EXHIBITION
綠水青山
THE LANDSCAPE
SOLO EXHIBITION
ACO Art Space, Foo Tak Building, Hong Kong
2021
牛頭未見四祖時如何？青山綠水。
見後如何？綠水青山。
（宋·釋普濟《五燈會元》）
是次展覽《綠水青山》借用古畫典故，代入現今社會語境，以繪畫探索對地方的感受。
創作者因疫情而長時間在家工作，無聊期間，除對自身未來有所困惑外，亦發展出以螢光筆繪畫的技巧，並以此作為展覽的創作媒介。創作者以螢光筆這種常用的文具，繪畫創作者在香港的日常經驗，並利用展覽空間的安排，致令畫中不同影像重迭，讓創作者的記憶融於對地方的記錄當中。
「青山不改水長流。」縱然地方常在，但人事或變，保重。
The exhibition consists of Chinese paintings painted with highlighter.
In the paintings, places in Hong Kong that are important to the artist were included.
By emphasizing the effect of the paintings under the change from visual light to UV light, the artist wants to depict his feeling on the changes of his hometown, Hong Kong.
微明
SUBTLE LIGHT
GROUP EXHIBITION
GOTHE INSTITUT, Arts Centre, Hong Kong
2021
展覽由策展人陳文俊和風水師傅花千閔聯合策劃。五位香港藝術家以陶藝、裝置、繪畫、攝影和聲音等創作媒介，融入風水概念，思考香港城市生活與人的關係。
藝術家在香港各地埋藏五件以龍為意象的五行風水物，以其與前朝的關係，祝福這片土地。
The exhibition is curated by Chan Man Chun in collaboration with local Feng Shui master Fazenman. Under the framework of Feng Shui, works including ceramics, installation, painting, photography and sound by five Hong Kong artists contemplate the relationship between the body and urban space of Hong Kong.
The artist hide 5 Fung Shui objects with the imagery of Dragon according to 5 elements in different places in Hong Kong. Interacting with the former dynasty legacy, the artworks could bless the place.
第十二小時
At the Twelfth Hour
SOLO EXHIBITION
Flux Factory, Long Island City, New York, US
2019
《第十二小時：一個香港人的告白》謝斐 個展
如果俚語「第十一小時」的意思是最後的一刻，那麼「第十二小時」所表達的，就是錯過之後的內疚。 香港自2019年6月起陷入政治亂局，一方面反對修訂逃犯條例的示威越趨激烈，另一方面政府一直對市民的訴求無動於衷。而我卻在此時，要無奈離開故鄉，前來紐約，作駐留藝術家。 由於總是無法自控地觀看示威直播，我在這一個多月來一直未能適應紐約的生活。是次展覽借助香港和紐約的十二小時時差，向觀眾訴說我在異地的無力感與鄉愁，並探討物理距離與虛擬網絡之間的角力。 但願我回港之時，未致後悔莫及。
"At the Twelfth Hour - Confessions of a Hongkonger" (Solo Exhibition by Tse Fei)
If the idiom "the eleventh hour" means the last moment, then "the twelfth hour" expresses the guilt after the miss. Hong Kong has been in political chaos since June 2019. As the anti-extradition bill movement continues to intensify, the local government has stayed brutally blind to the demands of the public. As untimely a career move as it was, I had no choice but to leave my hometown for New York and become a resident artist. Despite more than a whole month's stay in New York, I failed to adapt to my daily life - I just could not refrain from binge-watching live videos of the demonstrations in Hong Kong. The exhibition uses the 12-hour time difference between Hong Kong and New York to highlight my desperation and homesickness while exploring the wrestling between physical distance and virtual network. I hope that when I return to Hong Kong, I do not rue the day for missing out on too much.
612當日, 我____
On 12th, June...
GROUP EXHIBITION
L1 Gallery, JCCAC, Hong Kong
2020
「612當日，我＿＿＿」，在JCCAC看幾個年輕藝術家們利用影像，繪畫及雕塑等媒介，為這個風雲時代留下的小小紀錄，讓我們重拾2019下半年至今的回憶碎片。「黎明前的黑暗是最黑暗」，但我們始終相信──只要初衷不變，終有一日，光會照耀我城。
香港起動15
HKFOREWORD15
GROUP EXHIBITION
10 Chancery Lane Gallery, Hong Kong
2015
HKFOREWARD15 is an exhibition showcasing recent works by young Hong Kong art graduates. The HKFOREWARD series, organized by 10 Chancery Lane Gallery, aims to actively promote and strengthen relations between the new generation of contemporary artists in Hong Kong and local art institutions.
密件〡致九龍城－視藝社區起動
(BBC) to Kowloon City－VArtCommunity
GROUP EXHIBITION
HKBU AVA, Hong Kong
2014
經驗轉變The Changing Experience
with Chan Man Chun
Mixed Media (wood, glass, light, door)
a constructed tunnel of 12m
2014
陳文俊與謝斐共同創作關於九龍城今昔與空間運用的裝置作品，思考九龍城標誌性地貌的變化。他們製造象徵性的空間經驗，同時描述九龍城的成長和消逝，張力與平淡。
The installation by Chan Man Chun and Tse Fei is related to the spatial arrangement of Kowloon City in the past and present, reflecting on the changing landscape of the district. They combine spatial experiences with symbolic forms, depicting the growth and disappearance, as well as the tension and tenderness of the district.
