现场 | 彭祖强个展“Sideways Looking” @ Cell Project Space

彭祖强个展“Sideways Looking”已于2022年4月13日在英国伦敦的Cell Project Space开幕，展览将持续至2022年6月12日。

Peng Zuqiang's solo exhibition "Sideways Looking" opened at Cell Project Space (London, UK) on April 13, 2022. The exhibition runs through June 12, 2022.

彭祖强“Sideways Looking”展览现场

由艺术家与Cell Project Space提供。摄影：Rob Harris

《保联》 (keep in touch) 由五个拍摄于超8胶片和高清录像的片段组成，试图演绎关于接触与联结的复杂性。这五组场景中的参与者全部为非白人，并主要为亚裔、酷儿的伙伴们。这些回忆、八卦和沉默的片刻，都在尝试思考——当一个主体无法成型时，我们应当如何重新考量“可见”、“可闻”或“可辨”的含义？

Filmed in super 8 and HD video, keep in touch is a five-channel installation of gestures and scenarios that engages the complexity of contact and connection.  

Improvised with a non-white cast, and queer/asian friends, these fragmented memories, uneasy gossip, and moments of silence, center on one key question: When the idea of an individual subject cannot take form, how might we reconsider being visible, audible, or legible?

“街道有时很昏暗，树影绰绰，天气有点热……总算有了几分潜在的情色感受(来自湿热的夜晚)。”1974年罗兰·巴特到访中国时，对于异国年轻男性的暧昧想象成为他的《中国行日记》的一条副线。巴特在生前没有发表这些写作，他对中国的悬而未决的判断, 在彭祖强的作品《瞥漏》（Sight Leak）中被书写为年轻男子划拨于表面的目光，在阴影、拐角或是遮蔽之中流露。不同的声音之间有关阶层和观看的只言片语，回应着巴特在文本中对这些主题的观察。影像中的本土游客穿越在不同的日常空间与活动之中，他似乎从未看向谁，却又默默地看着谁，在晦暗不明中转向某种集合体，一种外人目光之外的空间。

“The moon, the sometimes dark street, trees, it's warm […] at last, a certain eroticism possible (that of the warm night).” When Roland Barthes visited China in 1973, he jotted down some notes that would become part of his Travels in China (Carnets du voyage en Chine), an underplot of desire in his imagination of the country. Barthes did not publish these writings during his lifetime, and his unsettling judgments about China are refracted in Peng Zuqiang's work Sight Leak, as fragments of dialogues on class and looking, responding to the reflections on the same matters elicited alongside Barthes' sense of eroticism. The local tourist in the film travels through different spaces and gatherings, seemingly never looking at anyone, yet silently looking at someone, turning towards a certain collectivity in spite of a foreign homoerotic gaze

《青园》（The Cyan Garden）试图赋形于一系列不连贯的历史与回忆。作品部分使用过期乐凯航空卷拍摄，影像徘徊于一个隐蔽的电台遗址和一位艺术家友人经营的名为“情人”的民宿之间。1969年到1981年间，流亡的马来西亚共产党地下电台“马来亚革命之声”（Voice of the Malayan Revolution）曾在离艺术家友人住所不远的城镇驻留，而其遗址现在正被改造成为一个度假村。投射在半透明亚克力板上的影像，生成朦胧的残影，摇曳闪烁于档案音频、电台遗址和装修成“东南亚”风格的民宿之间。空间的重饰、革命的残存、被扼杀的浪漫和从未准确的记忆在《青园》中交织成一组视觉笔记，并随着调频里的流行歌曲逐渐散去。

The Cyan Garden considers the limits of giving form to the past which cannot cohere into memory. In part filmed on ‘Lucky', a discontinued b&w 16mm film reel stock intended for military aerial detection, the moving image revolves around a radio station that was not supposed to be detected and an Airbnb apartment ‘The Lover’, run by Peng’s friend in their hometown. Between 1969 and 1981, a Malaysian communist underground radio in exile Voice of the Malayan Revolution resided in what is now soon to be a resort. Projected on a holographic screen producing shadowy after-images, the work flickers between radio static, bursts of archival jingles, ruins of the radio station and choreographed scenes of the Airbnb apartment decorated in imagined ‘Southeast Asian’ style. Contemplation on a revolution’s fraught relation to emancipation, The Cyan Garden interweaves visual notes on contemporary urbanisation, revolutionary bodies, stifled romance and inability to remember ‘rightly’ as love songs lull in the background.

作品图片致谢艺术家与天线空间

Courtesy: the artist and Antenna Space

彭祖强 Peng Zuqiang

彭祖强（b. 1992，长沙）。2014年毕业于伦敦大学金史密斯学院，2017年毕业于芝加哥艺术学院。彭祖强的录像、电影与装置创作⽴源于研究与观察，着眼具体物件、语言与历史中潜藏的多元联系与情感痕迹，并通过构建关联与巧合来揣测含义。

近期参与过的驻留项⽬包括：中欧大学高等研究院，布达佩斯 （2022）、器空间，重庆（2021）、Skowhegan，缅因州（2019）以及The Core Program驻地计划，休斯顿（2017-2019）。他将于2022年开始在荷兰皇家视觉艺术学院的驻留。他曾于2020年获得华宇青年奖“评委会特别奖”，首部长片《难》于同年获印尼⽇惹纪录⽚电影节国际长⽚竞赛单元的“特别提及”。

他的作品曾在世界多个重要美术馆、画廊和影像展会展映，如：“大象出走”，美凯龙艺术中心，北京（2022）；“离岸之歌”，广东时代美术馆，广州（2021）；“Más Allá, el Mar Canta (Beyond, the Sea Sings)”，柏林时代艺术中心，柏林，德国（2021）；“还未命名的片刻”，天线空间，上海（个展，2021）；“记忆术”，OCAT，深圳（2021）；“Is It A Good Time?”，Mana Contemporary，芝加哥，美国（2021）；“漫长的问候 – 第八届华宇青年奖入围展”，UCCA，北京（2020）；“北京国际短片联展”，歌德学院，北京（2020）；“长片竞赛单元”，印尼日惹国际纪录片影展，日惹，印度尼西亚（2020）；“长片首作单元”，阿姆斯特丹国际纪录片电影节，阿姆斯特丹，荷兰（2020）；“反物质”影像艺术展，维多利亚，加拿大（2020）；“The Core Program”，休斯顿艺术博物馆，休斯顿，美国（2019）；“国际短片单元”，莱比锡纪录片电影节，莱比锡，德国（2017）；“不设防城市”纪录片电影节，伦敦，英国（2017）；“傲慢青年”，Gabriel Rolt Gallery，阿姆斯特丹，荷兰（2015）等。

Peng Zuqiang (b. 1992, Changsha). He graduated from the Goldsmiths, University of London in 2014, and from the School of the Art Institute of Chicago in 2017. He makes video, film and installation, with an attention to the affective qualities within histories, bodies, and language, approximating meanings through associations and coincidences. 

Peng’s recent residencies include IAS CEU, Budapest, Hungary (2022); Organhaus, Chongqing, China (2021), Skowhegan School of Painting & Sculpture, Maine, US (2019); The Core Program, Museum of Fine Arts, Houston , US (2017-2019). He is going to start his residency at the Rijksakademie in Amsterdam in fall 2022. He was awarded the “Jury Special Award” at the 8th Huayu Youth Award 2020, and a “Special Mentions” at the Festival Film Dokumenter in Yogyakarta, Indonesia with his first feature film, Nan (2020). 

Zuqiang’s works have been shown at exhibitions and festivals internationally including: The Elephant Escaped, Macalline Art Center, Beijing, China (2022); One Song Is Very Much Like Another, And The Boat Is Always From Afar, Guangdong Times Museum, Guangzhou, China (2021); Más Allá, el Mar Canta (Beyond, the Sea Sings), Times Art Center Berlin, Berlin, Germany (2021); Hesitations, Antenna Space, Shanghai, China (Solo, 2021); The Arts of Memory, OCAT, Shen Zhen, China (2021); Is It A Good Time?, Mana Contemporary, Chicago, US (2021); A Long Hello - Huayu Youth Award Exhibition, UCCA, Beijing, China (2020); Beijing International Short Film Festival, Goethe-Institut, Beijing, China (2020); Festival Film Dokumenter (FFD), Yogyakarta, Indonesia (2020); IDFA First Appearance section, Amsterdam, The Netherlands (2020); Anti-Matter, Victoria, Canada (2020); The Core Screening, Museum of Fine Arts, Houston, US (2019); Ethno Kino, Bern, Switzerland (2018); International Short Programme: Dok Lepzig, Lepzig, Germany (2017); Open City Documentary Festival, London, UK (2017); De arrogantie van De jeug, Galerie Gabriel Rolt, Amsterdam, The Netherlands (2015) among others.