Yung has never been afraid of boundaries – and of transgressing them – throughout his forty-year creative journey with Zuni Icosahedron, the art collective he co-founded in Hong Kong in 1982, and this work is no exception. Contemporary history, invoked with varying degrees of allusion in previous iterations of the series, takes centre stage in this most recent version. Yung’s newest production crosses what is, arguably, the ultimate boundary in current public discourse in Hong Kong, as it opens with footage of the 2019/20 Anti-Extradition Law Amendment Bill protests and explicit visual references to technologies of surveillance.
Emblematic of the production’s media design, a thin red line keeps appearing and disappearing on the back screen throughout the performance as if to signal a boundary to a forbidden zone, which the six performers onstage must negotiate with and push back constantly, almost ritually. Likewise, fast-multiplying red squares moving rapidly across the screen frame the faces of the protesters in the opening video footage – in an obvious nod to the ubiquity of facial recognition systems and control mechanisms during the protests, as well as throughout the Covid-19 pandemic.