In the New Gallery, four groups of works unfold the narratives of individuals from different parts of the world to the audience. In The Statues, Itziar Okariz leads the audience into the world of subjectivity through a performance in which she dialogues with sculptures. In Diary of Dreams, she records the contents of her dreams in words and shared them live during the exhibition period.

Sky Hopinka’s film Lore pays homage to the experimental film created by American artist and photographer Hollis Frampton in the 1970s. Hopinka combines archive images and his own poetry to tell a story about history and emotion.

The new series of paintings created by Tirdad Hashemi and Soufia Erfanian are full of love and remembrance for their loved ones. Their work also echoes Guanyu Xu’s on-going series of photographs titled "Resident Aliens", which offers a kind of personal experience and witness of immigrant life. It also reveals people's imagination of a better life.

In these four sets of works, characters from different cultural backgrounds seem to be whispering their own happiness, pain, and longing in stories that, although seemingly unrelated, share something both intimate and warm.

As we move on to the Central Gallery, we enter a field where tradition and modern energy intertwine. Artists with different backgrounds take their own approaches to interpret contemporary lives and the complex development of post-globalization, and depict a collective and historical vision from their unique perspectives. For example, Asli Çavuşog̃lu & İnci Eviner try to redeem a highly-polluted Turkish river via painting with a kind of shamanic call. Feng Zhixuan, through sculpting with mixed materials, tells the myths of technology and the history of trade in a time that collapses the ancient and post-human eras. Chin Tsao’s sculptures explore the historical interplay between the East and West, the fusion between the past and the future, and the evolving identities along with globalization. Evelyn Taocheng Wang, in her “False Poster” series, appropriates established propositions from the literature, and provides commentary from a contemporary standpoint; she also liberates the mediums of ink painting and calligraphy from their traditional methods of production.

Aleksandra Domanović’s sculptures, which overlap with the timeline of technological inventions, explore the intimate relationship between women and the history of technology. Ma Qiusha’s latest work titled “Flowers in the Mirror” appropriates, arranges, and reconstructs historical objects in a movable display window, destabilizing the historical certainty of those objects and opening up imaginative pathways that, together with the flow of production and trade they embody, activate collective memories and personal emotions.

In Peng Zuqiang’s most recent work, Autocorrects, the artist uses pop music to consider the identity of the other in cultural sentiment, swinging between the “you” and “I” that are constantly corrected and replaced in a collective dream, prompting thoughts on the extension, remembrance and fragility of mental and emotional worlds. Yuyan Wang’s recent filmic installation The Sleeping World Turns Around collages a wide range of found footage to depict an artificial lighting structure in a fictive world, inspiring the viewer to reflect on technological myths.

In the work It's Always You, Sin Wai Kin role-plays as the four different members of a boyband. Each role embodies a different identity that transcends the gender binary in their own uniqueness, revealing an overarching dream-making mechanism behind the idol culture that connects between desire and emotions. Coming to the end of the exhibition, we present Doreen Chan’s HalfDream, which invites the audiences to delve into “Dream Time” and share their own dreams with the others.