娜布其与汉克·维奇双个展：人&物
以下文章来源于 ArtBubbles 闲自集，作者杨光南
娜布其与汉克·维奇双个展：玩具和低语声，展览现场
娜布其和汉克·维奇双个展：人&物
Review of Nabuqi and Henk Visch's Dual Exhibition: Humans and Objects
文｜杨光南
By Yang Guangnan
娜布其与汉克·维奇(Henk Visch)的双个展，与其说是两位艺术家作品的并置，不如说是一场关于“物如何定义人”的思辨实验。假若传统雕塑试图在物质中凝固人性，那么这场展览则反向而行：让物挣脱人的叙事，甚而反过来质问人性是否只是物的某种偶然形态。
在汉克·维奇的铝制人像雕塑中，金属的光滑表面本应象征工业时代的纯粹理性，但艺术家偏偏赋予它们肿胀的关节、扭曲的肢体和缩小的头颅，仿佛这些坚硬躯壳在抵抗被人类情感殖民的命运。在其置于地面的一组对称作品中，两个弓背的人形由一条血红色地富有深意的“M”线性符号相链接，表面上，它似乎呼应着与母系相关的某种血缘隐喻，但另外角度看，M字母已不仅是庇护的象征，更像是物对人性标签的嘲讽，当观众试图从中读取温情时，金属的冰冷触感却将情感推入荒诞的深渊。而竖立在展厅角落的金属、玻璃彩绘相结合的灯塔、墙壁上随机涂抹的黑色叹号，则像是被抽离血肉的现代人精神图谱的切片，默默诵读着物质自身的宣言。
观者注视汉克·维奇的作品时，不禁会追问：当人类将记忆、欢愉、苦难或希望注入雕塑时，究竟是物承载了人的历史，还是人将自己的存在合法性寄托于物的沉默？汉克.维奇那些被刻意模糊性别与年龄的躯体，如同被剥离了叙事权的容器，被迫盛放人类强加的情感。
Rather than simply juxtaposing the works of two artists, this dual exhibition featuring Nabuqi and Henk Visch is more accurately described as a speculative experiment exploring the question: how do objects define human beings? If traditional sculpture attempts to solidify humanity in material form, this exhibition takes the opposite approach—allowing objects to break free from human narratives, and even to question whether humanity is merely an accidental form assumed by matter.
In Henk Visch’s aluminum figurative sculptures, the smooth surfaces of metal—symbols of pure rationality in the industrial age—are deliberately disrupted with swollen joints, contorted limbs, and shrunken skulls, as if these rigid shells are resisting colonization by human emotion. In one floor installation, two hunched humanoid figures are connected by a blood-red linear “M” shape. On the surface, it echoes matrilineal metaphors of kinship. But from another perspective, the letter M becomes less a symbol of protection and more a mockery of human labels—while viewers may attempt to project warmth onto the piece, the cold metallic surface pushes emotional readings into the absurd. Elsewhere, a lighthouse built from metal and stained glass and randomly scrawled black exclamation marks on the wall evoke diagrammatic slices of the modern human psyche—stripped of flesh, silently reciting a manifesto authored by matter itself.
As viewers gaze upon Visch’s sculptures, they may find themselves asking: when humans inject memory, joy, suffering, or hope into sculpture, is the object truly carrying human history—or is humanity merely projecting its existential legitimacy onto the silence of things? Visch’s deliberately ambiguous figures—blurred in gender and age—stand as containers deprived of narrative agency, forced to hold the emotions humans impose upon them.
Henk Visch 汉克·维奇
Once and Forever, 2024
铁，玻璃彩绘 mental, glass, paint
110 x 27 x 60 cm
娜布其与汉克·维奇双个展：玩具和低语声，展览现场
与汉克·维奇相反，娜布其的“玩具”系列以近乎挑衅的姿态解构了人与物的权力关系。她的不锈钢与青铜雕塑看似色彩明快、形态可亲，实则暗藏着一套严密的物性政治学。
这些赋予“玩具”意味的雕塑，其互动性本质是一场迷局。金属表面的电镀光泽拒绝体温的渗透，不锈钢材质在触碰后迅速回归冰冷——娜布其的“玩具”像极了当代社交媒介中的虚拟人格：它们提供交互的幻觉，却始终牢牢掌握主导权。在《小玩具（串珠）》中，当观众旋转雕塑上的部件、或试图堆叠那些光滑的几何体时，他们很快会意识到：这场“游戏”的规则制定者并非人类，而是物自身；《小玩具（旗子）》插着白色旗帜的青铜“山峰”本应象征占领与宣言，但苍白的旗帜却暗示着意义的消解；置于地面的《小玩具（布）》，形态如柔软可亲的织物，实则却顽石般沉默不语，彻底颠倒了材质的权力等级。
娜布其的作品中，当雕塑既非纯粹的审美对象，亦非纯粹的实用器具时，它们反而获得了某种僭越性的主体地位。那些未被触碰时静默如纪念碑的物件，恰恰暴露出人类的脆弱——人渴望通过“使用”物来确认自身存在，却反被物的自治性逼入认知的窘境。
娜布其 Nabuqi
In contrast, Nabuqi’s “Toys” series provocatively dismantles the power dynamics between humans and objects. Her stainless steel and bronze sculptures may appear brightly colored and approachable, but they conceal a tightly constructed material politics.
These toy-like sculptures present interactivity as a kind of trap. Their electroplated metallic surfaces repel body heat; stainless steel, once touched, quickly returns to its cold state. Nabuqi’s “toys” resemble virtual personas on contemporary social media—they simulate interaction but retain full control. In Small Toy (Beads), as viewers rotate components or attempt to stack the smooth geometric forms, they soon realize: the “game” is governed not by humans, but by the objects themselves. In Small Toy (Flag), a bronze “mountain” planted with a white flag could be read as a symbol of conquest, yet the pale flag instead implies the erasure of meaning. Small Toy (Cloth) appears to mimic the softness of fabric but remains stone-like in its silence, overturning the material hierarchy of softness and hardness.
In Nabuqi’s work, sculpture is neither purely aesthetic nor merely utilitarian. Instead, it claims a kind of transgressive subjecthood. These seemingly inert objects, like silent monuments, reveal human vulnerability: the desire to confirm our existence through “using” things is upended by the object's own autonomy, throwing us into a crisis of cognition.
娜布其 Nabuqi
展览的策展逻辑让两位艺术家的作品形成隐秘的互文。维奇的人形雕塑试图挣脱人性的枷锁，娜布其的几何体却在模仿人类的游戏本能；前者用肿胀的躯体反抗被阐释的命运，后者以机械的优雅嘲弄人类的操控欲。当观众穿梭于展厅时，会逐渐察觉一种倒置的权力关系：不是人在观看物，而是物在审视人。在展示方法上，两位艺术家均放弃传统的底座，将雕塑直接与地面接触，但这一选择似乎并非为了拉近与观众的距离，而是为了凸显物的“领土意识”。维奇的铝像如异星生物般扎根于空间，娜布其的玩具则以散落姿态划定隐形边界。当物的领域扩张时，人类的脚步不得不变得谨慎，因为一不小心就仿佛成为了闯入他者丛林领地的冒犯者。
展览标题“玩具和低语声”在此显露出双重反讽。玩具本应是人类童年的投射，低语本应是亲密关系的媒介，但在CLC画廊的场域中，玩具成为物的自治宣言，低语则是物对人的冷漠耳语。那些期待从雕塑中聆听故事的观众，最终只会在金属的反射中窥见自我的回声。
娜布其与汉克·维奇的双个展，或许预示着一场静默的艺术革命：当人类愈发沉迷于将AI、虚拟身份和智能设备视为自身延伸时，这两位艺术家却让最原始的雕塑媒介发出了物的独立宣言。它们不充当人性的镜子，也不甘为文明的注脚，而是以扭曲、嬉戏或绝对静止的姿态，宣告物的主体性正在觉醒。
娜布其与汉克·维奇双个展：玩具和低语声，展览现场
The curatorial structure of the exhibition allows the two artists’ works to enter into a subtle intertextuality. Visch’s humanoid figures attempt to break free from the chains of human identity, while Nabuqi’s geometric forms mimic the instinct to play. One resists interpretation through bodily distortion, the other mocks human desire for control with mechanical elegance. As viewers navigate the space, they gradually encounter an inverted power relationship: it is not humans observing objects, but objects scrutinizing us. Both artists reject traditional pedestals, placing sculptures directly on the floor—not to bring them closer to viewers, but to assert the territorial consciousness of things. Visch’s aluminum figures root themselves like alien beings; Nabuqi’s scattered toys delineate invisible boundaries. As the realm of objects expands, human steps grow cautious—lest we find ourselves trespassers in the sovereign terrain of things.
娜布其与汉克·维奇双个展：玩具和低语声，展览现场
The exhibition’s title, “Toys and Whispers, Whispers and Toys”, thus reveals its double irony. Toys are typically projections of childhood; whispers, intimate channels of human connection. Yet in the space of CLC Gallery, toys become declarations of material autonomy, and whispers turn into the indifferent murmurs of matter toward mankind. Those who come seeking stories from sculpture will find only echoes of themselves in the metallic reflections.
In this way, the dual exhibition by Nabuqi and Henk Visch may signal a silent revolution in art: at a time when humans increasingly treat AI, virtual identities, and smart devices as extensions of the self, these two artists instead reclaim the most primitive sculptural medium to issue a declaration of independence on behalf of things. These works refuse to serve as mirrors of humanity or footnotes to civilization. Through contortion, playfulness, or absolute stillness, they proclaim that the subjecthood of objects is beginning to awaken.
关于作者
杨光南，1980年出生于河北。2006年本科毕业于中国美术学院雕塑系，2009年硕士毕业于中央美术学院雕塑系，现生活工作于中国北京。
杨光南从传统的雕塑语言入手，并涉足装置、影像等媒介。她对自己的日常化切身体会进行推究和演绎，转化为具有动人力量的艺术形式。这些作品关乎渺小个体在都市化空间中的镶嵌法则、时间与边界、空间与维度、及复杂的群体性精神空间架构的研究。她的作品看似随感而发、信手拈来，但在所有作品中都散发着一种独有的细腻而尖锐、刚硬、强韧的意识，以此形成她强烈的个人特质。作品曾在英国华人艺术中心、法国南特卢瓦河美术馆、墨尔本法国艺术中心、澳门当代艺术博物馆、台北国际艺术村、北京尤伦斯当代艺术中心、上海民生美术馆、中国美术馆、西安OCAT、北京松美术馆等多处展出。
近期部分个人项目：无主之地，CLC画廊，北京，2024；枉径园，CLC画廊，北京，2021；莫奈花园1区，香港巴塞尔艺博会发现单元，香港，2021；莫奈花园.96区，魔金石空间，北京，2020；“Nothing”，C5CNM，北京，2020； “盲区”，指纹画廊，北京，2019；“消化不良”，泰康空间，北京，2016。
近期部分群展："雕塑小史：时间沉淀物", 山中天艺术中心，北京，2025；“如镜之书：15位艺术家与孩子的对话”，UCCA Kids，北京，2023；“云雕塑——首届学术邀请展”，松美术馆，北京，2023；“I Feel The Way You Feel”, 贝浩登上海，上海, 2023；中国当代艺术年鉴展2021，798艺术中心，北京, 2022; “冷膨胀”，南山社，西安，2019；“我的风景”，常青画廊，北京，2018；“兴起：中国当代艺术中的女性声音”，英国华人艺术中心，曼彻斯特，2017；“转向：2000年后的中国当代艺术趋势”，民生美术馆，上海，2016。
Yang Guangnan，Born in 1980 in Hebei, China. Yang Guangnan graduated from the Sculpture Department of the China Academy of Art with B.A in 2006, and the Sculpture Department of Central Academy of Fine Arts with M.A in 2009. Currently she lives and works in Beijing.
Taking the traditional language of sculpture as her starting point, Yang Guangnan gradually expands her artistic medium to installation and video. She investigates and elaborates upon personal experience in the everyday life, developing artworks that are charged with an emotional strength. Actively dealing with an individual’s living condition, identity, affects and temporal experience, the artworks are seemingly spontaneous and casual; also present and pervading in the artworks however, is a distinct, delicate, sharp, unyielding and resilient consciousness, that renders Yang’s practice utterly and patently singular. Her works have been shown at Centre for Chinese Contemporary Art, Manchester, UK; FRAC, Nantes, France; The France Art Center, Melbourne, Australia; Macao Museum of Art, Macao; International Art village, Taipei; UCCA, Beijing; Minsheng Art Museum, Shanghai; National Art Museum of China, Beijing；OCAT Xi'an；Song Art，etc.
Selected solo exhibitions include: Borderlands，CLC Gallery Venture，Beijing，2024；The Garden of Winding Path, CLC Gallery Venture, Beijing, 2021; Yang Guangnan Solo Project - Monet’s Garden Phase One, Art Basel HK Discoveries Sector, Hong Kong, 2021; Monet Garden.96 Dist., Magician Space, Beijing; Nothing, C5CNM, Beijing, 2020; Blind Spot, Fingerprint Gallery, Beijing, 2019; Dyspepsia, Taikang Space, Beijing, 2016.
Selected group exhibitions include: “A Short History of Sculpture: Time Deposits”, Wind H Art Center, Beijing, 2025; “I Feel The Way You Feel”, Perrotin Shanghai, China, 2023; The exhibition of annual of contemporary art of China, Beijing 2021,798 Art Center, Beijing, 2022; Cold Expansion, Nanshanshe, Xi’an, 2019; Inner Scapes, Galleria Continua, Beijing, 2018; NOW: A Dialogue on Female Chinese Contemporary Artists, Centre for Chinese Contemporary Art, Manchester, UK, 2017; Turning Point: Contemporary Art in China Since 2000, Minsheng Art Museum, Shanghai, 2016
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