"漫" (Màn) fits the multiple meanings of our original thoughts of three phases in developing our works. 漫, first of all, has the meaning of diffuse, just as we are panic when the epidemic is overshadow us. On a whim, the art industry has more online presentations, whether art exhibitions or forums. Secondly, 漫carries indulgent and unrestrained, just as we are mindful to pay more attention to the things around us, as playing the role of "observers on the road". Thirdly, 漫means in vain. Perhaps this matchable for our initial intention in dividing our online exhibition into three phases over three months. This act allows the fellow artists ample time for their creative intentions and challenges the audience's inertia to have a one-time output online virtual exhibition experience.
If "漫" literally transplants into the context of psychogeography, it will remind us about DRIFT. Drifting has the push of different powers and the delay of attraction at the same time. This tension reflects on what Jean-François Lyotard said, "capital, the law of value, personal identity, family and social responsibilities, etc., are the sum of plurals of our being an individual." If we put "漫" and "Drift" side by side, the latter is more often drifting than roaming. DRIFT used to be a vital walking training technique for the SITUATIONIST INTERNATIONAL group. Simultaneously, just like the current Hong Kong political situation, act as water has often been quoted, as a dissident under the turbulent political and rapidly changing era. The other corresponds to the fact that we are in a collective social form, the friction and compatibility between individuals and individuals. When we talk about roaming, it is the inattentiveness of anti-following the fixed route, which is the alienation in it, to ease the alienation that varies from year to year. Compatibility is the foundation of social solidarity, and there is no need to be in tension to eliminate differences from time to time.
Besides, this workshop participants have cultivations in art creation and urban studies. We believe that both Iain Sinclair and Jane Jacobs agree that "walking is a virtue" so that we can stroll around the streets and alleys freely in a different rhythm. The arguments of "getting to know the city that we are familiar with" are fairly urgent nowadays. As wanderers, although to a certain extent, we are opposed to capital and grand political fantasy, it is precisely this choice of consciousness that gives us another escape narrative from the above-mentioned "counter-balance". Be it psychogeography or city criticism, in many cases, we do not insist on provoking municipal administration's operation, but the interaction between people and buildings and between people. From our perspective, caring for a city is wandering through to the city via chance encounters, glimpses, and perhaps, wiretapping.
If everyone holds a pen, the city needs a long-lasting way of writing, and access to all levels, whether discovering new trends or breaking into necessary bureaucratic disputes. We dare not call ourselves liberals, but we believe that the city can have more possibilities.