「玻璃珠遊戲」之名起源於1946年諾貝爾文學獎獲得者赫爾曼·黑塞創作的長篇小說《玻璃珠遊戲》。黑塞窮其一生都在探究藝術家群體的人生際遇和選擇。他在這部作品中表達自己對於融合中國古籍中辯證哲學思想和西方文化的偉大構想，以一系列象徵和譬喻編織起一種哲學上的烏托邦設想，象徵著藝術家群體的主人公約瑟·克尼克因此而扭轉悲劇的命運。

身處香港的藝術家們在中國古典和西方繪畫史、傳統經典與當代先鋒交匯的洋流中尋找自我的定義，兩種文化的差異與衝突，使得他們不斷地與之融合和對話。本次展覽將由陳偉邦、黃應常、葉佩玲、張展恒四位香港藝術家，用自己擁有的東西今古功底或經歷，對此現今世界的觸覺作出不同解構、回應和對話，並展開一場反省東西藝術烏托邦設想的「玻璃珠遊戲」。

The name "Glass Bead Game" originates from the 1946 Nobel Prize in Literature-winning novel "The Glass Bead Game" by Hermann Hesse. Hesse devoted his life to exploring the life experiences and choices of artist community. In this work, he expresses his grand vision of integrating Chinese ancient philosophical thoughts and Western culture, weaving a philosophical utopia with a series of symbols and metaphors, symbolizing the protagonist Joseph Knecht's reversal of tragic fate as part of the artist community.

Artists in Hong Kong seek their own definition in the confluence of Chinese classics and Western art history, traditional and contemporary. The differences and conflicts between the two cultures lead them to constantly integrate and engage in dialogue. This exhibition features four Hong Kong artists, Chan Wai Pong, Wong Ying Sheung, Ip Pui Ling, and Kaya Cheung , who use their own knowledge and experiences from the past and present to deconstruct, respond, and engage in dialogue with the contemporary world, initiating a "Glass Bead Game" that reflects on the utopian idea of Eastern and Western art. Through the different dialogues and responses of the artists, the audience will experience a visual interaction that generates a dynamic tension between past and present, East and West, ultimately finding their own answers.