Play is often considered an action which consumes time and resources, lacking substantive purpose and diverging from societal norms. However, from an alternative perspective, what if immersing ourselves in the realm of play, could offer a means to temporarily distance ourselves from reality, thereby redefining self-awareness and perception of the surrounding world?

Entitled 'Playing out of Place,' this exhibition brings together the works of Taiwanese artists Hunter Wu and Cheng-Chun Chang, along with British-based artist Alexei Izmaylov. Through the lens of play, the show explores recent installations, sculptures, paintings and photographs by these artists, delving into the positive implications of play for society and exploring its extended definitions and values.

As we engage in play, we must adapt to the rules of the game and overcome obstacles, which redefines our relationship with the world. Play thus becomes a form of active engagement, allowing us to momentarily break free from our habitual inertia by identifying problems and exploring creative solutions. In a world where circumstances are constantly evolving and rules are not clearly defined, play encourages imaginative exploration of new possibilities, and fosters the discovery of solutions beyond the present reality’

Alexei Izmaylov combines ready-mades with industrial materials and creates playful hand-made objects, devoid of any discernible function, while continuously building diverse, absurd and ever-evolving systems. He aims to open up the rules of engagement and offers multiple approaches to reading and understanding. His 'CHANNEL’ series, featured in the exhibition, showcases electrical plug sockets as platforms for crafted sculptures reminiscent of toy figurines. These works can stand alone or be assembled into various free-form and changing configurations. Through this process of imaginative creation, an organic system gradually emerges, exploring the relationships between desire, play, power and consumption. However, because play adheres to rules, the experience of play does not guarantee complete freedom but rather involves adapting to and understanding new rules. Through this process, players seek breakthrough solutions, thereby redefining freedom not as absence of constraints, but the transformation of those constraints.

Hunter Wu also often utilises readily available materials in his work, and, he explores painting in an intuitive manner through repeated actions. By laying down blocks of colour with seemingly childlike brushstrokes, the artist avoids adherence to traditional painting rules by relinquishing rational thought, and gradually closing the gap between his mind and hands. As a result, Hunter Wu's works capture a profound sense of time and spirit within the vast array of similar brushstrokes, revealing the artist's immersive purity and inviting viewers into a world that is unrestrained yet highly cohesive and observant.

Societal participation can also manifest as another form of play, especially when it involves advocacy. Play and advocacy both involve problem-solving and propose change, reflecting individual roles in society, the engagement of free will, and the pursuit of life's meaning. 

Cheng-Chun Chang employs a flexible, critical, humorous, yet political approach in his work, adeptly exploring issues such as resource allocation, boundary delineation and human rights. Two of his exhibited works, 'Watch' and ‘Private Research Soldier,’ are delicate observations of life, based on the artist's recent military experiences. Through these works, Cheng-Chun Chang reflects on the extension of time and war issues between physical labour and futility, presented through large-scale imagery and a combination of hand-drawings and three-dimensional installation, creating scenes that are simultaneously familiar yet remarkably alienating.

All three artists initiate innovation through their practice, making proposals that defy conventions and embrace an open world. Play, in their works, is not only a proactive challenge to existing rules but also a process of collision, creation and experimentation. When play becomes a dynamic action, can play break free from the framework of the status quo and offer different perspectives as it becomes dynamic action? Can it help us to maintain a moderate distance from the world, and be vigilant amidst the world's progress? The exhibition, 'Playing out of Place,' anticipates a consideration of 'play' as a means of maintaining speculative and critical abilities, collectively exploring societal issues and methods of addressing them. It encourages reflection on whether play can be a way of resisting institutional actions and expressing ideals in the modern era’s turbulent political landscape?