正在展出｜北京公社正在展出马秋莎个展「漫话神游」

马秋莎

Ma Qiusha

漫话神游

Myths in Wandering

8. 1 – 9. 19. 2026

马秋莎是千禧年后非常活跃的来自北京的女性艺术家，她以非常强烈的个人经验展现了这个极具变动的时代特征。

世界在飞快地更新，而这些更新不再带有公共性的对未来的构想；尽管每一次的更新都超出个体的想象，这样的更新已经成为一种日常，已经成为对个体想象的压抑。它们像是无节奏的速度产生的凸凹现实打在了每个人身上，要求个体即刻做出改变来适应新的生活。

在马秋莎以不同媒介、不同代际的技术为载体的创作中，马秋莎自然回到内部，以肉体和血缘为纽带，把周围难以被血肉吸收的新事物、新现实转变成一种信仰和和可感知的温度。马秋莎的作品关心着她的爱人、友人、亲人、家庭、家园，这样的亲缘关系环绕在个体的周围，让砸向个体的不确定的变化得以缓冲；而这个个体周围稳固的缓冲带，也在不断遭到冲击、怀疑和改变。

在此次展览中，马秋莎运用了蓝晒、摄影、3D打印等成像方式，将来自于她母亲的时代的样板戏人偶与她女儿塑造的神祇形象进行各种形式的图像化处理。在这个图像化的过程中，这两位女性的角色从马秋莎的母亲和马秋莎的女儿转变为了这些人物形象的意义的生产者，一个公共的作者。这些形象的属性与特征之间的差异越是强烈，她的母亲和女儿的角色也越是独立。个人周围具体的相对与联结变化为抽象时空中形式的差异与相似，过去与未来随机出现，“现在”找不到两者之间恒定的接续性的位置，“现在”是什么并不明确，只是在鼠标下被划动感知。

“现在”失去了在时空中统一过去与未来的能力，也没有确定的样貌。它流转在不同的形式中，不断地膨胀和繁殖，来获得自己的一席之地，也在这个过程中，制造出了现实。现实是技术与媒介生产能力的结果，生产能力愈是强大，迫近感就喻为强烈。而生产对象本身属于哪里，是遥远还是切近，都是模糊不清的。个体失去了对事物远近的直接判断，距离与相对性只停留在概念之中。个体一边制造着迫近的现实，一边接受着这个外部的世界；个人的经验是一种个人生产的副产品，而离开了这些副产品我们也无可适从。

这个用鼠标去在超声波意象的情景中的探寻就是艺术家现在处在不断变动中的位置。这是马秋莎的位置，它是过去和未来的节点，也包含了个体对公共性的判断和借用。没有原创、只有反应。

Ma Qiusha is a Beijing-based female artist whose work has taken shape in the years since the turn of the millennium. Rooted in the intensity of personal experience, her practice gives form to the broader conditions of an era defined by relentless transformation.

The world is renewing itself at an accelerating pace, yet these transformations no longer carry a shared vision of the future. Although exceeding each individual's imagination, such transformations have settled into a kind of routine which suppresses the power of imagination. They arrive as the jagged realities produced by an arrhythmic speed, striking each person and demanding immediate adjustment in order to accommodate new conditions of life.

Across Ma Qiusha’s practice, which spans different media and technologies across generations, she turns instinctively inward, taking the body and kinship as her points of connection, transforming these new realities and unfamiliar things, so difficult for the body to assimilate, into a form of belief and a palpable warmth. Her practice remains rooted in her partner, friends, family, and home. These bonds of kinship and affinity surround the individual, cushioning the uncertainties that descend upon everyday life. Yet this seemingly stable buffer encircling the self is itself continually subjected to disruption, doubt, and transformation.

In this exhibition, Ma Qiusha works through cyanotype, photography, 3D printing, and other image-making processes to repeatedly reconfigure the prototypes in the characters of China’s Model Opera from her mother’s generation together with the deity figures created by her daughter. Through these acts of image production, the two women gradually shift from being Ma Qiusha’s mother and daughter to becoming producers of meaning for these figures—a shared, public authorship. The more pronounced the differences between the attributes and characteristics of these images become, the more independent the positions occupied by the mother and the daughter appear. The concrete oppositions and connections surrounding the individual are transformed into formal differences and affinities within an abstract space-time. Past and future emerge unpredictably, while the present can no longer locate a stable point of continuity between them. What the present is remains unresolved, sensed only as the cursor moves across its surface.

The present has lost its capacity to unify the past and the future within space and time, and no longer possesses a determinate form. It circulates through different forms, continually expanding and proliferating in order to secure a place for itself, and in doing so, produces reality itself. Reality is an outcome of the productive capacities of technology and media. The greater these capacities become, the more immediate reality appears. Yet where what is produced properly belongs—whether distant or near—remains indeterminate. The individual no longer possesses a direct sense of proximity or distance; distance and relationality persist only as concepts. While producing an increasingly immediate reality, the individual simultaneously receives the world from without. Personal experience becomes a by-product of one’s own production, yet without these by-products, one is left without orientation.

This act of searching with a cursor through a field of ultrasonic imagery marks the artist’s position within a state of perpetual transformation. It is Ma Qiusha’s position: a point of articulation between the past and the future. It also contains the individual’s judgement of, and appropriation of, the public. There is no originality, only response.

马秋莎1982年出生于中国北京，2005年本科毕 业于中央美术学院，2008年硕士毕业于美国阿 尔弗雷德大学电子综合艺术专业艺术，现生活工 作于北京。马秋莎的个展曾举办于上海Longlati 基金会、英国Middlesbrough Institute of Modern Art 、OCAT 西安、英国曼切斯特华 人艺术中心、北京尤伦斯当代艺术中心、北京 公社、北京泰康等空间。她曾参与成都双年展 （2021）、莫斯科国际青年艺术家双年展 （2014），亦参加伦敦大学亚非学院美术馆、 香港大馆当代美术馆、北京尤伦斯当代艺术中心、 杭州天目里美术馆、美国康奈尔大学约翰逊美术 馆、德国戴姆勒当代艺术中心、洛杉矶橘郡美术 馆、芝加哥大学斯玛特艺术博物馆、上海当代艺 术博物馆、上海chi K11美术馆、香港Para Site 艺术空间、法国蓬皮杜艺术中心、德国卡尔斯鲁 尔艺术与媒体中心、英国泰特现代美术馆、土耳 其Borusan Contemporary、美国佛罗里达坦帕 艺术博物馆、美国佛罗里达圣彼得斯堡美术馆、 荷兰格罗宁根美术馆、美国休斯顿当代美术馆、 中央美术学院、中国美术馆、俾尔根国际艺术基 金会、挪威斯塔万格美术馆等机构所举办的群展。 马秋莎的作品被巴黎现代美术馆、巴黎卡蒂斯特 收藏、柏林戴姆勒艺术收藏、法国DSL基金会、 开普敦SMAC、格鲁吉亚第比利斯艺术中心、 成都麓湖·A4美术馆、上海经纬艺术基金会、 南京金鹰美术馆、香港K11艺术基金、北京泰 康收藏等美术馆及机构收藏。马秋莎曾被提名“ 保时捷中国青年艺术家双年评选”（2019）、“ 皮埃尔·于贝尔奖”（2014）及“AAC艺术中国 年度青年艺术家”（2017、2013）。

Ma Qiusha was born in 1982 in Beijing, China. She received her BA in Digital Media Art from the Central Academy of Fine Arts (China) in 2005 and her MFA in Electronic Integrated Arts from Alfred University (U.S.) in 2008. She currently lives and works in Beijing. Ma's solo exhibitions were held at Longlati Foundation (Shanghai), Middlesbrough Institute of Modern Art (Middlesbrough), OCT Contemporary Art Terminal Xi’an (Xi’an), Beijing Commune (Beijing), Chinese Arts Centre (Manchester), Taikang Space (Beijing), etc. She was a participating artist in Chengdu Biennale: Super Fusion (2021) and the Moscow International Biennale for Young Art (2014), Her works have also been shown at SOAS Gallery (London), Tai Kwun Contemporary (Hong Kong), Ullens Center for Contemporary Art (Beijing), By Art Matters (Hang zhou), Johnson Museum of Art of Cornell University (NY), Daimler Contemporary (Berlin), Orange County Museum of Art (CA), Smart Museum of Art of Chicago University (IL), Power Station of Art (Shanghai), chi K11 Art Museum (Shanghai), Para Site (Hong Kong), Centre Pompidou (Paris), ZKM Center for Art and Media Karlsruhe (Karlsruhe), Tate Modern (London), Borusan Contemporary (Istanbul), Tampa Museum of Art (FL), St. Petersburg Museum of Fine Arts (FL), Groninger Museum (Groningen), Contemporary Arts Museum Houston (Texas), National Art Museum of China (Beijing), CAFA Art Museum (Beijing), Contem porary Art Foundation of Bergen (Bergen), Interna tional Stavanger Art Museum (Stavanger), and etc. Ma’s work have been collected by the Musée d’Art Moderne de la Ville de Paris (Paris), Kadist Collection (Paris), Daimler Art Collection (Berlin), DSL Collection (France), SMAC (Cape Town), Tbilisi Art Centre (Georgia), A4 Art Museum (Chengdu), Longlati Foundation (Shanghai), G Museum (Nanjing), K11 Collection (Hong Kong), Taikang Art Collection (Beijing), etc. Ma Qiusha was selected for the residency program of the Asian Cultural Council in 2013 and was nominated by Porsche China Young Artist (2019), and Young Artist of the Year by Award of Art China (2017, 2013).