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艺术家 | 童义欣参加Para Site艺术空间展览「溢流地」

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「溢流地」

策展人：李佳桓、冯骏原

展期：2021.8.14-2021.11.14

地点：Para Site艺术空间

香港鲗鱼涌英皇道677号荣华工业大厦22楼

Liquid Ground

Curator: Alvin Li and Junyuan Feng

Duration: Aug 14 – Nov 14, 2021

Venue: Para Site

22/F, Wing Wah Industrial Bldg. 677 King's Road, Quarry Bay, Hong Kong

展览现场

EXHIBITION VIEW

艺术家 | 童义欣参加Para Site艺术空间展览「溢流地」溢流 Site 艺术空间艺术家童义欣策展人李佳桓冯骏展期崇真艺客

图片致谢Para Site艺术空间

Courtesy of Para Site

艺术家 | 童义欣参加Para Site艺术空间展览「溢流地」溢流 Site 艺术空间艺术家童义欣策展人李佳桓冯骏展期崇真艺客

《蛟龙诞生》 The Birth of Julung-julung: The Aquatic Dragon | 高清有声录像 HD video with sound | 24’52” | 2019 - 2020

Courtesy of the artist and Vanguard Gallery

艺术家 | 童义欣参加Para Site艺术空间展览「溢流地」溢流 Site 艺术空间艺术家童义欣策展人李佳桓冯骏展期崇真艺客

《石化海：蛟龙》 Petrified Sea: Aquatic Dragon | 风干黏土、环氧树脂、CD 盒碎片、耳塞、竹叶、粉红黎明荚蒾花蕾、水彩 Air-dried clay, epoxy resin, CD case fragments, earplug, bamboo leaf, Pink Dawn viburnum bud, watercolour | H. 15.5 × W. 19.5 × D. 3 cm | 2021

Courtesy of the artist and Vanguard Gallery

艺术家 | 童义欣参加Para Site艺术空间展览「溢流地」溢流 Site 艺术空间艺术家童义欣策展人李佳桓冯骏展期崇真艺客

《翻白眼》 Rolling Eyes| 风干黏土、顏料 Air-dried clay, pigment | H. 7 × W. 14 × D. 2.5 cm | 2021

Courtesy of the artist and Vanguard Gallery

于这则游记录像散文内，艺术家兼渔夫童义欣旅行到游客如织的马来西亚金之岛，邂逅了当地名为「Julung-Julung」的鱼类，於是开啟一系列调查，最终艺术家制作了一个幸运符赠予这座岛屿。作为当地渔民主要食物来源的「Julung-Julung」名称发音近似中国神话内的「蛟龙」，让童义欣开始思索东南亚处于变化当中的生态及精神世界。艺术家并无遵循传统调查方式去探究蛟龙到底是否从中国游到当地，而是用金属及木材制作了一个「Julung-Julung」形状的敲击乐器。它现时冷漠地远眺着海面，好比录像内反覆出现的翻白眼镜头，以及雕塑《翻白眼》中的那双大眼。

In this travelogue-cum-video essay, artist and fisherman Yi Xin Tong travels to Dinawan Island in Malaysia, a popular tourist destination, where his encounter with a fish locally referred to as Julung-Julung leads to a series of investigations and his eventual crafting and gifting of a lucky charm to the island. The phonetic resemblance between the fish—a major source of nutrition for the local fishermen—and jiaolong, an aquatic dragon in Chinese mythology, becomes the departure point from which Tong ruminates on the changing ecology and spirit world of Southeast Asia. Rather than taking the conventional route, which is to research whether the dragon indeed travelled across the waters from China, the artist builds a percussion instrument made of metal and wood in the shape of Julung-Julung, which now overlooks the sea with an unsympathetic gaze akin to the shots of human eye-rolling that recur throughout the film, and juxtaposed with the sculpture Rolling Eyes on view.

关于童义欣

ABOUT YI XIN TONG

童义欣的创作方式像是一位现代的漫游者、游走于城市的拾荒人，收集日常生活的碎片而转化为诗。他着迷于带点英雄式的冒险、浪漫与荒谬感的事物，作品常看似随心所欲，也不追求形式的精致，却是悉心布局的结果，在寻常表面下潜藏了层层诗的语言。“我的创作来源并反馈于自然和社会。由于自然景观和社会景观的相互交融，我对自然景观的原始兴趣中便也在添加越来越大成份的对人类社会和历史的回味和捣乱。切肤地与这个世界交流，体味其中种种个体存在的严简或繁杂本质，纪录以诙谐的方式。”这是童义欣对创作状态的自我解读。

1988 年生于庐山，2005 年至2007 年就读于中国地质大学，2012 年获得温哥华西蒙菲沙大学艺术荣誉学士、2014 年纽约大学艺术硕士学位。现工作生活于纽约。他的近期个人项目包括：“世界河流图”，Vanguard 画廊，上海，中国（2020 年）；“邀请展—涟漪起源”，諝空间，南昌，中国（2019 年）；“潇湘·渔隐”，南海艺术中心，加州，美国（2018 年）。同时他的作品还参加了以下群展：“溢流地”，Para Site艺术空间，香港，中国；“Durational影集”，Vanguard画廊，上海，中国；“一个人在荒岛听”，民生美术馆，北京，中国“从跳棋到复杂系统”，时代美术馆，成都，中国；“Printed Matter虚拟艺术书展”，特别特别，纽约，美国；“紧急中的沉思”，尤伦斯当代艺术中心，北京，中国（2020年）；“BRIC 双年展III”，BRIC 艺术中心，布鲁克林，美国（2019 年）；“空港双年展”，广州，中国（2019 年）；“深度浩劫”，K11 美术馆，上海，中国（2019 年）；“长征计划：赤字团”，长征空间，北京，中国（2019 年）；“漂浮”，前波画廊，纽约，美国（2019 年）；“度日”，阿那亚艺术中心，秦皇岛，中国（2019 年）；“推测”，自然，南海艺术中心，密尔布瑞，美国（2019 年）；“暗影的印记”，ACRE，芝加哥，美国（2018 年）；“延平乡村艺术季”，九龙村，中国（2018 年）；“实践：进行中”，NARS 基金会，布鲁克林，美国（2018 年）；“身体和革命，黄山和庐山”，泰康空间，北京（2018 年）。

The creation of Yi Xin Tong is like a modern wanderer, wandering in the city, collecting pieces of daily life and converting to poetry. Fascinated by taking some heroic adventure, romance and absurd things, seems to follow one’s inclinations, don’t pursue in the form of a delicate, is the result of careful layout, hidden under the ordinary surface layers of the language of poetry. “My work both originates in and reciprocates with both the natural world and society. Arising from the union of natural scenery and social spectacle, my initial interest in the former begins to admix itself in increasing proportions with reflections on and interpositions within society and history. I put heart and soul into engaging in dialogue with the world around me, observing the varying simplicity or intricacy of the various entities that exist there, documenting these via the most harmonious of means.” This is the self-interpretation of the creation state of Yi Xin Tong.

Yi Xin Tong was born in Lushan, China in 1988. He received a Bachelor of honor from Simon Fraser University, Vancouver (2012) following two years of study at China University of Geosciences, Beijing from 2005 to 2007. In 2014, he finished his study from the Department of Studio Art at New York University and received his MFA degree. Tong now lives and works in New York. His recent solo projects include: “World River Atlas”, Vanguard Gallery, Shanghai (2020); “The Attraction Show—Origin of Ripples”, Snarte Space, Nanchang, China (2019); “Going Outside”, Nanhai Art, Millbrae, California, USA (2018). He also attended the following group exhibitions: “Liquid Ground”, Para Site, Hong Kong, China; “Durational”, Vanguard Gallery, Shanghai, China; “Being in the Void”, Minsheng Art Museum, Beijing, China; “From Checkers to Complex Systems”, Times Art Museum, Chengdu, China; “Printed Matter Virtual Art Book Fair”, Special Special, New York, USA; “Meditations in an Emergency”, UCCA, Beijing, China (2020) “BRIC Biennial III”, BRIC House, Brooklyn, USA (2019); “Guangzhou Airport Biennale”, Guangzhou, China (2019); “Disaster of Extra Epic Proportions”, curated by Alvin Li, chi K11 art museum, Shanghai, China (2019); “Long March Project: The Deficit Faction”, Long March Space, Beijing, China (2019); “Adrift”, Chambers Fine Art, New York, USA (2019); “Long Day”, Aranya Art Centre, Qinhuangdao, China (2019); “To Speculate, Of Nature”, NanHai Art, Millbrae, USA (2019); “Shadow as a Stain”, ACRE, Chicago, USA (2018); “Yanping Art Harvest in the Village”, Jiulong Village, China (2018); “Practice: in Progress”, NARS Foundation, Brooklyn, USA (2018); “Life and Revolution, Landscape of Huangshan and Lushan”, Taikang Space Beijing China (2018).

关于「溢流地」

About Liquid Ground

「溢流地」是关于未来公地的一次提案，它尚在半空之中，但终将沉入水底。全球海岸工程在二战后蓬勃发展，而在数十年后的今天，我们置身于一个「地球化」工程日渐泛滥的时代：从槟城、上海到澳门、新加坡，亚洲的滨海城市争相将砂石填入开放水域，城市得以将自然水体转化为坚实的地表，使资本可以在其之上流动、运转。通过融入一系列从生命到非生命的庞杂视角，十五位参展艺术家深入各自属地的複杂历史，建构属于自身的叙事和想象，以抵抗技术官僚制的霸权，开啓观看与感知生态之网的新可能。

‘Liquid Ground’ is a proposal for a future commons, still up in the air, that will one day be underwater. Now, decades later, humanity finds itself in an age of ever more intensive terraforming: From Penang and Shanghai to Macau and Singapore, coastal cities across Asia compete to turn natural bodies of water into the solid ground over which capital flows and pulsates. Hong Kong, too, has a long history of land reclamation, with large-scale projects dating back to the mid-19th century. Engaging an eclectic range of perspectives, from the living to the inert, 15 artists delve into the complex material histories of their respective locales to propose scripts of their own, defying the hegemony of technocracy while opening up new ways of seeing and sensing our ecological enmeshment.