索媒介界限的體驗。他的作品鼓勵觀眾積極參與和自由詮釋，同時展現出他對表演性和編舞的獨特視角。

Hong Kong choreographer and performer Chan Wai-lok completed his studies in P.A.R.T.S. (Belgium) and SEAD (Austria) after graduating from the Architecture program at the Chinese University of Hong Kong. Bringing a conceptual, interdisciplinary approach, his work is characterized by a witty, playful sensibility that challenges conventional notions of dance and performance. Through his choreographic pieces, Chan crafts experiences that probe the boundaries of the medium. His work encourages active audience engagement and democratic interpretation, while unfolding his perspectives in performativity and choreography.

www.wailokcwl.com

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創作及製作團隊 Creative & Production Team

概念/視覺藝術家 Concept/Visual Artist
唐納天 Nadim Abbas

概念/編舞/演出 Concept/Choreographer/Performer
陳偉洛 Chan Wai-lok

創作演出 Creative Performers
李嘉雯 Carman Li
胡日禧 Woo Yat-hei
張兆熹 Cheung Siu-hei
朱仟青 Chu Chin-ching

監製 Producer
黎蘊賢 Orlean Lai

作曲家 Composer
nnscya

燈光設計 Lighting Designer
劉銘鏗 Lau Ming-hang

服裝設計 Costume Designer
馬嘉裕 Trista Ma

製作助理 (場域構作及服裝）Production Assistant (Scenography & Costume)
陳沁昕 Tap Chan

燈光助理 Lighting Assistant
許穎恩 Hui Wing-yan

製作經理 Production Manager
李佳琳 Nickole Li

舞台監督 Stage Manager
唐梓靜 Sugar Tong

執行舞台監督 Deputy Stage Manager
張晴 Trini Chong

聲響工程師 Sound Engineer
陳衍昊 Bu Chan

計劃統籌（行政）Project Coordinator (Admin)
蕭朗宜 Lorin Siu

平面設計（主視覺）Graphic Design (Key Visual)
Studio Hik ── 徐僖鮮 Heesun Seo｜ 楊樂兒 Liz Yeung｜劉芷淇 Kemina Lau

平面設計（人像）Graphic Design (Portraits)
郭健超 Pollux Kwok

宣傳照攝影 Promotional Photo
何東盛 Thomson Ho

裝配／裝置 Fabrication/Installation
雲土設計 Cloudland Sculpture Ltd.

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如遇特殊情況，主辦機構保留更改節目及表演者的權利。
節目內容並不反映香港特別行政區政府的意見。
The presenter reserves the right to change the programme and substitute artists should unavoidable circumstances make it necessary.  
The content of this programme does not reflect the views of the Government of the Hong Kong Special Administrative Region.