Vancouver-based Hong Kong Exile is an interdisciplinary arts company made up of three contemporary artists: Natalie Tin Yin Gan, Milton Lim, and Remy Siu. The three have been consistently creating and producing work since 2011. 

Hong Kong Exile is proud to have developed a reputation as an engaged, rigorous, and prolific arts company since the time of its inception. Since 2011, we have created thirteen original works presented in dance, theatre, film/media and new music festivals in Vancouver, Montreal, Toronto, Seattle, and more.

Projects over the last several years include an ambitious month-long gallery exhibition, presentations at CanAsian International Dance Festival, Seattle International Dance Festival, Dancing on the Edge Festival, Gateway Pacific Theatre Festival, PuSh International Performing Arts Festival, as well as a handful of ongoing collaborative initiatives and special presentations. Current Hong Kong Exile projects reflect our company’s commitment to exploring multi-media innovation and integration with interdisciplinary live performance.

In the Fall of 2019, “Foxconn Frequency (no.3)” and “No Foreigners” will be touring nationally and internationally to Toronto, Winnipeg, Ottawa, Utrecht, Glasgow, and Hong Kong. In addition to touring, the company is developing a new full-length multi-media dance work titled “was it the smell of solitude.”

The members of Hong Kong Exile were the Artists-in-Residence with the PuSh International Performing Arts Festival (2017/2018).

 Performed by three visibly Chinese performers, Foxconn Frequency (no.3), is a work of “algorithmic theatre” that incorporates real-time game mechanics, piano pedagogy, 3D-printing, and the poetry of former Foxconn worker Xu Lizhi (许立志). 

 The three performers work with and against each other as they move through a series of testings and mini-games sourced from piano training. They succeed and fail in real-time, forced to correct their mistakes before they can continue. 

In each performance, 3D-printers output an object documenting the performer’s competency over time. Fully automated and generative, the work is different every performance, ranging from 50 minutes to 80 minutes: an experiment in digital game-mechanics as a way of meaning making in the performing arts.

Prismatic is thrilled to have such an innovative work take the stage to enthrall audiences over 3 nights.