透过Felix Bacolor, 严善錞, Wah Nu, 白双全和谢淑妮的作品，联展《Slipping Transmission》尝试追踪与放大日常生活中行為与静止之间难以捉摸及不言明的界线。利用摄影、录像、绘画及雕塑的帮助，展览同时亦探索各媒介保存与记录逝去时间中的漏弊。

摄影和其它媒介可被认為是一种记载生活演化成静止回忆过程的记录。但在纯记录过程裡，它们并不能够完全保存经歷中的行為元素； 一段曾经悉心编排的演出待变為一个被动和无声的「图像」。《Slipping Transmission》裡的「图像」不仅仅是摄影、绘画及录像，它们同样实验性地代表著一个经歷; 一个被捆绑的时间形态。

接近扰乱 「图像 」中的惯性，《Slipping Transmission》的作品暗示著无处不在的不完整性。从不同结构和题材来看，每件作品也各有它们针对「图像 」裡惯性的扰乱元素。像谢淑妮的作品「在美洲移离欧亚之地等候著系列 no. 1393」中的椅子或严善錞的作品「苏堤」的水平线， 它们体现了平静画面与行為之间的紧张和摩擦。它们不单压缩了从行為到思考，存在到不存在的传达过程，同时亦提问当行為变成影像时，从流态至静态的过程中所產生的不完整和不完美性。

Osage Soho is pleased to present group exhibition Slipping Transmission.

Through the works of Felix Bacolor, Yan Shan Chun, Wah Nu, Tozer Pak and Shirley Tse, group exhibition Slipping Transmission traces and magnifies the evasive and implicit line that slips in between performing states and still moments of the everyday life. With the aid of photography, video, painting, and sculptural objects, the exhibition at the same time aims to explore the imperfections of these mediums in preserving and recording the slippage of time.

Photography and all the other medium of representation can be considered to be a record that witnesses the passage of a living experience into a static and imprinted memory of a past and lived one. Nonetheless being a pure record, they fail in preserving that performative element. What was once a choreographed performance is now a mere static and passive “image”. The “images” shown in Slipping Transmission thus are not only canonical photographs, paintings or videos, but also objects and structural entities. These images are a tentative representation of an experience, a leap of time that was framed and encapsulated into a passive stillness.

Almost on the verge to disrupt the inertia of the "image", the artworks in Slipping Transmission allude to an ever present feeling of incompleteness. Different in composition and subject matter, each one of these artworks have within themselves an element that disturbs the inertia of the image. Be it a bench as in Shirley Tse’s “Waiting at the Place Where America Parts from Eurasia Series No. 1393”or the horizon line in Yan Shan Chun’s “Su Causeway”, these factors epitomize the tension/friction between the movement and action that the image alludes to and the stillness of the image itself. They serve as spectacles that not only encapsulate the dualistic nature of the transmission between action into thoughts , presence and absence, but also question the incomplete and imperfect imposition that arises from the crystallization of an event from a fluid form into a still image.