≡ 马凌画廊 | 春季艺讯 2021
SPRING NEWSLETTER
春季艺讯
何子彦
Ho Tzu Nyen
Voice of Void
Ho Tzu Nyen is going to exhibit new project, ‘Voice of Void’ at Yamaguchi Center for Arts and Media (YCAM). The new work introduced at this exhibition is themed on the “Kyoto School”, an informal network around the philosophers Kitaro Nishida and Hajime Tanabe, which was highly influential in the intellectual circles in Japan in the 1930s-40s. Incorporating elements of virtual reality (VR) and refracted through an anime aesthetic, the installation is being realized in collaboration with YCAM. Breaking down public history through an accumulation, and subsequent reconfiguration of images and texts, Voice of Void highlights the complex and multi-layered nature of history.
– Text by YCAM
赖志盛
Lai Chih-Sheng
绕梁
Linger
“绕梁”是赖志盛于台湾高雄市的首个个展，于2020年10月16日至2021年5月23日在台湾高雄金马宾馆当代美术馆展出。“绕梁”的六件现地创作，及一系列承袭观念艺术精神的经典作品，将结合金马宾馆对应台湾独有的历史背景与建筑空间，透过作品挑战观众的临场身体感。
Linger is Lai’s first solo exhibition in Kaohsiung city, on view from 16 October 2020 through 23 May 2021. Presented in this exhibition are six site specific works and a series of recent works created by the artist both of which combined adds to the unique historical background and architecture of ALIEN Art Centre in Taiwan.
接近
Closer
赖志盛在台北市立美术馆举办个展“接近”。最新计划《接近》由赖志盛针对空间定位及特性限地制作：从艺想空间往下眺望，大厅好像一个池子，池里透着光与风，池子的边缘即是回廊的女儿墙。他提出“接近光与风一些”的概念。《接近》将空间特性与观众的视野纳为一个整体。这个空间是北美馆的实体，是虚空的大厅，也是光与风的来源。
Lai Chih-Sheng held his solo exhibition, ‘Closer’ at Taipei Fine Arts Museum (TFAM). The latest project ‘Closer’ is Lai Chih-Sheng’s site-specific installation highlighting Space C’s spatial characteristics and positioning. Looking down from the site, the Museum’s grand lobby is a pond permeated by light and wind, with the parapet of the corridor being its edge. In Closer, Lai proposes the idea of being “closer to light and wind.” ‘Closer’ unites spatial characteristics and audience’s view as a whole. Part of the Museum architecture, the space is the grand lobby of nothingness, but also the source of light and wind.
🔗 翁子健谈赖志盛台北市立美术馆项目 Anthony Yung talks about Lai Chih-Sheng's project
≡ 赖志盛 Lai Chih-Sheng
“绕梁”展览现场 'Linger' Installation view
图片由艺术家提供
Image courtesy of the artist
娜布其
Nabuqi
暗光
Noire Lumière
“暗光”首先提示了一种不尽明确的时间：无论是白日将尽、黎明之前或在彻底的黑夜中——暗光的时间是一种缠斗状态。当白昼以不断加速的势能前进，其所掠过的时空以技术的激进、灵晕的消失、身体的瓦解、话语的对立和权力的统一为语境，对灾难频发的世界进一步的摧枯拉朽。而当我们得以用如此明确的语言来描述当前的世界，其本身就提示了一种因过度清晰化而产生的盲视，这种盲视意味着他者的失踪和边际空间的抹除。
作为展览的“暗光”并不致力于在该语境下实践对“灵晕”再次召唤，它将对幽暗的复归悬置于流变的情境之中，以作品本身为语境，向他者的不可能性敞开。展览在此“反转语境”下，由“暗光”和“暗光档案”两条相互交织的线索构成，邀请观众进入一个由一系列过道和边际空间所连接的场域。
——文字由昊美术馆提供
“Noire lumière”, first of all, refers to an ambiguous point of time: it may be when day is approaching its end, or dawn is coming or night is in its utmost depth. In other words, noire lumière is a state of fighting and tangling. While day is progressing with escalating potential energy, the time and space it sweeps past feature radicalization of technology, disappearance of aura, disintegration of the body, opposition of discourses, and concentration of power, which further impacts upon the world that has already witnessed frequent outbreaks of disasters. Actually, the fact that we are able to describe the world of today in such definite and unambiguous words indicates a kind of blindness incurred by the excessive clarification. And this blindness signifies the missing of the Other and the erasing of marginal space.
Noire Lumière as exhibition does not intend to summon once again the “aura” under such a context. Instead, it suspends the come-back of darkness within a precarious scenario and weaves the works on show organically to create an overarching context, opening it up to embrace all the impossibilities of the Other. Under such a “reverse context”, the exhibition consists of two intertwined clues – “noire lumière” and “noire lumière archive”, which collectively invite audience into a field connected by a series of marginal spaces.
- Text from HOW Art Museum
≡ 娜布其 Nabuqi
真实发生在事物具有合理性的瞬间吗？
Do Real Things Happen in Moments of Rationality?
“暗光”展览现场 ‘Noire Lumière’ Installation View
540 x 1600 x 1400 cm
图片由昊美术馆提供
Image courtesy of HOW Art Museum
鲍蔼伦
Ellen Pau
重新聚焦媒介：东亚录像艺术的兴起
Refocusing on the Medium: the Rise of East Asia Video Art
鲍蔼伦参加了OCAT上海馆的群展“重新聚焦媒介：东亚录像艺术的兴起”。展览由金曼策划，汇集来自日本、韩国和中国，开创了录像艺术实验之先河的重量级艺术家，旨在重新审视艺术家在东亚录像艺术兴起之时对于这一媒介的处理方式，并以期为跨国性当代艺术媒介的录像艺术在全球范围内的历史梳理做出贡献。鲍蔼伦的《行动剧场》（1995 – 1996）和《循环影院》（2000）正在群展中展出。
Ellen Pau took part in the group exhibition, ‘Refocusing on the Medium: the Rise of East Asia Video Art’, at OCAT Shanghai. Curated by Kim Machan, this exhibition brings together video works from the 1960s to the late 1990s by artists including those from Japan, Korea, China, Taiwan, and Hong Kong. Ellen Pau’s video installations, ‘Operation Theatre’ (1995) and ‘Recycling Cinema (Viewing Room)’ (2000) are on view.
多元视野——八、九〇年代香港艺术新象
New Horizons: Ways of Seeing Hong Kong Art in the 80s and 90s
鲍蔼伦在香港艺术馆的群展“多元视野——八、九〇年代香港艺术新象”中展出其代表作《循环影院》。鲍蔼伦的《循环影院》是2001年第四十九届威尼斯双年展首个香港馆的参展作品。作品首次以245度大屏幕的形式呈现。
Ellen Pau is presenting her work, ‘Recycling Cinema’ in the group exhibition, ‘New Horizons: Ways of Seeing Hong Kong Art in the 80s and 90s’ at the Hong Kong Museum of Art (HKMoA), currently on view through 24 April 2022. Pau’s iconic work, ‘Recycling Cinema’, was showcased at the first Hong Kong Pavilion at the 49th Venice Biennale in 2001 and is now presented in a 245 degree format for the first time.
≡ 鲍蔼伦 Ellen Pau
循环影院 Recycling Cinema, 1999
“多元视野——八、九〇年代香港艺术新象”展览现场
Installation view, 'New Horizons: Ways of Seeing Hong Kong Art in the 80s and 90s'
图片由香港艺术馆提供
Image courtesy of Hong Kong Museum of Art
孙逊
Sun Xun
通向大地的又一道闪电
Sun Xun: Mythological Time
孙逊在加拿大温哥华美术馆举办个展“孙逊：通向大地的又一道闪电”。展览展出了视频装置《通向大地的又一道闪电》（2016），艺术家带领观众穿越回他的家乡中国东北阜新，一个面临经济命脉枯竭的煤矿中心。此外，展览首次展出一幅30米长的巨幅水墨画。
Sun Xun held his solo exhibition, ‘Sun Xun: Mythological Time’ at Vancouver Art Gallery. On view is the video installation ‘Mythological Time’ (2016) in which the artists takes viewers on a journey through his hometown of Fuxin in northern China, a coal-mining centre facing the depletion of its economic lifeblood. Additionally, being presented for the first time is a major 30-metre ink painting.
🔗 展览现场 Exhibition installation shots
≡ 孙逊 Sun Xun
“通向大地的又一道闪电”展览现场
Installation view of "Sun Xun: Mythological Time"
温哥华美术馆，2021年2月20日-9月6日
Vancouver Art Gallery, February 20th to September 6th, 2021
图片由温哥华美术馆提供，摄影：Ian Lefebvre
Image courtesy of Vancouver Art Gallery. Photo: Ian Lefebvre
陶辉
Tao Hui
暗光
Noire Lumière
“暗光”首先提示了一种不尽明确的时间：无论是白日将尽、黎明之前或在彻底的黑夜中——暗光的时间是一种缠斗状态。当白昼以不断加速的势能前进，其所掠过的时空以技术的激进、灵晕的消失、身体的瓦解、话语的对立和权力的统一为语境，对灾难频发的世界进一步的摧枯拉朽。而当我们得以用如此明确的语言来描述当前的世界，其本身就提示了一种因过度清晰化而产生的盲视，这种盲视意味着他者的失踪和边际空间的抹除。
作为展览的“暗光”并不致力于在该语境下实践对“灵晕”再次召唤，它将对幽暗的复归悬置于流变的情境之中，以作品本身为语境，向他者的不可能性敞开。展览在此“反转语境”下，由“暗光”和“暗光档案”两条相互交织的线索构成，邀请观众进入一个由一系列过道和边际空间所连接的场域。
——文字由昊美术馆提供。
“Noire lumière”, first of all, refers to an ambiguous point of time: it may be when day is approaching its end, or dawn is coming or night is in its utmost depth. In other words, noire lumière is a state of fighting and tangling. While day is progressing with escalating potential energy, the time and space it sweeps past feature radicalization of technology, disappearance of aura, disintegration of the body, opposition of discourses, and concentration of power, which further impacts upon the world that has already witnessed frequent outbreaks of disasters. Actually, the fact that we are able to describe the world of today in such definite and unambiguous words indicates a kind of blindness incurred by the excessive clarification. And this blindness signifies the missing of the Other and the erasing of marginal space.
Noire Lumière as exhibition does not intend to summon once again the “aura” under such a context. Instead, it suspends the come-back of darkness within a precarious scenario and weaves the works on show organically to create an overarching context, opening it up to embrace all the impossibilities of the Other. Under such a “reverse context”, the exhibition consists of two intertwined clues – “noire lumière” and “noire lumière archive”, which collectively invite audience into a field connected by a series of marginal spaces.
- Text from HOW Art Museum
≡ 陶辉 Tao Hui
南方戏剧史 A 幕 The History of Southern Drama, Scene A
2018
“暗光”展览现场 ‘Noire Lumière’ Installation View
图片由昊美术馆提供
Image courtesy of HOW Art Museum
特罗拉马
Tromarama
维多利亚州国立美术馆三年展
NGV Triennial 2020
特罗拉马参加的维多利亚国立美术馆三年展，汇聚了来自全球超过30个国家和地区的100多名艺术家和设计师。特罗拉马的《Solaris》（2020）正在三年展中展出。硕大的水母的图像在霓虹灯幕布上跳动着。作品的灵感来源于卡卡班岛卡卡班湖的独特环境——无刺水母的家。作品被“游戏化”，屏幕上水母的起伏受到了印尼天气预报的实时影响。
Tromarama presented at NGV Triennale, a gallery-wide exhibition of 100 Artists and Designers from more than 30 countries. Featured here by Tromarama is ‘Solaris’ (2020), a neon curtain that pulses with the images of super-sized jellyfish, the work takes inspiration from the unique environment of Kakaban Lake on Kakaban Island – a ‘petty fish’ of evolution that is home to the stingless jellyfish. The work is ‘gamified’ and the ebb and flow of the depicted jellyfish is influenced in real time by the weather forecast on the Indonesian island.
≡ 特罗拉马 Tromarama
Solaris, 2020
维多利亚州国立美术馆三年展展览现场，2020
Installation view at NGV Triennale, 2020
图片由维多利亚州国立美术馆提供，摄影：Tom Ross
Image courtesy of National Gallery of Victoria. Photo by Tom Ross.
阿比查邦·韦拉斯塔古
Apichatpong Weerasethakul
Art For Air
阿比查邦·韦拉斯塔古参加了群展“Art For Air”。该群展由Breath Council、清迈艺术文化中心和其他多个独立艺术空间联合举办，将创作者和艺术家汇集在一起参与清迈公共空间的各类艺术项目。此次展出的是阿比查邦·韦拉斯塔古的摄影作品《A Silent Storm》（2021）和《Debris》（2021）。
Apichatpong took part in the group exhibition, ‘Art For Air’ which is a collaborative effort between the Breath Council, the Chiang Mai Arts and Cultural Center, and various other independent art spaces, bringing together creators and artists to take part in various art projects around the public spaces of Chiang Mai. On view are Apichatpong’s, ink jet photographs, ‘A Silent Storm’ (2021) and ‘Debris’ (2021).
≡ 阿比查邦·韦拉斯塔古 Apichatpong Weerasethakul
“Art For Air”展览现场 "Art For Air" Installation view
图片由艺术家提供
Image courtesy of the artist
黄炳
Wong Ping
城市剧场：喜剧四幕
Urban Theater: A Comedy in Four Acts
黄炳将参加上海UCCA Edge的群展“城市剧场：喜剧四幕”。展览通过委任艺术家曹斐、笹本晃、黄炳、欧文·沃姆在露台四侧分别创作的场域特定作品，激活户外空间，联结城市生活，构建一个开放、流动、触发好奇与思考的艺术现场。由UCCA策展人秋韵策划，“城市剧场：喜剧四幕”试图通过戏剧化的作品呈现幽默的复杂意味。
Wong Ping is presenting in the group exhibition, ‘Urban Theater: A Comedy in Four Acts’ at UCCA Edge, Shanghai. The exhibition features site-specific works on the four sides of the terrace by artists Cao Fei, Aki Sasamoto, Wong Ping, and Erwin Wurm. Curated by UCCA Curator, Ara Qiu, ‘Urban Theater’ attempts to present through theatrical pieces, the significance of humor.
黄炳：Digital Fables
Exhibition
黄炳的动画电影将于4月12日-18日在美国芝加哥艺术学院Gene Siskel电影中心虚拟影院的项目“黄炳：Digital Fables”中展出。项目与芝加哥大学视觉艺术系Open Practice Committee合作，将展出黄炳的《黄炳寓言（一）》（2018）、《黄炳寓言（二）》（2019）、《摩登沐浴法》（2020）、《你要热烈地亲亲爹哋》（2017）、《欲望Jungle》（2015）和《忧郁鼻》（2014）。
Six of Wong Ping’s films will be featured in ‘Wong Ping: Digital Fables’, at Gene Siskel Film Center Virtual Cinema, SAIC,Chicago from 12 – 18 April 2021. Presented in partnership with the Open Practice Committee in the Department of Visual Arts at the University of Chicago, this event includes Wong’s ‘Wong Ping’s Fables 1’ (2018), ‘Wong Ping’s Fables 2’ (2019), ‘The Modern Way to Shower’ (2020), ‘Who’s the Daddy’ (2017), ‘Jungle of Desire’ (2015), and ‘An Emo Nose’ (2014).
🌐 项目网站 Website：https://www.saic.edu/cate/event/wong-ping
Me, Family
黄炳参与了由卢森堡让大公现代美术馆（MUDAM）策划的线上互动展览“Me, Family”。该展览展出了来自15个国家的22位艺术家的作品。从爱德华·史泰钦（Edward Steichen）策划的著名展览“四海一家（The Family of Man）”中汲取灵感，线上展览“Me, Family”提出有关全球化社会中信息和数据流的问题，旨在描绘21世纪初人类的形象。正在展出的是黄炳的单频有声动画《黄炳寓言（一）》（2018）和《黄炳寓言（二）》（2019）。
Wong Ping is part of the digital project,’Me, Family’ organised by Musée d’Art Moderne Grand-Duc Jean (MUDAM), Luxembourg, presenting works by twenty-two artists from fifteen countries. Drawing inspiration from the iconic exhibition ‘The Family of Man’ by Edward Steichen, ‘Me, Family’ addresses issues that relate to the flow of information and data in our globalised society. The project is intended as a portrait of humanity at the beginning of the 21st century. Wong Ping’s single channel video animations, ‘Wong Ping’s Fables 1’ (2018) and ‘Wong Ping’s Fables 2’ (2019) are on view.
🌐 项目网站 Website：https://mefamily.mudam.com/
快乐唯有分享才能真实存在
happiness is only real when shared
黄炳参加了格斯费希尔画廊（Gus Fisher Gallery）的群展“快乐唯有分享才能真实存在”。群展汇集了三位以敏锐的批判、讽刺手法来探讨现代资本主义欲望的艺术家作品，通过在空间中构建由动画、特定场景装置和雕塑组成的超现实迷宫，来思考当下的问题。展览题目源自黄炳著名的 “黄炳寓言 ”动画系列（2018-19）中的一句苦乐参半的老生常谈——“快乐唯有分享才能真实存在”，它旨在将我们从日常生活的困境中唤醒，引至一个动荡和另类的舞台，从而令转变和个体反思在此可能得以实现。本次展览展出了黄炳的单频动画《黄炳寓言（一）》（2018）和《黄炳寓言（二）》（2019）。
Wong Ping participated in the group exhibition, ‘happiness is only real when shared’ at Gus Fisher Gallery. Bringing together works by three ambitious artists that address modern capitalist desires with astute criticality and satire, the exhibition ponders the current moment through a surreal maze of animation, site-specific installation, and sculpture. Titled after a bittersweet cliché in Wong Ping’s famed ‘Fables’ series (2018-19), ‘happiness is only real when shared’ aims to jolt us from the throws of daily living and into a tumultuous and alternative mise en scène where transformation and individual reflection may become possible. Featured in this exhibition are Wong Ping’s single channel animation videos, ‘Wong Ping’s Fables 1’ (2018) and ‘Wong Ping’s Fables 2’ (2019).
图片由格斯费希尔画廊提供
Image courtesy of Gus Fisher Gallery
杨嘉辉
Samson Young
Sound and Silence
杨嘉辉参加了德国波恩艺术博物馆的群展“Sound and Silence”。展览聚焦于当代艺术领域的静止与沉默这一主题。此次展览在路德维希·范·贝多芬诞辰250周年之际举办，以作曲家逐渐失聪为出发点，讨论声音与沉默之间的关系，静止的生产力和破坏力，以及完全沉默的不可能性。展览将展出杨嘉辉的《消音状况之一：消音弦乐四重奏》（2014）。
Samson Young is presenting in the exhibition ‘Sound and Silence’ at Kunstmuseum Bonn, Germany. This exhibition focuses on the theme of stillness and silence in the field of contemporary art. The presentation has been realized in view of the 250th birthday of Ludwig van Beethoven and is based on the composer’s progressing deafness as a starting point for discussing the question of the relation between sound and silence, the productive and at the same time destructive force of stillness and the impossibility of complete silence. On view is Young’s ‘Muted Situation #1: Muted String Quartet’ (2014).
The Blue Peal of Bells
杨嘉辉参加了位于釜山现代美术馆的群展“Blue Peal of Bells”。展览展出了杨嘉辉的《消音状况之二十二：消音柴可夫斯基第五号交响曲》（2018）以及他的新壁画作品《Three Part Invention for Solo Viewer on Any Three Instruments》（2020）。
Samson Young is presenting in the group exhibition, ‘The Blue Peal of Bells’ at MOCA, Busan. On view are ‘Muted Situation #22: Muted Tchaikovsky’s 5th’ (2018) and his new mural drawing, ‘Three Part Invention for Solo Viewer on Any Three Instruments’ (2020).
巴塞尔艺术展春季影院
Art Basel Digital Film Program
巴塞尔艺术展的春季影院正在线上放映杨嘉辉的《消音状况之五：消音合唱团》（2016）。
Samson Young's 'Muted Situations #5: Muted Chorus' (2016) is currently on view at The Art Basel Digital Film Program.
Closer Reading
杨嘉辉在意大利的首个个展“Closer Reading”于米兰Ordet艺术中心举办。杨嘉辉以擅长谱奏多文化交响乐和跨媒体艺术实践而闻名，展览“Closer Reading”围绕其在京都最古老的禅寺——京都建仁寺塔头两足院的驻留期间创作的一组作品展开。在驻留的那几周内，杨嘉辉持续进行对形式及其反思的研究。
在Ordet艺术中心，杨嘉辉利用录像、绘画、声音作品和装置来创造一个连贯的、引人入胜的环境。展览展出了杨嘉辉的录像装置《Sonata for Smokes》（2020/2021）、在京都建仁寺塔头两足院现场创作的《Landschaft (Ryosoku-In) series》（2020）中的绘画作品《Tonight》（2020），以及8声道装置《Song without words (computational mantra)’》（2021）
Samson Young held his first solo exhibition in Italy, ‘Closer Reading’ at Ordet, Milan. Renowned for a practice that weaves multicultural paradigms and cross-media experiences, the artist takes a group of works that he created during a residency at the Ryosoku-In at the Kennin-ji temple — the oldest zen temple in Kyoto — as a point of departure for ‘Closer Reading’. During those weeks, Young carried on his ongoing research on what form and its rethinking are.
At Ordet, Young deploys video, drawings, sound works and installations to generate an articulated, absorbing environment. On view are Young’s video installation ‘Sonata for Smokes’ (2020/2021), the drawings from ‘Landschaft (Ryosoku-In) series’ (2020) which were made on-site at the garden of Kennin-ji temple, ‘Tonight’ (2020), and a 8-channel generative sound installation, ‘Song without words (computational mantra)’ (2021).
(剧照 production still)
≡ 杨嘉辉 Samson Young
Sonata for Smokes, 2020/2021
图片由艺术家提供。摄影：Dennis Man Wing Leung
Image courtesy of the artist. Photo by Dennis Man Wing Leung
于吉
Yu Ji
荒弃的泥土
Wasted Mud
于吉的首个于英国机构的个展将在伦敦奇森黑尔艺术空间（Chisenhale Gallery）举办。展出的作品将包括雕塑、视频、印刷和表演。于吉的作品受到她在伦敦Delfina基金会驻留期间进行的田野调查的影响，其新委托作品将伦敦视作为探索城市发展与自然环境之间张力的场所。
展览将于5月开幕并持续至7月。敬请期待更多展览讯息。
Yu Ji will held first solo exhibition in a UK institution, ‘Wasted Mud’ at Chisenhale Gallery. On view are works that include sculpture, video, print and performance. Yu Ji’s work is influenced by field research conducted while on residency at Delfina Foundation, London, in 2019 and her new commission looks to London as a site to explore tensions between urban development and the natural environment.
The exhibition is due to open May 2021 and will be on view through July 2021. More info coming soon.
INCORPOREA 03
于吉参加了由CURA运营的自负盈亏的展览空间、非盈利机构Basement Roma艺术空间的群展“INCORPOREA 03”。此次展览展出了Ivana Bašić、于吉和Hannah Levy的作品。“INCORPOREA ”是一个为期一年的合作展，随着时间的推移而发展和转变，旨在调查身体的所有褶皱和意义：身体作为一个革命性的空间，对抗和自由，表达和研究，自我定义和权力，身份和性别。
——译自Basement Roma艺术空间提供文字
Yu Ji is presenting in the exhibition, ‘INCORPOREA 03’ at Basement Roma, a non-profit organisation and a self-sustained exhibition space run by CURA. This edition includes the works of Ivana Bašić, Yu Ji and Hannah Levy. ‘INCORPOREA’ is a year-long choral exhibition set up as to develop and transform itself over time, and aimed at investigating the body in all its folds and meanings: the body as a revolutionary space, of antagonism and freedom, expression and research, self-definition and power, identity and gender.
– Courtesy of Basement Roma
≡ 于吉 Yu Ji
“INCORPOREA 03”展览现场 Installation view at 'INCORPOREA 03'
图片由Basement Roma艺术空间提供
Image courtesy of the artist and Basement Roma
郑波
Zheng Bo
利物浦双年展2021：胃与港 Liverpool Biennial 2021: The Stomach and the Port
郑波将参加第11届利物浦双年展。此次双年展题为“胃与港（The Stomach and the Port）”，旨在探讨身体的观念以及身体与世界链接的方式。2020年利物浦双年展“胃与港”由曼努艾拉·莫斯科索（Manuela Moscoso）和艺术总监法托斯·于斯泰克（Fatoş Üstek）及利物浦双年展团队一起策划。超过50位国际艺术家参展，在利物浦这座有历史意义的城市环境中对此次双年展的主题做出回应。郑波将展出作品《蕨恋》系列（1至5，2016-2020）。
Zheng Bo is presenting in the 11th edition of Liverpool Biennial, ‘The Stomach and the Port’ which explores notions of the body and ways of connecting with the world. ‘Liverpool Biennial 2021: The Stomach and the Port’ is curated by Manuela Moscoso and includes more than 50 international artists to respond to this theme within the context of Liverpool. Zheng Bo is presenting ‘Pteridophilia 1-5’ (2016 – 2020).
广州影像三年展2021
Guangzhou Image Triennial 2021
郑波将参加广州影像三年展2021。今年的主题是“重思集体”，展览试图通过影像艺术的独特语言，呈现出不同维度的思辨，与观众共同探究对于人类精神与命运的现实反思。展览将展出郑波的纸上素描《写生（芒种）》（2020）。
Zheng Bo is part of the Guangzhou Image Triennial 2021. This year’s theme, ‘Rethinking Collectivity’ brings together different aspects of critical reflection through image-making. On view is Zheng Bo pencil on paper work, ‘Drawing Life (Grain in Beard)’ (2020).
生命如此艰难，何必搞得这么简单?
Life is hard. Why do we make it so easy?
由香港艺术发展局(艺发局)主办、香港赛马会慈善信托基金捐助的赛马会艺坛新势力呈献今届第二个视艺展览：郑波《生命如此艰难，何必搞得这么简单?》(Life is hard. Why do we make it so easy?)。 郑波《生命如此艰难，何必搞得这么简单?》是 2018 年泰国喀比双年展同名作品的延续，灵感来自泰北农民 Jon Jandai 的 TED Talk 演讲“Life is easy. Why do we make it so hard?”，郑氏后来将句子反转作为展览题目。他有感人类经常为一己私利，令其他物种的生存变得艰难，因此透过展览，以提倡物种平等相处的理念，共同应对当前的气候和生态危机。
——文字来源于赛马会艺坛新势力
Presented by the Hong Kong Arts Development Council and funded by The Hong Kong Jockey Club Charities Trust, JOCKEY CLUB New Arts Power proudly presents Zheng Bo’s visual arts exhibition Life is hard. Why do we make it so easy? at Kadoorie Farm and Botanic Garden (KFBG). Zheng Bo’s exhibition, titled Life is hard. Why do we make it so easy?, is inspired by the TED talk “Life is easy. Why do we make it so hard?” by Jon Jandai. The artist modifies Jon Jandai’s statement and expresses his apprehension about how human beings are making our lives easy at the expense of other species in nature. Through the exhibition, Zheng encourages people to reflect and live in harmony with other species, for the common good and in coping with the current climate and ecological crisis.
- Text from JOCKEY CLUB New Arts Power
≡ 郑波 Zheng Bo
生命如此艰难，何必搞得这么简单?
LIFE IS HARD. WHY DO WE MAKE IT SO EASY?
2021
嘉道理农场暨植物园展览现场
Installation at Kadoorie Farm & Botanical Garden
由赛马会艺坛新势力资助
Supported by JOCKEY CLUB New Arts Power (JCNAP)
图片由赛马会艺坛新势力提供
Image courtesy of JCNAP
摄影 Photo by Cheung Chi Wai
展览记录
Exhibition Documentation
赖志盛个展“绕梁”
Lai Chih-Sheng solo exhibition Linger
刘晓辉个展“转身”
Liu Xiaohui solo exhibition Détournement
于吉个展“Forager”
Yu Ji solo exhibition Forager
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