【OCT-LOFT创意节】展品介绍|史镇豪《日照、炎热、潮湿》

11.《日照、炎热、潮湿》

装置，不锈钢管，波纹铝板，纸板，干棕榈叶，干蒲葵叶，尺寸不定，单频录像，彩色，有声，5′ ， 2019

机缘巧合，艺术家史镇豪走访了好几个东南亚的城市，熟悉的日照、炎热与潮湿，敞开式的建筑、往街道延伸的阳棚与枕着门阶在泥土上熟睡的人。这些经历让他开始对“热带建筑”感兴趣，因为它直接回应着土地、气候与南方生活的关系，关于人与无法选择的生活，及想象另一种生活的可能。

“南方生活”的“南方”到底指向哪里？在史镇豪看来，这指向的不是一个地理的概念，而是一种人与空间的关系，人重新厘定空间边界的逻辑。人的身体与城市化的改造同步着，在想象的地理中建筑，在想象的气候中生活，在热带、温带、寒带之外的城市带中生存。如何重新适应并认知在这片土地的气候，这是一个对当下城市的质问。艺术家史镇豪时常会困惑，面对广州室外亚热带的炎热潮湿，人类的身体是否已经忘记了如何跟这片土地相处，就如一旦习惯了空调空间的干爽舒适，便开始学会厌恶自己在烈日下汗流浃背的粘稠沉重的身体。忘掉这片土地的炎热与潮湿，关上房间的门窗，打开电器，就能活在一个安静的人工气候箱里。艺术家认为这大概是一种过度依赖现代化城市而带来的戒断反应，人们只是在城市生活的屏障下忘记了与土地共处的样子。

Sunshine, Torridness, Humidity

Installment, Stainless steel bars, Corrugated aluminum board, Cardboard, Dried palm leaves, Dried Chinese fan palm leaves, Dimensions variable，One channel video, color, audible,  5′ ， 2019

By chance, I have toured several cities in Southeastern Asia in recent years. Being around with familiar sunshine, torridness and humidity, open buildings, awnings stretching out to the streets, and people who pillows their doorsteps sleeping deeply on dirt, stimulated my interest in Tropical Architecture. It responds directly to the relationship between land, climate, and southern life; it is about people and life without choice, about the possibility of imagining another kind of life.

Where exactly does South in the term Southern Life point at? In my opinion, this does not point to a geographical concept, but  relationship between man and space, the logic of redetermining the boundary of space. As our bodies synchronized with urbanization  refurbishment, we build in an imagined geography, live in an imagined climate, and survive in megalopolis beyond tropics, temperate and polar climate. How to re-adapt to and re-acknowledge the climate in this land, from my perspective, is a question against contemporary cities. It always confuses me that whether my body, when confronting the outdoor subtropical heat and dampness in Guangzhou, has turned to be unable to get along with this land. Just like once be accustomed to the coolness and coziness in air-conditioned environment, one will hate his sweating, sticky and heavy body in the burning Sun. So, ignore the heat and dampness, shut the doors and windows, switch on your electrical appliances, then you can live in a quiet man-made climate box. It is a sort of abstinence reaction caused by excessive reliance on modern cities, I suppose. I have just forgotten how it was to live with the land under the shield of urban life.

1989年生，现生活、工作于广州。2012年毕业于广州美术学院，获油画学士学位；2012-2013年任黄边站HB STATION研究员；《冯火月刊》成员。史镇豪将“写作”理解为一种动作，不止于文本，与行动相连，是结构化的编织过程。以文字、装置、影像为媒介，在空间内展开复合叙事。对词语及其背后隐藏的社会关系感兴趣，试图重塑个人与事物间的心理距离，以此回应被“资本”、“政治”、“青年”等词语裹挟下的无法回避的孤独感。

曾参加展览包括：

个展：

冯火影视城（泰康空间-日光亭项目，北京，2017），Peaceful Night/月亮与六便士（J:Gallery，上海，2016），两房一厅一厨一卫（上午艺术空间，上海，2014），什么事都能让我分心（黄边站HB STATION项目实验室，广州，2013），你是一封信，我是邮差（黄边站HB STATION项目实验室，广州，2013）。

群展：

Fong FO：Extra（Hessel Museum of Art，纽约，2019），旅行社第二回（广州，2019），重庆森林（星汇当代美术馆，重庆，2018），小说艺术（OCT当代艺术中心-深圳馆，深圳，2018），室内宇宙（华宇艺术中心，三亚，2017），逆光：双城取样（杨峰艺术与教育基金会，深圳，2017），南方状态（N3 Gallery，北京，2017），流动者会议（上海明当代美术馆，上海，2017），抵抗的涌现（泰康空间，北京，2016），榕树头旅行社（广东时代美术馆-榕树头空间，广州，2016），副馆长计划（西安美术馆，西安，2015），我叫阿史（OCT当代艺术中心-西安馆，西安，2015），机构生产（广东美术馆，广州，2015），向前进！当代艺术与当代城市（民生现代美术馆，上海，2013）。

Born in 1989, currently based in Guangzhou. Shi graduated with a Bachelor degree in Oil-painting from Guangzhou Academy of Fine Arts in 2012. From 2012 to 2013, he was a researcher at Huangbian Station, then a fellow of Fong Fo Monthly. He regards writing as a sort of action that not only confined to texts, but also linked with operation; that is, a structured weaving process. He uses text,  installation and video as medium to develop composite narratives in space. Interested in words and the social relationship behind them, he has attempted to reshape the psychological distance between individuals and things, in order to respond to inevitable loneliness under the overwhelming impacts of terms like “capital”,“politics”and“youths”.

Past exhibitions include:

Solo:

Fong Fo Studio City (Tai Kang Space - Light Pavilion Project, Beijing,2017); Peaceful Night/The Moon and Sixpence (J: Gallery,Shanghai,2016); Two bedrooms, one living room, one kitchen and one bathroom (Am Art Space, Shanghai, 2014);Everything distracts me (Huang Bian Station Project Lab,Guangzhou,2013);You are a letter, I am a postman (HB Station Project Lab ,Guangzhou,2013).

Group:

Fong FO: Extra (Hessel Museum of Art,New York,2019); Travel Agency II(Guangzhou,2019); Chongqing Forest (The Galaxy Museum of Contemporary Art,Chongqing,2018); Fiction Art ( Shenzhen Pavilion,OCT Contemporary Art Terminal, Shenzhen,2018);Indoor Universe (Huayu Art Center,Sanya,2017); Backlight:Sampling Two Cities (Frank F. Yang Art and Education Foundation,Shenzhen,2017); State of the South (N3 Gallery,Beijing,2017); Precariat’s Meeting (McaM,Shanghai,2017);  Toward the Emergence of Resistance (Tai Kang Space,Beijing,2016); Yung Shue Tau Travel Agency (Yung Shue Tau Space,Guangdong Times Art Museum,Guangzhou, 2016); Deputy Director Plan (Xi'an Art Museum,Xi'an,2015); Call Me Ash (Xi'an Pavilion,OCT Contemporary Art Terminal ,Xi'an,2015);  Institution Production (Guangdong Art Museum,Guangzhou,2015); Forward! Contemporary Art and Contemporary City (Shanghai Minsheng Art Museum,Shanghai,2013).

2019 OCT-LOFT创意节将于2019年12月7日至2020年2月29日在深圳华侨城创意文化园北区C2展厅举办。此次创意节将以“欢乐宫殿”为题，聚焦技术伦理及其与社会的关系，强调人们作为“提问者”的角色，并试图借此激发与话题相关的各种讨论。

「欢乐宫殿」主展览部分共邀请16组国内外艺术家，展出包括交互装置、影像、声音、摄影等不同媒介的17件艺术作品。此外，在创意节期间，我们也将组织丰富多样的公共项目，从不同角度与观众一同反思并回应当下的技术生活。

同时，作为此次创意节的特别项目，“无定游乐场”将作为一个不断变化、可以自定义的灵活空间，面向公众开放征集入驻方案，并希望能通过共建对话与分享的空间，呈现更多的实践与联系。