Essence

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Zhang Yanzi: an ingenious artist and healer of minds. Her artworks strike a subtle and delicate balance between art and healing. With the unique sensitivity of the feminine, she searches for the source of salvation and of life itself. 章燕紫是一位獨創的畫家，也是一位心理治療的「女巫」。 她的畫在藝術和治療之間 達成了一種危險的平衡。 以女性特有的敏感，她尋找人類自救的生命源泉。 北島 BEI DAO 當代詩人，諾貝爾文學獎被提名者 Contemporary poet, previous nominee for the Nobel Prize in Literature

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本 ESSENCE 聯合主辦單位 EXHIBITION CO-ORGANISERS Hong Kong Museum of Medical Sciences 香港醫學博物館 Galerie Ora-Ora 方由美術

策展人 CURATORS Yan Tung 董嘉欣 Henrietta Tsui-Leung 梁徐錦熹

特別鳴謝 SPECIAL THANKS Julia Andrews 安雅蘭 Hung Keung 洪強 Pi Daojian 皮道堅 Barbara Pollack Xu Lei 徐累 Yu Fan 于凡

目錄 CONTENTS

Foreword 前言 Medical History of Zhang Yanzi 章燕紫的醫學歷史 Resuscitation 復蘇 The Inescapable 恢恢 Medi-chips 空芯片 Antibodies 抗體 Sanctuary & Scar 宫與痕 The Herbal Garden 草藥園 Ancient Prescriptions 古方千金 Travelling for Miles 輕舟已過 Exhibition 展覽 Artwork Index 藝術品索引 Biography 簡歷

6 12 20 26 32 38 42 48 50 56 62 92 102

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前言 FOREWORD

梁徐錦熹 HENRIETTA TSUI-LEUNG 方由美術創辦人 Founder of Galerie Ora-Ora

Medical science cures the body, yet art heals the mind. Medical science gives us hope of curing our bodies, as we benefit from the tireless dedication, meticulous research and accumulation of knowledge from generations of medical practitioners. Art, on the other hand, often serves as a philosophical and emotional conduit that pours out society’s joys, concerns and spirit.

Increasingly, the relationship between medical science and art is being probed. According to The Oxford Research Centre in the Humanities, Medical humanities is a richly diverse field of scholarship which draws on disciplines in the humanities, social sciences and the arts. The field of medicine has made significant progress over the years in terms of technology and treatment, however, perceptions and preventions of diseases continue to be subjective in many cases. Furthermore, the social, political and economic realities surrounding medicine remain generally unsystematic, and are often driven by non-scientific factors. Medical humanities facilitate a dialogue between arts and science both on an intellectual and emotional level. This scholarship broadens the perspective of medical practitioners, patients and their families or of people who simply wish for a holistic understanding of medical science.

Essence, a solo exhibition of Zhang Yanzi presented by Galerie Ora-Ora in collaboration with the Hong Kong Museum of Medical Sciences (HKMMS) represents the embodiment of medical humanities in Hong Kong and the debut of what will hopefully be an ongoing dialogue between art and medical sciences. It is a rare cross-over exhibition that interweaves the sensuality of modern medicine and sensibility of personal expressions through life’s journey, from birth to decay. The Hong Kong Museum of Medical Sciences, throughout its century-old history and many roles, has faithfully served Hong Kong since the early days of colonization. Whether as the frontier of bacteriology and immunization research, or incubator of the first corps of locally-trained western medical nurses, this institution embodies the devotion and triumphs of countless medical experts in Hong Kong, and the exchanges between modern and traditional medicine. The museum is a precious gem located in an elegant, magnificent heritage site in the heart of Hong Kong. Zhang Yanzi, with this rare opportunity to be an artist-in-residence at the museum, delved deeply into the archives of medical history and development in Hong Kong, relishing the details and minutiae, including the operation and history of medical equipment such as surgical beds and immunization apparatus. She was deeply touched by the strife, rigor, breakthroughs and passion that colours the medical history of Hong Kong. As a result, Zhang created a completely new series of work that not only blends art and medicine on both visual and philosophical levels, but also infuses her unique appreciation of humanity’s cycle of suffering and remedy, and medical workers’ noble spirit and selflessness.

With her decade-long pursuit of self-healing and recovery from her creative process, this has always represented a form of personal salvation. The unique and collaborative experience with the HKMMS inspired Yanzi to develop the scope of her art to encompass historical fact, military invasion and social issues documented in the museum.

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It is hoped that her sophisticated interpretation of these materials will in turn only make medical science more approachable to the public.

With gauze bandages, analgesic plasters, Chinese medicine, aluminum blister packs, Zhang deftly walks between medicine and art, exploring the most graphic of pains juxtaposing against the freest of ideologies. Her expression of simultaneous reliance on, and resistance to, modern medicine shows her contradicting concerns. The viewer is subjected to these psychological contortions, but is eventually caressed to recovery through Zhang’s graceful oriental aesthetics. As medicine cures the body, yet art can heal the spirit; is art then the medicine?

Through this exhibition, our purpose is not only to strike a dialogue between medicine and art, as other illustrative artists have done, but also to excite visitors with thoughts, emotions and senses never before experienced, and explore together the intricate vastness behind sacrifice and remedy.

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醫學能療治人的身體，而藝術卻能治愈心靈上的缺憾。醫學給予我們根治疾病的希望，全有賴於醫者們不屈不撓的奉 獻、一絲不苟的研究以及多年來累積的醫療知識。而另一方面，藝術時常充當著哲學和情感的管導，反映社會的喜樂、 關注與精神。 醫學與藝術之間關係的探討越來越多。根據牛津大學人文研究中心的調查顯示，醫學人文學科是一門具多樣性的學術領 域，其中囊括了人文科學、社會科學以及視覺藝術。雖然研究人員在技術和治療方面取得了矚目的進展，但人們對於疾 病的認識和預防仍然是主觀的。此外，與醫學相關的社會、政治和經濟等的現狀大致上仍然是無序的，通常情況下，這 些現狀的發展都不是由科學依據推動的。醫學人文學科促進了藝術與科學在知識和情感層面的對話。這門學科拓寬了醫 生、病患、病患家屬及公眾對於醫學的理解。 「本」——章燕紫個展由方由美術和香港醫學博物館聯合呈現，這場展覽正代表了香港醫學人文學科的形成，並希望藉 此促成藝術與醫學之間持續的交流。「本」是一次罕有的跨界展覽，將現代醫學的觀感與個人情感的表現渲洩糅合，展 現藝術家對生與死之人生旅程的看法。擁有百年歷史的香港醫學博物館，從殖民時期起就一直充當著不同的角色，為香 港市民服務。無論是作為細菌學和免疫系統研究的前線基地，還是作為訓練首批本地西方醫學護理人員的培育者，香港 醫學博物館不但見証了無數醫療專家對香港醫學進步作出的奉獻和取得的勝利，更展現出當代醫學與傳統醫學之間的交 流。香港醫學博物館選址於一座優雅、宏偉的歷史文物建築內，猶如一方綠洲，悠處於熱鬧喧囂的城市之中。章燕紫有 幸獲得了這次難能可貴的機會與博物館合作，參與了博物館的藝術家駐留計劃。在藝術家駐留計劃的過程中，章燕紫深 入地了解了香港的醫學史，細細品味個中的細節：包括外科手術床、免疫用器具等醫療設備的操作方法和歷史。章燕紫 被香港醫學史的曲折、嚴謹、突破和激情所感動。由此，章燕紫創作出一系列全新的作品。她不但在視覺與哲學層面上 把醫學糅合於藝術中，更把自己對人性本質中的痛苦和治癒、以及醫護人員無私和高尚情操的獨特見解和情感注入作品 之中。藝術家十多年來在藝術創作過程中所追求的自我療愈恰恰體現了一種自我救贖的形式。與香港醫學博物館的合作 激發了章燕紫拓寬其藝術創作的視角，更多地融入了歷史事實，軍事入侵和其他被博物館記錄的社會議題。希望章燕紫 對於這些歷史材料之深刻演繹會反之令醫療科學變得更平易近人，並為更廣泛的公眾所接受。 繃帶、止痛貼、中藥、膠囊鋁膜板……章燕紫自由遊走於醫藥和藝術之間，探索並置於意識形態最自由之上而最生動具 體的痛苦。章氏對現代醫學的依賴和抵抗正正表現出她的矛盾。觀眾要先經歷這種精神扭曲，但最終能通過章氏優美的 東方美學得到治癒。醫藥能療治身體上的病痛，而藝術卻能治愈心靈上的缺憾，那麼，藝術就是醫藥嗎？ 通過這個展覽，我們的策展理念不只與其他藝術家一般，只是開展醫學與藝術的對話；我們更希望刺激觀眾前所未有的 的想法、情感與觀感，同時一起探索奉獻和治癒背後廣闊的錯綜複雜的關係。

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前言 FOREWORD

董嘉欣 YAN TUNG 香港醫學博物館館長 Curator of the Hong Kong Museum of Medical Sciences

The artist-in-residence project marks the opening of a new chapter in the history of the HKMMS. Artists and doctors share some similar experiences when dealing with life and death: both harness psychology, and skills grounded in research, recording their battles with evidence and documentation, employing their own tools and strategies of medication and method.

The empirical spirit has left its mark on contemporary art practice, which is both a process of self-reflection and increasingly community-driven. As a museum, we intend to develop a wide audience with different levels of understanding, and we create no barriers to cross-disciplinary learning activity, believing instead that it is highly effective to focus on discussion and creativity. At any individual, organizational or governmental level there is an endless process of trial and error to deal with societal problems and disasters that might be political, natural or manmade. This process has taken place across historical eras, societies and cultures. None of us have all the solutions, and we require collective wisdom and combined resources to seek shelter, comfort and then gradually a direction towards an effective accommodation.

This is happening in all fields and, despite common win-win outcomes in words rather than action, we must take active steps to create and open up new platforms for exchanging information and ideas: sharing expertise and seeking ways to preserve lessons learnt from history. Otherwise historical challenges may come around again in unexpected formats and catch us unarmed. We are facing an unknown future with more advanced technology, yet with not necessarily as effective a collaboration and creativity as in our recent past. We may ask what art and science can achieve together, and we do not know the answer, but if we never explore this chance to work together like we are now, it will be two solo dancers working on their own choreography and there will never be duets.

It is our delight to present Zhang’s solo show Essence, which orchestrates a poem through imagination, research and observation. We hope you enjoy the experience and bring new insights home after visiting the museum.

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從歷史觀點，香港醫學博物館的故事已娓娓道出，但以藝術家駐留博物館的項目方式，寫下博物館新一頁是我們的新嘗 試。藝術家與醫生面對生死時分享類似經驗，他們分別以證據、文件、藥物或其他方法記錄他們的「戰鬥」。當時他們 採用的方法、策略及技術、所用的工具或屬心理原因，大多以研究為依歸。 當代藝術也循著經驗而來，是一個自我反思和受社會驅使的進程。作為一所博物館，我們有意吸納不同背景的來訪人 士，不會為受眾的學習方法或目標定下任何設想。跨學科學習手法對加強討論或個人想像力甚有幫助。從個人、組織以 至政府層面，在政治、自然環境、歷史積累的人為災難、社會及文化慣例下衍生種種社會問題，出現無窮的試驗及錯 誤。顯然，我們並無靈丹妙藥，在缺少資源的情況下，其實更需要集體智慧來尋找安身的避難所和共存的大方向。 這正是各行各業出現的問題。儘管當前坊間口頭提倡「雙贏」方法，但無實質行動。我們須設立可交流資訊及構想的平 台；取得專家意見後，共同尋求方法以保留人類從歷史中汲取的教訓。這些剛剛萌芽的學問，或以不能預計的方式面 世，好讓我們面對災難時不像以往般措手不及。一方面我們對未來一無所知，另一方面科技日新月異；人類間共同合作 和利用想像力比單靠科技更有效。即使我們未能從文、理兩方面的知識為人類找到解決方法，但若不嘗試探索繼續各走 各路，便好比兩名舞者各自表現其舞蹈藝術，而不會出現二人共舞。 能夠呈現章老師畫作的本質，結合詩詞想像、研究及個人觀察，本館甚感愜意。希望各位細味種種經歷，造訪本館後能 有嶄新體驗。

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章燕紫的醫學歷史 MEDICAL HISTORY OF ZHANG YANZI

BARBARA POLLACK

Medicine is the restoration of discordant elements; sickness is the discord of the elements infused into the living body.

- Leonardo da Vinci Wherever the art of medicine is loved, there is also a love of humanity.

- Hippocrates, the father of medicine

The Hong Kong Museum of Medical Sciences is the perfect site for an exhibition of the works of Chinese artist Zhang Yanzi. Here, her paintings and installations examining medical practices, both East and West, can be seen in the context of a history dating back to 1906 when this building, originally named the Bacteriological Institute, was founded as the first medical laboratory in Hong Kong. Later renamed the Pathological Institute after WWII, it was turned into a museum in 1996. Yet, even in its latest incarnation, it echoes with the decades of remedies dispensed in its hallways.

Zhang Yanzi, born in Zhenjiang, Jiangsu Province in 1967, is an artist well-suited to addressing this history.

Trained as a traditional Chinese ink painter whose subject matter is the current state of healing in contemporary life, she has increasingly come to terms with the limitations of medicine and the power of art to provide solutions to today’s most common maladies, both physical and spiritual. She is able to look at these issues not with the eyes of a sociologist or medical researcher, but with the heart of a poet, turning hard facts and difficult truths into beautiful, evocative works of art. All of this comes not from a scientific assessment of the current state of medicine, but from personal details of a life that has dealt continuously with issues of the body, loss and loneliness.

It is the exceptional artist who can turn details from their childhood into evocative metaphors in contemporary art.

Zhang Yanzi is one of these artists, drawing from a childhood spent in hospitals due to a blood condition. She also had access to medical instruments from an early age because her father was a veterinarian. She played with his stethoscope and was fascinated by syringes. She watched as close relatives were immunized against various diseases, not with fear but with fascination. To her, medical treatments were a fact of everyday life, rather than a sporadic response to an aberration in health.

It took nearly three decades for Zhang’s past to catch up with her art making. Recognized early on for a talent as a painter, she concentrated on perfecting her depictions of birds and flowers, mountains and streams, the hallmarks of traditional ink painting. But rather than merely copying by rote, this artist drew on the subtleties of such traditions, moved by the way ancient works could convey curative properties – serenity and peacefulness –

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in sharp contrast to the contradictions of modern life. She found that such painting was an antidote to her own rebellious spirit, though rarely did these early works reflect details of her autobiography.

Though her career went on hiatus when she first married and became a mother, in 2000 her husband became very ill – another brush with the medical profession – and she decided that the only response to this challenge was to return to painting and develop a practice of her own. Two years later, she entered the Central Academy of Fine Arts in Beijing, where she remained until 2007, achieving a masters degree in painting.

A turning point came in 2010 when Zhang Yanzi decided to revoke her attachment to traditional themes and instead paint subjects from her everyday life. If she ate a piece of cake, she painted a picture of a cake. If she ate a salad, she painted a tomato. And if she had to take medicine, she painted a picture of the capsule. Her former instructor, the world renowned artist Xu Bing, saw this painting and commented that it was interesting. This set her off on an exploration of all sorts of medical apparatus, leading to her breakthrough exhibition, Remedy, in 2013. Her ability to pair the often disturbing details of medical practice with the healing qualities of ink painting soon gained her recognition as an artist of note.

While it is easy to situate Zhang Yanzi’s work within the traditions of ink painting, particularly its relationship to spirituality and transcendental themes, her fascination with the details of doctoring also places her within a long standing tradition of western painting. Rembrandt’s portrayed the details of a dissection in his masterpiece, The Anatomy Lesson of Dr. Nicolaes Tulp (1632) and Thomas Eakins’s entered an operating room in The Gross Clinic (1875). But these artists focused on material concerns, such as the details of human anatomy and the doctors’ reaction to this close encounter with death. Zhang shares these artists’ fascination with the mechanics of medical treatment but she shies away from the gory details. Instead, she evokes the romanticism of medicine with her soft touch and hazy gaze brushing over images of prescription drugs and Chinese herbs. Just as Hippocrates, the father of medicine in ancient Greece, prescribed that doctors should “do no harm,” Zhang Yanzi does not wish to inflect further pain with her paintings. Instead, she wants her works to be equivalences of antidotes, offering a soothing hand to painful memories.

Many artists of the 21st century have also turned their gaze on medicine, most especially Damien Hirst with his installation of pill cabinets and even his full scale diorama, Medical Procedure (2007), which depicts in vivid glory a patient on an examining table surrounded by doctors. Others have used medicine more metaphorically, drawing parallels between the inquisitive minds of scientists, the mysteries of DNA and the artistic process. In recent years, artists have made use of blood analysis, surgical equipment, X-ray films and microphotography, adopting the use of doctors’ tools to create works that confront the limitations of modern medicine. They have even, on occasion, collaborated with doctors, scientists, medical labs, and hospitals to come up with projects that defy easy categorization as either art or science.

Many of these 21st century approaches to medicine focus on the materialism of the medical profession, the conflicts of healing within a medical-industrial complex that often inflicts more harm than good. Often they focus on medicine’s regularly intrusive methods of gathering bodily knowledge, the way doctors attempt to visualize the body in order to fix it. Seeking to reconfigure, reinterpret, reject and revise the medical profession’s techniques for assessing illness and conjecturing treatment, these artists often take up an equally distanced relationship to the body, inflicting on viewers as much trauma as they might experience in an operating room.

Zhang Yanzi, on the other hand, often aligns herself with doctors as healers, rendering remedies and procedures in soothing terms with her gentle touch of her brush. Contrast her approach with a work such as Science of the Heart, a video installation by Bill Viola which confronts viewers with a surgically dissected heart to raise issues of life and death. Instead of presenting gross anatomy, Zhang delicately portrays medicinal remedies in ways akin to Lisa Nilsson’s collages made from thin colored splices of mulberry paper placed on top of MRI cross-sections of the human body, a perfect merger of aesthetics with information. Likewise, Zhang Yanzi elevates the most mundane details of treatment by transforming them into works of art, rather than focusing on the more repellant aspects of medicine that would only disturb her viewers.

This was the primary challenge for Zhang Yanzi when she approached her residency at the Hong Kong Museum of Medical Sciences: how to turn the specificity of the location and the details of treatment into artworks that transcend the past. She was instantly inspired by the site and by the equipment on hand, much of which she hadn’t encountered before this occasion. She incorporated these details of western medicine into artworks inspired by Asian artistic traditions, coming up with an entirely original resolution of conflicting outlooks and approaches to the body.

For Medi-Chip, Zhang makes use of common place aluminium blister packs. Using these packs as a surface for her painting, she combines art’s aspiration to heal the spirit with a material that offers relief from pain in works

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that establish a connection between spiritual and physical sensations. In so doing, she shifts the attention away from the materiality of the cure to the more eternal properties of a serene abstraction, subtly shifting our focus from western to eastern practices.

For the work, The Inescapable, Zhang Yanzi embued strips of gauze with Chinese herbs, found in the museum’s garden, making the greys, blacks and whites of the dyes into her palette and retaining the wonderful scents of the Chinese medicine. This work truly combines east and west, paying homage to the enduring efficacy of Chinese medicine despite advances in western medicine while presenting this thesis in the form of an abstract, multidimensional square. Using scent as a dimension of the work creates an all encompassing experience for the viewer, akin to Brazilian artist Ernest Neto’s installations filled with Latin American spices or Korean artist Koo Jeong A’s rooms filled with the aroma of a forest. Like those artists, whose use of smell is localized and specific to their personal memories, Zhang Yanzi uses scents that are close to her heritage, that of a Chinese woman who has been offered these herbal concoctions as a solution to a host of ailments.

It is important to note that earlier in Zhang Yanzi’s career, she still made use of brush painting, albeit to address 21st century themes. Her depictions of capsules and Chinese herbs, stethoscopes and syringes, combined the practice of medicine with the art of painting, allowing viewers to see the issue of treatment from two different perspectives simultaneously. But now, with these most recent works, she has finally broken decisively from the strictures of ink painting, moving into more abstract forms that are multidimensional and far more experimental.

For example, in her searing work Scar, Zhang Yanzi makes use of the form of an antique bed used for childbirth.

She takes liberties with this obstetric device – used in the births of thousands of babies in Hong Kong – by wrapping it in gauze and analgesic packs, coloring it sporadically with dabs of vermillion and cinnabar. The installation evokes the blood and horror of the moment of birth, a moment of joy but also of terror, experienced by women since the dawn of time. It is a powerful work, made all the more so by the artist’s personal connection to the experience, herself a mother. But it connects her back to her own birth while it raises the specter of mortality. Life and death are connected and no medical procedure can avert us from this reality. Only art, it seems, can make this every day occurrence a transcendent experience, allowing viewers to reflect on both the history of birthing methods and their own personal histories as once-born children.

Similarly, Zhang Yanzi takes inspiration from the history of the laboratory with her installation, Resuscitation, a pair of angel’s wings draped mournfully over a gurney. Instead of feathers, Zhang used strips of gauze bandages to create the wings, applying Chinese herbs in the process. The artist’s hand was injured while making this work, leaving the trace of pink blood stains on the white material. This tender work is rooted in one of the darkest chapters in the museum’s history: the suicide of Professor Robert Cecil Robertson, who leapt off the balcony of the institute rather than succumb to the orders of the Japanese invaders when Hong Kong was under occupation from 1941 to 1945.

Knowing that doctors and nurses are often referred to as “angels” in both Hong Kong and mainland China, Zhang Yanzi decided to pay homage to this brave professor by fashioning a set of wings to embody his indomitable spirit and fragile body. Resuscitation is the ultimate achievement of an artist who has transformed herself from a traditional ink painter to a full fledge contemporary installation artist.

Ink painting taught Zhang Yanzi many things, especially the way that art can convey life and death issues through the simplest of means. Now, she makes use of the most mundane materials, such as surgical gauze or analgesic packs, to instill her installations with evocative layers of emotions and states of spirituality. As such, she draws a parallel between art’s ability to offer spiritual healing and medicine’s remedies for physical ailments. By connecting spirituality with the materialism of the body, Zhang Yanzi transforms her role from artist to healer and shifts her identity from patient to practitioner. This is an act of empowerment, allowing her to use her own history of illness to enact a powerful statement about health, disease, death and transcendence. By this extension, viewers are also empowered by viewing frightening encounters with doctors and health professionals as opportunities for considering eternal issues of life and death.

Death is never far from the thoughts of Zhang Yanzi, especially since the death of her parents in the early 2000s.

In a way, this is the key issue she has been struggling with since she started on her Remedy series several years ago. How to convey the limitations of relief, provided by either a doctor or an artist? How to express the severe abandonment brought on by death and disease? And most importantly, how to use art to transcend these limitations and provide a moment of relief, even joy, to viewers? By combining methodologies from eastern and western medicine, as well as artistic practices from both Chinese traditions and western contemporary art, this artist goes a long way to providing answers to these questions.

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藥物令人體內不調和的元素復原；疾病則是人體內元素不調和的表現。 當醫學之美被人們所讚譽的時候，其中也囊括了人文之美。

李奧納多·達芬奇 希波克拉底，醫學之父

香港醫學博物館是展出中國藝術家章燕紫作品之理想場地。在這座歷史可追溯到一九零六年的古建築中，章燕紫之繪畫 及裝置藝術同時探討了東方及西方的醫學實踐。前身為香港第一所醫學實驗室的香港細菌學檢驗所，於第二次世界大戰 時改名為香港病理檢驗所，其後再於一九九六年轉型為博物館。儘管此館經歷多次演變，但它卻一直延續了幾十年來博 愛濟羣的傳統。 章燕紫生於一九六七年，江蘇鎮江人，而她則恰恰是演繹這段歷史之最適合的人選。章燕紫自少接受傳統中國水墨訓 練，作品多以現代生活中的治癒狀況為主題，現時則深入著眼於醫學限制及藝術之治愈功能等題材，為社會大眾提供身 體及精神疾病上的解決辦法。章燕紫不從社會學家及醫學研究者的角度看待這些問題，反而懷著詩人的心境，把殘酷的 真相幻變成美麗而發人深省的藝術作品。值得留意的是藝術家的創作靈感並不源自於科學的醫學評估，而是來源於藝術 家自身經歷的與身體、與失去、與孤獨相關的種種。 只有出色的藝術家才能把他們（她們）童年回憶轉變成引人產生共鳴的當代藝術暗喻，而章燕紫就是其中一位。她因血 液問題在醫院渡過了童年；其父親亦是一位獸醫，所以章燕紫自少便接觸不同醫療儀器，常把玩聽診器和注射工具。而 且，她在近距離地觀察疾病之過程中並沒有一絲畏懼，反而對此感到著迷。對她而言，醫學治療是生活上的必然部分， 卻不是一種在健康失衡時才進行的偶發行為。 章燕紫花了進三十年時間完善自己的藝術創作。章燕紫於早期就被肯定為天賦異稟的畫家，之後她專注磨練完善花鳥、 山水等傳統水墨的描繪。相對於純粹的作品臨摹，章燕紫巧妙地抽取古作中和諧恬靜的治癒療效，將之與現代生活的矛 盾種種形成強烈對比。雖然我們很難在她早期的作品中找到她的經歷，但章燕紫認為這些畫作是糾正自身叛逆靈魂的一 劑良藥。 儘管章燕紫於結婚並成為母親後短暫中斷了自己的藝術生涯，二零零零年時其丈夫突患重病，她於是回歸繪畫之路、決 意建立自己的個人藝術風格以應付這項挑戰。兩年後，章燕紫考入北京中央美術學院，並於二零零七年獲得藝術文學雙 碩士學位。 二零一零年為章燕紫藝術生涯中重要的轉捩點，她決定抺去對傳統水墨主題的依戀，改為繪畫日常生活中的物件。當她 吃了一件蛋糕，她便畫蛋糕；吃了一份沙拉，她便畫番茄；若需服藥時，她便描繪藥丸。她曾經的導師，國際知名藝術 家徐冰看見後亦對這些畫作十分感興趣。這驅使她探究更多不同種類的醫療設備，促成了二零一三年舉辦之個展《止痛 帖》。這場具有突破性的展覽將繁複的醫療技術與具治癒性的水墨畫完美結合，使她迅速受到大眾的注目。 章燕紫作品與靈性和超然主題的關聯令我們很容易將其作品歸類為傳統水墨，她對於醫治行為細節的關注亦為作品增 添了不少西方藝術色彩。倫勃朗在其名作《尼古拉斯·杜爾博士的解剖學課》（1632）中仔細描繪了解剖的情節；湯 姆·艾金斯則在其作《格羅斯臨床課》（1875）中帶觀眾進入手術室之場景。上述兩位藝術家都則重於表面物質上的演 譯，如人體解剖之細節及醫生近距離面對死亡的反應之描寫。章燕紫雖與他們一樣喜愛醫療技術，但她選擇去除血腥的 場面，反而以柔和、朦朧的筆觸喚起觀眾對處方藥物及中草藥的浪漫情懷。如古希臘時代醫學之父希波克拉底所言: “醫 者應做無害的事”。而章燕紫就正是不想把疾苦加注在其畫作上，而是希望作品能像解藥般撫慰觀者痛苦的回憶。 其實很多二十一世紀藝術家都將他們的目光投向醫學上，特別是達米恩·赫斯特的藥櫃裝置作品以及和實物原大、展示 手術台上病人被醫生們圍繞的生動實境畫《醫療程序》（2007）。其他的藝術家則較隱喻地談及醫學，把科學家的好 奇心理、對基因的迷思和藝術創作過程劃上等號。此外，近年藝術家們開始利用血液分析、手術儀器、X光照片及納米 攝影技術這些醫療工具進行創作，以探討現代醫藥的局限。有時候他們更會與醫生、科學家、醫學實驗室及醫院合作， 公眾挑釁大眾對藝術和科學之疏離關係的界定。 二十一世紀對藥物的看法大多集中於醫學專業的物質主義上，在醫藥產業綜合體制中有關治療的爭議往往是弊多於利。 醫生經常使用將身體影像化的治療方式，即是他們慣常使用的侵入性的方法來收集身體訊息。為了重新配置、演譯、否 定、修正專業醫療診症技術，這些藝術家嘗試平衡各方的距離，使觀眾感受如身在手術室般的痛楚。 除此之外，章燕紫經常將自己如醫生一般歸類為治瘉者，利用溫和的筆觸表現撫慰之心。相比之下，比爾·比奧拉的錄 像裝置《Science of the Heart》則讓觀眾正視一顆手術解剖後的心臟，以提高大眾對生死的意識。另外，章燕紫選擇 不完整地展示解剖情況，而是以類近Lisa Nilsson的拼貼作品之方式 —— 把薄薄染色的桑樹紙條鋪設在磁力共振掃描的 身體橫切面照片上 —— 精細地展示藥物治療，形成美學與科技資訊的完美結合。同樣地，章燕紫著重把平凡的治療過 程轉化成藝術作品，而非著重於會影響打擾觀眾視線的藥物特性。 當章燕紫在香港醫學博物館參與駐留計劃時，她遇到的主要挑戰是如何把穿越歷史的場地特色及醫療程序之細節以藝術 品展示出來。從博物館內一些從未接觸過的醫療用品上，她很快獲得不少創作靈感。她繼而將西方醫學與東方傳統藝術 特色融合，消除體內的衝突及展示了新的治療方法。

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在《空芯片》作品系列中，章燕紫用常見的膠囊鋁板作為創作材料。作品表面上是一幅整齊排列的鋁板畫，但她的內心 渴望一些治療痛楚的物品，用藝術創作方式去治癒心靈，為精神及肉體感受建立聯繫。這樣她就能把自身的注意力由實 質的治療效用轉移到平靜而恆久的抽象情感上，並巧妙地將大眾的焦點由西方轉移到東方醫術上。 此外，在《恢恢》作品系列中，章燕紫把從博物館草藥園中找到的藥草嵌入紗布，再染上黑、白、灰三色，保留了藥草 的特殊氣味。這件作品毫無疑問地結合了東西方之特色，一方面向中草藥的持久功效致敬，另一方面亦透過多個抽象 的正方畫面展示西方醫藥的進步。藥草香氣這個觀賞面為觀眾帶來一個既豐富亦透徹的體驗，近似於巴西藝術家Ernest Neto充滿拉丁美洲香料的裝置，及韓國藝術家Koo Jeong A佈滿森林香氣的房間作品。與那些使用依據於自身回憶具有 地域性和特定性氣味來創作的藝術家相比較，章燕紫則選擇了與先祖最為接近的氣味——例如古代女性治小病而服用的 藥草調劑——融合於作品中。 值得留意的是由章燕紫早期藝術生涯開始，儘管繪畫的是二十一世紀的現代主題，她仍以毛筆作創作工具。透過對膠 囊、中草藥、聽筒、針筒的描繪，她把醫學技術與繪畫藝術結合，令觀眾同時從兩個不同方向了解治療。在最近的作品 中，章更決斷脫離水墨畫的束縛，轉向一些更抽象、更具實驗性的多元形式創作。 例如其震撼人心的作品《痕》，章燕紫利用古代產床作原形。她將沾滿朱砂的紗布繃帶隨意地反覆纏繞在那張見證無數 嬰兒誕生的產床上。這作品令觀者聯想起血淋淋的分娩場面，是女性既歡欣亦恐懼的時刻。藝術家本人作為母親，將私 人情感投放到創作上，因而造就出如此有力的作品。但若將她連繫至自己的誕生時，又會帶起死亡議題的出現。可見生 與死連繫在一起，而沒有任何醫學方法能助我們避免這些事實。似乎只有藝術才能令這種每天發生的事件變得超然，使 觀眾對分娩歷史和自身成長經歷進行反思。 同樣地，章燕紫從歷史悠久的實驗室汲取靈感，創作了《復蘇》——一對放在輸送床上、翅膀悲憫垂下的裝置作品。她 運用了紗布，並配以中草藥材創作出翅膀。在創作途中藝術家曾不慎弄傷手部，令作品的白色部分留有血蹟。這溫和的 作品背後其實隱藏著博物館一段悲傷的歷史：在一九四一至一九四五年日軍侵佔香港期間，Robert Cecil Robertson教 授選擇從館內露台跳下自盡，而不屈服於日軍之命令。 在香港和中國內地，醫生及護士往往被視為“白衣天使”，因此章燕紫決定以這對翅膀作品去表現他脆弱的身體、呈現他 那不屈不撓的精神，向這位英勇教授致敬。《復蘇》可說是章燕紫由傳統水墨畫家轉變為成熟的現代裝置藝術家過程中 最為重要的成就。 水墨畫令章燕紫獲益良多，特別是學習了利用簡約的藝術方式表達生與死的議題。她現在更運用最為日常的材料：如手 術紗布、止痛貼，為作品注入層層情感和靈性。因此，她將藝術的治癒能力與醫藥治療疾病的效能連繋一起。透過心靈 與身體物質主義的結合，章燕紫由藝術家演變成一位治療師，亦由病人的身份轉為一位治愈者。這可說是上天給予的一 種天賦，利用她自身的患病經歷論述健康、疫病、死亡及超然情況。觀眾繼而也能代入專業醫生和醫護人員的角色中， 嘗試親歷令人恐懼的場景，反省恆久生命和死亡的議題。 自章燕紫的父母在二千年代初去世後，死亡一直縈繞在她的思索中。在某种程度上，這也是她多年後奮力創作「止痛帖」 系列時最主要的掙扎：如何呈現醫生或藝術家所能給予治療的極限？如何表達由死亡及疾病帶來的絕望感？更重要的 是，如何運用藝術突破局限，為觀者帶來一絲安慰甚至快樂？透過中西醫藥療法的結合，以及中國傳統及西方當代藝術 手法，藝術家對於解答這些疑惑大有幫助。

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Drugs have come to represent a concentration of human beings’ most excessive emotions. When we face a world such as this, leading this kind of life; where is the medicine that we seek?

Zhang Yanzi is there, quietly and softly, right behind the scroll; she touches the very depths of society and the hearts of human kind.

Is there an elixir that can return people to their childhood?

As an artist, Zhang selected a theme that previously did not receive much attention.

In a secluded corner, she breaks down her emotions towards the whole world and her whole life, grinding them evenly. Using the soft tip of the brush, she spreads it on a clean page.

I see more than just medicine. 藥，在我們的記憶裏，濃縮了人類太多的情感在其中。 尤其是在當下這個時代，面對 如許的世界，如許的人生，藥在哪裏？ 章燕紫老師在那裏，在畫卷的後面，靜靜的，柔柔的，卻一下子觸到了社會與人心的 深處。 是否有一劑良藥，讓人類回到童年？ 作為一名藝術家，章燕紫老師選擇了一個極少有人關註的題材，安身於一個隱秘的角 落，卻把自己關於整個世界和全部生命的情感揉碎了，慢慢研勻了，用柔軟的筆尖輕 點，在幹凈的頁面鋪展。 我看到的不僅僅是藥。 左常波 ZUO CHANGBO 廣州中醫藥大學針灸專業博士生導師 Doctoral Tutor, Guangzhou University of Chinese Medicine and Acupuncture

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復蘇 RESUSCITATION

朱莉 ZHU LI

In the Summer of 2015, artist Zhang Yanzi was invited to carry out an Artist-in-Residence programme at the Hong Kong Museum of Medical Sciences (HKMMS), to further her research and understanding on Hong Kong’s medical history through the museum collections. Out of the entirety of the oral history archive, Zhang found the following oral history particularly fascinating: during the Japanese Occupation of Hong Kong (1941-1945), some bacteriology experts who worked for the government were detained at the Bacteriological Institute (later becoming the HKMMS). Professor Robert Cecil Robertson (1889-1942) and other bacteriology experts were forced to conduct research under the supervision of the Japanese military medical officers. In order to escape from the manipulations and threats from the Japanese military, unable to wait to be rescued by the British troops, Professor Robertson committed suicide by jumping off the laboratory balcony in 1942.

Zhang was shaken by the enormous contrast between the powerful spirit and the vulnerable body. She initially had the inspiration for her artwork Resuscitation from the sense of hope and salvation in life. Visually, the artwork is based on a universally significant pair of “angel wings,” and the feathers are specially treated so as to integrate with the visual language in which Zhang is an expert. By incorporating gauze bandages, which are widely used in both hospitals and traditional medical sciences, the artist transformed them into strips of a feather shape. Specially treated with Chinese herbal medicines, each piece of “medicinal feather” gradually plumps the wings. This installation is exceptionally detail-oriented and complicated. Hundreds of varieties of Chinese herbs were specifically chosen and carefully ground by the artist, thousands of pieces of gauze bandages were torn with the artist’s own hands. Unwittingly, Zhang’s fingers were hurt in the process, and the gauze bandages were gradually dyed into pink colours. The production of the artwork was made with a strictly traditional production method as even the paste, used as glue for the gauze bandages, was boiled by the artist herself. Natural paste was preferred as it avoids destroying the natural Chinese medicinal scent, unlike chemical glue. Through this toil, the experience as hard as a spiritual practice, Zhang not only accomplished a memorial for the departed soul, she also experienced a sacred spiritual purification.

As a contemporary ink artist, Zhang has carried out in-depth research into both Chinese traditional culture and Western contemporary art. In her artistic creations, Zhang wanders effortlessly within the multiple metaphors of concept and language; within material and technique. Additionally, in recent years Zhang has formed distinct and unique artistic features and a language of her own. She noticed that people are simultaneously reliant on and resistant to medicines. Starting from this contradictory mentality of human beings, “expressing the desire of healing” has become a prominent feature of Zhang’s creative themes in recent years. Rather than external body pain, Zhang is more interested in “spiritual painkillers,” which can bring consolation to human beings.

Zhang’s acumen is inspired by intricate contradictions of emotions. To many close friends of Zhang, she is tantamount to the “superman” from the philosophy of Friedrich Nietzsche: strong and not dominated by weak

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Zhang Yanzi working at her Beijing studio. 章燕紫於北京工作室創作。

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emotions, representing the ultimate embodiment of the will to live and always facing challenges with toughness and resolution. Through Resuscitation, one can witness the surging compassion and anxiety that emerge from the numerous sufferings and hopes humans experience in our journey through life.

Resuscitation, exhibited at the HKMMS, tells audiences a story about hope.

Yu Fan creating the structure of the wings. 于凡創作翅膀結構框架。

2015年盛暑，藝術家章燕紫應邀來到香港醫學博物館進行為期數日的探訪與考察，在諸多文獻和實物的呈現中縱覽香 港醫學的發展。一段口述歷史深深吸引了她：香港日佔時期，細菌檢驗所（香港醫學博物館前身）成為政府細菌專家的 拘留營，在此做病理學研究的Robert Cecil Robertson（1889-1942）教授與同仁一起，不得不在日本軍方醫生的監控 之下工作。1942年，為了免受日軍利用脅迫，在被英軍解救出去之前，他毅然從檢驗所二層的陽台跳下自殺 …… 強大的精神與易摧的肉體之間所形成的巨大反差，讓藝術家為之撼動，有感於生命之「希望與救贖」，她萌生了作品 《復蘇》的創作想法。作品的基架在視覺上是一對具有普世意義的「天使之翼」，羽毛則與藝術家所熟悉的創作語言結 合做了特殊的處理。借助傳統醫學與現代醫院運用甚廣的白色紗布，撕成一條條羽毛形狀，將中草藥材包裹在上過漿的 紗布中，一片片散發著藥材味道的「藥羽」漸次生長在翅膀之上。這件裝置作品的實現，細碎繁復，數百種藥材經過藝 術家的精心挑選，仔細研磨……數千片的紗布，由於都是親手撕成的碎片，手指不知不覺中撕破，紗布漸漸成了粉紅 色……作品的制作完全採用傳統的方法，紗布的粘合運用親自熬制的漿糊，避免化學膠水破壞中藥材本身的味道……在 修行一般的勞作中，藝術家既完成了對靈魂飛昇的紀念，又得到神聖的精神淨化。 作為一位當代水墨藝術家，章燕紫對中國傳統文化和西方當代藝術都有著深入的研學，在創作中，她靈活游走在觀念與 語言、材料與技法的多重隱喻中，並在近年的創作中形成了清晰、獨特的藝術面貌與個人語言。從人類對醫藥既依賴又 抗拒的矛盾心理出發，表達對治愈的渴望是她近年來的創作主題，相對身體外部的疼痛，她對能給予人心靈慰籍的「止 痛之物」著墨更深。

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復蘇 RESUSCITATION

她的靈性來自於情感中復數交織的矛盾。對於很多熟識的朋友而言，章燕紫無異於尼採筆下的「超人」：生活中的強 者，生命意志的終極體現，不受軟弱情感的控制，總是以最強硬的姿態面對挑戰。而通過其作品我們得以體察，她所有 的柔軟和悲憫正通過這一出口被節制地、巧妙地抒發。在其內心深處，面對生命歷程必經的苦難抑或希望，大概常常涌 動著一股更為深潛的惻隱和憂慮，以及為這種憂慮所描繪的美好、朦朧的理想。 《復蘇》最終將在香港醫學博物館主廳以一種特殊的形式進行展出，它將為觀眾一起講述一個關於希望的故事。

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恢恢 THE INESCAPABLE

張文志 ZHANG WENZHI

The Inescapable series is a crucial turning point in Zhang Yanzi’s recent creations. Zhang harnesses the materials of Resuscitation to elaborate further on her eastern perspective. Visually, the three colours, black, white and

grey, reflect the purest and simplest visual law. The great ancient Chinese thinker Lao Tzu said: “a semblance great, the shadow of a shade”, which also represents the original aesthetic relationship in the universe. Zhang carefully selected hundreds of kinds of Chinese medicine, then ground them to release the flavour, and wrapped the ground powder in dyed gauze bandage strips. These black, white and grey strips became “strokes” infused with Chinese medical aromas. They were then laid out on a wooden board to form a “painting” structure which is similar to geometric abstraction. Getting rid of all the narrative plots, Zhang seeks to highlight the overall units of colour; the emphasis is on the inner emotion through the artist’s calm observation.

Regarding the choice of materials, the involving of Chinese medicine points the artwork in the direction of oriental aesthetics, and it also forms a consistent linear logic with her recent creations. Subtlety and restraint is the inherent peculiarity of the east, influenced by Taoist culture, the same as toning one’s health gradually in traditional Chinese medical theory. Since ancient times, there has been less spectacular plot conflicts in Chinese paintings. The traditional Chinese literati painting is focused on localized expression, and in particular in the “sense and intoning of the environment”. Artists only expressed a little resentful emotion when they were running out of inspiration. Ambiguity, ineffability and peace are the inner characters of Chinese paintings. The expressiveness and the visual simplification of these abstract artworks all point to the spirituality of traditional ink paintings, and they also build up a textual connection between the traditional and the contemporary within all of Zhang’s artworks. Lao Tzu said: “The net of heaven has a wide mesh, but it lets nothing through.” Shiji’s “Biographies of Jesters” recorded: “Heaven is vast, but not too large.” Even the tiniest and the weakest will not disappear in the boundless. Although a herbal gauze bandage is as light as a feather, it can also stand for all the simplicity and grace of traditional Chinese paintings.

Zhang Yanzi possesses the mental agility and technical skill to translate ink from the traditional to the contemporary. The artist converts her perspective of painting into an artistic language and methodology of her own, transferring her clear, independent world view into her own artistic style and visual structure. Thus her own understanding of the painted object is revealed.

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恢恢1-3 THE INESCAPABLE 1-3

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恢恢1 THE INESCAPABLE 1 作品《恢恢》是章燕紫近期創作中的一個重要節點，試圖用與《復蘇》同質化的材料闡釋一個關於東方的繪畫文本意 義。從視覺上看，黑白灰三色調直指至純至簡的造型規律，所謂「大象無形」，這也是萬物造型關係的本源。藝術家精 心挑選數百種中藥材研磨搗碎，包裹在染成黑白灰顏色的過漿醫用紗布之中，形成散發著藥草味道的「筆觸」，平鋪在 事先設色的木板之上，形成類似冷抽象的「畫面」結構，去除有敘事情節，突出畫面的整體色塊和創作背後的內心情緒 以及藝術家對於中國繪畫特性的冷靜觀察。 從作品材料語言上來說，中藥材料的介入使作品具有強烈的東方美學指向，也與藝術家近期的創作形成連貫的線性邏 輯。含蓄、內斂是受釋道文化影響的東方美學的內在特質，有如中醫理療講究微慢調理一般，中國繪畫自古就少有波瀾 壯闊的情節衝突，注重性情表達的文人繪畫在方法論上講究「意物吟志」，在窮盡筆墨之際才將胸中憤懣吐露一二，隱 約、淡遠、幽靜也成為中國繪畫的內秀品格。作品自身的去表現性和視覺的減法特質，都抽像地指向傳統水墨的精神 性，也構建起藝術家系列作品在傳統與當代之間的文本聯繫。老子說，天網恢恢，疏而不失。 《史記·滑稽列傳序》 ： 「天道恢恢，豈不大哉！」 再渺小微弱也不會消失在寬闊廣大、浩瀚無邊中，一片輕盈如羽的藥草紗布，也能傳達中 國繪畫傳統的淡雅飄逸。 章燕紫是水墨語言從傳統向現代轉換的思考者與踐行者，當藝術家對於繪畫本體的觀察變成一種自我的藝術語言和方法 時，當藝術家清晰獨立的世界觀被轉換成繪畫形式和視覺結構時，必定在繪畫中映射她對繪事本體闡釋的自我邏輯。

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空芯片 MEDI-CHIP

張文志 ZHANG WENZHI

空芯片5與6 MEDI-CHIP 5 & 6

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空芯片1 MEDI-CHIP1 From The Remedy to Ancient Presciptions, and now to Medi-Chips (the artwork uses aluminum blister packs as a medium), it is apparent that Zhang is familiar with employing medical tools for artistic expression. Medicine cures the body; art heals the mind. Zhang interchanges freely between medicine and art, an action which of itself indicates a unique intervention by art into our lifestyle and spiritual condition. The focus of Medi-Chips shifts from individuality to society. This reflection on information technology exudes our anxiety towards the “postdigital era”.

View all things on earth, think of their hidden logic, and then draw out the shape of the narrative. This is a way to understand the philosophies disseminated by ancient Chinese literati, which also acts as a Zen pathway to explore the unknown. High up in the sky, there are only stars and dust, but in the eyes of the ancients, the stimulation and formation of winds and clouds all originate in the sky. The emotions of stars are said to directly affect climate, politics, fortune... Zhang Sengyou from The Six Dynasties depicts stars as the shapes of mankind, beast and bird in The Five Stars and 28 Heavenly Abodes. These different shapes, which turn the unknown into visual imagery, also project one’s fortune and destiny. The microchip is a tiny-volume combination of silicon wafer integrated circuits, which is the equivalent of stardust in the universe. However, the various series and combinations of chips can bring changes to our civilization, promoting higher and unimaginable dimensions of development; not only through changing our way of life, but also provoking re-examination of personal identity.

The Digital Age is still continuously developing; as time goes on, humans will realize that this microchip is merely just another Pandora’s box God has opened for mankind.

Modern technology has the resources and technical skillset to make chips with neural processing, turning them into human-brain chips, biochips etc. The previously simple chips are now capable of superhuman logical thinking; they are more agile, precise, and calm than the human brain. AlphaGo’s defeat of the human brain was a signal that inevitably generated some sadness and anxiety. Who is taking charge in this “Post-Digital Era”?

How do we maintain balance and make a distinction between the two worlds of the analogue and the digital? It seems we are unsure of how to tackle this.

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空芯片7 MEDI-CHIP 7 In this series, the artist uses empty aluminum blister packs as her main medium. Through repeated ink rubbing and dozens of applications using a thin-layering technique, layers of dense ink patches are portrayed as if they are microarrays on computer chips. When we look at this artwork, our eyes are ceaselessly drawn across the pattern, and we seem to enter into a state of trance. There seem to be hidden clues embedded in the image, enticing viewers into a vacuum state.

Zhang’s art always conveys a sense of delicacy and serenity. Art is not merely a description or a depiction of an object, it should also be the field of reason and intelligence.

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空芯片2 MEDI-CHIP 2

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空芯片4 MEDI-CHIP 4

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從「止痛貼」到「中藥冊頁」再到《空芯片》（這件作品所運用的膠囊鋁板作為媒材），顯然，章燕紫對於從醫藥角度 切入藝術表達的方式熟稔於心。藥治身，藝療神。章燕紫的藝術在此二者之間有一種游絲般的切換自如，也是藝術對生 活方式、精神狀態的獨特介入。而《空芯片》的視角焦點也從以往對個體生命的關注轉移到對社會身體、信息智能的思 索，流露出一種對「後智能時代」的焦慮。 觀萬物，思暗理，繪形敘事 —— 這是中國文人自古建立起來的一套萬物理解方法，並以這種極具東方玄思色彩的途徑 探索未知。仰望星辰，一星一塵矣，但在古人看來，天地世間的風雲激變皆由於此，星辰的「喜怒哀樂」直接關乎氣 象、政治、運程……六朝時代張僧繇繪《五星二十八宿圖》，將星賦以人形、獸形、鳥形等，將未知圖形視覺化，並獲 得一種已然掌控的心理暗示。

空芯片3 MEDI-CHIP 3 「芯片」是一種體積微小的集成電路硅片，在電子世界猶如星空一微塵，然而芯片的不同系列及組合給人類帶來一系列 的不可想象，推動著人類文明向不同維度發展，不僅改變著我們的生活方式，也影響對自我身份的重新思考，信息智能 時代的秩序尚在重建，驀然發覺「芯片」也是上帝為人類打開的另一個「潘多拉盒子」。現代技術將芯片做類神經元處 理，電子芯片演進為人腦芯片、生物芯片，原本虛空的技術擁有了超人的邏輯思辨能力，比人腦更敏捷、嚴謹、沉著， 「阿法狗」戰勝人腦似乎已經提示了某種信號，也不免在某些領域帶來傷感和焦慮。在「後智能時代」，世間萬物，誰 主沉浮？在兩個世界中如何權衡、抉擇，我們似乎有點舉手無措。 在這個系列作品中，藝術家利用吃剩的膠囊的鋁板，通過不斷重復的水墨拓印和幾十遍的薄積法，密密麻麻一顆一顆， 層層疊疊積墨積色，仿佛芯片的微陣列。當我們和作品對視時，視線在這種陣列中很難聚焦，恍惚中似乎能發現其中暗 藏的什麼線索，似乎有暗流涌動，吸引你進入一種真空狀態。 章燕紫的藝術一直都是敏感而靜穆的，藝術也不只是描述一個物象，更應是對理性的一種考究。

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抗體 ANTIBODIES

章燕紫 ZHANG YANZI

抗體1 ANTIBODIES 1 It is rather interesting speaking with scientists.

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A few days ago, I was chatting with one of my scientist friends. He studies the evolution of vertebrate immunity.

He explained to me that the immune system started off as a very simple one-way biological process. Whenever the body encountered any kind of stimulation or resistance, the immune system would respond by producing corresponding cells to counteract it. As time went on, this reaction continued to evolve and became the complex immune system we have today. The way the system works is like “rolling with the punches.” With reference to this theory, I believe human beings are a combination of numerous immune responses triggered and created by the natural environment.

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An antibody, also known as immunoglobulin, is a blood protein produced in response to, and with the purpose of counteracting, a specific antigen. The immune system consists of two functional components: an innate and an adaptive immune system. I find this similar to my artistic practice. I may have been born with a certain way of expression and my own artistic language, but the stimulation from the surrounding environment has also provoked inspirations and changes within my artistic approach, just like the immune response created when an antibody interacts with an antigen. I believe my artwork may be seen as an outcome of both innate and adaptive immune responses.

As time goes on, will I also become a stimulation, an antigen?

抗鍔3 ANTIBODIES 3

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和科學家聊天，很有意思。 前幾天，幾個朋友聊天，其中有個研究地球上最早脊索動物免疫系統的科學家，他說免疫系統一開始也是非常單一的， 在衍化的過程中，遇到什麼樣的刺激，對抗，就會產生與之對應的免疫應答分子，不斷進化、衍變成現在這樣複雜龐大 的免疫系統。 這「兵來將擋，水來土掩」的進化論讓我覺得很有意思。按照這個邏輯，人類是被自然環境塑造出來的，本身就是一個 免疫應答分子集合體。 人的抗體的免疫分子就是免疫球蛋白。免疫系統可分為先天的和後天的。源自個人自身的、與生俱來的、內在的可以算 是先天的免疫；那些受了外界刺激、侵略、感染後激發出來的，是後天的免疫。 藝術也是一樣吧！這麼想我的作品， 應該是天然抗體加免疫抗體的產物。 免疫系統眾多免疫應對分子中的一對矛盾分子就是抗原與抗體。在我的水墨畫的成長過程中，也在不斷地遇到各種抗 原，有自身的，有外界的，每一次刺激、對抗，都會給我帶來新的抗體，有的是語言上的改變，有的是技法上的改進， 有的是觀念上的調整 …… 不知不覺中，我也會成為抗原嗎？

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宮與痕 SANCTUARY & SCAR

林佳斌 LIN JIABIN

Since the beginning of the 21st century, and despite the protestations of many female artists who are against gender stereotyping in art criticism, it is undeniable that outstanding female artists have always harnessed their profound perceptions of the world and their own personal experiences to strike a chord in the audience’s heart.

Zhang Yanzi’s artworks Sanctuary and Scar are inspired by an exhibit in a museum’s collection: a delivery bed that was used during labour in the olden days. Using this delivery bed as a prototype, Zhang’s artworks express her respect and admiration for a woman’s endurance of pain during childbirth. By incorporating analgesic patches and gauze bandages, the intertwinement of the two capture the audience’s hearts, invoking a new aesthetic meaning and spiritual sensation. A variety of herbal plants were depicted on each piece of analgesic plaster wrapped around Sanctuary. The choice of medium can be seen as a continuation of Remedy, her previous solo exhibition at Art Basel Hong Kong. The latest creation diverges from the previous one as the images of Buddha are replaced by the drawings of medicinal plants.

The artist outlines the medicinal plants skilfully using ink and wash on the old-fashioned brown analgesic patches.

The presented visual representation of medicinal plants is optically refreshing. The obvious symbolic meanings, together with the holes on the patches, construct a unique atmosphere, easing the strong sentiments aroused by the delivery bed, engendering a certain intimate emotion of psychological comfort.

Through Sanctuary, Zhang attempts to convey a sense of grace and hope; as for Scar, the artist retains the stylistic elements of Sanctuary, incorporating rolls of specially-treated gauze bandages and transforming them into a human-shaped delivery bed. Despite the impressions of rupture and powerlessness, layers of ethereal landscapes are depicted on the torn cinnabar-treated bandages, which balance off the sorrow with serenity and tenderness. One cannot help but think: isn’t life a mesh of joy and melancholy?

Since ancient times, from matriarchy to the digital age, throughout the mighty torrent of history, women have retained their sensitive identity despite the ever-changing definition of their roles. The series of traditional feminine “meanings of life” may not be resisted: menarche, puberty, pregnancy, childbirth and aging… Is this a gift or a dilemma? Beauty, misery, pain, hope… by exploiting the unique natural intuition and sensitive nature of women, female artists explore the transition from the reflection of their experiences, to the scrutiny of women’s identities within society.

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Rolls of painted gauze bandages for “Scar”. 創作《痕》過程中一捲捲的紗布。

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痕 SCAR 儘管進入21世紀后，許多女性藝術家反感用「性別歸類藝術」的視角去評判藝術，但不可否認，出色的女性藝術家總是 能用她們對世界敏銳的感知方式與切身經驗猝不及防地擊中人心。 章燕紫的《宮》、《痕》這兩件作品，以香港醫學博物館收藏的香港西醫接生用的一張早期產床為原型，借助這個不 斷孕育生命的產床，表達了她作為一個女人、一個母親對生命誕生的痛感和敬意。通過止痛貼與醫學常見的紗布，或 纏繞、或覆蓋，瞬間揪住觀者的心，引申出一種新的審美意味與精神指向：《宮》用繪滿各類草藥的止痛貼包裹覆蓋 —— 材料延續了藝術家的過往創作，只是將「佛影」置換為百種草藥。藝術家用其擅長的水墨丹青勾勒於淡淡古意的 棕黃色醫學布質貼片之上，百草姿態樣式不一，視覺清新柔美，這種具有明顯象征意義的圖像特征，配合止痛貼特有透 氣孔組成的別致形式感，緩和了「產床」自身帶有的強烈色彩，賦予了作品某種私密情感的心理慰藉；如果說在作品 《宮》中，藝術家還試圖提供美好與希冀意味，同一系列的《痕》則用一卷卷沾滿朱砂的醫用紗布繃帶，反復纏繞在如 同人形的產床上，觀者無不痛徹心扉。在這裡，藝術家撕破了脈脈溫情的表象，以一種直觀的姿態宣示著破碎的無力 感。而細看才會發現，紗布的朱砂長卷中竟然描繪的是一片片空靈的意象山水，這種既哀婉又凌厲的詩意，不禁讓人思 考，生命的過程，不就是美好和悲傷交織在一起嗎？ 自古以來，從母系氏族到信息時代，女性在漫長的歷史洪流裡，始終以其敏感的身份不停變幻著自身的角色定義，並無 力抗拒且承擔著一系列與生俱來的「生命意義」：初潮、青春期、懷孕、生育及衰老……這是賜予女性的禮物抑或難 題？美好、哀婉、苦痛、希冀，藝術家以女性特有的自然直覺與敏感特質，從對內心經驗的探尋過渡到對女性群體的審 視與身份的反思之中。

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хоо SANCTUARY

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草藥園 THE HERBAL GARDEN

麥希齡醫生 DR. ROSE MAK

The Herbal Garden of medicinal plants was established in 2003 to complement the other exhibits in the Museum in presenting Hong Kong’s unique Chinese and western medical heritage. The garden occupies an area of about 200 square metres on the grounds of the Old Pathological Institute monument in which the Museum is housed.

The large majority of plants in the Herbal Garden are native to Hong Kong. Species now include those that are the source of authentic Chinese herbal medicinals (道地藥材) of the Lingnan region, e.g. Polygonum multiflorum (何首烏 Tuber Fleece Flower), Morinda officinalis (巴戟天 Indian Mulberry); and herbal medicines characteristic of the Guangdong region, e.g. Ficus hirta (五指毛桃 Hairy Fig), Alpinia officinarum (高良薑 Galangal).

Some are stunning ornamentals in their own right, e.g. Hibiscus mutabilis (木芙蓉 Changeable Rose-Mallow), Magnolia liliiflora (紫玉蘭 Purple Magnolia). Others can be eaten as food, e.g. Morus alba (桑 White mulberry), Perilla frutescens (紫蘇 Beef-stake Plant). Still others are the source of approved western drugs used worldwide, e.g. Artemisia annua (青蒿 Sweet Wormwood), Catharanthus roseus (長春花 Rose Periwinkle).

Since its opening, the garden has provided a place for learning and enjoyment for the public, including university students reading Chinese herbal medicine, and visitors from overseas. Hopefully, it will remain an oasis amidst the growing concrete jungle of Sheung Wan, Hong Kong.

香港醫學博物館草藥園二零零三年成立，種植藥用植物，與館內展品相輔相成，展示香港獨有中、西醫學遺產。草藥園 佔地二百平方米，位於博物館所處的法定古積「舊病理檢驗所」的園地內。 草藥園內的植物，大多數為香港原生植物。品種包括嶺南道地藥材（如何首烏、巴戟天）及廣東地區特色中草藥（如五 指毛桃、高良薑）等的來源植物。有些是公認的觀賞性植物（如木芙蓉、紫玉蘭）；亦有可食用的（如桑、紫蘇）。還 有一些是世界各地使用的認可西藥的來源植物（如青蒿、長春花）。 草藥園成立以來，為公眾提供了一處學習及休憩的好地方。訪客包括研習中草藥的大學生及外地遊客。但願草藥園能繼 續成為香港上環這片鋼筋森林中的一片綠洲。

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古方千金 ANCIENT PRESCRIPTIONS

章燕紫 ZHANG YANZI

Traditional Chinese medicine is part of Chinese culture. Chinese people have a diverse attitude towards Chinese medicines; some are superstitious, some just don’t believe in it at all. As I am getting older, I slowly believe the mysterious presence. Perhaps, this is also my personal view towards Chinese culture.

All these ancient prescriptions were passed down from one generation to another in a form of booklet. One can understand the ancient people’s view and thoughts on life and death from the way they named the medicine, such as Xiaoyao powder (“relaxation powder”), Sijunzi decoction (“gentlemen’s soup”), Yuehua pill (“moonlight pill”) etc.

Apart from its medical use, perhaps Chinese medicines provides more of a psychological comfort. If we don’t have worries, perhaps we will not get ill. Flowers and grasses along the roads can be used as medical ingredients; all living beings can be used as medicine, yet all of them can’t be, I guess that’s the meaning… By blending colours and Chinese medicine together, every stroke on the painting comes with a pungent, bitter scent. It seems, the once lively plants were dried and mixed, and finally join with the decoction. 中醫是中國文化的一部分。 中國人對中醫的態度截然不同，有迷信的，有完全不信的。隨著年齡的增長，我從完全不相信慢慢變得可以接受，相信 神秘的存在。 也許，這也是我對中國文化的一種看法。 《古方千金》，以冊頁的形式描繪了中國古代流傳下來的名藥處方，單從方名《逍遙散》、《四君子湯》、《月華丸》 等中，便可感受古人對生命的態度。 中藥，除了其真正的藥性外，心理的安撫作用也許更大。人，若是心沒病，一切都會好。 那些路邊的花花草草，都可入藥，萬物皆藥，萬物非藥是一個意思吧…… 作為一種嘗試，使用中藥湯劑作為材料之一，甘苦的氣味和痕跡也留在了紙上。那些花草鮮活的樣子和曬幹後熬成的藥 湯終於合在了一起。

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古方千金 《六味地黄丸》 ANCIENT PRESCRIPTIONS “SIX FLAVOUR REHMANNI”

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輕舟已過 TRAVELLING MILES

章燕紫 ZHANG YANZI

鶯嘴啄花與碧勝藍 FALLING PETALS & AZURE

輕舟已過 TRAVELLING MILES

It is a surprise to see how Zhang Yanzi ingeniously incorporates gauze bandages as a medium in her recent creations. Gauze bandages normally remind the viewer of a dressed wound and the process of healing, which resonates with the transdermal patches she used in her previous Remedy series. The artistic expression and implication Zhang wishes to convey through the chosen media provide an intriguing contrast for viewers. The layers of gauze bandages appear indistinctly on the artwork, creating depths and intensity on the surface, leaving viewers with an essential truth of the Eastern aesthetic that defies visual or literal description – hazy, amorphous and velvety.

The current series, consisting of eight small paintings, may be seen as a continuation of the previous Remedy collection. Depicting pills that are either neatly arranged row by row, scattered like sand in wind, or rocking to some upbeat electronic music, one can discern that Zhang’s art is not restricted by the Chinese traditions.

Through manifold experimentations in ink, her artistic language becomes more diversified and differentiates her from others.

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Travelling Miles marks the end of the series: the artist is letting out a long sigh after all that hard work, murmuring

a verse written by famous poet Li Bai, “like a boat which has sailed through countless mountains and rivers.”

Visually, the grand mountain, composed of several tiny pills, is exquisitely sketched out using bai miao, a plain drawing technique in traditional ink. By combining specially treated rippling gauze bandages and imagery, a hazy and fluid atmosphere is created, presenting an uncommon yet refreshing inconsistency to the viewers.

As for Sunset Glow and The Rippling Green, gauze bandages have been gently inserted. The fragile delicacy of the bandages helps shift the distant and icy atmosphere created into a warm and poetic sensation. A number of Chinese herbal medicines were placed underneath the gauze bandages in In the Midst of Loneliness, and a strong visual stimulation is triggered by the uneven surface of some of the herbs penetrating through the surface.

Night Blossom depicts seven coloured test tubes placed in a rack, bringing spring blossoms into the laboratory.

All the artworks are named after poems written by great poets and musicians in the past. For example, Sunset Glow and Azure originate from Bai Juyi’s poem “Autumn Thoughts;” The Rippling Green is named after Qin

燕尾綠 THE RIPPLING GREEN

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Guan’s poem “Like a Dream;” as for Soaring, the idea came from Ouyang Xiu’s poem “Thrush;” lastly, In the Midst of Loneliness and Night Blossom are inspired by Bai Renfu’s qu (曲) “Autumn” and Cen Shen’s “A Snowy

White Farewell to Commissioner Wu as He Returns to the Capital” respectively. These titles reflect the artist’s fascination with Chinese classics and literature. She also adds a symbolic colour to the imagery created – such as the colour red from Sunset Glow and green from The Rippling Green.

There is a famous saying from Cao Cao, the renowned Chinese Warlord in the Eastern Han dynasty: “I lift my cup and sing a song, for who knows if life be short or long. Man’s life is but the morning dew, past days many, future ones few;” (from “Duange Xing” by Cao Cao). Although life is full suffering and pain, it seems brightness and hope still exist in this colourful world.

一點飛鴻與夕照燒 IN THE MIDST OF LONELINESS & SUNSET GLOW 在章燕紫的近期創作中，紗布作為材料被她運用地得心應手，令人驚喜。紗布在日常經驗中指涉創傷與包裹，與藝術家 常用的布質止痛貼在功能寓意上形成一種對照和演繹。而紗布覆於畫面所產生的若隱若現之意境，不僅加深了畫面的層 次，更在視覺上提示著觀者 —— 淡薄、朦朧、縹緲、隱逸等難以名狀又妙不可言的東方意趣。 這一系列的小畫，在主題上延續了《掛號》系列對醫藥材料與器具的表現，而在形式語言上的實驗與玩味則愈來愈遊刃 有餘、不拘一格。畫面在構成上完全拋棄了傳統水墨畫的經營位置，所繪膠囊及藥片或排成陣列、或散落如沙、或聚攏 零落，帶有強烈的迷幻電子音樂感。 《輕舟已過》是她為個展「本」創作的最後一幅作品，她說畫完長吁一口氣，嘴裡不由自主地念出一句「輕舟已過萬重 山」。在這幅作品中，藝術家用白描的手法勾勒出膠囊堆積成的遠山，線條堅硬、冷漠，周圍隨意堆積的紗布營造出煙 波浩渺、霧靄蕩漾的氣氛。凸起如淺浮雕般的紗布，經過處理，與紙上水墨在矛盾中產生了一種新的協調。 《夕照燒》、《燕尾綠》中紗布的褶皺處理非常巧妙，紗布的柔軟使得原本機械冷峻的畫面突然變得詩意起來。《一點 飛鴻》在宣紙下面夾裹著中藥材，畫面凹凸不平，藥材尖利的部分捅破了宣紙，視覺刺激異於傳統水墨畫。《忽如一 夜》畫面中一排彩虹般的試管，讓人覺得冰冷的實驗室彷彿吹來一陣春風。 有意思的是這些畫名，皆出自古代詩人詞人的吟唱。《夕照燒》、《碧勝藍》出自於白居易的「夕照紅於燒，晴空碧勝 藍」；《燕尾綠》出自秦觀《如夢令》的「鶯嘴啄花紅溜，燕尾點波綠皺」；《隨意移》出自歐陽修《畫眉鳥》中「百 囀千聲隨意移，山花紅紫樹高低」；《一點飛鴻》出自「一點飛鴻影下，青山綠水,白草紅葉黃花」；《忽如一夜》出

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忽如一夜 NIGHT BLOSSOM 60

自岑參「忽如一夜春風來，千樹萬樹梨花開」。在這些詩句有一個共性，即其中都有色彩，紅、綠、黃、白、紫、金… 這些帶有古意的作品名，再一次映照出藝術家創作趣味的底本，即對古典傳統的回望及對東方意象的著迷。 人生幾何，去日苦多。也許，無論生命中有多少苦痛，無論人類如何輾轉於追尋救贖之路。面對廣袤世界之色彩，短暫 的人生似乎仍然充滿希望。

隨意移 SOARING

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展覽 EXHIBITION

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66 78

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69

70 94

71 95

72 10

73 11

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75

76

77 13

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87 81

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90

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92 74

藝術品索引 ARTWORK INDEX

93 75

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復蘇 RESUSCITATION

恢恢1 THE INESCAPABLE 1

2016 Steel, plaster, gauze bandages and herbal medicine 鋼筋、石膏、紗布、藥材 150 x 66 x 50cm

2016 Gauze bandages, Chinese herbal medicine and etc 紗布、中藥材等 100 x 100 x 5cm

恢恢2 THE INESCAPABLE 2

恢恢3 THE INESCAPABLE 3

2016 Gauze bandages, Chinese herbal medicine and etc 紗布、中藥材等 100 x 100 x 5cm

2016 Gauze bandages, Chinese herbal medicine and etc 紗布、中藥材等 100 x 100 x 5cm

空芯片1 MEDI-CHIP 1 2016 Ink on paper 紙上水墨 181 x 97cm

空芯片2 MEDI-CHIP 2 2016 Ink on paper 紙上水墨 181 x 97cm

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空芯片3 MEDI-CHIP 3 2016 Ink on paper 紙上水墨 181 x 97cm

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空芯片4 MEDI-CHIP 4

空芯片5 MEDI-CHIP 5

2016 Ink on paper 紙上水墨 68 x 68cm

2016 Ink on paper 紙上水墨 68 x 68cm

空芯片6 MEDI-CHIP 6

空芯片7 MEDI-CHIP 7

2016 Ink on paper 紙上水墨 68 x 68cm

2016 Ink on paper 紙上水墨 68 x 68cm

抗體1 ANTIBODIES 1 2016 Ink on paper 紙上水墨 140 x 68cm

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抗體2 ANTIBODIES 2

抗體3 ANTIBODIES 3

2016 Ink on paper 紙上水墨 68 x 68cm

2016 Ink on paper 紙上水墨 68 x 68cm

宮 SANCTUARY 2016 Ink on analgesic plasters 止痛貼、水墨 30 x 20cm; 42 x 62cm; 42 x 43cm; 20 x 52cm; 20 x 52cm

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痕 SCAR 2016 Ink on gauze bandages 紗布、水墨 30 x 20 cm; 42 x 106cm; 20 x 52cm; 20 x 52cm

古方千金 《六味地黄丸》 ANCIENT PRESCRIPTIONS “SIX FLAVOUR REHMANNI” 2014-2015 Painting: Ink (mixed with Chinese medicine) on jute paper; Album: Silk and jute 畫芯: 麻紙水墨 (混合中藥); 冊頁: 絲和麻 Painting 畫芯: 33 x 22cm; Album 冊頁: 45.5 x 32.5cm

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鶯嘴啄花 FALLING PETALS

碧勝藍 AZURE

2016 Ink on paper and gauze bandages 紙上水墨、紗布 50 x 50cm

2016 Ink on paper and gauze bandages 紙上水墨、紗布 50 x 50cm

輕舟已過 TRAVELLING MILES

燕尾綠 THE RIPPLING GREEN

2016 Ink on paper and gauze bandages 紙上水墨、紗布 50 x 50cm

2016 Ink on paper and gauze bandages 紙上水墨、紗布 50 x 50cm

一點飛鴻 IN THE MIDST OF LONELINESS

夕照燒 SUNSET GLOW

2016 Ink on paper, gauze bandages and herbal medicine 紙上水墨、紗布、中藥材 50 x 50cm

2016 Ink on paper and gauze bandages 紙上水墨、紗布 50 x 50cm

忽如一夜 NIGHT BLOSSOM

隨意移 SOARING

2016 Ink on paper, gauze bandages and herbal medicine 紙上水墨、紗布、中藥材 50 x 50cm

2016 Ink on paper and gauze bandages 紙上水墨、紗布 50 x 50cm

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簡歷 BIOGRAPHY

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CHILDHOOD Zhang Yanzi was born in 1967 in Zhenjiang, Jiangsu Province. Zhenjiang is on the southern bank of the Yangtze River, a city whose positioning was once of historic importance in protecting Nanjing from attack. Her father’s profession was protecting animals from a different kind of attack – the threat of sickness and disease. Her father’s career choice had an unexpected impact on his daughter. Since her father was a vet, Zhang Yanzi was continually surrounded by medical paraphernalia.

She describes her experiences as a child: “When I was young, my father had a desk in our house, an oldfashioned one that could be locked. When my parents were not at home, I secretly opened it. I read all the things in the drawers of the desk, photos of his college, notebooks... Inside there was a special box containing a stethoscope, I put it on my ears and listened to my heartbeat, I also used it for karaoke... The stethoscope was one of my favorite toys... I also played with syringes, I took them and injected water into steamed buns – quite naughty. These things that it was forbidden to play with made my childhood full of fun.”

Zhang Yanzi was to have her own battles with illness as a child, causing her to spend time in hospital being treated for a blood condition. The young Zhang Yanzi grew up surrounded by medicine. As critic Barbara Pollack recently wrote: “Medical treatments were (for Zhang Yanzi) a fact of everyday life, rather than a sporadic response to an aberration in health.” Her medical experiences were to find expression in later life as an artist.

YOUTH Recognized in her youth for her artistic talents, she originally dedicated herself to the skilful mastery of classical landscapes featuring the staples of antiquity: birds and flowers and mountains and streams. She also diligently applied herself to become an expert calligrapher. She sought solace and comfort in the classical style which was something of a calming agent to her own restless spirit.

Having studied art at Beijing Normal University, Zhang’s family life was the focus for her in the 1990s, the decade when she was to get married and have a daughter.

ILLNESS AND INSPIRATION The 21st Century brought unwelcome news. in 2000 her husband became ill, and there was worse to follow.

In 2001 her father died. Her mother’s death followed in 2003. The experience of losing both parents in short succession had a profound impact on Zhang Yanzi: “I was confronted with death much earlier than the general population. After that I went through a long and anxious process.” She has described how her mother was a particularly devout Buddhist. For the last month of her life, Zhang lived with her mother in the temple, and it was there that her mother died. “On the day she passed away, I did not cry. I spent a month in the temple, as if I was there to complete a ritual, like a show. We were all actors, there to accompany her. She was bent on going to the Western Paradise.” Zhang Yanzi believes strongly in the obligations of family and the virtues of filial piety: “As her offspring, we must fulfill her wishes.”

The sorrows of the new millennium acted as a positive catalyst for Zhang Yanzi’s career as an artist. The experience of her husband’s illness, combined with the death of her father, had encouraged Zhang to return to art with a renewed sense of purpose and drive for self-expression. In 2002, she entered the Central Academy of Fine Arts in Beijing, where she remained until 2007, achieving a masters degree in painting.

RECOGNITION AND ACCLAIM As she was coming to terms with her parents’ death, Zhang Yanzi immersed herself in her work, taking part in group exhibitions such as 2004’s Slow, Slow Tune at the 10th National Art Exhibition in China and 2005’s Airs of the States, Courtly Songs, and Hymns at the 2nd Beijing International Art Biennale. Shortly afterwards, in 2007, she was to win the Gold Award at the Lichang Cup for the 5th Traditional Chinese Painting Exhibition sponsored

by China Federation of Literature and Art Circles.

In 2008, Zhang Yanzi showed her work in France for the first time, with a show entitled Walk While Stepping on the Gauze, before bringing the show to Shanghai in 2010.

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In fact, 2010 represented a turning point for the artist, when she decided to de-emphasize traditional themes and instead focus on subjects from her everyday life. Recalling the medical history that had haunted her and the peaceful familiarity of the medical toys of her childhood, this was the point when she first began to depict medical tools and apparatus (necessary and continual accompaniments to our lives) within her work. This realization led to her breakthrough exhibition, Remedy, in 2013.

The memories of her mother’s death were also woven in: The Remedy is composed of tens of thousands of Buddhist statues: “deep down in my heart I had an idea that it was dedicated to her.” As Xu Lei wrote: “Very few Chinese artists have such an expression in their faith system, accurate, touching, indescribably wonderful.”

With Remedy, Zhang Yanzi was focusing on universal truths with a Chinese lens. Her philosophies of the healing role of art in response to the innate human sicknesses was of great resonance. She mused on human tendencies to seek healing throughout our lives: “The remedy for childhood may be a lollipop or a doll... the remedy for our youth a wonderful moment of friendship, love or a journey, the remedy for adulthood are families, children, houses, careers, cars... With these, we temporarily forget the pain.”

Zhang was increasingly seen as a unique artist who formed a bridge between Chinese history and traditions, and contemporary themes of prevalent disquiet and malaise. Alongside her religious and medical imagery, she depicted insects in a kind of moving dialogue with past master Qi Baishi. She was beginning to meet with considerable critical success, and was receiving favourable reviews from leading lights of the artistic world. Xu Bing had this to say about the artist at the opening of Remedy: “For quite a long time, we have borrowed a lot of experience from the West, while we did not make good use of the extremely preeminent things in our traditional culture. As a matter of fact, we are still in dire need of the experience of how to utilize outstanding Chinese culture. This selection of work by Zhang Yanzi provides vital inspiration for us on this.”

The favourable reviews from her peers translated into garlanded success in competition: in 2013, she won the Gold Award at the Jinling Painting Exhibition of One Hundred Chinese Artists, and that same year she won the Best Artwork Award at the Lu Xun Culture Awards.

The immediate years following these awards were to see Zhang Yanzi travel extensively, taking part in numerous solo and group exhibitions, including a solo show at PAN Palazzo delle Arti di Napoli, Italy (2014), Specials at the Female Artists Salon at the Manet Art Collection in Beijing (2014), Devotion to Ink, organized by Galerie Ora-Ora at Hong Kong Maritime Museum (2014) and Blooming Season and Solace of Art solo show, Shanghai (2014). She also showed at the Today Art Museum in Beijing in 2013 and at 5Art Guangzhou and Art Basel in 2015.

HISTORY AND EXPERIMENTATION In the summer of 2015, Zhang spent several weeks in residence at the Hong Kong Museum of Medical Sciences.

She created a series of works entitled Essence which was the fruit of the stories and historical and personal insights that she uncovered during this experience.

The resulting show, which took place in July and August, 2016, demonstrated clearly that she is an artist who now thrives on re-inventing herself, and is embracing the opportunity to develop her art in new creative directions.

The show expanded on her themes of remedy, healing and sacrifice, highlighted by the poignant installation work, Resuscitation, which was inspired by the tragic death of Professor Robertson at the institution during the Second World War. Resuscitation was made of sculpted angel wings decorated with “feathers” of gauze bandages; next to it were abstract square “paintings” of bandages on canvas, each impregnated with Chinese medical herbs.

The artist had also harnessed medical tools to create ink paintings, including a series of seven entitled MediChips, where aluminium blister packs were used as an ingenious printing tool. She was inspired by a surgical bed in the museum’s basement to create a wooden frame alternately wrapped in cinnabar-painted gauze and painted images from the museum’s herbal garden on analgesic plasters. Art critic Huang Zhuan argued that Zhang Yanzi “depicts both modern anxiety as well as its antidote and cure.” The show met with considerable press attention and critical success, endorsed by art critics Barbara Pollack, Pi Daojian and art historian Professor Julia Andrews.

THE ARTIST TODAY Zhang Yanzi remains based in Beijing and she serves as the editor-in-chief of CAFA Art Info at the Central Academy of Fine Arts.

Zhang Yanzi’s art may be seen at the National Art Museum of China, the Jiangsu Provincial Art Museum, the CAFA Art Museum, L’Università degli Studi di Napoli “L’Orientale,” the Audemars Piguet Museum among others.

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EXPERIENCING ZHANG YANZI The artist invites us to consider how medicine cures the body and how art may attempt to cure the mind.

Dialogue with psychiatrists demonstrates how this theory is being put into practice in the treatment of those with psychological conditions, with some positive effects. We invite you all to take part in the healing journey of Zhang Yanzi’s work, and to feel how art may be the starting point for a calm mind, and for a sense of inner peace.

童年 章燕紫生於一九六七年，江蘇鎮江人。她父親的職業獸醫是保護動物免受疾病和病菌的侵襲。這職業對其女兒來說有著 意想不到的影響，亦使章燕紫在成長中經常接觸不同的醫療用具。 她講述自己童年時的經歷：「小時候，父親在我們家裡有一張舊式、可以鎖上的桌子。當父母不在家時，我偷偷地打開 它。我翻閱了桌子抽屜裡所有東西，父親在學時期的照片、筆記本等。裡面還有一個裝有聽診器的特別盒子，我會把聽 診器放在耳朵上，聽聽自己的心跳，也用它來唱歌，聽診器是我最喜歡的玩具之一。我也玩注射器，用它把水注入蒸饅 頭裡，相當淘氣。 這些被禁止玩的東西使我的童年充滿樂趣。」 她在童年時曾與疾病戰鬥，使她在醫院逗留了一段時間以治療血液問題。年輕的章燕紫在成長期間被藥物包圍著。如藝 評家 Barbara Pollack 最近寫道：「對章燕紫而言，醫學治療是日常生活的一部份，而不是健康失調時才存在的偶發行 為。」她在後來的藝術陳述中亦表達了自己的醫療經歷。

少年 她年少時了解到自己的藝術才能, 所以她專注練習山水、花鳥等傳統水墨技巧的描繪。 她還努力地令自己成為一個專業 書法家, 亦尋求在和諧恬靜的古典風格藝術中, 緩和自己的不安。 在北京師範大學攻讀藝術後, 九十年代時章燕紫專注在家庭生活上, 結婚及育有一個女兒。

疾病和靈感 在2000年, 她的丈夫患病了, 更悲傷的是, 她的父親於2001年去世, 其母親亦於2003年離去。 在短暫時間內繼連失去雙 親的經歷對章燕紫產生了深遠的影響:「我比其他人更早面對死亡。 之後,我經歷了一個漫長而焦慮的過程。」 她描述了 母親是一個特別虔誠的佛教徒。 在她生命的最後一個月, 章燕紫與母親住在寺廟裡, 那就是母親去世的地方。 「在她去 世的那一天, 我沒有哭。 我在寺裡度過了一個月, 好像在那兒完成一個儀式, 一個表演。 我們就像演員般陪伴她向西方 極樂世界出發。」 章燕紫堅信家庭的責任和孝道的美德:「作為她的後代,我們必須滿足她的願望。」 這段悲傷的經歷是 章燕紫成為職業藝術家的催化劑。 她丈夫的病, 加上其父親的離去, 鼓勵章燕紫以新的思維和表達方式重投藝術。 2002 年, 她入讀北京中央美術學院, 並於2007年獲得水墨畫碩士學位。

認可和讚譽 父母去世後，章燕紫把自己沉浸在工作中。她參加了2004年中國的「聲聲慢」第十屆全國美展和2005年的「風雅頌」 第二屆北京國際雙年展。不久之後，2007年，她獲得中國文聯主辦的第五屆中國畫展金獎。 2008年，章燕紫第一次在法國展示她的作品，展覽名為「踏莎行」。之後於2010年她更將展覽帶到上海。 而2010年更是藝術家的轉折點，她決定不再強調傳統主題，而是專注於日常生活中的物與事。回想起曾經困擾她的病 史和童年玩過的醫療工具，她開始描繪不同必需並持續伴隨我們生活的醫療工具和儀器。這啟發了她2013年突破性展 覽：「止痛帖」。 她母親去世的記憶也被融合在《止痛帖》這件由成千上萬的佛像拼合而成的作品中。章燕紫說：「在我的內心深處有一 個想法，這作品是獻給母親的。」徐累寫道：「很少中國藝術家在他們的信仰中有那麼準確、觸動人心的、美妙的表 達。」創作了《止痛帖》後，章燕紫專注以中國的視角看真理。 她以藝術治療人類疾病的哲學引起了很大的共鳴。她 亦反思人類在生活中尋求治愈的傾向，「童年的良藥可能是一支棒棒糖或一個洋娃娃；青年時的良藥可能是一段美好的 友誼、愛情或旅程；成年的良藥則是家庭、孩子、房子、事業、汽車；有這些東西我們就能暫時忘記痛苦。」 章燕紫慢慢被視為一個獨特的藝術家，為中國歷史、傳統文化及多變的當代主題形成了橋樑。除了她有關宗教和醫學的 想像，她也會描繪昆蟲，與逝去的大師齊白石進行一場對話。之後，她開始獲得成功，並得到藝術圈內的好評。徐冰在

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《止痛帖》的開幕禮上對章燕紫說：「我們有一段很長的時間參借了西方很多的經驗，而沒有充分利用我們極其優秀的 傳統文化。事實上，我們仍需要研究如何利用出色的中國文化。章燕紫的作品正好為我們提供了重要的靈感。」 業內專業人士的好評令她在比賽中取得成功：2013年，她獲得了「百家金陵」畫展之金獎，同年她亦獲得魯迅文化獎 最佳藝術作品獎。 獲獎之後的幾年裡，章燕紫積極到海外參加不同的個人展覽和聯展，包括意大利潘波拉托藝術博物館（PAN Palazzo delle Arti di Napoli）的展覽（2014年）、中國北京馬奈草地美術館的「私房菜：女性藝術家沙龍展」（2014年）、方 由美術主辦於香港海事博物館舉行的「新水活墨」展覽（2014年）和中國上海「花事與清供」展覽（2014年）。她亦 曾參與北京今日美術館（2013年）、廣州5Art 藝術空間及巴塞爾藝術展（2015年）之展覽。

歷史和實驗 2015年夏天，章燕紫在香港醫學博物館駐留了幾個星期。她為個展「本」創作了一系列的作品，是她在這段經歷中發 現的歷史故事和個人見解之成果。 其後在2016年7月和8月的展覽，充分展示章燕紫是一個積極重塑自己的藝術家，並爭取多樣化的機會在新的創意方向 上發展她的藝術。該展覽延伸了她治療、治癒和犧牲的主題，特別是受第二次世界大戰期間Robert Cecil Robertson教 授在博物館內自殺一事啟發，創作的裝置藝術《復蘇》。《復蘇》是一個利用紗布繃帶材料制成的翅膀裝置；位於《復 蘇》旁的則是融入了中草藥的繃帶條抽象方形畫。藝術家還描繪醫療工具來創作水墨畫，包括一套七件的《空芯片》作 品，巧妙地利用膠囊鋁板作拓印工具。此外，她從博物館地下室的一張手術床獲取靈感，把止痛貼覆蓋於木架上，並以 水墨描繪各類種植在博物館草藥園內的草藥。藝評家黃專認為章燕紫「描寫了現代人的焦慮及其治療方法」。是次展覽 得到眾多媒體關注和好評，如藝評家Barbara Pollack、皮道堅和藝術史學家Julia Andrews的支持。

感受章燕紫 藝術家邀請我們反思醫學如何治療身體,藝術如何治癒精神情緒。 在與精神病醫生的談話間展示了這個理論如何能治療 人們的心理狀況, 並帶來正面積極的效果。 我們邀請大家一起參與章燕紫的治癒之旅, 感受藝術如何平靜內心和心靈。 章燕紫現居於北京, 並於中央美術學院擔任藝術資訊網主編。 章燕紫的作品被中國美術館、江蘇省美術館、中央美術學院美術館、意大利 “L’Orientale”及法國 Audemars Piguet Museum 所收藏。

L’Università

degli

Studi

di

Napoli

107

SOLO EXHIBITIONS

2012

2015

Wuhan

Guangzhou, China

2010

The Antidote: Zhang Yanzi’s Exhibition , 5Art,

2015

Ink and Wash Invitation Exhibition, Hubei Art Museum,

Refreshing Breeze included in Self Image: Woman Art in China (1920-2010), Central Academy of Fine Arts

The Remedy, Art Basel Hong Kong, Galerie Ora-Ora,

Museum, Beijing

2014

Airs of the States, Courtly Songs, and Hymns, the 2nd

Hong Kong

The Remedy: Solo Show of Zhang Yanzi at PAN,

Palazzo delle Arti di Napoli, Italy 2014

2005

Beijing International Art Biennale, Beijing 2004

Slow, Slow Tune, the 10th National Art Exhibition, China

Blooming Season and Solace of Art, solo show,

Shanghai Reflex Art, Shanghai 2013

The Remedy, Today Art Museum, Beijing

2010

Walk While Stepping on the Gauze, Shanghai Art Museum, Shanghai

AWARDS 2013 2013 Lu Xun Culture Awards - the Best Artwork Award 2013

2008

Walk While Stepping on the Gauze in Jinling Painting Exhibition of One Hundred Chinese Artists - Gold award

SELECTED GROUP EXHIBITIONS

2007 Lichang Cup the 5th Traditional Chinese Painting Exhibition sponsored by China Federation of Literature and Art Circles - Gold award

Walk While Stepping on the Gauze, France

2016

Boundaries of the Spirit, Nanhai Art, San Francisco,

U.S.A

2004 Red Rose and White Rose, the 10th National Art Exhibition - Bronze Prize

2015

Cha-Na, Art Basel Hong Kong, Galerie Ora-Ora, Hong

COLLECTED BY

2014

National Art Museum of China Jiansu Provincial Art Museum CAFA Art Museum L’Università degli Studi di Napoli “L’Orientale” Private Collectors

Kong

Painted Skin: Five Female Ink Artists Group Exhibition, Hive Center for Contemporary Art, Beijing 2014

A New Context Derived From Shuimo, Sishang Art Museum, Beijing 2014

Devotion to Ink Contemporary Ink Show, Maritime Museum, Galerie Ora-Ora, Hong Kong 2014

The Moment: the First Public Exhibition, 5 Art Space, Guangzhou 2013

Qi (Flow of Energy) included in The Grand Canal: Collateral Event of the 55th International Art Exhibition, La Biennale di Venezia, Italy 2012

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Recurrence of Ink and Wash: 2000-2012 Chinese Contemporary

個展

獲獎紀錄

2015 《解藥——章燕紫個展》5Art藝術空間 廣州 中國

2013 《止痛貼》獲魯迅文化獎最佳藝術作品獎

2015 止痛帖──章燕紫個展，巴塞爾藝術展覽─方由美術， 香港

2007 《踏莎行》參加“百家金陵”畫展，獲金獎

2014 《THE REMEDY》個展在那不勒斯PAN當代博物館舉辦 2013 舉辦《止痛帖》個展（今日美術館） 2010 舉辦《踏莎行》個展（上海美術館） 2008 在法國舉辦個人畫展

參與連展

2007 《小翠》參加中國文聯主辦第五屆中國畫展，獲金獎 2004 《紅玫瑰和白玫瑰》獲第十屆全國美展銅獎

公共收藏 中國美術館 江蘇省美術館 中央美術學院美術館 意大利那不勒斯東方大學 私人收藏

2016 《Boundaries of the Spirit》 南海藝術 舊金山 美國 2016 《剎那》當代水墨聯展 巴塞爾藝術展 方由美術(Galerie Ora-Ora) 香港 2014 《七月流火》等作品參加女性藝術家展（蜂巢當代藝術館 2014 《麻》、《癢》參加“新水活墨”展─方由美術，香港 2014 《花事與清供》個展（上海對照空間） 2014 《一封信》參加《瞬間》5art首次公益展覽 2014 《草本》，《花開》和《花謝》參加《私房菜：女性藝術 家沙龍展》（馬奈草地國際藝術中心•馬奈草地美術館） 2013 《炁》參加《大運河-第55屆威尼斯雙年展平行展》 2012 《掛號》參加《再水墨》2000－2012中國當代水墨邀請展 2010 《清風》參加《自我畫像》女性藝術在中國 2005 《風 雅 頌》參加第二屆北京國際雙年展 2004 《聲聲慢》參加第十屆全國美展

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CHIEF EDITOR 主編

Henrietta Tsui-Leung 梁徐錦熹

COPY EDITOR 文字編輯

Stephanie Ding 丁彦之 Nicholas Stephens

DESIGN 設計

Odetti Tse 謝穎君

PUBLISHER 出版人

Ora-Ora International Limited

ADDRESS 地址

G/F, 7 Shin Hing Street, Central, Hong Kong 香港中環善慶街7號地下

TELEPHONE 電話

+852 2851 1171

PRINTED 印刷

Hong Kong, February 2017 2017年2月印於香港

ISBN

978-988-14286-2-2

All rights reserved under Ora-Ora International Limited. No part of this book may be reproduced or utilized in any form or by any means, electronical or mechanical, including photography, recording or by any information storage or retrieval system, without permission from the publisher.