Author Archives: lhm


‘The past is not “memory” but the archive itself, something that is factually

present in reality,’

-Boris Groys


Mixed media installation

Monitor, Schedule book, HGB record


                       I contemplate about what HGB is for me, what is inside the

archive of HGB. Then, I found a record, ‘Bericht der königlichen Akademie für

graphische künste und Buchgewerbe zu Leipzig 1912 bis 1914’, which is about

is out of our control in some ways. There are no script and no rehearsal for this

video. The record, which represents the history of HGB, is put next to the

security camera monitor to demonstrate the past and present. The monitor

shows the daily activity of a student’s apartment, which is happening ‘now’. The

past and present, the great university and the little student form a strong

contrast. The security camera is facing upward from the ground as to give a

unclear view of the environment and create a feeling of being peeped, or an

invasion of privacy, which normal position of security camera is placed from the

ceiling and facing downward in order to give a whole view of the space.

Moreover, the security camera is monitoring the main entrance of the apartment,

filming the in and out activities of the apartment, which responds to the official

HGB record of professors’ holiday. The live video describes different the

perspectives towards HGB from a student and from the authority. I have also

recorded the number of in and out activities of the main door, kitchen and

bathroom in order to respond to the HGB record.

On the other hand, the HGB record also includes the amount of

teaching material used from 1912-13. For example, 577 books and works and

496 single sheets are used. The books compose 59 art history, aesthetic, critic

books, 69 world and cultural history books…etc. The use of single sheets includes

64 sheets for etching, 22 sheets for woodcarving, 20 sheets for lithography…etc.

This detailed information is very rare nowadays and would not be able to find

it on HGB website. We have rich resources and technology nowadays and there is

no more need to control the usage of single sheets. I found these numbers are

very interesting and would like to further develop the concept by collecting the

number of books and paper usage in my daily life. Therefore, I started to record

how many book I read, how many paper I used and the purpose of use as a part

of the installation for this An_archive project in order to respond to the strict and

detailed HGB record. As I rarely use paper for artistic purpose currently, I also

counted the tissue paper usage everyday. The collected number will be a living

archive. Archive exists everyday. As Diana Franssen proposed, ‘looking at your

own archive through the lens of another archive [that] you are able to learn […]

about your different positions’.8 During the recording of number of tissue paper

usage in my daily life, I found that it is difficult to maintain the accuracy.

Sometimes I forgot to record after I consumed a few toilet papers. The HGB

record amazes me again with its accuracy and strictness. When I am recording

the numbers, I am actually making choices. Deciding what to be recorded or

deleted to build a personal archive.

Detail of HGB record, Photo by Chang an

Diese Garderobe, Rundgang 2017, Academy of Fine Arts Leipzig


Venue: Room 232a, Academy of Fine Arts Leipzig

The noblest pain

Water bottles, seawater from Hong Kong and Germany, texts, videoloop, parcel

6 x 6 x 23 cm, 7 x 7 x 24cm, Varible, 14 x 10 cm, 2’30 min, 36 x 25 x 21 cm


Time Traveling

Time travelling

A set of photo and documents


exhibited at ‘Full Stop’, Final show of Pilotenkueche International Artist Residency

         This project is documentation of my time journey to my mother’s childhood. I collect my mother’s childhood photo and documents, as I am curious about her past, before she gave birth to me. I replace her face with my face in the photo and changing her name to my name in her documents by Photoshop. This faking of history creates a new identity for me and a journey to my mother’s childhood. There is a caption showing the information of each photo, for example, the place, date and names of people involved, which provided by my mother.

Moreover, I exhibited the photos and documents in a glass box, trying to imitate the exhibition form of a historical museum, in order to convince the audience that the history is real. But at the same time, the title of the work ‘ Time Travelling’ shows a hint to the audience that the photos maybe fake. This exhibition form confuses the audience and arouses their curious. I, the artist become an object of the exhibition.



Invisible Borders

Law Ho Man Diplom Dokumentation

#story no. 1

The Noblest Pain

2017-19 | Single Channel Digital Video | Sound, Color, Loop | 7’28

Three Bottles of Seawater| 6x6x23 cm, 7x7x24 cm, 6x6x21 cm

Parcel, 36x25x21 cm

exhibited at ‘Diese Garderobe’, Academy of Fine Arts Leipzig Rundgang 2017

‘Full Stop’, Final show of Pilotenkueche International Artist Residency 2017

‘Turn on!’, A Moving Image Exhibition, a.m. Space, Hong Kong 2017

Diplomprüfung 2020




#story no. 2

mare nostrum

2019 | Single Channel Digital Video | Sound, Color, Loop | 5’17

Two Bottles of Seawater | 6x6x21 cm each


#story no. 3

Burial at Sea

2020 | Single Channel Digital Video | Sound, Color, Loop | 7’15

One Bottles of Seawater | 6x6x20 cm

#story no. 4 


2020 | Single Channel Digital Video | Sound, Color, Loop | 5’46

Two Bottles of Seawater | 6x6x20 cm

The Back

Do asked no wawa

Watercolour on paper

17×26 cm


__days of ______

Watercolour on paper

26×35 cm



Watercolour on paper

18 x 29 cm


the girl on a high castle_s

The girl on a high castle

Watercolour on paper

22 x 28 cm