How ERROR’s 193 flipped the script on public scrutiny with a viral glass booth stunt

Over the past week, social media feeds across Hong Kong have been flooded with viral images of Denis Kwok (pictured right) - better known as 193, a member of the popular local boy band ERROR - seemingly trapped inside a transparent glass booth.

The installation, located at the bustling outdoor plaza of Tsim Sha Tsui’s The ONE mall, was later revealed to be an elaborate, durational performance art campaign marking his highly anticipated return to the entertainment industry.

Kwok previously sparked widespread public controversy due to his unreserved, candid tone and use of provocative language regarding specific industry events. Following the backlash, the star temporarily stepped away from the spotlight.

Following a four-month hiatus, Kwok officially returned to work on Wednesday, marked by the release of his brand-new solo single, “Waiting.” Recognising the public discourse surrounding him being "put in the refrigerator"—a Cantonese slang term for a talent hiatus—the artist decided to lean into the narrative by physically constructing a giant, transparent glass house.

Done in partnership with The Bridge Agency, this installation served to literally visualise the "waiting" status Kwok experienced over the past months, turning a metaphorical rumour into a transparent, living archive of his hiatus. By confining himself inside the glass enclosure for 74 hours, Kwok put his private daily routine on full public display.

The live installation drew massive crowds of fans and casual passersby, turning the public plaza into a spectacle. The stunt also attracted high-profile local figures, including billionaire businesswoman Kimbee Chan, alongside an extensive roster of celebrity peers.

Explaining the creative direction behind his 74-hour self-confinement, Kwok revealed that the campaign had to undergo a radical, last-minute transformation.

"Initially, I wanted to do a 'melting ice' stunt," Kwok explained. "However, a week before execution, Canadian artist Drake used a similar method to promote his new album."

To avoid any accusations of plagiarism, the creative team quickly pivoted. "We shifted to displaying daily life inside a glass display case," Kwok added. "I’ve seen performance artists live in transparent boxes in public spaces or museums, and the famous British actress Tilda Swinton once slept in a glass box. So, I wanted to present my lifestyle from the past few months here—such as reading, building models, using my phone, and eating heavily."

The initiative did not choose to erase 193’s signature "brutal honesty" or sharp-witted edge, as these traits constitute his core brand equity. Instead, the campaign demonstrated brand maturity. By openly acknowledging past missteps with his trademark humor and transparently showcasing his internal growth—including how philosophy, literature, and vocal training helped calm his mindset during his hiatus—the narrative elevated his public persona.

Industry reactions

According to data provided by media intelligence firm CARMA, the stunt triggered highly polarised discussions across local social platforms, yielding 40.9% positive, 31.8% negative, and 27.3% neutral sentiment. Associated keywords include Tsim Sha Tsui, glass booth, Error, hours, and behaviour, amongst others. 

Fans praised the stunt as a masterpiece of raw endurance. Watching him eat, sleep, and countdown the hours proved massive dedication for his post-hiatus comeback, earning him serious street cred, said Dennis Wu, general manager, Hong Kong, CARMA. Meanwhile, hardcore forum keyboard warriors pulled out the popcorn and started hating. They dismissed the stunt as a highly engineered PR “laundering scheme” by MakerVille to make him look like a victim so everyone would forget his past arrogant remarks.

On the PR front, Bastian Wong, founder and CEO of Flare Communications, told MARKETING-INTERACTIVE that the move was far more than a simple gimmick. Rather, it was a clever way to package a comeback into an easily digestible story.

"The glass house itself carries a sense of 'being watched, being judged, yet separated from the outside world'. To some extent, that echoes his earlier situation—when he became controversial because of his remarks and then temporarily stepped away from the public eye. So this stunt does help reopen the conversation around him and gives the audience a new angle to look at him, instead of staying stuck on past controversies."

Brian Yeung, co-founder, Brandstorm Communications, said Kimbee Chan’s visit does the heaviest lifting. "By disclosing on the record that 193 has attention-deficit issues and that she taught him crochet to help him sit still, she reframed the very behaviour that triggered the crisis."

What looked like arrogance in January now reads as a condition being managed through slow, deliberate work. It lands because it comes from an independent third party, not a PR statement issued by a commercial entity.

Rehabilitating a public image

This also reflects how entertainment and publicity campaigns today are becoming more experience-led and conversation-driven, according to Crystal Wai, managing director, 5ives Communications. "Nowadays, campaigns are no longer designed solely for media coverage, but also for public interpretation, online discussion and cultural participation."

However, Wai believes it is quite difficult for a single stunt alone to fully shift or rehabilitate a public image today, as authenticity and relevance matter more than ever. "PR stunts themselves have also become increasingly controversial in the market."

Audiences are no longer only looking at how eye-catching a campaign is — they are asking whether it is emotionally and culturally relevant, and whether it genuinely connects to the personality, story or identity behind the artist or brand, she added.

Brandstorm’s Yeung added that while Kimbee Chan’s endorsement rebranded the narrative overnight from “controversial artist returns” to “a concept worth discussing,” it does not mean Kwok has been entirely forgiven.

"The original grievance was never directly addressed," Yeung pointed out. "What this stunt actually achieves is visibility—he's back in the conversation, and he's proven he can still pull a crowd without traditional label support. Whether that translates into real commercial trust is a different question that will take time to answer."

Ultimately, Flare Communications' Wong said what worked quite well this time is that it created an emotional entry point of “starting over,” allowing people to see a more let-go, softer side of him.

But in the long run, his rehabilitation still depends on his future public statements, his creative work, and his overall performance - whether he can consistently demonstrate greater maturity.

Mark your calendars for 24 June! #Content360 Hong Kong returns with a dynamic, one-day event dedicated to pivotal trends—from the silver economies to breakthrough IP collaborations, sports, and beyond. Let's dive into the art of curating content with creativity, critical thinking and confidence!

Related articles:

Zero Finance bridges generational divides of wealth in rebranding campaign
Samsung HK embraces Cantonese culture with new campaign