During the frenzied heights of Taiwan’s economic boom, the evening paper served as the primary vessel for the day’s market indices and collective social anxieties. Yet, for an adolescent Liu Hojang, the weekend cultural supplement offered a sanctuary—a space in which to construct his cultural imagination and find intellectual refuge. The yellowed newspaper cuttings he snipped by hand and preserved over the decades have since become his unique instruments for measuring time and memory.

This exhibition functions as a belated ‘evening edition’, gathering the trajectories of the artist's practice and spatial enquiries over a span of many years. Late News unfolds across three distinct geographical sites: ss space space and spd in New Taipei, and ‘365 East Forest Road’ in Chiayi. Through this dispersed framework, Liu extends the spatial investigations he first initiated in his 2017 Taipei Fine Arts Museum solo exhibition, Virtual Habitat. By treating these three locations as shared junctures of collective time and fragmented space, he deconstructs the transmission of information. Instead, he traces the elusive, lingering afterimages that emerge once memory has been mediated and shaped by physical matter.

In this exhibition, Liu operates as both an archivist and a land surveyor, wandering the perimeters of time. He likens his early habit of clipping newspapers to sampling fragments of reality. These samples range from the fragmented memory of a shipping container interior from the 2000 Dover tragedy, to the abruptly halted flight paths over Queens following the events of 11 September 2001, to photographs taken in the dead of night at a printing plant in Bali, New Taipei. Rather than attempting to reconstruct objective historical events, these images capture the residual traces of perception, mapping the fault lines between image-based narratives and material reality.

This temporal dislocation is deeply embedded in Liu’s material vocabulary and spatial interventions. The installations bear the intense marks of physical labour intertwined with geopolitical metaphors. We see hexagonal flooring laid in figured maple typically reserved for instrument necks; Taking Shape, an assemblage suspending a Formosan sambar deer skull to interrogate the overlapping borders of lawful concessions and indigenous hunting grounds; and layered primary-colour acrylic works that map the extraction of mineral ore onto the domestic placement of feng shui plants. Liu deftly orchestrates a dialogue between a material's production history and the space it occupies.

For Liu, space-making is an endless daily practice—evolving from mt.black (2012) through spd (2023), and arriving at the deliberate, slow-paced cultivation of his ‘forest’ in Chiayi. The artist describes this forest not merely as a physical plot of residual land, but as a site of spiritual anchorage. While the external landscape continues to shift naturally, its internal equilibrium relies on the artist’s day-to-day routine of gathering, selecting, and manual labour.

Late News does not deliver breaking headlines or immediate resolutions; it is a spatial dispatch sent with deliberate delay. Where language and text reach their descriptive limits, physical space and material texture step in to carry the unsung reverberations of history. Across its three venues, the exhibition invites viewers to pause between movement and stillness, re-reading the suspended rhythms of the everyday, forgotten historical coordinates, and the quiet resonance of matter gradually revealing itself against the passage of time.