By Pei-Shin Hung

“202109152144” takes as its starting point a photograph of a circular skating rink nestled between high-rise buildings, captured at 21:44 on September 15, 2021. It looks back at a friendship and body memory connected by skateboarding. Reopening this image on the cusp of 2025 to 2026 is like opening a crack in time: the bodies of the past, the future yet to be formed, and the reality currently faced echo, overlap, and haunt one another in the exhibition.

Skateboarding was once the way in youth to understand oneself and spend long nights with friends. As one grows older, life changes roles, time is segmented by responsibilities, and personal time is quietly appropriated by utility and efficiency. Skateboarding thus becomes a light left behind, much like the passions people gradually let go of in reality, slowly consumed by the relentless pace of moving forward. While centered around an encounter sparked by skateboarding, the exhibition is about more than just the sport. It touches upon how people use bodily action to create fissures and redefine boundaries, community, and bodily perception in the highly regulated and rapidly changing contemporary Asian city. Skateboarding is not merely a domain for sport; it is an act of “occupation” and “redefinition” of public space. It challenges the urban rules of who can stay and who is expelled, leaving behind evidence of resistance against erasure through traces, friction, and moments of gathering and dispersal.

Returning to the bodily movement itself, the world of skateboarding is characterized by the jump, yet the first thing a beginner faces is not how to jump, but how to fall. Starting from the first step of the most basic trick, the Ollie, the core of skateboarding practice is not how to fly, but how to land. Falling here is not equivalent to failure; it is more like a method, a different rhythm from the everyday, and a process for the body to learn how to be free. Each fall is a slight adjustment to body memory. That experience of “it’s okay to fall” is like the body temporarily escaping discipline, finding a moment of empowerment. Skateboarding is inherently resistant to discipline. It reinvents everyday spaces—streets, stairwells, and gaps—turning the city into a fluid, reimagined physical arena. The skater's body is constantly in the dynamic state of “potential to fall,” and this dynamic constitutes creativity, constantly trial-and-erroring, challenging gravity and fear, and breaking through. Again and again, Skate Time Again marks not only a return to skateboarding but also the cycle of practice, and the constantly recurring fissures of reality in life. Through falling, the skater understands that every landing is accompanied by the power and resilience to restart.

This exhibition is like an experiment, simultaneously intimate and public, with three creators working across different media: Aaron Horse’s sculptures bend, repeat, and deform public space obstacles, loosening the normative logic people are accustomed to; Choco Tsao’s video work explores the ways of viewing and spatial experience through the shaping of personal image and embodied feeling; Huang-Sheng Su’s paintings, through jumping, soaring, and shifting perspectives, metaphorize the acute changes and psychological states the body experiences in motion. The skateboarding experience offers us a way of understanding that differs from the everyday, just as creation uses various expressions unlike before to identify the self, shape identity, and discover value. The exhibition itself resembles a non-linear temporal device, maintaining connection through the mutual support of time return, spatial dislocation, and bodily perception and sensibility. It stems from conversations during late-night practice sessions and expands to the shared survival experiences in contemporary urban society. The exhibited works showcase not only the personal trajectories of the three creators but also the spatio-temporal imprint left by an entire generation in the fissures of the city.




Curator｜Pei-Shin Hung
Born in 1988, lives and works in Taipei, Taiwan.

Pei-Shin Hung is a curator and art writer who obtained her Master of Fine Arts in Curating (MFA Curating) from Goldsmiths, University of London in 2024. Her practice primarily focuses on potentiality, temporality, and non-mainstream narratives, exploring how perspectives and memory shape cognition. She views curating as a process of listening and connection, concentrating on the rhythms of slowness, regeneration, and resistance.

In 2023, she co-curated the performance program "Sonic Friction" at Gasworks, London, with Crystal Li (Hong Kong) and Chu Zhou (China), which delved into sound and communal narratives. She also co-curated the exhibition "Wish You Good Health and Happiness" at Hsinchu City Art Gallery in 2022, which focused on faith and post-pandemic life. From July to September 2024, she participated in a Curator Residency (Art at Heart program) at eight Hackney Libraries in East London, conducting research with the local community. From 2014 to 2022, she served at the Taipei Fine Arts Museum, where she was primarily responsible for the planning and execution of public programs related to the Wang Da Hong House Theatre, and assisted with the Taipei Biennial and other related public activities.