有時候，我們以為自己過得不錯，但一張沙發、一張茶几、一塊床單、一堆垃圾⋯⋯可能透露了我們難以掩飾的一面。Sometimes we think we are leading a decent life, but a sofa, a tea table, a piece of bed sheet, a pile of rubbish... may reveal something that we cannot conceal. This exhibition is made up of a series of in-depth interviews, trying to investigate the concept of "family" in Macao, and explore the reality of our existence in the soon-to-be 'most (GDP) affluent city of the world'. 展覽由連串的深入訪談組成，嘗試以「家」為載體，在即將成為全球GDP最富有的城市中，探問生存的實相。
Thoughts and Emotions - a Multimedia Dual Art Exhibition
劉岩 X 蔣靜華
LIU Yan X Catherine, CHEONG Cheng Wa
28/7 – 31/8/2019
現居加拿大的內地藝術家劉岩與澳門藝術家蔣靜華，她們同時於2006年開始留學法國，這次展出她們的多媒體作品。劉與蔣在追尋自己的藝術創作歷程上都經歷了不少腦震盪，尤其是在法國高等藝術學院修讀藝術課程期間，重新開啓及審視在原生地所學習到的美術觀念，從純美學技法擴展到更多對視覺藝術理論的思考及反思，在老師的引導及藝術氛圍的環境影響下，她們又再一次對視覺藝術的認知及個人藝術追求上更上一層樓。Liu Yan, a mainland Chinese artist live in Canada, and Cheong Cheng Wa, a Macao artisth. Coincidentally or not, in 2006 they both began studying at the same time in France. This time, the two are showing their multimedia works in Macao.
這個攝影展是獻給左治家族最小的兩個女兒，Henriqueta和Maria José。她們分別是澳門土生葡人巴彼得（Pedro Barreiros）和左家詩（Graça Pacheco Jorge）的母親，在其有生之年，他們竭盡所能地保存從家族繼承的物品和無形的精神資產，並不為餘力地宣揚他們一直引以為榮的身份——澳門土生葡人。 This photographic exposition is dedicated to the last girls of the Pacheco Jorge family, Henriqueta and Maria José, respectively the mothers of the Macanese Pedro Barreiros and Graça Pacheco Jorge, who have during their lives preserved the assets inherited from the family and contributed with it to divulge the so much debated Macanese identity.
Pinhole Photography Exhibition by Cora Si WunCheng
10/3 ––– 6/4/2019
與其說這次展示的是攝影作品，對於我來說，它們更具抽象的概念。作者放棄了人們習以為常的表達方式，沒有使用光學鏡片去矯正影像畫面，更沒有經濾鏡調整影像的反差，只是純粹任由人的視覺，簡單評估構圖和光的入射。Cora refuses to rely on the visual language most people use in common – neither using optical lenses to revise the image nor adjusting the contrast of image through filters.
Ceramics by Alice Lee & Frankie See and Wooden Furniture by Zawood
21/10 - 27/11/2018
「陶・生活」展覽把藝術融合生活，記錄了這一時期兩位陶藝家的創作，結合木家具工藝，把两種重要的生活元素同時帶給觀眾，從而拉近藝術品和生活用品的關係。The Throughout Life exhibition marries art with life, recording the creations of the two potters in this period, and in combination with the showcase of wood furniture craftsmanship, the event brings together the two important elements to visitors, thus bringing closer artwork and daily chores.
NganWa Ao (Kate Samozwaniec) X Ieong Kun Ieng (Summer)
當人脫去衣裳，只呈現面孔，同樣的背景及燈光，沒有姿態，放下裝備地被攝，以放鬆及自然形態入鏡，這種沒有設定一個展示模式的攝影，就是最真實嗎？Question: Does the most realistic photo happens when people are captured impromptu, with their clothes off and only faces shown, against a same background and lighting, without any pose or attention – in short, when they are photographed in a relaxing and natural status?
有時我會望著右手背的手指公下方，有一條動脈的跳動顯而易見，黝黑的膚色，毛孔的繁多微細折痕擴散成網狀，圖騰之下是生命的流動實證，脈象代表這一刻的我在。Sometimes I will look at the back of the thumb of my right hand, and see an artery clearly pulsating. The dark complexion, the numberless subtle ridges spread and become a network. Under this totem is the flow of life. The pulsating represents my very existence at this exact moment.
是關於福島311核災之後，居民回到當地生活的點滴。今次很高興邀請到香港攝影師黃勤帶，來到澳門展出這批由寶麗來拍攝的相片。 It is about the residents’ return to local life after the 311 nuclear disaster in Fukushima. I am very pleased to invite Hong Kong photographer Kan Tai Wong to come to Macau exhibit the photos taken by Polaroid.
生活在消費主義大行其道的都市，我們的起心動念都與物質有關，甚至連我們所認知的快樂，也只不過是和欲望或物質掛鉤的聯繫匯率，把它包裝成美好的樣子，為的只是更好地推銷出去。Living in a city where consumerism is badly prevalent, what gets us excited appears to be relating to materials. Even the happiness we once knew is now re-defined or measured by our material desires and it has been objectified as a product that needs a beautiful packaging image in order to better convince people that is happiness.
我的創作以鉛筆繪畫為開端，而發展。碎片是內容，是多年來存留下來的物；碎片是載體，都是生活裡存有的狀態；碎片是結果，完成的和未完成的。Fragments are the content of my work, meaning the objects that I have been keeping for all these years. Fragments can also be the media that carry my work, which are the ways that things exist in life.
兩位設計師由字母、數字的概念出發，通過重覆與隨機的創作方法，各自表現出作品在不確定因素下所形成的另一種美學，是對現代社會力求盡善盡美，準確無誤現象下的一種吶喊。亦是作者對自身職業角色的部份偏執。With letter-and-number-based work produced in a creative approach stressing repetition and random composition, each of the two designers expresses a different type of aesthetic influenced by factors of uncertainty.
面對唐重的"繁花"，芸芸眾生或許更像種子，默然藏在黑暗而安全的泥土裡，甚至無法相信自己具有變成漂亮花朵的潛能。In contrast to Tong who has the courage to blossom, most of the people act like a frozen seed, hiding in the dark and playing safe in its comfort zone. Some are even unable to believe that they have the potential to blossom.
中西文化的交匯為城市發展注入活力，使澳門形成了具有文化多樣性與創新性的城市精神。藝術與多元產業發展的融合將加快澳門特別行政區在文化領域上的持續發展。Macau is characterised by its vibrancy and uniqueness. The intersection of the Chinese and Western cultures sharps the city spirit of innovation and cultural diversity. Fusion of art and diversified development of different industries accelerate and sustain the cultural development in Macau SAR.
澳門老建築上的各種地磚對普羅大眾來說已是過時舊物，很多時候隨着建築物的拆卸而被挖起，然後當作垃圾扔掉；然而黎小傑卻依靠描繪這些古老的地磚來慰藉他的思鄉之情。The floor tiles in various geometric patterns you might still see today in most old buildings in Macao have become something obsolete. Those old tiles are doomed to vanish as long as we demolish the aging buildings – they will become nothing more than rubbish. However, the dismantled tiles reincarnate when local artist Lai Sio Kit paints them so alive to express and overcome his homesickness.