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胶囊威尼斯｜廖雯：有一天，我发现自己认识世界的方式是生吞｜展览现场｜媒体报道

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胶囊威尼斯｜廖雯：有一天，我发现自己认识世界的方式是生吞｜展览现场｜媒体报道崇真艺客

廖雯的个展“有一天，我发现自己认识世界的方式是生吞”当前在胶囊威尼斯展出，将持续至2024年12月15日。

Liao Wen: By devouring it, I learn about the world is on view at Capsule Venice until December 15, 2024.

意大利威尼斯 Sestiere Dorsoduro 2525号

Sestiere Dorsoduro 2525, Fondamenta Rossa, Venice, Italy

展览现场

Exhibition Views

Installation View 展览现场 | Liao Wen: By devouring it, I learn about the world, Capsule Venice, Venice, Italy 廖雯：有一天，我发现自己认识世界的方式是生吞，胶囊威尼斯，意大利威尼斯 | Photo 图片 ? Andrea Rossetti

Liao Wen 廖雯 | I Swallow the Tide to Light Up… 我吞吐潮汐只为照亮…… | 2024 | Sculpture: hand-carved and painted limewood, stainless steel, natural gemstone beads, glass beads, copper threads, brass bells, leather drum, natural dye silk, nylon rope, grains, automobile grease, sea shells, 3D-printed stainless steel, vegetable-tanned cowhide and swine leather, polyurethane foam, silicone, nylon fabric 雕塑：手工雕刻和上色椴木，不锈钢，天然石珠，琉璃珠，铜丝，铜铃铛，牛皮鼓，自然染色绡，尼龙绳，谷物，机油，贝壳，3D打印不锈钢，植鞣牛皮和猪皮，聚氨酯泡沫，硅胶，尼龙布料 | Sculpture 雕塑: 175 x 323 x 56 cm | Photo 图片 ? Andrea Rossetti

Liao Wen 廖雯 | I Swallow the Tide to Light Up… 我吞吐潮汐只为照亮…… | 2024 | Photo 图片 ? Riccardo Banfi | detail 细节

Liao Wen 廖雯 | Tender Residue #1 柔软的剩余物 #1 | 2024 | Photo 图片 ? MC Zhang | detail 细节

Liao Wen 廖雯 | Tender Residue #4 柔软的剩余物 #4 | 2024 | Photo 图片 ? MC Zhang | detail 细节

Liao Wen 廖雯 | Tender Residue #2 柔软的剩余物 #2 | 2024 | Photo 图片 ? MC Zhang | detail 细节????????

雕刻暴力：廖雯作品于威尼斯展出

人、动物和植物异化的躯体叙述着暴力的经过和其暧昧特质。这位当今最具潜力的中国艺术家之一正在胶囊威尼斯举办其首个意大利个展。

撰文：Alberto Villa

2024年10月7日

原文以意大利文发表于www.artribune.com

廖雯（1994年生于成都，现居香港）的想象力既鲜活又令人不安。我第一次意识到这一点是在2023年，我在米兰Cassina Projects的空间里，胶囊举办的一个群展上第一次见到她的作品。一年后，在胶囊威尼斯的另一场群展中，这种印象再次得到印证。在本次她的首场意大利个展上，这种感觉变得更加清晰。以上每场展览的背后是策展人玛瑙（Manuela Lietti）的匠心独运，她和画廊一起为我们的城市带来了中国当代艺术的杰出代表作品。

在廖雯展览的同期，胶囊威尼斯同时也在呈现德国艺术家梅夫拉纳·利普（Mevlana Lipp，1989年生于科隆）和意大利艺术家阿莱西奥·德·吉罗拉莫（Alessio de Girolamo，1980年生于圣雷莫）的个人项目。利普的作品探索了绘画与雕塑的交点，而德·吉罗拉莫的项目则采集了自然和城市的声音，重构经典乐曲，并将音频与实时视频相结合。

Liao Wen 廖雯 | Performance of I Swallow the Tide to Light Up… 我吞吐潮汐只为照亮…… 表演现场 | 2024 | Photo 图片 ? Riccardo Banfi

廖雯在威尼斯的展览

正在胶囊威尼斯展出的廖雯的雕塑证明了谈论暴力未必需要牺牲优雅与精致。进入展览主楼层，映入眼帘的是一件海洋生物骨架的雕塑，形似鲸鱼，悬浮于半空，椎骨上标有编号，仿佛是自然历史博物馆的标本。从动物到博物馆的标本，从鲜活的生命到研究与观赏的对象，这头鲸鱼象征着人类对超人类躯体的侵占。同一展厅中播放的基于雕塑的行为表演视频进一步强化了这种权力关系。动物的内脏和心脏（分别由布条和鼓代表）被取出以供研究，象征性的死亡在此成为仪式。

视频《坠入巨人之眼》描绘的暴力更加直白，但同样扣人心弦。画面从独眼巨人的瞳孔展开，这只眼或许刚刚被"无名之人"（Nobody）刺穿，对暴力记忆犹新。我们像爱丽丝掉进兔子洞般坠入其中，然而尽头的光景却与刘易斯·卡罗尔（Lewis Carroll）笔下的仙境大相径庭，我们看到的是一系列人、动物和植物躯体被穿透和侵犯的场景。

廖雯作品中的暧昧暴力

这位中国艺术家彻底揭示了暴力的模糊和暧昧：它既是文化的，也是自然的。走进下一间展厅时，廖雯告诉我：“我一直想做群像的雕塑，但对我来说，身体的互动与交缠是很重要的。”在雕塑《撒克巴斯的泪水》中，两个主角不仅相互缠绕，更体现了爱与死的原始二元对立。螳螂交媾的结局众所周知，廖雯精心策划了这一高潮场景：雌螳螂用腹部抓住雄螳螂，同时无法抑制地用颚攻击其喉咙。在这里，自然界的暴力是一种本能，是雄性的死牢，亦是雌性无法摆脱的枷锁。廖雯似乎在告诉我们，爱（亦或任何一种关系）总是或多或少地带有侵略性，附带着对自己或他人的支配。《撒克巴斯的泪水》或许是展览中最残酷的作品，与其平衡的是一个令人眼前一亮的纤巧细节——雌螳螂背部生长出的种子。螳螂的食人和暴力行为可以被理解为一种生死共存的存在主义范式，成为展览标题的有力注脚——我认识世界的方式是生吞。

Liao Wen 廖雯 | Tears of the Succubus 撒克巴斯的泪水 | 2024 | Photo 图片 ? Andrea Rossetti | detail 细节

廖雯：艺术即过程

当一件作品的意义不仅源自其感知特质，还来自其创作过程和所用媒介时，这总是一个好的征兆。这表明艺术家非常清楚自己在做什么，以及（最重要的）如何做。廖雯向我阐释：“我的大部分作品都是用木头雕刻的。其实用其他技术也可以达到类似的效果，比如铸模，但那样就削弱了创作中至关重要的双手和身体的直接参与。”雕刻本身也有暴力的成分。木头曾经是生命，此刻成了被牺牲的躯体，被雕刻、破坏、打磨的材料，可以与其对峙，将其再次扼杀。“这让我反思自身的暴力和暗面”，艺术家这样说道。因此，创作过程与最终成果一样是对作品实现过程和意义的思考，思考它们所传达的内容，以及（通过它们）谁成为了叙述者。

Liao Wen 廖雯 | Tears of the Succubus 撒克巴斯的泪水 | 2024 | Photo 图片 ? Andrea Rossetti | detail 细节

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Sculpting Violence. The Works of Liao Wen Exhibited in Venice

Human, animal, and plant bodies with alien features narrate the processes of violence and its ambiguities. At the Venetian branch of Capsule Shanghai, the first solo exhibition in Italy of one of the most promising Chinese artists of the moment.

By Alberto Villa

07/10/2024

Original text published in Italian on www.artribune.com

The imagination of Liao Wen (Chengdu, 1994; lives and works in Hong Kong) is unsettling and vibrant. I realized this when I first saw her works in the group exhibition that Capsule Shanghai gallery held at the Cassina Projects space in Milan in 2023. This impression was confirmed by another group exhibition, this time at the Venetian branch of the same Capsule Shanghai, just a year later. And it becomes even clearer to me in her solo exhibition, the first in Italy, held at this very location. Behind each of these initiatives is the curation of Manuela Lietti, who, along with the gallery, deserves recognition for bringing outstanding examples of contemporary Chinese art to our cities.

At the same time as Liao Wen’s exhibition, Capsule’s Venetian space is also hosting exhibitions by German artist Mevlana Lipp (Cologne, 1989), who explores the intersections between painting and sculpture, and Italian artist Alessio de Girolamo (Sanremo, 1980), who presents a project sampling the sounds of nature and the city, recreating preselected compositions and integrating them with various real-time video footage of the process.

Liao Wen's Exhibition in Venice
The sculptures by Liao Wen presented by Capsule are proof that one can speak of violence without sacrificing elegance and refinement. There is violence in the large sculpture that greets visitors on the main floor—a skeleton of a sea creature resembling a whale, suspended in mid-air, with its vertebrae numbered as if in a natural history museum. From animal to museum specimen, from living being to object of study and wonder, the whale here symbolizes human appropriation of more-than-human bodies. This dynamic is emphasized by the performance that activates the sculpture (shown in an accompanying video): the metaphorical death of the animal is ritualized, with its innards and heart (represented by fabric strips and a drum, respectively) removed for analysis.

Certainly more explicit, but no less captivating, is the violence depicted in the video Down the Eye of Polyphemos: the images flow from the Cyclops’ pupil (perhaps just pierced by Nobody, and thus fully aware of the violence), and we plunge into it like Alice down the rabbit hole. But the wonders we find at the bottom are far from those described by Lewis Carroll; instead, it is a series of scenes showing the penetration and violation of human, animal, and plant bodies.

The Ambivalent Violence in Liao Wen's Works

The violence that the Chinese artist stages is one that reveals its full ambiguity: it is both cultural and natural. Entering the next room, Liao Wen explains to me, "I had been wanting to create a sculptural emsemble for some time, but it was important to me that the bodies interact, that they intertwine." In the sculpture Tears of the Succubus, the two protagonists are not only entwined but also embody the primal dualism of eros and thanatos. The outcome of the mating of praying mantises is well known, and Liao Wen meticulously directs the climactic scene: the female holds the male with her abdomen while attacking his throat with her mandibles, unable to stop. Here, natural violence is instinct— a prison for the female just as much as for the male. Liao Wen seems to tell us that love (and any relationship) always contains a portion of aggression, of domination over oneself or the other. Tears of the Succubus is probably the most gruesome work in the exhibition, yet it is balanced by a delicate and surprising detail: seeds sprouting from the back of the female. The cannibalistic and violent act of the mantis becomes an existential paradigm of the coexistence of life and death, explaining the title of the entire exhibition: By devouring it, I learn about the world.

Liao Wen 廖雯 | The Galaxy Turns My Pocket Inside Out 我从口袋里掏出银河 | 2024 | hand-carved and painted limewood, stainless steel, nylon fishing net, natural gemstone beads, glass beads, copper threads, sediments from the canals of Venice 手工雕刻和上色椴木，不锈钢，尼龙渔网，天然石，琉璃石，铜线，威尼斯河道的沉积物 | Main body 主体: 108 x 167 x 68 cm | Site-specific installation 场域特定装置: 272 x 452 x 180 cm (dimension variable 尺寸可变) | Photo 图片 ? Andrea Rossetti

Liao Wen: Art is the Process

When the meaning of a work emerges not only from its perceptual qualities but also from its creative process and the medium used, it's always a good sign. It signals the artist's awareness of what they are doing and, above all, how they are doing it. "Most of my works are sculpted in wood," Liao Wen explains to me. "I could achieve similar results with other techniques (for example, casting with molds), but it would curtail an important, manual, and physical part of the process." There is violence in sculpting too: the wood, once part of a living being, becomes a sacrificial body, a material to be carved, broken, smoothed, confronted, and killed once again. "This helps me reflect on my own violent and negative side," the artist says. Thus, the artistic process (at least as much as the final result) becomes a moment of reflection not only on the execution of the works but also on their meaning—on what they communicate and on who, through them, becomes the storyteller.

关于艺术家 ABOUT THE ARTIST

廖雯现居香港。2019年硕士毕业于中央美术学院。廖雯以雕塑、表演和影像为媒介。她汲取来自木偶学、神话-仪式人类学、医药学、艺术史的养分，思考投射到身体上的社会秩序、技术与权利的规训。其创作兼具原始与未来感，展露身处阈限阶段的不安定，以想像未来身体的可能性。

她的个展包括胶囊空间（威尼斯，2024；上海，2021）；蔡锦空间（北京，2021）。近期群展包括，广东时代美术馆（广州，2024）；首届泛东南亚三年展（广州，2023）；Cassina Projects（米兰，2023）；Franc?ois Ghebaly画廊（洛杉矶，2022）；“飞去来器-第九届OCAT双年展”（深圳，2021）等。她获2023年Frieze 纽约艺博会的Stand Prize，亦入围2023年意大利Ducato Prize。廖雯的作品被纽约时报、Art in America、艺术新闻（中文版）、ArtReview艺术世界等刊物报道。她将于2025年在瑞士文化基金会的支持下前往瑞士进行驻地考察。

Liao Wen lives and works in Hong Kong. She received her MFA from the Central Academy of Fine Arts China in 2019. Liao Wen’s practice spans sculpture, performance, and video. Drawing inspiration from puppetry, anthropology of myths and rituals, medicine, and art history, she interrogates the social order, technology, and disciplining power projected onto the body. Both primordial and futuristic, her works depict the unsettling balance of the body in the liminal state and imagine future bodily possibilities.

Her solo exhibitions include Capsule Shanghai (Venice,2024; Shanghai, 2021); Cai Jin Space (Beijing, 2021). She has participated in group exhibitions, Guangdong Times Museum（Guangzhou，2024）；The First Trans-Southeast Asia Triennial (Guangzhou, 2023); Cassina Projects (Milan, 2023); Fran?ois Ghebaly Gallery (Los Angeles, 2022); OCAT Biennale 2021 (Shenzhen, 2021), among others. She was awarded the Frieze New York Stand prize in 2023 and was a finalist artist for the Ducato Prize in 2023. Her works have been featured in publications such as The New York Times, Art in America, The Art Newspaper China, and ArtReview. She has been selected to be the resident of Pro Helvetia in Switzerland in 2025.

胶囊上海当前展览????????

Current Exhibition at Capsule Shanghai

蔡泽滨：北纬二十三度的十二个故事????

Cai Zebin: 12 Tales of the 23rd Parallel North????????

将展出至2025年1月25日

Until January 25, 2025??????????????????????????????