https://nikkilam.info nikki lam Tue, 12 Aug 2025 09:23:08 +0000 https://nikkilam.info en https://nikkilam.info/Home-Image-Scroll Sat, 22 Aug 2020 03:53:04 +0000 nikki lam https://nikkilam.info/Home-Image-Scroll <img width="2000" height="1229" width_o="2000" height_o="1229" data-src="https://freight.cargo.site/t/original/i/a6363059da1078958861d73be4c88a1062e33a51e2da1eefdbd9f183d1a623a6/Nikki-Lam_TUD_2101_03_WEB-sml.jpg" data-mid="105066352" border="0" src="https://freight.cargo.site/w/1000/i/a6363059da1078958861d73be4c88a1062e33a51e2da1eefdbd9f183d1a623a6/Nikki-Lam_TUD_2101_03_WEB-sml.jpg" /> <img width="2560" height="1440" width_o="2560" height_o="1440" data-src="https://freight.cargo.site/t/original/i/db2d814a47ffb290896bc9eb2945c526d664c247aa361de7c69ab51e24232b28/reprise_screenshot_05.png" data-mid="223725708" border="0" src="https://freight.cargo.site/w/1000/i/db2d814a47ffb290896bc9eb2945c526d664c247aa361de7c69ab51e24232b28/reprise_screenshot_05.png" /> <img width="1500" 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data-mid="223725767" border="0" src="https://freight.cargo.site/w/1000/i/c6551208ee8c0b9297e09552f11ebbd15c070b5c29bccc8efd4fd903205c1ed4/reprise_screenshot_02.png" /> <img width="1508" height="1006" width_o="1508" height_o="1006" data-src="https://freight.cargo.site/t/original/i/1f081810b3fb27ed972a67d90852584fd699feea9d6420752637571af53e72ad/Nikki-Lam_retrograde_01_web.jpg" data-mid="236873452" border="0" src="https://freight.cargo.site/w/1000/i/1f081810b3fb27ed972a67d90852584fd699feea9d6420752637571af53e72ad/Nikki-Lam_retrograde_01_web.jpg" /> <img width="2560" height="1440" width_o="2560" height_o="1440" data-src="https://freight.cargo.site/t/original/i/8d4c7cd07871fc305a4c5dbe785dabce5ec5436efaba36cb19439a8e7d600cf8/reprise_screenshot_06.png" data-mid="223725718" border="0" src="https://freight.cargo.site/w/1000/i/8d4c7cd07871fc305a4c5dbe785dabce5ec5436efaba36cb19439a8e7d600cf8/reprise_screenshot_06.png" /> <img width="1998" height="1202" width_o="1998" height_o="1202" data-src="https://freight.cargo.site/t/original/i/0f29e8a84406266d6655805403330694e3478b1ba2d08300890dd7bed00260ab/spectral-wires_hero.jpg" data-mid="223725735" border="0" src="https://freight.cargo.site/w/1000/i/0f29e8a84406266d6655805403330694e3478b1ba2d08300890dd7bed00260ab/spectral-wires_hero.jpg" /> <img width="1500" height="842" width_o="1500" height_o="842" data-src="https://freight.cargo.site/t/original/i/6eb2ed82cdb8dd84b9871bccb98e85f073051567f090951c74957167af4be771/Uprooting-Mandarin_2015_Nikki-Lam_web.jpg" data-mid="84718335" border="0" src="https://freight.cargo.site/w/1000/i/6eb2ed82cdb8dd84b9871bccb98e85f073051567f090951c74957167af4be771/Uprooting-Mandarin_2015_Nikki-Lam_web.jpg" /> <img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/26011ff51f9ecb286513755b6f26549966baf212c2ea6abf8efe5eaa964cb09b/Nikki-Lam_Still...-what-is-left_2018_WEB.jpg" data-mid="84470009" border="0" src="https://freight.cargo.site/w/1000/i/26011ff51f9ecb286513755b6f26549966baf212c2ea6abf8efe5eaa964cb09b/Nikki-Lam_Still...-what-is-left_2018_WEB.jpg" /> <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/b59c9b332074805197aa37f202599d4655fc40a2378ecb7320a53d577c8da9b8/Nikki-Lam_Before-After_2_small.jpg" data-mid="84717304" border="0" src="https://freight.cargo.site/w/1000/i/b59c9b332074805197aa37f202599d4655fc40a2378ecb7320a53d577c8da9b8/Nikki-Lam_Before-After_2_small.jpg" /> <img width="1500" height="844" width_o="1500" height_o="844" data-src="https://freight.cargo.site/t/original/i/c5b41c3bc3325026f961c4ac69385171b25254bfc365f499e8ed6b16cda50ab4/Nikki-Lam_Before-After_2018_web.jpg" data-mid="84469976" border="0" src="https://freight.cargo.site/w/1000/i/c5b41c3bc3325026f961c4ac69385171b25254bfc365f499e8ed6b16cda50ab4/Nikki-Lam_Before-After_2018_web.jpg" /> <img width="2000" height="1307" width_o="2000" height_o="1307" data-src="https://freight.cargo.site/t/original/i/cc427244a95d422ecea344fa27161e1cf0671bf672d1fd1308f6ba87544312f8/Anchor_Kura_02_small.jpeg" data-mid="84469926" border="0" src="https://freight.cargo.site/w/1000/i/cc427244a95d422ecea344fa27161e1cf0671bf672d1fd1308f6ba87544312f8/Anchor_Kura_02_small.jpeg" /> <img width="2041" height="1148" width_o="2041" height_o="1148" data-src="https://freight.cargo.site/t/original/i/1a9b0475557dead0edc41bf7d32958650c5a79e79b706dca408b600972ed174b/Free-HK-ACNH-screenshot.png" data-mid="80541811" border="0" src="https://freight.cargo.site/w/1000/i/1a9b0475557dead0edc41bf7d32958650c5a79e79b706dca408b600972ed174b/Free-HK-ACNH-screenshot.png" /> https://nikkilam.info/the-unshakable-destiny Tue, 16 Feb 2021 02:08:48 +0000 nikki lam https://nikkilam.info/the-unshakable-destiny <img width="1508" height="1006" width_o="1508" height_o="1006" data-src="https://freight.cargo.site/t/original/i/c5cfd3e097c0afc7c31e7320b51f9734829750e9224270f26f8a3412c991f367/retrograde_sff01.jpg" data-mid="236873016" border="0" src="https://freight.cargo.site/w/1000/i/c5cfd3e097c0afc7c31e7320b51f9734829750e9224270f26f8a3412c991f367/retrograde_sff01.jpg" /><img width="2560" height="1440" width_o="2560" height_o="1440" data-src="https://freight.cargo.site/t/original/i/fdd0508b4aac7caf17221042fe1c003ede06ca50f78ff9fae6000b9a1237e2e1/reprise_screenshot_01.png" data-mid="236873210" border="0" src="https://freight.cargo.site/w/1000/i/fdd0508b4aac7caf17221042fe1c003ede06ca50f78ff9fae6000b9a1237e2e1/reprise_screenshot_01.png" /><img width="2000" height="1229" width_o="2000" height_o="1229" data-src="https://freight.cargo.site/t/original/i/a6363059da1078958861d73be4c88a1062e33a51e2da1eefdbd9f183d1a623a6/Nikki-Lam_TUD_2101_03_WEB-sml.jpg" data-mid="99003298" border="0" src="https://freight.cargo.site/w/1000/i/a6363059da1078958861d73be4c88a1062e33a51e2da1eefdbd9f183d1a623a6/Nikki-Lam_TUD_2101_03_WEB-sml.jpg" /> Now, Hong Kong people are to run Hong Kong. That is a promise and that is the unshakable destiny.’ — Chris Patten, Last Governor of Hong Kong at the Handover Ceremony in 1997. “She may not always remember, but she will always forget.” The Unshakable Destiny trilogy uses the scaffolding of memory to pull at the fictions of the self, as a witness to post-2019 Hong Kong.&nbsp; The Unshakable Destiny (2021-2025) is a five-year modular moving image project on the spectres of Hong Kong. An exploration of memory, site and cinema, the trilogy contemplates art-making in the diaspora, as a witness to the slippery political context of a homeland from afar. Expansive in format and storytelling, _2101 (2021), Reprise / Release (2023) and Retrograde (2025) present a necessarily incomplete story of post-2019 Hong Kong diaspora. Always on the periphery, the trilogy shapeshifts as its homeland transforms, moving from a disappearing culture to its haunting and cyclical returns.&nbsp; ︎︎︎please contact artist for online screener ︎︎︎read: Artist Profile by Cher Tan, Art Guide Australia, June 2025 ︎︎︎read: 5 Questions with Nikki Lam, Liminal, July 2025︎︎︎read: Artist Profile by&nbsp;Oliver Giles, Zolima Hong Kong, August 2025 ︎Selected Screenings: Official Selection: Sydney Film Festival 2025Jakarta Independent Film Festival JIFF, Jakarta 2022Art Gallery of New South Wales, Sydney 2021GRRLHAUS Cinema, Berlin 2022 Official Selection: Revelation Perth Film Festival, Perth 2022 &nbsp; ︎Selected Awards: Best Audio Visual Project at Jakarta Independent Film Festival JIFF, Jakarta 2022 Incinerator Art Award 2021 Shortlist Footscray Art Prize 2022 Shortlist Wyndham Art Prize 2022 Shortlist Darebin Art Prize 2026 Shortlist ︎Selected Exhibitions:Brent Biennial 25, curated by Annie Jael Kwan, London (2025)Primavera 23: Australian Young Artists, curated by Talia Smith / Museum of Contemporary Art, Sydney (2023)Melbourne Now / National Gallery of Victoria, Melbourne (2023)Only the future revisits the past / PHOTO 2024, Centre for Contemporary Photography, Melbourne (2024) Assembly / Centre for China in the World, ANU, Canberra (2024) Primavera 23: Australian Young Artists National Tour / The Condensery, QLD, Noosa Regional Gallery, NSW, Cowra Regional Art Gallery, NSW, Goulburn Regional Gallery, NSW, Bank Art Museum Moree, NSW, Wangaratta Art Gallery, VIC, Murray Bridge Regional Gallery, SA (2024-2026) <img width="2844" height="1920" width_o="2844" height_o="1920" data-src="https://freight.cargo.site/t/original/i/f83e2205c335f32e1461333b18929b4ed623f24c4b9f589d309ffc58c1575e64/MCAPrimavera2023FullSuitephotoZanWimberley-039.jpg" data-mid="198431640" border="0" src="https://freight.cargo.site/w/1000/i/f83e2205c335f32e1461333b18929b4ed623f24c4b9f589d309ffc58c1575e64/MCAPrimavera2023FullSuitephotoZanWimberley-039.jpg" /> <img width="2880" height="1920" width_o="2880" height_o="1920" data-src="https://freight.cargo.site/t/original/i/3893f58458d9b4325e7759c5d990cadee4ec2fbae5feecd43a59754ff6fac976/MCAPrimavera2023FullSuitephotoZanWimberley-048.jpg" data-mid="198431641" border="0" src="https://freight.cargo.site/w/1000/i/3893f58458d9b4325e7759c5d990cadee4ec2fbae5feecd43a59754ff6fac976/MCAPrimavera2023FullSuitephotoZanWimberley-048.jpg" />Image: Installation view at Primavera 23: Young Australian Artists, curated by Talia Smith,&nbsp;Museum of Contemporary Art MCA Sydney, 2023. Photo credit Zan Wimberley <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/48172aa79e4c7219e7c50fe0d71607f3289f0829088760f59d2f8eadfdb9d429/TUD_Final-WIP.00_01_40_18.Still004.jpg" data-mid="128796168" border="0" src="https://freight.cargo.site/w/1000/i/48172aa79e4c7219e7c50fe0d71607f3289f0829088760f59d2f8eadfdb9d429/TUD_Final-WIP.00_01_40_18.Still004.jpg" /><img width="1362" height="908" width_o="1362" height_o="908" data-src="https://freight.cargo.site/t/original/i/a70250e0816f017b22c59210cc1be85aea4d7da5c3c8f268a07d370d7653cbb1/Nikki-Lam_retrograde_04.jpg" data-mid="236873156" border="0" src="https://freight.cargo.site/w/1000/i/a70250e0816f017b22c59210cc1be85aea4d7da5c3c8f268a07d370d7653cbb1/Nikki-Lam_retrograde_04.jpg" /><img width="2048" height="1152" width_o="2048" height_o="1152" data-src="https://freight.cargo.site/t/original/i/1f03d5f1a934782b0bde9589a449af3c57541f9b4a32ebae4ac9cf637c8e8e1b/retrograde_2-channel_06.png" data-mid="236873434" border="0" src="https://freight.cargo.site/w/1000/i/1f03d5f1a934782b0bde9589a449af3c57541f9b4a32ebae4ac9cf637c8e8e1b/retrograde_2-channel_06.png" />Still from_0121, 16mm film transferred to 2K digital with sound, 2021 Stills from Retrograde, 4K digital with sound, 2025 <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/4c77e017379e5a79add5908b7071a0a9aa485bb9467b6a9daeb031386e98c574/TUD_Final-WIP.00_03_50_10.Still013.jpg" data-mid="128796175" border="0" src="https://freight.cargo.site/w/1000/i/4c77e017379e5a79add5908b7071a0a9aa485bb9467b6a9daeb031386e98c574/TUD_Final-WIP.00_03_50_10.Still013.jpg" /><img width="2560" height="1440" width_o="2560" height_o="1440" data-src="https://freight.cargo.site/t/original/i/c6551208ee8c0b9297e09552f11ebbd15c070b5c29bccc8efd4fd903205c1ed4/reprise_screenshot_02.png" data-mid="236873207" border="0" src="https://freight.cargo.site/w/1000/i/c6551208ee8c0b9297e09552f11ebbd15c070b5c29bccc8efd4fd903205c1ed4/reprise_screenshot_02.png" /><img width="2880" height="1800" width_o="2880" height_o="1800" data-src="https://freight.cargo.site/t/original/i/eca3e9208973a74644f0637069ccac07ad8b1218de23274411f09c49e1f9608b/Release_02.png" data-mid="236873395" border="0" src="https://freight.cargo.site/w/1000/i/eca3e9208973a74644f0637069ccac07ad8b1218de23274411f09c49e1f9608b/Release_02.png" /> Still from_0121, 16mm film transferred to 2K digital with sound, 2021Still from Reprise, 4K digital with sound, 2023Still from Release, 4K digital, silent, 2023 A city with a history of multiplicity, cultural theorist Akbar Abbas described Hong Kong as a ‘culture of disappearance’ at the time of the sovereignty handover of Hong Kong in 1997. He observed that Hong Kong, a city without agency, created a visual culture that was most potent when facing threats of vanishing. In an attempt to capture this fleeting cultural re-emergence of visibility following the 2019 protests, these films fabricated memories that echoed the anxieties of the time from within and afar, witnessing from the perspectives of diaspora. As the trilogy progressed, these films became records of a politically and culturally transformative time. Designed to be viewed in a modular format, the films can either be presented together or independently, linearly in a cinema or in an installation. Always fragmented and on the periphery, the variation in viewing format is part of the enquiry of multiplicity and instability in the diasporic experience. This trio of films embodied poetry and cinematic language influenced by Hong Kong cinema and ‘Hong Kong in cinema’ in a push and pull of colonial gaze upon a disappearing city. The trilogy opened with the unshakable destiny_2101 (2021), a 16mm film and an ode to cinematic images that have shaped the representation of Hong Kong both from within and beyond the community. It drew focus on the tensions and misalignments between histories and cinematic tropes, colonial gaze and the migrant body. The film reflected on the aesthetics of Wong Kar Wai cinema and Asian-Futurism, with protest symbolism hidden in plain sight, as a response to censorship. While the project was set to challenge the colonial nostalgia of Hong Kong in cinema, the film gazes upon memories and traumatic events where the personal meets the collective in a cycle of devastation, contemplation and hope. This was followed by Reprise / Release (2023), a feverish dream of nostalgia and grief. It takes the audience on a journey to its past, returning to a homeland that no longer exists, a memory now reserved only for cinema.&nbsp; Reprise is a series of dream-like sequences, creating haunting fragments of a disjointed narrative in an expansive and speculative world, a metaphor for an increasingly diasporic Hong Kong community. Cultural scholar Esther M.K. Cheung described Hong Kong as a ‘spectral city’ in cinema, where it is ‘about what is half seen, allegorically seen, or quickly seen.’ These echoes from the past haunt our present in a way that is impermanent, highlighting the gaps and slippages of the city’s historical narratives with their ghosty presence. Were they dreams, or did the events actually happen? Reprise (2023) expanded on this space between fiction and facts, memory and re-creation, while Release (2023) portrayed the decay of memory itself, together they responded to hauntological language of Hong Kong cinema to examine diasporic nostalgia as spectres. &nbsp; Retrograde 逆行 (2025) concludes the trilogy with a two-channel film that returns to the sites as the artist and the performer confront the rapid political shifts in the city they once called home. Partly scripted and partly a documentary, the spectres from the past return to multiply, fragmentise and refract the narratives, as a response to Akbar Abbas’ observation of Hong Kong’s culture of disappearance. Through remembering, rehearsing and re-enacting, the performer and the artist negotiate their relationship to Hong Kong, alongside the city’s asymmetries. Against a backdrop that is personal and political, the work interrogates opacity of the diaspora artist in grief for their homeland. The destiny is always a return, even when it is slippery. Seeing the sites quickly, allegorically, and partially, Retrograde 逆行 is a conclusion that signals towards an uncertain future from the periphery, shapeshifting from a disappearing culture to its haunting and cyclical returns. <img width="2560" height="1440" width_o="2560" height_o="1440" data-src="https://freight.cargo.site/t/original/i/8d4c7cd07871fc305a4c5dbe785dabce5ec5436efaba36cb19439a8e7d600cf8/reprise_screenshot_06.png" data-mid="236873200" border="0" src="https://freight.cargo.site/w/1000/i/8d4c7cd07871fc305a4c5dbe785dabce5ec5436efaba36cb19439a8e7d600cf8/reprise_screenshot_06.png" /><img width="2560" height="1440" width_o="2560" height_o="1440" data-src="https://freight.cargo.site/t/original/i/c7f16c491d505f10b6cbd6909a90e620c105c880934ea430f74e942f7e82d06a/reprise_screenshot_03.png" data-mid="236873214" border="0" src="https://freight.cargo.site/w/1000/i/c7f16c491d505f10b6cbd6909a90e620c105c880934ea430f74e942f7e82d06a/reprise_screenshot_03.png" /> <img width="1497" height="998" width_o="1497" height_o="998" data-src="https://freight.cargo.site/t/original/i/c05d06cfa12a70c1a42a448d2ac8115555e11b35c33f0e9ef8b9f35e0d98cafe/retrograde_06.jpg" data-mid="236873418" border="0" src="https://freight.cargo.site/w/1000/i/c05d06cfa12a70c1a42a448d2ac8115555e11b35c33f0e9ef8b9f35e0d98cafe/retrograde_06.jpg" /><img width="2048" height="1152" width_o="2048" height_o="1152" data-src="https://freight.cargo.site/t/original/i/bf76b839e65c395de9ebae76574ba669f3630469f888552f7c9f84bc9798d808/retrograde_2-channel_03.png" data-mid="236873432" border="0" src="https://freight.cargo.site/w/1000/i/bf76b839e65c395de9ebae76574ba669f3630469f888552f7c9f84bc9798d808/retrograde_2-channel_03.png" />Stills from Reprise, 4K digital with sound, 2023 Stills from Retrograde, 4K digital with sound, 2025 the unshakable destiny_2101 16mm film transferred to 2K digital with sound 5’46” 2021 Director/Writer/Editor/Producer: Nikki LamCast: Ching Ching HoCinematography: Bonita CarzinoProduction Design: Scott HeinrichCostume Design: Al ChanSound Design: Ben HarbColourist: Abe WynenCamera Assistant: Drew CollinsLighting/Gaffer: Francis Healy WoodArt Department: Andrew Huynh, Jaime Powell, Cheralyn Lim, Kelly Chan This project was commissioned by TarraWarra Museum of Art for Victoria Together and is supported by the Victorian Government through Creative Victoria and The SUBSTATION. The Unshakable Destiny: Reprise / 迴 4K Digital with sound13’26”2023 Writer / Director / Editor: Nikki LamProducers: Nikki Lam, Faith GuogaCast: Sasha Leong, Rebekah LinCinematography: Bonita CarzinoGaffer: Corey Clement Colourist: Sam McCarthy Colour: CrayonProduction Design: Scott Heinrich Costumes/MUA: Al ChanFood Styling: Nikki LamSound Design: Ben HarbSound Mix: Duncan Lowe at Infidel Studios Exhibition Sound Mix: Jon TjhiaSound Recordist: Josh PetersStill Photography: Leah Jing McIntosh, Abdul YusufProduction Assistants: Xen Nhà, Yasbelle Kerkow, Ari Tampubolon and Matthew Harkins Stand-in: Kelly ChanSpecial thanks: Marnie Badham, Phuong Ngo and Jaime Powell The Unshakable Destiny: Release / 捨 4K Digital, silent 7’45” 2023 Writer / Director / Editor: Nikki LamAnimation: Henry Lai-Pyne Colourist: Abe Wynen The Unshakable Destiny: Retrograde / 逆行 Two-channel, 4K Digital with 5.1 sound 29’24” 2025 Writer / Director / Editor: Nikki LamProducer: Nikki LamCast: Ching Ching Ho and Nikki LamNarration: Rebekah LinCinematographer: Bonita CarzinoLine Producer (Hong Kong): Chloe LeungColourist: Sam McCarthy Colour: Crayon2nd Camera Operator: HanaSound Recordist: Saturday ChuSound Design: Victoria PhamSound Mix: Jon TjhiaTitle Design: Jazlyn FungAssistant Editor: Antuong NguyenTranslations: Felix Ching Ching Ho and Nikki LamCaptions Assistant: IssacSpecial Thanks: Ani Phoebe, Scott Heinrich and Leah Jing McIntoshThis project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body.All political views suggested or depicted in this project belong to the artist-director only. The project does not represent the views of its casts, collaborators or presenters. <img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/8a4664b4d99fc0f43d8fcd2d70c24e70d3d1b7d373f6142e875a82d2292e52e5/only-the-future-revisits-the-past_01.JPG" data-mid="236873426" border="0" src="https://freight.cargo.site/w/1000/i/8a4664b4d99fc0f43d8fcd2d70c24e70d3d1b7d373f6142e875a82d2292e52e5/only-the-future-revisits-the-past_01.JPG" /><img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/45a14d9cc9ab0211bf93770f110aea94ada4be7d7297684d899fc5c4ad0991bd/only-the-future-revisits-the-past_04.JPG" data-mid="236873427" border="0" src="https://freight.cargo.site/w/1000/i/45a14d9cc9ab0211bf93770f110aea94ada4be7d7297684d899fc5c4ad0991bd/only-the-future-revisits-the-past_04.JPG" />Installation view at Only the future revisits the past, curated by Catlin Langford, Centre for Contemporary Photography, PHOTO 2024, Melbourne, 2024.&nbsp; https://nikkilam.info/spectral-wires Thu, 04 May 2023 15:42:14 +0000 nikki lam https://nikkilam.info/spectral-wires <img width="1998" height="1202" width_o="1998" height_o="1202" data-src="https://freight.cargo.site/t/original/i/0f29e8a84406266d6655805403330694e3478b1ba2d08300890dd7bed00260ab/spectral-wires_hero.jpg" data-mid="177667742" border="0" src="https://freight.cargo.site/w/1000/i/0f29e8a84406266d6655805403330694e3478b1ba2d08300890dd7bed00260ab/spectral-wires_hero.jpg" /> Spectral Wires lecture performance&nbsp; 24.02.2023 at Composite, Melbourne as part of Release Cycle,&nbsp;a collaborative curatorial project instigated by Diego Ramirez, Director of SEVENTH Gallery and Channon Goodwin from Composite. The programme stems from an interest in creating a dynamic and responsive context for the presentation of artists' moving image works being made now.&nbsp; [SCREEN: ghost fences] Wires across spectres of the past. Lines drawn, boundaries wrapped, modern borders are colonial imagination.&nbsp; A retrospective screening of works from the past and works to be made, Nikki breaks down her body of work into pixels, frames, memory and ghosts—making a proposition that we will always return to the image(s) that haunt(s) us. The phantom spills out of the screen. Quietly lingering. What are these images destined to? <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/1f33e3373b1f160f4e64a60c95cf8b7fbe934f69e777ab1271f4e00938a30b84/spectral-wires.jpg" data-mid="186553315" border="0" src="https://freight.cargo.site/w/1000/i/1f33e3373b1f160f4e64a60c95cf8b7fbe934f69e777ab1271f4e00938a30b84/spectral-wires.jpg" /> https://nikkilam.info/departure-for-a-disjointed-reality Mon, 11 Aug 2025 17:26:43 +0000 nikki lam https://nikkilam.info/departure-for-a-disjointed-reality <img width="1696" height="1295" width_o="1696" height_o="1295" data-src="https://freight.cargo.site/t/original/i/1d57270a43638840864cb11db39afa8b53f2f0e0c797976345a3adac9d8c1807/Departure-for-a-Disjointed-Reality_Screen-Shot-2021-08-29-.png" data-mid="236930054" border="0" src="https://freight.cargo.site/w/1000/i/1d57270a43638840864cb11db39afa8b53f2f0e0c797976345a3adac9d8c1807/Departure-for-a-Disjointed-Reality_Screen-Shot-2021-08-29-.png" /><img width="1685" height="1301" width_o="1685" height_o="1301" data-src="https://freight.cargo.site/t/original/i/e330e0859d7892cd666c548631265110db6a39f14e019f9172a9d3a53f9b6044/Departure-for-a-Disjointed-Reality_Screen-Shot-2021-08-29-2.png" data-mid="236930055" border="0" src="https://freight.cargo.site/w/1000/i/e330e0859d7892cd666c548631265110db6a39f14e019f9172a9d3a53f9b6044/Departure-for-a-Disjointed-Reality_Screen-Shot-2021-08-29-2.png" /><img width="600" height="338" width_o="600" height_o="338" data-src="https://freight.cargo.site/t/original/i/58db5f826668d508f1e72aa9f6258eb6dc8d9923f1b8c84b5a2e4afb129999e8/free_acnh.gif" data-mid="236931033" border="0" src="https://freight.cargo.site/w/600/i/58db5f826668d508f1e72aa9f6258eb6dc8d9923f1b8c84b5a2e4afb129999e8/free_acnh.gif" /> [GIF: Protest flag code for Animal Crossing New Horizons.] Departure for a Disjointed Reality is a digital project about ‘dreams’, coded language and an inaccurate and somewhat fictional documentation of Hong Kong 2019-2020. It was commissioned by Running Dog for Issue Two: Crowd the Revolution, published July 2020. The project was online between 2020-2025.&nbsp;[original link here] * [excerpts] It feels humid and warm. A fire in your chest and a lingering headache. Inhaling through the face mask, you are reminded of what ‘dreams’ are made of. You start to lose sight over the details of the dreams, how they started, why you are here. You feel everything through the multitudes of screens, through the action of your finger swiping up. You are as awake as you are asleep. *<img width="640" height="480" width_o="640" height_o="480" data-src="https://freight.cargo.site/t/original/i/95ab0a9f858843153c35cf215a59f7bab714ad55adfc44dd008af3c3d282aab7/_3_HowdoHongKongersfeel_final3.gif" data-mid="236931032" border="0" src="https://freight.cargo.site/w/640/i/95ab0a9f858843153c35cf215a59f7bab714ad55adfc44dd008af3c3d282aab7/_3_HowdoHongKongersfeel_final3.gif" /> https://nikkilam.info/heavens-for-a-single-noodle-in-the-past Tue, 28 Jun 2022 01:09:41 +0000 nikki lam https://nikkilam.info/heavens-for-a-single-noodle-in-the-past <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/2c04e1bb0320118825273d82f8f048af3010e98f6ff3e0e405e1e25c57768861/feast-of-resistance-1.jpg" data-mid="146540224" border="0" src="https://freight.cargo.site/w/1000/i/2c04e1bb0320118825273d82f8f048af3010e98f6ff3e0e405e1e25c57768861/feast-of-resistance-1.jpg" /><img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/ee651ac5964d37e3c23939ef4162e698bb53fdc12ae36af1f9dfbc800043d186/feast-of-resistance-2.jpg" data-mid="146540225" border="0" src="https://freight.cargo.site/w/1000/i/ee651ac5964d37e3c23939ef4162e698bb53fdc12ae36af1f9dfbc800043d186/feast-of-resistance-2.jpg" /> ꫝꫀꪖꪜꫀꪀᦓ for a single noodle in the past is a food blog set in Neo-HK, about an experiential dining spa (EDS) specialises in instant noodles degustation served with nostalgia. The story is published in Feast of Resistance in 2022. <img width="3710" height="2782" width_o="3710" height_o="2782" data-src="https://freight.cargo.site/t/original/i/064ee7437f2f4f7b4326affb8b67f0562a70035729e742bb019d117034b3a63e/feast-of-resistance-cover-copy.jpg" data-mid="146540226" border="0" src="https://freight.cargo.site/w/1000/i/064ee7437f2f4f7b4326affb8b67f0562a70035729e742bb019d117034b3a63e/feast-of-resistance-cover-copy.jpg" /> Feast of Resistance 64 pages, 148 x 210mm softcover risograph Edition of 100 Curated/Edited by Priya Pavri Published by Person Books Design by Thomas McCammon and Tyrone Ormsby This project was supported by SEVENTH Gallery and Yarra City Arts https://nikkilam.info/Ascension-in-a-Cloud-of-Smoke Tue, 12 Aug 2025 09:23:08 +0000 nikki lam https://nikkilam.info/Ascension-in-a-Cloud-of-Smoke <img width="1485" height="1049" width_o="1485" height_o="1049" data-src="https://freight.cargo.site/t/original/i/d88bbac6710d5d97a363c90d47d27fe4d5008d8e3aa00b74c802ee2ed80268e7/iStock-90686441_v3.jpg" data-mid="236955926" border="0" src="https://freight.cargo.site/w/1000/i/d88bbac6710d5d97a363c90d47d27fe4d5008d8e3aa00b74c802ee2ed80268e7/iStock-90686441_v3.jpg" /> Image: Wong Tai Sin Temple,&nbsp; stock image Ascension in a Cloud of Smoke&nbsp; Commissioned for Forensic Architecture’s Cloud Studies&nbsp;at UTS Gallery, Sydney, 2020 ︎︎︎ Read Ascension in a Cloud of Smoke&nbsp; ︎︎︎ About Cloud Studies︎︎︎ Listen to the essay here https://nikkilam.info/Anchor-and-A-Loose-Thread Sat, 22 Aug 2020 03:53:05 +0000 nikki lam https://nikkilam.info/Anchor-and-A-Loose-Thread <img width="2500" height="1549" width_o="2500" height_o="1549" data-src="https://freight.cargo.site/t/original/i/85e6882a62df9974399b77640a485ab8a94796f72840ebd2321d6203c87f5db3/NL_Anchor-and-A-Loose-Thread_install_01_WEB.jpg" data-mid="82183892" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/85e6882a62df9974399b77640a485ab8a94796f72840ebd2321d6203c87f5db3/NL_Anchor-and-A-Loose-Thread_install_01_WEB.jpg" /> Anchor and A Loose Thread — 錨，和懸絲2019Two-channel video installationDimensions variable Dancers: Tso Han-Jie 左涵潔 and Mimi Chang 張心瑜Sound Design: Supina Bytol and Conor O’HanlonInstallation view at Young Art Space, Pier 2 Art CenterThis project was created during an artist residency at Pier 2 Art Center, Kaohsiung, TaiwanSupported by Pier 2 Art Center, Bureau of Cultural Affairs, Kaohsiung City Government and Ministry of Culture (Taiwan) ︎︎︎please contact artist for online screener To remember is to have an anchor for your belonging. Anchor and A Loose Thread explores elements of memory, its condition within the body and its image when materialised. In collaboration with dancers Tso Han Jie and Mimi Chang, Nikki Lam’s two-channel video examines the contradictory and entangled relationships between memories, the body and their records, both from within and through image documentation. Anchor and A Loose Thread continues the artist's research into post-colonial hybridity through personal and collective memories. The work describes an exchange of memories between artist Nikki Lam and dancers Tso Han Jie and Mimi Chang. Lam drew on her personal histories of a multi-faceted identity (Hong Kong / Australian), and her ongoing investigations into the concept of belonging and remembering. Using elements such as object, site and poetry as provocations, Tso and Chang were invited to respond with movements from the past, reimagined, as well as gestures developed then and there, improvised. Through rigorous translations at every part of the process—from English to Cantonese to Chinese, Lam is particularly interested in the untranslatable details. Repeatedly framing and re-framing Tso and Chang’s movements, either through shooting or editing, fragments of their memories are constantly re-considered. Between the artists, this process of materialising memory become a group exercise of recordings and translations. Of these records, historical sites such as Cijin Fort and Zongye stood quietly in reference to Taiwan’s past, while Tso and Chang personal stories informed their movements in relation to these locations. Stitching together a disjointed narrative, these elements question our ways to remember and to forget. A sort of remembering that echoes our/my/their memory through the looking glass. Such is the post-colonial condition of memory. — 記憶是怎樣在身體裏面發生的我的記憶，是在翻譯再翻譯之中忘記了的一些很幼細的小動作丶一些在關折之間磨擦著的已忘記了的感覺。 How does memory materialise within the body?After multiple translationsMy memory is left with small, delicate gesturesFamiliar sensation within my jointsSensation, that is forgotten記憶活在身體裡，身體是記憶的延續影像浮游在中間，只有一條線在輕輕的繫着…… &lt;錨，和懸絲&gt; 這件作品探索組成記憶的元素，它如何存在身體裡，又如何透過影像具現。藝術家本次與舞者左涵潔、張心瑜合作，以雙頻道錄像形式呈現，透過畫面及影像紀錄，檢視記憶、身體與其留下的紀錄之間矛盾糾葛的關係。記憶，去記住些什麼，就能為自己歸屬何處下錨。但記憶是會變的。這件作品就是那兩者之間發生的一切。 <img width="2500" height="1468" width_o="2500" height_o="1468" data-src="https://freight.cargo.site/t/original/i/e28bc0d8fb30412839b6a89912b7f11c39056847e1ee965f7d787161b1331ae2/Anchor-and-A-Loose-Thread_install_02-copy.jpg" data-mid="82183908" border="0" src="https://freight.cargo.site/w/1000/i/e28bc0d8fb30412839b6a89912b7f11c39056847e1ee965f7d787161b1331ae2/Anchor-and-A-Loose-Thread_install_02-copy.jpg" /> 在這空間裡，沒有什麼算是傳統的因為傳統只是一些對過去的想像。一些浪漫的情感一些斷片，似有非無的是怎樣發生的？ 像那紅當當的燈，是過年的還是中秋的？記憶沒壞眼前的卻似是而非。記不起是誰的傳統，都一樣。 那些身體上的矛盾，早已消失。是同化了還是不記得，我不清楚...... — 我們以過去時光殘留的分子組織記憶的團塊。那是氣味、聲光集結，隨時間在我們心中裹裝成形的破碎匯合。那些畫面不是可靠一致的，而是反映每一當下的心思─每一次的回想，我們身心會產生一組新的、符合當下形式的記憶，產製出一組組可隨用拋棄的版本。事實究竟為何、如何發生，已非關鍵；記憶是每一剎那。當我們試著從鏡頭捕捉那些畫面，那些被框定的、調動的、定義的，都成為自身的實證。 <img width="2864" height="1620" width_o="2864" height_o="1620" data-src="https://freight.cargo.site/t/original/i/0f382ba64b0dbd06da5df78b60c8fdf13f3eb921b4d550707b55b99227111cbe/Anchor-and-a-loose-thread_03.jpg" data-mid="82183916" border="0" src="https://freight.cargo.site/w/1000/i/0f382ba64b0dbd06da5df78b60c8fdf13f3eb921b4d550707b55b99227111cbe/Anchor-and-a-loose-thread_03.jpg" /> As you try to remember, molecules from the past find each other to form a cluster. A compilation of fragmented elements such as scent, sound and colours gather, and warp in our minds as time passes. Instead of a solid and consistent image, the cluster reflects only with your thoughts in the now. Every time you recall an image, your body and mind create a new, current form of that memory. The current form off that memory is a version that is almost disposable, an unique one-off. How it happened is no longer relevant. It is temporal and impermanent. When we try to capture such image through the camera lens, it is at once framed, shifted, defined, becomes its very own record. Never repetition, only imagined records of the many pasts.那些畫面並非復現，而是對諸繁昔日時光的想像。 <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/8953d4dbc6e051deab50405daa46a771dfa8c622198e60ddb20e3231540844f2/Anchor-and-A-Loose-Thread_install_04_WEB.jpg" data-mid="82183774" border="0" src="https://freight.cargo.site/w/1000/i/8953d4dbc6e051deab50405daa46a771dfa8c622198e60ddb20e3231540844f2/Anchor-and-A-Loose-Thread_install_04_WEB.jpg" /> Translation assisted by Betty Yang. https://nikkilam.info/Anchor-A-Prelude Mon, 12 Oct 2020 11:34:41 +0000 nikki lam https://nikkilam.info/Anchor-A-Prelude <img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/9ae66cb3bc7cf5ad190af26930aebe5c008197c6dce55fbea5c1c542f1ba0d9e/Nikki-Lam-Anchor-Prelude-03.jpg" data-mid="85329820" border="0" src="https://freight.cargo.site/w/1000/i/9ae66cb3bc7cf5ad190af26930aebe5c008197c6dce55fbea5c1c542f1ba0d9e/Nikki-Lam-Anchor-Prelude-03.jpg" /> Anchor: A Prelude2018HD video with sound, wood and shoji paperThis project was created during an artist residency at Studio Kura as part of Itoshima Art Farm International Art Festival. To remember is to have an anchor for your belonging. Exploring the condition of movements, politics of memory and resistance of the colonial gaze, Anchor: A Prelude is a video exhibition that echoes the artist’s memory in a shifting context where the horizon is warped and time is irrelevant. It is a starting point, a resonance, an act of remembering—much like a warm reminder of a rootless home. <img width="1000" height="563" width_o="1000" height_o="563" data-src="https://freight.cargo.site/t/original/i/f1645799258c259043f560dc1537c500a80c099e5d9c5aabe33c8dc63dcdaf48/Nikki-Lam-Anchor-Prelude-01.png" data-mid="85329828" border="0" src="https://freight.cargo.site/w/1000/i/f1645799258c259043f560dc1537c500a80c099e5d9c5aabe33c8dc63dcdaf48/Nikki-Lam-Anchor-Prelude-01.png" /><img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/79692a16c313fb2d7fd73bada28ce998045ff7b168147a64f5b334802822627b/NL_Anchor_Kura_small.jpeg" data-mid="85329260" border="0" src="https://freight.cargo.site/w/1000/i/79692a16c313fb2d7fd73bada28ce998045ff7b168147a64f5b334802822627b/NL_Anchor_Kura_small.jpeg" /> https://nikkilam.info/Before-After Mon, 12 Oct 2020 11:43:53 +0000 nikki lam https://nikkilam.info/Before-After <img width="1000" height="563" width_o="1000" height_o="563" data-src="https://freight.cargo.site/t/original/i/0e4154410f7ca0bc9ae1597e34458c77409908e0ec033609eedd7e2a2753ff63/Nikki-Lam_The-Distance-2018_small.png" data-mid="85330093" border="0" src="https://freight.cargo.site/w/1000/i/0e4154410f7ca0bc9ae1597e34458c77409908e0ec033609eedd7e2a2753ff63/Nikki-Lam_The-Distance-2018_small.png" /><img width="5842" height="3288" width_o="5842" height_o="3288" data-src="https://freight.cargo.site/t/original/i/0cbf28e9325897669ae380f45932fe41d11f5b7fbaeffd72d54a4a1ffd2b9742/NL_Before-After_Still_01.jpg" data-mid="85330352" border="0" src="https://freight.cargo.site/w/1000/i/0cbf28e9325897669ae380f45932fe41d11f5b7fbaeffd72d54a4a1ffd2b9742/NL_Before-After_Still_01.jpg" /> The Distance / 與過去的距離2018Two-channel HD video with sound Sound Design: Stefan Evan NiedermeyerPerformance videography: Scott Heinrich Everything exists in continuity. Before After 以前丶以後 is part visual memoir, part investigation of our connections to place through gestures. Through the process of collecting, learning and re-performing gestures, new meanings are added through adaptation. Like dreams of the past living through veins and imaginations, what was inherited, what was left, was muscle memories and a cluster of dislocated hopes never to be fulfilled. This is an attempt to portray the remembering of a migrated history. The solo exhibition was held at Roslyn Smorgon Gallery, Footscray Community Arts Centre in 2018. <img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/42d70b74e5cbee8fde57bba750d48055fca6376adf15761aa1313a33f3f89336/Nikki-Lam_Before-After_Installation-view_01.jpg" data-mid="85330081" border="0" src="https://freight.cargo.site/w/1000/i/42d70b74e5cbee8fde57bba750d48055fca6376adf15761aa1313a33f3f89336/Nikki-Lam_Before-After_Installation-view_01.jpg" /><img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/107f7e9a303cfe0a1dc9614c14b0d836ebfee4b8f4329a2003fd4604dd69e6f1/Nikki-Lam_Before-After_Installation-view_02.jpg" data-mid="85330083" border="0" src="https://freight.cargo.site/w/1000/i/107f7e9a303cfe0a1dc9614c14b0d836ebfee4b8f4329a2003fd4604dd69e6f1/Nikki-Lam_Before-After_Installation-view_02.jpg" />It’s okay to be temporary2018HD video on vertical screen <img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/d185af33dabb93f4c36b607b160825c676b92cb3fb171223080e42e90c939252/Nikki-Lam_Before-After_Installation-view_03.jpg" data-mid="85330084" border="0" src="https://freight.cargo.site/w/1000/i/d185af33dabb93f4c36b607b160825c676b92cb3fb171223080e42e90c939252/Nikki-Lam_Before-After_Installation-view_03.jpg" />Escaping you / 逃避你2018Digital print on six georgette panelsDimension variable <img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/7474aa64fc413c4cc412164fc34a2b59f7a2bc07275c638322cf2c09a9705351/Nikki-Lam_Before-After_Installation-view_04.jpg" data-mid="85330085" border="0" src="https://freight.cargo.site/w/1000/i/7474aa64fc413c4cc412164fc34a2b59f7a2bc07275c638322cf2c09a9705351/Nikki-Lam_Before-After_Installation-view_04.jpg" />The Distance / 與過去的距離2018Two-channel HD video with sound https://nikkilam.info/Still-what-is-left Mon, 12 Oct 2020 11:50:22 +0000 nikki lam https://nikkilam.info/Still-what-is-left <img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/d9f7c8d00430f643dbb86da8c925d83b3fa32782a8a4c6f9a76d1f9b9b17b993/still-what-is-left_Nikki-Lam_01_WEB.jpg" data-mid="85330553" border="0" src="https://freight.cargo.site/w/1000/i/d9f7c8d00430f643dbb86da8c925d83b3fa32782a8a4c6f9a76d1f9b9b17b993/still-what-is-left_Nikki-Lam_01_WEB.jpg" /> Still... what is left2018Two-channel video installation and performanceSound Design: Supina Bytol and Beatrice LewisVideography: Scott Heinrich Still... what is left explores the abstraction of rituals and their residue as a result of migration. Neither here nor there, gestures merged from the past and re-imagined as the artist re-performs gestures from the past. Cycles of repetitive gestures conjure the emotions of performing a ritual, particularly for those who no longer practice them. I cannot rememberthe stories, gestures, movementsEvery detail is re-appropriated.Bow your head,palms togetherAshes on bowls of rice I cannot rememberArms open,eyes closedSmall steps forwardCrotch over a paper bridge In a white funeral hallThe bell ringsFlashes of light— Resonance of the past.It breaks awayIt pauses,retraces its stepssees a double imageI cannot remember What is leftstill, I seeis what it oughts to be. <img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/379b5b1a876d5ef6f2e165b81ab7c02f535b997604d58b521be27abc39051632/Hyphenated---Lam--N-Web-01.jpg" data-mid="85330555" border="0" src="https://freight.cargo.site/w/1000/i/379b5b1a876d5ef6f2e165b81ab7c02f535b997604d58b521be27abc39051632/Hyphenated---Lam--N-Web-01.jpg" />Still... what is left, 2018, Installation view at Hyphenated, The Substation The video was adapted into a three-channel installation with live performances and presented at Underbelly Arts Festival 2017 as part of Resonance by Anonymous Migrant. <img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/b308905c883f1adaf273a13cc500dbb93b46634a2851e31d275029dc5b32e616/NL_Underbelly_Installation01_WEB.jpg" data-mid="85330559" border="0" src="https://freight.cargo.site/w/1000/i/b308905c883f1adaf273a13cc500dbb93b46634a2851e31d275029dc5b32e616/NL_Underbelly_Installation01_WEB.jpg" /> Performances throughout Underbelly Arts Festival, October 2017, photos credit Tim da Rin <img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/fb46cd870a83195220268a91ecfbd767d7b434ac496f325816234d5d8c774974/Resonance-at-Underbelly-Arts-2017--photo-credit-Tim-da-Rin.jpeg" data-mid="85330571" border="0" src="https://freight.cargo.site/w/1000/i/fb46cd870a83195220268a91ecfbd767d7b434ac496f325816234d5d8c774974/Resonance-at-Underbelly-Arts-2017--photo-credit-Tim-da-Rin.jpeg" /><img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/729bb4b7cb454409f589e9eee4d6896d4cf3a7a281309a526aa824f21fcf5deb/Resonance-at-Underbelly-2017--credit-Tim-da-Rin.jpeg" data-mid="85330560" border="0" src="https://freight.cargo.site/w/1000/i/729bb4b7cb454409f589e9eee4d6896d4cf3a7a281309a526aa824f21fcf5deb/Resonance-at-Underbelly-2017--credit-Tim-da-Rin.jpeg" /> Resonance, 2017Visual concept, video and installation: Nikki LamPerformance: Nikki LamSound design: Sudeep LingamneniCinematography: Scott HeinrichDramaturg: Felix Ching Ching Ho The project is supported by Footscray Community Arts Centre and Underbelly Arts.