雲、權力與紋飾﹣中亞織行（展覽地圖）Clouds, Power and Ornament – Roving Central Asia (Exhibition Map)

斯拉夫與韃靼

由宓

亞歷珊卓・崔 王慰慰

Slavs and Tatars

You Mi

Alexandra Tsay

Wang Weiwei

策展人 Curators

參展單位 Participants

705

Umida Akhmedova

Askhat Akhmedyarov

Alibay Bapanov

Saule Bapanova

Medina Bazargali & Kokonja

娜茲・貝格拉利 利迪婭・布林諾娃

巴希・布比卡諾娃

馬拉・迪爾曼

蘇里・杜森比娜

阿奇兹・哈奇拉

阿瑟爾 ・卡迪哈諾娃

迪利亞拉・凱波娃與 NoolOdin

古爾娜拉・卡斯馬利耶娃與穆拉特 ・朱馬利耶夫

庫巴拉 ・哈德米

賈絲古爾・瑪達茲莫娃

古爾努爾・穆卡扎諾娃

娜茲利雅・納基莫娃

庫卡特・帕爾凡・扎德

艾希莎・沙迪諾娃

耶列娜・弗若巴耶娃

古扎麗・扎克爾

瑪迪娜・祖迪比可娃

CA 研究組：達娜・伊斯卡柯娃、艾達・伊莎漢卡茲、

愛莎・贊杜薩娃、萊娜・波茲德尼亞科娃、安娜・普洛妮雅、楊陽

哈薩克斯坦共和國中央國家電影、 照片及錄音檔案館

Nazzy Beglari

Lidiya Blinova

Bakhyt Bubikanova

Marat Dilman

Saule Dyussenbina

Aziz Hazara

Asel Kadyrkhanova

Dilyara Kaipova & NoolOdin

Gulnara Kasmalieva & Muratbek Djumaliev

Kubra Khademi

Jazgul Madazimova

Gulnur Mukazhanova

Nazilya Nagimova

Furqat Palvan-Zade

Aziza Shadenova

Yelena Vorobyova

Guzel Zakir

Madina Zholdybekova

CA Research Group: Dana Iskakova, Aida Issakhankyzy, Aisha Jandosova, Lena Pozdnyakova, Anna Pronina, Yang Yeung

The Central State Archive of Film, Photo Documents, and Sound Recording of the Republic of Kazakhstan

雲、權力與紋飾 – 中亞織行

綁染、羊毛氈、刺繡、補花氈……各種傳統的紡織材料、技藝，伴隨著獨特的樣式、花紋，組成了複雜而 又極具特色且歷史悠久的中亞紡織文化，亦是投射出中亞政治經濟、社會生活的重要載體，在當下的信 息技術時代，這種紡織文化依然廣泛地根植於中亞民眾的日常實踐中。當代藝術家們也常常以此作為 創作媒介與題材，或從中獲得靈感去思考和回應政治社會的轉型；探討歷史文化的保存，集體記憶的流 傳，為凝聚社群帶來動力。

本次展覽以紡織和工藝作為出發點，向幅員遼闊且盤根錯節的中亞政治社會文化疊層裡縱深探索。展 覽分成兩個部份：由斯拉夫與韃靼和由宓共同策劃的「雲與權力」以及由亞歷珊卓・崔策劃的「縫線： 對紋飾的重新想像」。前者以傳統的綁染編織為隱喻，呈現中亞錯綜複雜的政治社會圖景，「集市」般 的展廳設計亦帶來中亞當代藝術的群像。而後者則專注於中亞的傳統紋飾，探索其作為一種語言，如何 與政治、社會和文化的形塑互相影響，對中亞女性藝術家的聚焦，則揭示了曾被主流敘述遮蔽起來的重 要力量。

廣義的中亞，是一個西至裡海，東至中國西部和蒙古，南到阿富汗和伊朗，北達俄羅斯南部的遼闊地區， 其中包括哈薩克斯坦、烏茲別克斯坦、吉爾吉斯斯坦、塔吉克斯坦和土庫曼斯坦這5 個前蘇聯國家。連

接東西方的地理位置、古老絲綢之路的貿易網絡、以及多個帝國或政權在這地區的角逐和輪流統治， 都為中亞帶來了不同歷史時期的社會轉型以及商品、人口、宗教、文化持續上千年的頻繁交流與融合。 時至今日，當國際政治關係和全球經濟面臨新一輪競爭和挑戰的時候，這一地區依然處於敏感的核心 地帶。對中亞的考察，將幫助我們突破二元對立的侷限，在複雜和矛盾中建立流動的思維方式，學習多 元族群共存的經驗和智慧。

Clouds, Power and Ornament – Roving Central Asia

Ikat, felt, suzani, syrmak. . . All these traditional materials and technique along with their unique styles and ornaments make up the distinctive textile culture of Central Asia. Age-old textile practices permeate the political economy and serve as a medium for social life. Even in the current era of information technology, textile production is a deeply rooted part of many Central Asian peoples’ daily lives. Contemporary artists from this region also often use this textile culture for inspiration and as creative material to respond to political and social transformation, raising discussions around the preservation of traditions, the circulation of collective memory and how textiles can encourage unity within a community.

This exhibition takes textiles and crafts as the starting point for an in-depth exploration of this vast interconnected territory with its multi-layered politics, societies and cultures. The exhibition has two parts: Clouds and Power co-curated by Slavs and Tatars and You Mi, and Suture: Reimagining Ornament curated by Alexandra Tsay. The first part uses traditional ikat as a metaphor to present the intricacies of Central Asia’s political and social landscape. The ‘bazaar-like’ exhibition design also paints a group portrait of Central Asian contemporary art. The second part focuses on Central Asian traditional ornamentation, exploring it as a language that both reflects and shapes politics, society and culture. Its focus on Central Asian female artists also reveals important powers that have been concealed by mainstream narratives.

Broadly speaking, Central Asia extends from the Caspian Sea in the west, to the borders of China and Mongolia in the east, Afghanistan and Iran in the south, and Southern Russia in the north. It includes the 5 former Soviet countries of Kazakhstan, Uzbekistan, Kyrgyzstan, Tajikistan and Turkmenistan. Geographically linking East and West through ancient Silk Road trade routes, the area is where various empires and political powers converge and compete, giving rise to different periods of social transformation. Likewise, this region has experienced frequent exchange and integration of commodities, people groups, religions and cultures for thousands of years. Even today, as international relations and the global economy face new rounds of competition and challenges, Central Asia remains at the forefront of conflicts and scrutiny. Exploring Central Asia will help us break through the limitations of binary opposition to uncover more fluid ways of thinking about complexity and contradiction and learn the ways and wisdom of coexistence in diversity.

Wang Weiwei

CHAT 客廳 CHAT Lounge

迴廊 C Arcade C

迴廊 A Arcade A

迴廊 B Arcade B

紗廠坊 The Hall

展廳二 Gallery 2

展廳一 Gallery 1

陳廷驊 基金會展廳 The D.H. Chen Foundation Gallery

CHAT接待處 CHAT Reception

Clouds and Power co-curated by Slavs & Tatars, You Mi

Suture: Reimagining Ornament curated by Alexandra Tsay

「雲與權力」由斯拉夫與韃靼、由宓策展

「縫線：對紋飾的重新想像」由亞歷珊卓・崔策展

雲與權力

雲與權力」共展出19 組來自藝術家、研究員、設計師和女性工匠的作品，同時包括一批文獻資料。展覽 從傳統的綁染編織技術出發，將中亞的紡織文化作為一種方法，解讀當下這個動盪不安的時代裡各種虛 實交錯的邊界。我們策展團隊在共同策劃的過程中，著眼於通過紡織與工藝品梳理中亞當地、區域以至 全球背景下手工藝製作背後種種的虛與實。

展覽的靈感來自於綁染編織中的「閃爍」，或者說是一種特別的模糊效果：在這種中亞傳統的編織品中， 其染色線和防染線以數學方式精準對齊，創造出圖案，正因為不可能達到完美，其複雜性反而導致了一 種模糊的效果。這種綁染編織原本在波斯語中被稱為「abr-bandi

21世紀初的維度 上，在信息時代的洪流裡，以「繫雲」為意的綁染編織向我們提供了另一種想像：在一個「數據織機」裡， 一切都在數據化和數字化，而各種顯現、消失和抵抗都在同時發生。人們常常會把紡織物柔軟的面料與 政策中的軟實力相對應，與之相反的則是編（織）碼過程中的數字和數據所代表的硬實力，而「繫雲」，則 正是啟發我們去質疑這樣的二元對立視角。展覽由全新委託作品、現有作品及文獻共同組成，藝術家探 討紡織和工藝品所具有的看似矛盾的角色，它們既是保存集體智慧的歷史寶庫，同時又經常反映我們現 今數碼時代的科技發展。

斯拉夫與韃靼、由宓

Clouds and Power

Bringing together works from 19 artists, researchers, designers and craftswomen along with archival materials, Clouds and Power looks to ikat weaving and textiles from Central Asia as a means to better understand the blurry borders between the illusory and the real in our current unstable times. The curator collective has selected a variety of artworks highlighting textiles and crafts in general to examine the tangible and impalpable nature of craft-making in the local context of Central Asia and its regional and global contexts.

The exhibition takes its inspiration from the ‘shimmer’ or exceptional blur found in ikat weaves: a Central Asian traditional textile whose resist-dyed threads are aligned precisely and mathematically to create a pattern whose complexity results in a blurring, as perfection is impossible to attain. Called abr-bandi, an original Persian term, the weaving of ikat means ‘to tie clouds’. Seen from the perch of the early 21st century, in the thick of the information age, the cloud-tying of ikats suggests another horizon: one of data and digitisation as much as one of emergence, resignation or resistance within the ‘data loom’. As a metaphor, clouds invite us to question the binary vision often contained in crafts: the softness of the fabric co-opting with the soft power of policy-making versus the hard power of numbers and data found in coding. The exhibition consists of new commissions, existing works and archives, as artists consider the ambivalent role of textiles and crafts, as well as historically prized repositories of collective knowledge, whose production often mirrors the technological advances in our digital age.

Slavs & Tatars, You Mi

迴廊 A Arcade A

Nazzy Beglari (Iran / USA / UAE)

Alibay Bapanov (Kazakhstan)

・貝格拉利

《娜茲001》

2019

天鵝絨、絲綢

132 厘米長

Nazzy 001

2019

Velvet, silk

132 cm long

手織綁染天鵝絨烏茲別克織物。傳統烏茲別克長袍 Paranjan 上有線繡圖案。背 面是手織印度生絲綁染織物。刺繡靈感來自莫臥兒（Moghul）的設計。

Hand-loomed tie-dye velvet Uzbek ikat. Thread embroidery on traditional Uzbek Paranjan robes. The reverse side is hand-loomed tie-dye Indian raw silk ikat. Embroidery is inspired by Moghul designs.

《娜茲002》

2011

天鵝絨、絲綢

132 厘米長

Nazzy 002

2011

Velvet, silk

132 cm long

手織綁染復古天鵝絨烏茲別克織物與手工刺繡，結合手織泰國絲綢綁染織物， 飾有古董印度Pachampali綁染織物。

Hand-loomed tie-dye vintage velvet Uzbek ikat with hand embroidery. The reverse side is hand-loomed tie-dye Thai silk ikat adorned with antique Indian Pachampali ikat.

《娜茲003》

2021

天鵝絨、絲綢及棉

132 厘米長

Nazzy 003

2021

Velvet, silk and cotton

132 cm long

手織綁染天鵝絨烏茲別克織物。結合手織絲綢和棉質綁染織物。正面衣邊的刺 繡靈感來自傳統烏茲別克長袍Paranjan的襯裡。

Hand-loomed tie-dye velvet Uzbek ikat. The reverse side is tie-dyed handloomed silk and cotton ikat. The embroidery on the front border is inspired by the lining of traditional Uzbek Paranjan robes.

《娜茲004》

2021

絲綢及棉

132 厘米長

Nazzy 004 2021

Silk and cotton

132 cm long

手織綁染絲綢長袍；長袍結合杏仁形狀的烏茲別克手織綁染絲綢圖案和棉質 織物。口袋上有手工刺繡。

Hand-loomed tie-dye silk kaftan; the kaftan reverse is Almond-shaped handloomed tie-dye silk and cotton Uzbek ikat. Hand embroidery on the pocket.

《娜茲005》

2019

絲綢及棉

132 厘米長

Nazzy 005 2019

Silk and cotton

132 cm long

手織綁染絲綢和棉質織物adras。長袍背面的是烏茲別克手織綁染絲綢和棉質 織物 adras。口袋是手工刺繡而成。

Hand-loomed tie-dye silk and cotton ikat ‘adras’. The ikat on the reverse of the kaftan is hand-loomed tie-dye silk and cotton Uzbek ikat ‘adras’. The pockets are hand embroidered.

Nazzy Beglari is a fashion designer and journalist whose work has been strongly influenced by her multicultural background. Growing up in Tehran in a family of Iranian, Azerbaijani and Georgian descent, Nazzy was exposed to her grandmother’s collection of vintage ikat coats, suzani bedspreads and rare textiles. She left Iran in 1979 and moved to the US, where she studied journalism and eventually became senior international correspondent covering conflict zones. She later freelanced for CNN in Abu Dhabi and for Harper’s Bazaar Art Middle East. She turned her passion for fabrics into an ethical slow fashion business. Her designs of kaftans, a tunic originating from Asia, reflects the transcultural journeys of her biography as much as the multifaceted material culture in Greater Central Asia.

《母狼》 2010

羊毛

158 x 175 厘米

She-Wolf 2010

Wool

158 x 175 cm

阿力拜・巴帕諾夫在哈薩克掛毯編織界享負盛名，他是一名出身於學術界傳統的偉大藝術家，現在仍 於藝術學院擔任掛毯製作的教授，長期以來一直實驗各種構圖和技術，例如「Tekemet」（一種壓製 羊毛纖維的傳統製氈方法）。其大尺度的作品呈現出生動的趣味。今次他於 CHAT六廠展示的精選作 品營造出沉浸式的裝置體驗，令觀眾置身於中亞的紡織傳統之中。他的作品受到中亞遊牧文化所啟 發，經常出現神話生物、奇異風景以及象徵性的裝飾物。作品《母狼》以動物身體的條紋螺旋形狀出 現，而螺旋是各種突厥文化的常見創世神話故事。《神話》將螺旋與其他自然元素結合，《與天堂的對 話》則在交錯的飾結之中呈現了編織的天空與雲彩。

Alibay Bapanov is a well-known figure in tapestry-weaving in Kazakhstan. Trained as a monumental artist in the academic tradition and a professor of tapestry-making at the Academy of Art, he has long experimented with compositions and techniques such as Tekemet (the traditional felt-making technique which is produced by pressing wool fibres together). His works take a playful approach to the scales. The works presented in the space at CHAT creates an immersive installation in the textile traditions of Central Asia. Inspired by the nomadic culture of the region, Bapanov’s compositions often refer to mythological creatures, fantastic landscapes, and symbolic ornaments. In the work, She-Wolf appears in the shape of a streaked spiral, the body of an animal. The spiral is a common mythological genesis story of various Turkic cultures. Myth (Миф) integrates the spiral with other natural elements and Conversation with Heaven (Разговор с небом) shows a woven sky and clouds in an open sky within knots of interlaced ornaments.

哈薩克斯坦共和國中央國家電影、 照片及錄音檔案館

迪利亞拉 ・凱波娃與 NoolOdin（不同地方）

（韃靼斯坦共和國 / 德國）

❼

庫巴拉 ・哈德米（阿富汗 / 法國）

阿奇兹 ・哈奇拉（阿富汗 / 德國）

蘇里 ・巴帕諾娃（哈薩克斯坦）

古扎麗 ・扎克爾（哈薩克斯坦）

馬拉 ・迪爾曼（哈薩克斯坦）

艾希莎 ・沙迪諾娃（哈薩克斯坦 / 英國）

705（吉爾吉斯斯坦）

瑪迪娜 ・祖迪比可娃（哈薩克斯坦 / 英國）

賈絲古爾 ・瑪達茲莫娃（吉爾吉斯斯坦）

古爾娜拉 ・卡斯馬利耶娃與

穆拉特 ・朱馬利耶夫（吉爾吉斯斯坦）

庫卡特 ・帕爾凡 ・扎德（烏茲別克斯坦）

入口 ENTRANCE

Saule Dyussenbina (Kazakhstan)

The Central State Archive of Film, Photo Documents, and Sound Recording of the Republic of Kazakhstan

Dilyara Kaipova & NoolOdin (Varied)

Nazilya Nagimova (Republic of Tatarstan / Germany)

Askhat Akhmedyarov (Kazakhstan)

Kubra Khademi (Afghanistan / France)

Aziz Hazara (Afghanistan / Germany)

Saule Bapanova (Kazakhstan)

Guzel Zakir (Kazakhstan)

Marat Dilman (Kazakhstan)

Aziza Shadenova (Kazakhstan / UK)

705 (Kyrgyzstan)

Madina Zholdybekova (Kazakhstan / UK)

Jazgul Madazimova (Kyrgyzstan)

Gulnara Kasmalieva & Muratbek Djumaliev (Kyrgyzstan)

Furqat Palvan-Zade (Uzbekistan)

蘇里 ・杜森比娜

《國民經濟成就。蘇聯民族友誼噴泉。（莫斯科，俄羅斯）》

2023

白牆紙印刷

650 x 310 厘米

蘇里・杜森比娜的牆紙以拼貼形式結合了俄羅斯兩座不同的紀念建築：國民經濟成就展和民族友 誼噴泉。國民經濟成就展是莫斯科最大的展覽綜合體和遊樂園（始建於1939年），是全球最大的50

個展覽中心之一，乃蘇聯時代的紀念性建築，亦是不同時期建築潮流的典型代表。這個地標在不同 時期也需附帶某些宣傳口號——蘇聯成功勝利、民族友誼、戰勝敵人、蘇聯國家團結。

民族友誼噴泉共有16座雕像，各代表前蘇聯的16個成員國，每座青銅鍍金的少女雕像身穿各成員國 的民族服裝。這座噴泉的主要目的是向蘇聯人民和世界展示民族團結的思想。民族友誼的象徵最終 只是一個烏托邦，就像整個共產主義計劃一樣，具有掠奪性和殖民性，而且慢慢演變成一場悲劇，令 許多民族喪失了自己的身份。藝術家透過公共紀念性建築的象徵和意義來反思蘇聯的過去，其創造 的圖案挑戰視覺感知，發人深省。

Achievements of National Economy. Fountain of Friendship of Peoples of the USSR. (Moscow, Russia)

2023

Prints on white wall paper

650 x 310 cm

Saule Dyussenbina’s wallpaper combines in a collage style two distinct monuments located in Russia: the Exhibition of Achievements of the National Economy and the Friendship of Peoples Fountain. The Exhibition of Achievements of the National Economy is the largest exhibition complex and amusement park in Moscow (construction began in 1939) and one of the 50 largest exhibition centres in the world. It is a monument of the Soviet era and a characteristic example of architectural trends that dominated at different times. At various times, it was supposed to carry a certain propaganda slogan –– the triumph of the success of the USSR, the friendship of peoples, the victory over the enemy, and unity of Soviet nations.

The Friendship of Peoples Fountain is a monument of 16 statues that represent the constituent nations of the former Soviet Union. Each bronze- and gold-plated maiden wears the national dress of their country. The main objective of the fountain was to present the idea of national unity to the Soviet people and the world. The symbol of the friendship of peoples turned out to be a utopia, like the entire communist project, predatory and colonial, and, as time shows, turned into a tragedy and the loss of their own identity for many peoples. Dyussenbina reflects on the Soviet past through the symbolism and meanings of public monuments. She creates patterns which challenge optical perception and provoke thoughtful contemplation.

檔案影片3798 - 第二部份（0:09-5:15）

檔案影片73影片一（多邊形區）（0:01:04-0:03:46; 0:10:09-0:10:55; 0:11:31-0:12:25; 0:13:58-0:14:30）

檔案影片3140 - 第一部份（3:04-8:59）

1972-88

哈薩克斯坦共和國中央國家電影、照片及錄音檔案館提供

這三幅屏幕展示的節錄影片，來自哈薩克斯坦共和國中央國家電影、照片及錄音檔案館的檔案館藏。

在第一幅屏幕上，觀眾會看到遊牧生活方式的不同面向，尤其是地毯和毛氈製作。最後，影片展示一名 婦女正在看著阿拉木圖卡斯特耶夫美術館的藏品，這間美術館保存了哈薩克重要的紡織品和著名藝術 家的藏品。這條影片把工藝品從製作到保存過程連結起來，亦呈現了中亞文化中神話符號的延續──從 地毯上模糊的氈製圖案，可看到一些和宇宙信仰相關的動物形象。

第二段影片記錄了哈薩克歷史中的慘痛段落。塞米巴拉金斯克基地又被稱為「多邊形區」，座落在塞 米巴拉金斯克（現名塞米伊）以西僅150 公里，曾是蘇聯主要的核武器試驗基地。於1949至1989年間，

蘇聯漠視核武對當地人民和環境的影響，進行了約456次核試。據哈薩克專家稱，當時每年有150萬人 暴露於放射性塵埃之中。原爆所產生的蕈狀雲為該區的土壤和水源帶來輻射污染，釀成嚴重的生態災 難，直到現在俄羅斯當局依然拒絕承認這一點。

第三幅屏幕的影片帶來哈薩克文化的另一面向，以及紡織品的製造如何從遊牧文化轉型至工業生產。 影片帶觀眾漫步於阿拉木圖市，市內為1980 年代的消費文化而開發的購物中心，與織造業的畫面交替 出現。

哈薩克斯坦共和國中央國家電影、照片及錄音檔案館

Archive video 3798 - Part 2 (0:09-5:15)

Archive video 73 video 1 (Polygon) (0:01:04-0:03:46; 0:10:09-0:10:55; 0:11:31-0:12:25; 0:13:58-0:14:30)

Archive video 3140 - Part 1 (3:04-8:59)

1972-88

Courtesy of the Central State Archive of Film, Photo Documents, and Sound Recording of the Republic of Kazakhstan

The three screens show extracts of videos from archives that are part of the collection of the Central State Archive of Film, Photo Documents, and Sound Recording of the Republic of Kazakhstan.

On the first monitor, the audience glimpses aspects of the nomadic lifestyle, specifically carpetand felt-making. At the end of the video, a woman visits Kasteev Museum in Almaty, which preserves an important collection of textiles and renowned artists from Kazakhstan. Connecting the craft’s production to its preservation, the video also shows the perpetuation of mythological symbols in Central Asia. The carpets show zoomorphic figures that relate to cosmic beliefs through the blurred aspect of felt.

The second video documents a more sorrowful chapter of Kazakhstan’s history. The Semipalatinsk test site, also known as ‘The Polygon’ , located only 150 km west of the town of Semipalatinsk, was the primary location for Soviet nuclear weapon tests. From 1949 to 1989, the Soviet Union conducted about 456 nuclear tests with little regard for their effect on the local people and environment. According to Kazakh experts, these tests exposed 1.5 million people to fallout during that time. The atomic clouds have highly irradiated the area, contaminating its soil and water, creating an ecological disaster which Russian authorities today still refuse to acknowledge.

The third monitor introduces another aspect of the culture of Kazakhstan and the transition of textile making from nomadic culture to industrial production. It brings the viewer on a journey through the city of Almaty, its shopping malls developed for consumer culture in the 1980s, alternating with glimpses of the weaving industry.

迪利亞拉 ・凱波娃與 NoolOdin

與烏茲別克費爾干納盆地馬爾吉蘭的工匠合作

in collaboration with artisans from the city of Margilan, Fergana Valley, Uzbekistan

《民族烏茲別克長袍──「棉籽油」》（《棉花之路計劃》系列）

2022

手工綁染 Abr 織物，60%真絲、40%棉

123 x 190 厘米

CHAT六廠委託作品

迪利亞拉・凱波娃以卡夫坦長袍作為一種藝術手段，藉此表達她對於全球化影響價值觀和國族身份 的看法。卡夫坦長袍以 Abr 阿布拉織物製成，是中亞的一種傳統外衣，也是烏茲別克的傳統服飾。這 次展覽展出的兩件委託新作，均來自其長期項目《棉花之路計劃》。在項目中，她繪製了烏茲別克公共空 間中棉球的表現形式，追溯「棉」是如何無處不在──蘇聯政權把「棉」廣泛宣傳為一種高度評價的單一 作物。她的《民族烏茲別克長袍──「棉籽油」》展示了棉籽油如何長期取代烏茲別克所有其他植物油， 而且時至今日仍被宣傳為烹飪「真正」烏茲別克菜式的主要材料。生產棉籽油相當有利可圖，事實上棉 花的收成很穩定，更在幾十年間迅速增長，而棉花種子則被視為浪費的副產品。棉籽油經冷壓生產並在 全國銷售，也被當作藥物使用。然而，作為一種未經精製的產品，棉籽油卻含有毒化合物，並散發令人厭 惡的氣味。長時間加熱後，棉籽油會產生刺鼻的煙，從而令油變得不可口。

注： Abr 織物，即現在更廣泛的名稱 ikat 手工綁染織物， 其傳統名稱為adras。

National Uzbek Robe ‘Paxta Yogi’– Cottonseed Oil (from the Great Cotton Road Project series)

2022

Handmade abr ikat fabric, silk (60%) and cotton (40%)

123 x 190 cm

Commissioned by CHAT

In her practice, Dilyara Kaipova uses kaftans as a means to create a statement about globalisation and its impact on values and national identity. The kaftan is a traditional Central Asian tunic produced by using handmade abr fabrics. The textiles are subsequently sewn into traditional items of Uzbek clothing. The exhibition shows two new pieces commissioned for Clouds and Power. They are part of her long-term project Great Cotton Road. In this project, Kaipova maps the representation of cotton bulbs in public spaces in Uzbekistan. She traces the omnipresence of the motif, which was highly promoted by Soviet authorities as an esteemed monoculture. Her National Uzbek Robe ‘Paxta Yogi’– Cottonseed Oil shows how for a long time cottonseed oil supplanted all other vegetable oils available in Uzbekistan. Today, it is still promoted as the main ingredient for ‘true’ Uzbek cuisine. Its production has been very profitable. Cotton harvests were constant and increased rapidly over decades. Cottonseeds were considered a wasteful by-product. The oil was produced using a cold press and became ubiquitous throughout the country, and was also considered a medicine. However, as an unrefined product, it contained poisonous compounds and had a repulsive smell. Heated for a long period, the oil would produce acrid smoke which resulted in making the oil unpalatable.

《民族烏茲別克長袍──「棉」》（《棉花之路計劃》系列

） 2022

手工綁染 Abr 織物，60%真絲、40%棉

123 x 190 厘米

CHAT六廠委託作品

烏茲別克斯坦傳統手工綁染 Abr 織物的圖案是透過染 線的排列技法而織成的，布料的傳統名稱是 adras，做 法是把需要染色的位置先綁起來，然後把布浸入染料 中，令綁起的部份不會吸收染料。這種染法最重要的步

驟，是在染布前先估算所需的染線數量，這會決定之後織出怎樣的圖案，這技法與數碼領域的編碼技 術十分近似。迪利拉・凱波娃編織的長袍「棉」（Paxta）將古代與現今的知識傳播方法互相對照。此 外，綁染 Abr 織物在波斯語中的意思是「雲」，也令人想起數據編織。這幅白色圖案首先由程式設計師 NoolOdin 開發的三元數字系統（即三進制代碼）基於詞語「Paxta 」（烏茲別克語「棉」的意思）而生 成，再轉換成 0、1及-1位數的重複序列（共23位數），之後以三種不同的視覺元素（如水平線「–」）來取 代 0、1及-1 位數。這三種不同類型的線條合併成單一的視覺形式，衍生成看上去白色的圖案，令人聯想 起阿拉伯字母「庫法體」（Kufic）。在此，迪利拉・凱波娃繼續搜集於烏茲別克無處不在的棉花象徵。 在烏茲別克，庫法體出現在裝飾尖塔的馬賽克、伊斯蘭教學校和清真寺的拱形建築中；與此同時，藝術 家對於烏茲別克的文字改革提出質疑──烏茲別克語言先從阿拉伯文字變為拉丁文的亞納利夫字母，再 被西里爾字母所取代，然後過渡至現今的拉丁字母。藝術家的作品揭示了兩種不同時間性的技術互相 結合的潛力。

注： Abr 織物，即現在更廣泛的名稱 ikat 手工綁染織物， 其傳統名稱為adras。

National Uzbek Robe ‘Paxta’ (from the Great Cotton Road Project series)

2022

Handmade abr ikat fabric, silk (60%) and cotton (40%)

123 x 190 cm

Commissioned by CHAT

The patterns of the fabric abr (ikat) are created by methodically sequencing reserves of dyeing thread. The traditional name of the fabric is adras. The fabric to be dyed is first tied up and then immersed in a vat of dye so it doesn’t absorb it completely. The most important thing is to evaluate the number of threads so as to determine how the pattern is to be woven. In a similar way to digital coding, Dilyara Kaipova’s woven kaftan ‘Paxta’ draws a parallel between ancient and new methods of transmitting knowledge. Abr ikat also means ‘cloud’ in Persian, which evokes the data loom. The white pattern is first generated via a ternary numeral system (i.e. trinary code) developed by programmer NoolOdin based on the word ‘Paxta’, which means ‘cotton’ in Uzbek. It is converted into a sequence of repetition using 0, 1, -1 digits (23 digits in total). The 0, 1 and -1 digits are then replaced by three distinct visual elements, such as dashes. These three types of lines merge into a single visual form, which is seen as a white pattern reminiscent of Arabic Kufic script. Here, Kaipova continues to collect the omnipresent representations of cotton in Uzbekistan. The script is recognisable in mosaics decorating minarets and the arched architecture of madrasas and mosques in Uzbekistan. She also questions the reforms that have gradually transformed the Uzbek language from the Arabic script, then Yanalif using the Latin alphabet, and Cyrillic, before transitioning once again to the Latin alphabet. Kaipova’s work informs the potential of combining two temporal technologies.

Remarks: abr fabric refers to handmade ikat fabric. The traditional name of the fabric is adras.

《棉花之路計劃》 2022

手工地毯、羊毛和棉

205 x 132 厘米

擴增實境（AR）應用：zappar.com

地毯工匠：比比古爾、祖萊霍

影片製作：帖木兒

‧ 卡爾波夫

Great Cotton Road Project 2022

Handmade carpet, wool and cotton

205 x 132 cm

AR application: zappar.com

Carpet makers: Bibigul and Zulayho

Video: Timur Karpov

這幅地毯圖案重現了1995 年於莫斯科出版的《烏茲別克民間藝術》一書所描繪的天花壁畫。木製排版 的天花裝飾壁畫，是最古老的烏茲別克民間藝術之一，現正逐漸失傳，然而在蘇聯時期，這種傳統紋飾 混合了紅星與白色棉球的符號，形成一種獨特風格。自此，棉花的圖像在烏茲別克無處不在，出現於日 常餐具、傳統陶瓷、紡織品、室內裝飾以及建築、馬賽克和壁畫上。到了20 世紀末，烏茲別克的單一棉 花種植，導致土壤和水源過度開發，釀成環境災難，鹹海乾涸就是其中一個矚目例子。

在1960 年代曾經有句口號：「金手種白金」，後來演變成「白金是由黑勞所種」。採棉工人需要長時間彎 腰工作，而且棉桃帶著尖銳的刺，會令工人的手傷痕累累。此外，田地經過化學處理，微粒連同塵埃吸 入體內會致毒。即使近年已經減少過度開發，然而許多代人的集體傷痛記憶猶新，而這份記憶的主要 標誌，就是雪白蓬鬆的棉桃。

迪利拉凱波娃的作品將天花板裝飾改成地毯圖案：在棉花田上的某處，工人正在疲累地以手採摘棉 花。影片透過預裝的 AR 應用程式來啟動，將平板電腦的鏡頭對準地毯，就會出現烏茲別克棉田上採棉 工人的影像。

The carpet pattern reproduces a ceiling mural depicted in the book Folk Art of Uzbekistan, published in Moscow in 1995. Decorative woodcut ceiling murals are one of the oldest examples of Uzbek folk art, now fast disappearing. However, during Soviet times the traditional ornamentation was mixed with symbols such as red stars and white cotton bolls, creating a distinctive style. Since then, images of cotton have been ubiquitous in Uzbekistan: on everyday tableware and traditional ceramics, textiles, in interior design in architecture, and on mosaics and murals. By the end of the 20th century, Uzbekistan’s cotton monoculture had led to an environmental disaster due to the overexploitation of soil and water. The dried-up Aral Sea is one of the most striking results of this.

A slogan of the 1960s ‘Golden hands grow white gold’ later became ‘White gold is grown by black labour’. Cotton pickers work long hours in a crouched posture; the cotton bolls have sharp spikes, which can lead to multiple hand wounds. In addition, chemicals are used on the fields, particles of which, together with dust, are poisonous to inhale. Though in recent years there has been a decrease in overexploitation, the rueful collective memory of many generations of Uzbeks remains, the main symbol of which is the snow-white, fluffy cotton boll.

The work by Dilyara Kaipova transforms the ceiling mural into a carpet pattern: a place on a cotton field where people are laboriously picking cotton by hand. The video, activated by pointing the tablet’s camera at the carpet through a pre-installed AR app, shows pickers in a cotton field in Uzbekistan.

・納基莫娃

2022

羊毛氈及草本染料，三聯畫 尺寸可變

娜茲利雅 ・納基莫娃的系列作品以羊毛氈為創作材料，靈感啟發自這種物料的特性和觸感。羊毛氈是 中亞的傳統織物，其做法是先透過澆水或加熱，把羊毛或其他合適的布料軋平和壓實，然後將織物纖 維融合在一起。藝術家用的是名為 Ala Kiyiz 的製法：圖案被直接裹進羊毛氈的底層，而非縫合在一 起。羊毛氈可製作出一幅平坦的織物，所以通常用來製作地毯。內吉莫娃對這種材料的阻力深感興趣， 她把羊毛氈摺疊屈曲，創造出淺浮雕的立體效果，以雕塑元素來改變羊毛氈的本來含義，亦把不同顏 色的羊毛織物組合成為特定的幾何圖案。與傳統作品不同，觀眾可以見到她作品的背面。傳統上，毛氈 圖案通常圍繞遊牧文化的自然元素及宇宙觀。這個系列引用了傳統的祖傳習俗和織物的現代視野，幾何 顏色以不同方式重疊，不再以線性排列。

Metamorphosis

Four Skies

Our Ways Will Never Cross

2022

Felt, herbal dyes, triptych

Dimensions variable

Nazilya Nagimova’s series of works is directly inspired by the characteristics and tactility of the materials she uses to create them: felt. The fabric, a traditional material of Central Asia, is produced by rolling and pressuring wool or another suitable textile by applying water, or heat with an aim of matting together the fibres of the materials. The artist uses the Ala Kiyiz technique, of which the

patterns are wrapped directly into the felt base and not sewn together. Felt production usually aims to create a flat surface, often a carpet. In these works, Nagimova is interested in the resistance of the material. Folding and bending the felt, she transforms its initial meaning by creating sculptural elements that shape bas-reliefs out of the wall. Various coloured woollen fabrics are assembled to create specific geometrical patterns. Unlike in traditional pieces, the back of the felt piece is visible. Traditionally, patterns represent elements of the nature surrounding the nomadic culture, but also references to cosmological beliefs. The series makes reference to both a traditional ancestral practice and a modern vision of the fabric. The geometric colours overlap with different variations that are no longer arranged in a linear fashion.

A SK H AT AK HM EDYAR OV 阿斯哈特 ・阿赫米亞羅夫

《讓我們拯救博茲拉》

2021

錄像 11’00”

阿赫米亞羅夫的影像紀錄片《讓我們拯救博茲拉》片長11分鐘，展示了

抵抗的藝術以及藝術家為集體生態價值而進行的鬥爭。蘇聯解體後，

許多國家都變成了寡頭社會；2021 年，哈薩克西部的博茲拉自然保護

區成為遊客聖地，亦引來該國統治家族的覬覦。權貴菁英繞過法律，打算佔用這片神聖之地，並在保 護區附近興建一座五星級酒店。這個影像作品展示了藝術家在自然保護區內敲擊「doyre」，即一種背 面帶有金屬環的鼓，最後一名警察制止了表演，並要求把藝術家帶返警署。這位藝術家體現了薩滿的

意志，召喚中亞社會的古老信仰來吸引大家關注生態危機。他選擇薩滿意象，是為了展示對「騰格里」

（Tengri）的堅定信仰。騰格里是民族和古老突厥—蒙古的宗教，起源於歐亞大草原，以民間薩滿教和

萬物有靈論為基礎，常以天空之神騰格里為中心，曾是前伊斯蘭時期中亞草原的主要信仰。薩滿作為祭 司，是社會階級中的關鍵人物，被信奉為現實世界與屬靈世界之間的溝通管道。然而在這裡，薩滿衣著 的裝飾物卻被螺帽和螺栓所取代，呈現了工業社會的轉型以及人類對靈性與工藝感知的影響。

Let’s Save Bozzhira

2021 Video 11’00”

Let’s Save Bozzhira illustrates the art of resistance and the artist’s struggle for collective ecological values. Following the collapse of the Soviet Union, many countries have seen the rise of oligarchical societies. By 2021, the Bozzhira nature reserve in western Kazakhstan was an attraction for both tourists and the country’s voracious ruling family. Bypassing laws, the ruling elite decided to appropriate the sacred landscape and build a 5-star hotel near the reserve. The video shows the artist hitting on a doyre, a drum with metallic rings in the back, on the site of the natural reserve. His performance is stopped by a policeman who asks him to accompany him to the station. Embodying shaman characters, the artist summons old beliefs of Central Asian society to create an awareness of ecological crisis. The choice to address the shaman imaginary shows the persistent belief in Tengri (an ethnic and old state Turko-Mongolic religion originating in the Eurasian steppes, based on folk shamanism, animism and generally centred around the titular sky god Tengri) that dominated the pre-Islamic steppe in Central Asia. The shaman, as a priest, occupied a key position in the hierarchy of society. In the beliefs of the people he was the conduit between the real world and the mythical world of spirits. However, here, the ornaments of the shaman costume have been replaced with nuts and bolts, which shows the transformation into an industrial society and the impact on human perception of spirituality and craft.

Akmediyarov’s 11-minute video documentary

《霧裡的人》 2022

橫幅織物，一組4幅

128 x 80 厘米、128 x 80 厘米、133 x 94 厘米、130 x 83 厘米

阿赫米亞羅夫的創作靈感經常來自塑造當代哈薩克的生態變化和社會轉變，而藝術家本人亦長期從事 環保行動。《霧裡的人》系列以火藥燃燒織物表面來作畫。織物共有兩層，燃燒表層之後就會顯露第二 層的裝飾物，那是來自阿拉木圖市集的紡織品。這個對比以隱喻呈現，透過揭露表層的做法，寓意真實 故事無法一眼看透，或是隱藏在厚厚的政治謎團──迷霧之中。在此，藝術家回憶起阿拉木圖的示威場 面（事件又稱為「血腥一月」或Qandy qa ñtar），當時液化石油氣價格突然飆升，政府取消價格管制，引 起大型的示威行動。示威人士在行動中被投擲手榴彈，現場充滿濃霧和毒雲。阿赫米亞羅夫作為時代 的見證人，分享了自己目擊這個時代的重要證詞，同時回溯他人生中看到的各種急遽變化。這位行動主 義藝術家利用織物塑造出看似政治宣傳的橫幅，在此訴求社會公義與引起關注，希望以此更為了解230 名手無寸鐵的抗議者被開槍鎮壓的創傷經歷。這些橫幅提出了對藝術家身份和社會責任的疑問，亦引 領觀眾反思同樣問題。

The Man in the Fog 2022

Textile banners, a set of 4

128 x 80 cm, 128 x 80 cm, 133 x 94 cm, 130 x 83 cm

As is often the case, Askhat Akmediyarov takes his inspiration from the ecological and social changes that shape contemporary Kazakhstan. The artist has long been engaged in environmental activism. The series The Man in the Fog creates drawings by burning with gunpowder the surface of a textile. Compiling two layers, the action of burning reveals the ornament of the second textile, which has been sourced in the bazaars of Almaty. The contrast approaches in a metaphorical way, through the action of revealing the true stories that cannot be perceived at first sight, or made invisible under a thick layer of political mysteries: a fog. Here, the artist also recalls some glimpses of mass demonstrations in Almaty in January 2022 (known as Bloody January or Qandy qañtar) which followed a sudden sharp increase in LPG prices and the lifting of the governmentenforced price ceilings. During the demonstrations, tear gas grenades were launched at protestors, producing a heavy toxic fog and cloud. A witness of his time, Akhmedyarov shares important testimonies while remembering the rapid changes he has seen during his life. Using textiles to

shape seemingly political banners, the artist-activist here claims for justice and awareness in order to understand the traumatic experiences prompted by security forces shooting at 230 unarmed protestors. The banners raised the question of an artist’s position and responsibility within the society he/she lives while calling to ask ourselves the same question.

・哈德米

KuBR A K H A DEM I

庫巴拉・哈德米在今次展覽的作品，嘗試透過中亞文化中的不同脈絡和鬥爭來處理中亞文化。她在 藝術創作中經常使用不同的技術（畫作、織物、演出）來描繪塔利班2021年掌權後不斷惡化的阿富

汗婦女狀況，其描繪的女性往往渴望爭鬥、反抗，突顯出具力量的存在。在不同的環境下，「出生」

或「分娩」在她的作品中均扮演著重要的角色。出生於有9 個孩子的家庭，卡德米憶說她的任務就 是結婚生子。而系列作品《分娩》（2020- ）中的兩幅水粉畫，主要表現了各個女性幫助動物分娩 的畫面：她們或蹲或躺或站，將駱駝和雞帶到這個世界，而這些都是藝術家的故鄉阿富汗主要馴 養的動物。哈德米將之與女性的待遇互作對照，藉此喚起關注：女性被降格成「生育機器」，生育能 力被看成她們的最大價值，而這種情況在世界各地依然存在。在動物輪廓上描繪的文字，選自於13 世紀詩人魯米的詩歌，魯米的出生地據傳為現今的阿富汗。在此，藝術家描述了在她童年時代母親 常說的故事，以及阿富汗的波斯遺產。

Kubra Khademi’s works in this exhibition offer the opportunity to tackle culture in Central Asia through its various contexts and struggles. Khademi uses different techniques (drawings, textiles, performances) to depict the condition of women in Afghanistan, which has deteriorated since the Taliban took over the whole country in 2021. The women Khademi represents are often in a position of wilful defiance and resistance but, above all, possess a powerful presence. Being born or giving birth, in various contexts, plays a significant role in Khademi’s works. Raised in a family of 9 children, Khademi recalls that her only destiny was to marry and have children, more precisely, to have boys. The two gouaches from the ongoing series Birth Giving (2020 -) show individual women giving birth to animals: crouching, lying or standing, here they bring a camel or a chicken into the world. Those animals are mostly domesticated in Afghanistan, the artist’s homeland. Khademi draws a parallel with the treatment of women. She underlines the degradation of women as ‘birth machines’ –– and the focus placed on fertility as their seemingly greatest value –– that they are still reduced to in many parts of the world. The text depicted on the silhouettes of the animals refers to the 13thcentury poet Rumi, who was supposedly born in what is today Afghanistan. Here, Khademi anchors the stories which her mother told her during her childhood, as well as the Persianate heritage of Afghanistan.

阿奇兹 ・哈奇拉

《塔基爾》

2022

單屏錄像、5.1 環繞立體聲

9’58”

之間藝術影像基金會委託作品 藝術家及Experimenter畫廊提供

Tabkir

2022

Single channel digital video, 5.1 surround sound

9’58”

Commissioned and produced by Fondazione Between Art Film Courtesy of the artist and Experimenter gallery

阿奇茲 ・哈奇拉的創作涵蓋攝影、裝置和錄像，作品主要關注阿富汗的政治和社會狀況，以及蘇聯和 美國先後佔據阿富汗所留下的痕跡。展覽中的影像作品《塔基爾》展示了2021 年塔利班奪權不久後

的喀布爾市夜空。從遠處的固定角度拍過去，在看不見的運鏡技巧中，光線漸漸模糊，而鏡頭卻仍嘗 試聚焦於黑暗天空中一些閃爍的光錐上。具有爭議的是，如無人機這樣的戰爭武器帶來了戰爭的不對 等，同時與被攻擊的平民目標拉開了距離，就好像攝影機與拍攝對象之間的空間關係：人際距離學。 在畫面的背景中，我們可以看到一個美國監視氣球慢慢消失於地平線上。藝術家以聲音作為錄像作品 的核心──在他的影片作品中，聲音往往擔當記憶的載體，有時作為一個額外的、看不見的角色。真主至 大（All ā hu Akbar）的呼聲響徹全城，這句誦辭既用於日常的祈禱或戰爭時的吶喊，但亦可表達喜悅、 悲傷或擔憂。在政治局勢緊張與幻想連續破滅的時代，《塔基爾》對於權力與個體之間的關係提出了連 串詰問。

注：人際距離學（proxemics）是由人類學家愛德華 ・霍爾 創造的新詞，形容人與人之間的空間距離。

在電影學中，此詞用作表達遠景和近景。

Aziz Hazara’s practice spans photography, installation and videos. His works are concerned with the political and social situation of Afghanistan and the vestiges of the successive Soviet and US occupations of Afghanistan. The video work Tabkir presented in the exhibition shows the sky over Kabul by night shortly after the Taliban seized power in 2021. From the distant fixed point of view, the lights become blurred while the lens tries to focus on shimmering cones of lights in the dark sky. Called into question here is the emergence of weapons of war such as drones, which have given the war an asymmetric dimension while distancing the targeted civilian subject, metaphorically between camera and subject: the proxemics. In the background, one can see an American surveillance balloon slowly fade into the horizon. The artist places sound at the centre of the video work. It operates as a vector of memory in Hazara’s videos, and sometimes as an additional, invisible character. The cry ‘All āhu Akba’ (‘God is great’) resonates in the whole city. The call is part of the daily prayer and is used as a war cry, but it can also be an expression of joy, sadness or worry. Tabkir raises questions on the relation between power and agency at a time of political tension and successive disillusion.

Remarks: The term ‘proxemics’ was coined by anthropologist Edward Hall to describe the distances people feel necessary to set between themselves and others. In cinema, the proxemics refers to long and close-up shots.

蘇里 ・巴帕諾娃

SAUL E BA PA N OVA

《宇宙》

2012

羊毛及絲綢

175 x 90 厘米

Univers 2012

Wool, silk

175 x 90 cm

蘇里・巴帕諾娃的紡織作品設法將抽象概念與返祖主義融入掛毯、吉爾吉斯傳統毛氈以至時裝作品中。 在這個展覽，她的作品《棕土》將石頭融入一幅織製的掛毯中，藉此向自然材料的儀式化使用以及中亞 紡織品最初存在的環境狀態致意。《宇宙》則結合了螺旋圖案，此圖案在中亞神話中有無限的意思。

The textile works of Saule Bapanova bring abstraction and atavism together in tapestry works, felt tekemets or fashion pieces. In the exhibition, her work Brown Earth incorporates stones into a woven tapestry, a nod to the ritualist use of primary earthen materials and the context from which Central Asian textiles originally sprung. Another work Univers includes the spiral pattern inspired by Central Asian mythology referring to infinity.

《和田對話》 2022

亞麻布面油畫

120 x 120 厘米

Hotan Conversation 2022

Oil on linen

120 x 120 cm

古扎麗・扎克爾的藝術創作主要探討身份、歷史、傳統 與記憶相關的議題。這次展出的畫作屬於她的《連眉 系列的一部份，藝術家以亞麻為主要材料，強調工藝背 後的勞動。她回想起突厥地區女工匠的傳統，她們曾經生產絲製紙張或地毯，用來傳播地理或歷史 知識，於是她希望使用一種持久耐用的材料來製造同樣的傳遞方式。三幅畫中的女性或互相對望，或 望向同一方向；兩幅畫中的女性則在互相對話。她們都是連眉、穿戴類似的珠寶。突厥婦女常用一種 名叫「菘藍」的植物染眉，在參加儀式、派對或秘密聚會時使眉毛看上去更濃密。這位藝術家的母親 以往常把菘藍榨汁來製作染液，以棉花和掃帚的樹枝製成畫筆。西方人普遍對連眉抱有負面的觀感， 其實畫連眉的習俗起源於波斯帝國時代，在中亞的突厥文化傳統中代表了生育能力和女性優雅的象 徵和崇拜。藝術家為連眉洗脫汙名，將之頌揚為重新挪用自己文化的象徵，以此作為對抗西方時尚霸 權的去殖民化手段，同時亦對抗社會歧視。

At the centre of Guzel Zakir’s practice are issues related to identity, history, tradition and memory. The paintings on display are part of the series Monobrow. Using linen as the main material, the artist underlines the labour behind craftsmanship. She recalls a tradition of craftswomen in Turkic regions (Uyghur) who used to produce paper from silk, or carpet to transmit geographical, or historical knowledge. Using a long-lasting material, the artist hopes to produce the same gesture of transmission. The three paintings represent women who either look at each other, or in the same direction. Two represent women in conversation. They are represented with monobrows and similar jewellery. Turkic women usually dye their eyebrows using a plant called Isatis tinctoria, with the aim of making the hairs thicker for ceremonies, parties or secret social gatherings. The artist’s mother used to prepare it by squeezing out the juice of Osma (another name for Isatis tinctoria) and produced a painting brush from cotton and the twigs of a broom. The monobrow has often been viewed negatively in the West. The practice of the monobrow originated in the time of the Persian Empire. In the Turkic cultures of Central Asia, the monobrow is traditionally a symbol and veneration of fertility and feminine elegance. Rather than a stigma, Zakir celebrates the monobrow here as a symbol of the reappropriation of one’s own culture, which serves a decolonial approach towards Western fashion dictates and against social discriminations.

《連眉》 2022

陶瓷 / 粘土、釉陶

直徑

古扎麗・扎克爾的陶瓷系列作品，向突厥文化常見的連眉之美致敬。連眉被視為一種美，其歷史起源 於波斯帝國，延續至現今的中亞。這系列作品讓藝術家有機會藉此處理關於身份及傳統相關的議題。

Monobrow

2022

Ceramic/ clay, glaze pottery

25 cm Ø, 23 cm Ø, 22 cm Ø, 22 cm Ø, 17 cm Ø

The series of ceramics by Guzel Zakir are a homage to the beauty of fused eyebrows which are often used in Turkic culture. Considered as a sign of beauty, the monobrow has its origins in the Persian Empire and is still considered so in Central Asia today. The series is an opportunity for the artist to approach issues related to identity and tradition.

25 厘米、直徑23 厘米、直徑22 厘米、直徑22 厘米、直徑17 厘米

《無題》 2014-20

相片，一組10 幀 60 x 40 厘米

馬拉・迪爾曼的攝影作品具有非凡的美學、色彩和諷刺意味，令他從其他紀錄片、建築或政治工作者 之中脫穎而出。他的作品數量不多，每年只有5至7件，而且雖以攝影手段創作，但效果更接近繪畫。迪

爾曼透過城市景觀掛毯、國家慶典、紀念品、汽車、城市設計以至在現今哈薩克城市會遇上的日常體 驗，闡述意識形態問題，以及其視覺特質如何造成吸引力。迪爾曼於1990 年代初出生於蘇聯解體後 的新生國家，見證了新的意識形態結構的誕生，而這些結構透過存在於諷刺、美和統治之間的視覺詞 彙表現出來。他還對科技如何影響這些社會結構深感興趣，這些社會結構將政府的國家建設夢想與 技術官僚主義並列在一起。兩者都發生在一個看似不可靠的混沌中：傳統的蒙古包被安裝在蘇聯現 代主義建築旁邊，或是裝飾品出現在新組裝的機器人上。無論是昔日的神話以及我們對未來的夢想， 或是形成哈薩克新符號現實的代碼和符號，均令藝術家感到既奇怪又珍貴。

Untitled 2014-20

Photographs, a set of 10 60 x 40 cm

Marat Dilman’s photographs are defined by an exceptional sense of aesthetics, colour and irony distinguishing the artist from many others working in documentary, architecture or politics. The artist produces a rather limited number of artworks –– about 5 to 7 per year –– and brings it closer to painting, although achieved via photography. Dilman addresses issues of ideology and how its visual qualities appeal through the tapestry of the cityscape, national celebrations, souvenirs, cars, urban design and other day-to-day experiences one can encounter in cities in contemporary Kazakhstan. Born in the early 1990s in the newly independent country after the collapse of the Soviet Union, Dilman has witnessed the birth of new ideological structures that manifest themselves through visual vocabulary existing in between irony, beauty and domination. Dilman is also interested in how technology impacts these very social structures juxtaposing government dreams of nation-building mixed with technocracy. Both relate in a seemingly unreliable chaos where traditional yurts are installed next to Soviet modernist buildings or ornaments appearing on freshly assembled robots and the like. The myth of the past and our dreams of the future, codes and symbols from which the new semiotic reality of Kazakhstan is formed are strange and dear to the artist’s heart.

艾希莎 ・沙迪諾娃

AZIZA SH A DEN OVA

《星星馬賽克》 2022

繪畫

尺寸可變，一組4件

《星星馬賽克》是現居倫敦的藝術家艾希莎・沙迪諾娃的系列畫作之一，白色衣領在畫布上被組裝及繪 畫成一顆星的形狀。作品的靈感來自於烏茲別克的伊斯蘭藝術，當地的星形圖案常以裝飾品形式出現， 用來美化建築物。當衣領與畫布融合時，就產生了淺浮雕的效果。這些衣領主要來自二手店，因為生產 需求減退而從時裝工業慢慢消失。同一時間，衣領在集體想像中亦意味著工人階級，而工人歷史往往以 男性視角來書寫。沙迪諾娃在此希望強調女性對支撐工廠和經濟的貢獻，尤其在蘇聯時代的烏茲別克 和其他中亞國家。蘇聯於1920至1930 年代為了建立性別平等，於是把女性勞動力推廣成一個解放的機 會。蘇維埃政權把女性勞動力加以利用，以協助國家從傳統社會過渡至工業社會，不到 30 年間的急遽變 化至今仍影響著中亞的經濟和景觀。透過把工人歷史引入伊斯蘭工藝美學，藝術家解構了過去與現在、 工藝與工業之間的對立。

Mosaic

2022

Painting

Variable dimensions, a set of 4

The work Mosaic with a Star is part of a series of paintings by the London-based artist Aziza Shadenova. White collars are assembled and painted on a canvas in the shape of a star. Shadenova takes her inspiration from the Islamic art of Uzbekistan, where the pattern is often present as an ornament, embellishing architecture. The work produces the effect of a bas-relief as the collars merge with the canvas. The collars are sourced mainly from second-hand shops, which reflect their slow disappearance from the fashion industry as their production is no longer required. At the same time, the collars connote the working class in collective imagination. In addition, workers’ history has largely been written from a male perspective. Here, Shadenova wishes to emphasise the role of women in maintaining factories and contributing to the economy, especially during the years of Soviet rule in Uzbekistan and other Central Asian countries. In an attempt to create gender equality in the 1920 and 1930s, the Soviet Union used female labour and promoted it as an opportunity for emancipation. Female labour was used by the Soviets to support the transition from a traditional society to an industrial one. The rapid change over less than 30 years continues to have an impact today on the economy and landscapes of Central Asia. By merging labour history and Islamic craft aesthetics, Shadenova deconstructs the oppositions between past and present, and craft and industry.

with a star

《河流演出》 2023

錄像

29’31”

CHAT六廠委託作品

創作意念：瑪麗卡‧烏瑪洛娃、馬拉‧萊姆庫洛芙（705）

首次展演位置：阿拉穆丹河床

藝術團體705 以街頭即興創作為其主要的藝術實踐。這個團體自2005 年於吉爾吉斯的首都比什凱

克創立以來，就一直於這個城市的廢棄空間組織表演，成為吉爾吉斯政治及藝術行動不可或缺的一 員。這些荒廢的空間標誌著比什凱克由蘇聯年代到獨立至今，成為貿易、工作和娛樂之都的艱難過 程。現在播放的影片，紀錄了705 為是次春季展覽創作的全新委託表演：2023年1月4日，於比什凱克

內的其中一段阿拉穆丹河上，「送葬」隊伍的一群人沿著空蕩蕩的河床前進，他們戴上705 製作的口 罩，模仿著已告消失的水流，沿著河岸向城市走去。比什凱克位於吉爾吉斯阿拉套山脊附近，有兩條

主要河流發源於此地，冬天時份冰川停止融化之時，河床就變為空地，在城市內部和河床沿線創造出 錯綜複雜的空間。2009 年正值全球經濟危機之際，比什凱克市卻開始大規模興建多層大廈和購物

中心，並把部份空置工廠重新規劃重建，隨之而來的卻是迅速的私有化和通貨膨脹。基於地理特徵， 這個城市保留了一些未被商業佔用或物理圍封的特殊區域，河流亦會在某些季節流入城內的拓撲結 構。河床成了一個行動場地，而表演則重新激活了大自然的力量。

River Performance

2023

Video

29’31”

Commissioned by CHAT

Idea: Malika Umarova, Marat Raiymkulov (705)

Preliminary location: Alamedin riverbed

Street improvisation has been one of the main activities of 705’s artistic practice since its creation in Bishkek in 2005. Since then, the group has become an integral part of political and artistic activism in Kyrgyzstan by staging performances that take over abandoned spaces of the capital city. The ghost spaces taken over by the collective mark the difficult transition between the Soviet period to Bishkek as a city of trade, work and entertainment. For CHAT’s Spring 2023 exhibition, 705 has been commissioned to produce a new performance of which the video on display is the documentation. The performance took place in the Alamedin river, on a stretch of the river inside the city on 4th January 2023. It shows a group of people in a cortege working along the empty riverbed. The group members carry masks produced by the collective, and walk along the riverbanks toward the city, imitating the flow of the missing water. Bishkek is located near the Kyrgyz Ala-Too ridge, which is the source of two main rivers. In Winter, when the glaciers stop melting, the riverbed empties. It creates complex and intricate spaces inside the city and along the riverbed. In 2009, despite the global economic crisis, the city of Bishkek began to be intensively built up with multi-storey buildings and malls being developed and empty factories being partially rebuilt for new purposes. It was followed by a rapid privatisation and inflation of the prices. The geographical feature of the city makes it possible to work with special sections of the space which remain unoccupied by businesses or physically closed off by fences. Seasonally, the river embraces the topology of the city. The riverbed becomes a site of action, where the performance has reactivated the power of nature.

瑪迪娜 ・祖迪比可娃

《正常星。中子星。黑洞》

2021

塑膠彩、棉、羊毛

61 x 67 厘米、60 x 97 厘米、63 x 138 厘米

瑪迪娜・祖迪比可娃的創作主要針對性別不平等、人權、多面 向母性、移民和專制政權等問題，而這些問題常與哈薩克的社會 政治脈絡糾纏不清。在這個作品中，藝術家揭示了母性的背後故 事以及美化母性的各種神話。餵哺母乳是女性最私人的事情之 一，是身體自主的核心問題。初為人母並開始餵哺母乳的女性，乳 房會出現某些轉變：不僅形狀和大小可能有變，連敏感度亦會不 同。這組三聯屏是一種訴求，希望女性接受乳房的改變，把乳房 的不同變化視為常態。在各種社會壓力、罪疚感、浪漫化，以及企 圖拒絕社會過高的標準之中，藝術家與觀眾展開了一場真摯坦誠 的對話，探討「身為人母」的真正意義。

2021

Acrylic, cotton, wool 61 x 67 cm, 60 x 97 cm, 63 x 138 cm

Madina Zholdybekova’s practice addresses questions of gender inequality, human rights, multi-faceted motherhood, migration and authoritarian regimes, often entangled with the sociopolitical context of Kazakhstan. In this work, the artist sheds light on the mundane reality of motherhood and the myths that embellish it. Breastfeeding is one of the most personal matters for women, an issue at the core of bodily self-determination. The breasts of a woman who has recently given birth and started breastfeeding go through certain transformations: not only might their shape and size change, but their level of sensitivity too. The triptych Regular star. Neutron star. Black hole is an appeal of sorts to the acceptance of woman’s changed breasts and the normalisation of their various states. Between various kinds of social pressure, guilt, romanticisation and attempts to resist excessively high social standards, Zholdybekova initiates an honest, unvarnished conversation with the audience about what it really means to be a mother.

《被吃掉的卡式錄音帶》

2021

塑膠彩、棉、羊毛

45 x 56 厘米、30 x 41 厘米

女性在分娩前後如何管理自己的身體，似乎幾乎與當 事人無關，甚至好像不由得她本人來選擇，因為她只 是在履行女性被預設的生理角色，而作為孕育生命的 容器，她唯一應做的就是以烈士般的自我否定來造福世界。我們如此輕鬆自在的談論母乳餵哺，批評那

些無法或不願餵哺母乳的婦女（無論是因為她們不能或不想在這種被賦予神聖意義的陳規行為上投放

Regular Star. Neutron Star. Black Hole

太多精力時間），都在反映我們把「母親」當成一份職業，亦因此把女性身體視為一種共同財產。在這件 雙聯屏中，藝術家表述了餵哺母乳的疲憊過程：當一個女人的乳房不再屬於她自己、而是成為吸引嬰兒 的焦點，而且嬰兒日以繼夜地掛在自己身上，這令人聯想起錄音機「吃掉」你最愛的卡式錄音帶時的畫 面。在粉紅色的面紗背後，隱藏著的是永無止境、身心俱疲的艱苦工作。

Chewed-Up Cassette

2021

Acrylic, cotton, wool

45 x 56 cm, 30 x 41 cm

The way a woman decides to manage her body before and after giving birth seems to not be her own decision. It appears to be not even her choice, since she is now performing her predetermined physical role and the only thing she ought to do, as a vessel of life, is to bless our world with a child in martyr-like abnegation. The ease with which we discuss breastfeeding and criticise women who do not naturally breastfeed their children, either because they can’t or don’t want to devote so much time and energy to the process in the name of the stereotypical sanctity of the act, is evidence of the way we consider motherhood a vocation and the female body a common property. In this diptych the artist comments on the exhausting process of breastfeeding, when a woman’s breasts cease to be hers and become rather the centre of attraction for the baby. The latter literally hangs on them day and night, thus evoking associations with a broken stereo that has chewed up your favourite tape. What is hidden behind that pink veil is work that is endlessly hard and exhausting—both physically and mentally.

《黑膠唱片》

2022

塑膠彩、棉、羊毛

115 x 106 厘米

在這件作品中，祖迪比可娃反思我們稱之為母 性的自我犧牲工作，尤其是餵哺母乳的肉體和 心理代價。有時候，哺乳期的乳房感覺就像

融化了的黑膠唱片，又或是電影《偷天情緣》 （Groundhog Day）中重複播放的曲目，一如

餵哺母乳時的疲憊以及身體自主權的缺失。

Vinyl Record

2022

Acrylic, cotton, wool

115 x 106 cm

In this work, Madina Zholdybekova reflects on the self-sacrificing work we call motherhood and in particular the toll of breastfeeding in material and psychological terms. Sometimes a lactating breast feels like a melted vinyl record or a track from the film Groundhog Day, played on repeat over and over, a fitting analogy for the exhaustion of nursing and the lack of body autonomy.

賈絲古爾 ・瑪達茲莫娃

J AZG uL M ADAZIM OVA

《拉比察》

2018

繪畫

70 x 54 厘米、70 x 54 厘米、70 x 50 厘米、70 x 50 厘米、50 x 33 厘米

「拉比察」（Rabitza）是吉爾吉斯及鄰近地區用來做圍欄的金屬網，通常由鋼絲編以Z字形織成，形成一

道防止人與動物越過領土的透明圍牆。這些圖畫描繪了藝術家在中亞成長的童年回憶──拉比察網、木 棍和帶刺的鐵絲網，塑造了她記憶中的風景。以柵欄包圍家庭住宅，即是在物理上標記土地邊界，劃分 私人財產。瑪達茲莫娃以拉比察網作為隱喻，藉此探討國界概念。作為一個吉爾吉斯公民，她曾面對申 請簽證的困難和各種形式的控制，在作品中，她以繪畫把「領土裡的異鄉人」與「童年美好回憶」的複雜 感覺轉置調換。

Rabitza 2018

Rabitza is the term used to describe a wire net used as a fencing material in Kyrgyzstan and its surrounding region. The fence is usually woven from steel wire running in a zigzag pattern, which creates a transparent wall but still keeps people and animals from crossing one’s territory. The drawings recall the artist’s memories of her own childhood in Central Asia where rabitza nets, wooden sticks and barbed wired structures shape the landscape of her remembrance. Fencing a family house physically marks the borders of a land and divides one property. Jazgul Madazimova’s drawings use rabitza as a metaphor to approach the notion of national borders. Facing the difficulties of getting visas as a citizen of Kyrgyzstan and being subject to various forms of control, the artist creates drawings that transpose the mixed feeling of being strangers to the territory one enters with the pleasant memories of her childhood.

u

・卡斯馬利耶娃與穆拉特 ・朱馬利耶夫

《告別之歌》

2001

錄像裝置

尺寸可變

3’40”

藝術家提供

這個裝置作品所展示的影片紀錄，來自 藝術家二人組古爾娜拉‧卡斯馬利耶娃 和穆拉特・朱馬利耶夫於 2001 年在柏 比什凱克國家美術博物館的演出：卡斯

馬利耶娃身穿傳統吉爾吉斯長袍，演奏著傳統弓弦樂器「kyl-kyyak 」，一部手提紡車擺放在旁，從紡 車延伸的毛線與卡斯馬利耶娃頭上的辮子織在一起。長長的頭髮編成「40股辮」（Kyrk chach），慢慢 在技藝熟練的女工匠手上巧妙地織成吉爾吉斯手工織物（terme）。這些頭髮已變成某種不再屬於身體 之物，成為一種吸收了好幾代婦女累積數百年經驗的織物，一種記憶的織物。事實上，吉爾吉斯婦女的 頭髮猶如馬毛，會用來製作套索，當手邊缺繩的關鍵時刻就能大派用場。作為表演的前奏，歌曲前奏慢 慢變成不和諧的旋律；表演結束時，她剪掉辮子，象徵與過去和傳統斷絕連結：那是一種抗議、一種 反叛、一種想要改變和擺脫過時傳統的渴望。兩位藝術家延續一貫的創作主題，今次亦藉此作品思考 蘇聯解體後的吉爾吉斯如何在社會崩壞與新自由主義交易下試圖重新挪用民族傳統。

Farewell Song

2001

Video installation

Dimensions variable

3’40”

Courtesy of artists

The installation shows the documentation of a performance that was shot at the Kyrgyz National Museum of Fine Arts in Bishkek by the artistic duo Gulnara Kasmalieva and Muratbek Djumaliev. In the Farewell Song live performance, Kasmalieva dresses in a traditional Kyrgyz dressing gown and plays the traditional bowed instrument, the kyl-kyyak. A hand-held spinning wheel is placed nearby. Woollen threads extending from the spinning wheel are woven into Kasmalieva’s braids. Long hair braided into ‘Kyrk chach’ (40 braids) slowly and deftly turns into ‘terme’ in the hands of a skilled craftswomen. It becomes something that no longer belongs to the body, a fabric that has absorbed the experience of generations of women accumulated over centuries, a kind of fabric of memory. Indeed, Kyrgyz women’s hair has a kind of horsehair appearance, which has been used to produce lassos. It has also been sometimes pressed into service when there was no rope at hand. As a prelude, the song turns into an inharmonious melding. At the end of the performance, the artist cuts off the braids in a symbolic gesture of breaking connection with the past and tradition: a protest, a rebellion, a desire to change and be free from outdated traditions. As it is often the case in the duo’s works, the performance offers a reflection on post-Soviet Kyrgyzstan in an attempt to co-opt reappropriation of national traditions within a context of social collapse and new liberal ideals.

《夢境與河流》

這個裝置作品展示了藝術家對奇爾奇克的一些研究。奇爾奇克位於烏茲別克首都塔什干附近，建於1930 年代，以奇爾奇克河命名。研究的出發點源於2021年底開展的一場討論：當地的奇爾奇克斯特羅伊酒店

面臨拆卸，那是一楝碩果僅存的後結構主義建築，幸得歷史學家鮑里斯・楚科維奇發起的一場公共運 動，成功保護這座地標免受破壞。奇爾奇克的第一個建設工地是為了興建基礎設施，目的是開發河流的 水力能源，以及為烏茲別克蘇維埃社會主義共和國的棉花農地生產化肥。這個裝置作品包含了一幅拼貼 畫和一條鬆散的時間線，讓我們重溫這座城市的規劃建設歷史以及此地如何累積人類的能量、靈感、希 望與痛苦。在拼貼畫中，藝術家使用了奇爾奇克當地歷史博物館出土的獨特檔案材料——這些昔日的痕 跡，講述了城市建設者的生活和工作是如何構建的。

A Dreamland and a River

2023

Digital prints

Dimensions variable

This installation displays some of the artist’s research on the fascinating city of Chirchik. Located within easy reach of the capital of Uzbekistan, Tashkent, it was founded in the 1930s and named after the eponymous Chirchik river. The point of departure for this research was a discussion that unfolded in late 2021 around plans to demolish the Chirchikstroy Hotel, a rare surviving example of postconstructivist architecture. Luckily, the public campaign initiated by historian Boris Chukhovich was successful and the landmark was saved from destruction. The first construction sites in Chirchik built infrastructure for harnessing energy from the river and producing fertilisers for cotton farming in the then Uzbek SSR. This installation consists of a collage and a very loose timeline, which allows us to revisit the history of the city’s planning and construction, and the ways it accumulated human energy, inspiration, hope, and pain. In this collage, Furqat Palvan Zadeh uses unique archival materials unearthed in Chirchik’s local history museum — these traces of the past recount how the life and work of the city’s builders were structured.

迴廊 B Arcade B

Medina Bazargali & Kokonja (Kazakhstan)

米迪娜 ・巴薩格利與卡康婭

《那時會有自由嗎？（erkindik bola ma eken sol kezde?) 》

2023

演算法、聲音及羊毛氈

這個裝置作品由聲音藝術家卡康婭與多媒體藝術家米迪娜‧巴薩格利合作製成，結構參考了中亞游牧 文化中的傳統房屋——蒙古包的設計，上方覆蓋著藝術家的手工羊毛氈。他們在作品內部設置了專 門的演算系統，當觀眾進入空間後，系統便會掃描他們的身體和面部以產生特定的聲音組合。雖然 所收集的數據不會保留，然而這種掃描和挪用數據的行徑，卻揭示了我們生活於這個高度科技化環 境所面臨的風險。演算法和其他用作收集數據的網絡工具一樣，其驅動力來自控制邏輯、排斥少數 群體和追求經濟利益，而非來自團結和姊妹情誼。這個裝置作品則試圖轉換上述邏輯：將一個保安 系統轉變為令觀眾感到安全的空間。藝術家把演算法所產生的聲音稱為「紋飾」，這裡的「紋飾」不 再限於傳統的裝飾意義，而是代表中亞工藝中經常出現的宇宙觀。在這個裝置作品中，演算法與手工 藝相遇，共同對抗現代理性科學與中亞游牧文化古老信仰之間的二元對立。

will there be freedom then? (erkindik bola ma eken sol kezde?)

2023

Algorithm, sound and felt

Commissioned by CHAT

Algorithm by Arwjan Qaltay

The installation is a collaboration between the multimedia artist Medina Bazargali and the sound artist Kokonja . The structure refers to the architecture of a yurt, a traditional house of nomadic culture from Central Asian life, covered in the artist’s handmade felt. The audiences are invited to enter this architectural space within an algorithm produced especially for the installation, which will scan their body and face to produce a specific assemblage of sounds. While the data collected is not retained, the act of scanning and appropriating the data reveals the effects of the hyper-technologised environment we live in. Algorithms, like other data-collecting tools, are often driven by the logic of

control, exclusion of minorities and economic profit rather than solidarity and sisterhood. The installation aims at creating a diversion of the aforementioned logic in an attempt to turn a security state to a safe space for audiences. The artists refer to the sound produced by the algorithm as an ‘ornament’. Overcoming its traditional decorative meaning, ornament here refers to the cosmology often represented in the craft of Central Asia. In the installation, algorithms and crafts meet to overcome the duality between the rational science of modern times and the old beliefs of Central Asian nomad culture.

縫線：對紋飾的重新想像

縫線：對紋飾的重新想像」以中亞的傳統裝飾物為出發點，探索紋飾如何作為載體，顯現那些形塑和驅 動著社會的抽象規律和無形力量。在遊牧文化中，紋飾是一種語言，向我們述說著所有生命體之間，人與 非人之間複雜的互動與溝通。20世紀所發生的政治與社會變革深刻地影響了中亞傳統紋飾的發展，那

些抽象的視覺元素都體現和回應了當下的權力結構。參展的藝術家們對紋飾的型態和意義展開了全新的 探索，藉此揭示在延續與斷裂，遺忘和想像之間來回擺盪的複雜世界。

在穿針引線、縫補刺繡等耗時費力的紡織類工作中，我們可以清晰地看到女性的主體地位，然而在藝術 史的主流敘述中，她們卻被遮蔽了起來。對紋飾的探索，把我們引向核心的邊緣，讓我們得以調轉方向， 不再僅僅關注獨立的個體，而是個體之間的互動關係，著重觀察那些塑造的過程——製作物件、構築夢 想、編織故事、建立聯繫。紋飾是正與負、人與土地之間和諧張力的體現，它既是一種視覺符號，也是一 種觸覺性的身體練習。展覽中新的紋飾作品，探索著那些不可見的共生與脆弱的依存，它們沉浸於關係 的美學中，激發觀者以開放的態度面對他人與危機四伏的當下。

Suture: Reimagining Ornament

Taking Central Asian traditional ornamental production as a point of departure, this exhibition explores the meaning of ornament as an embodiment of abstract laws and invisible forces that drive and shape societies. Ornament of nomadic culture is a language that elucidated the complex system of interactions and connections between living creatures, between human and non-human subjects. The waves of political and social transformations profoundly affected the journey of traditional ornament through the 20th century in Central Asia, making the abstract elements reflect and respond to the existing power structures. By re-discovering the form and meaning of ornament, artists of the exhibition unravel the complexity between continuity and rupture, between what have been lost and what can be imagined.

The subject position of women manifests itself in their performing of the painstaking labour of needle, sewing, embroidery work with textile while still being withheld from the mainstream narratives of art history. The journey with ornament brings us to the pivotal margins and allows us to change perspectives, to see not autonomous subjects, but the system of interactions between them, to emphasise the process of making – making objects, dreams, stories, connections. Ornament is a harmonious tension between positive and negative spaces, between figure and ground. It is both a visual mark and a haptic bodily practice. New ornamental objects explore the ambiguity of invisible organic connections and fragile co-dependence. They dwell into the aesthetics of mutuality that provokes beholders to stay open for others and for the troubled present.

Alexandra Tsay

展廳二 Gallery 2

阿瑟爾 ・卡迪哈諾娃（哈薩克斯坦）

巴希 ・布比卡諾娃（哈薩克斯坦）

古爾努爾 ・穆卡扎諾娃

（哈薩克斯坦 / 德國）

Asel Kadyrkhanova (Kazakhstan)

Bakhyt Bubikanova (Kazakhstan)

Gulnur Mukazhanova (Kazakhstan / Germany)

哈薩克語「Soz Joq」意為「無言」， 阿瑟爾 ・ 卡迪哈諾娃為織物的表皮動「手術」，重覆把

以阿拉伯字母出現，然後是拉丁字母，最後是 「Soz」（言）這個字縫上再拆開。這個字先是

西里爾字母。詞彙一旦縫好，藝術家就立即將之消除，拆掉針腳，然而針線所留下的「疤痕」卻會以小圓 點標記出來。卡迪哈諾娃藉此探討1920至1930 年代哈薩克的蘇聯政治問題，以及相關的政治暴力與集 體創傷。

哈薩克的蘇維埃化過程複雜，牽涉範圍甚廣，當中包括了字母變化。哈薩克人使用的字母便在短短十年 間變了兩次：1929 年，傳統的阿拉伯文字被拉丁文的亞尼亞利夫字母取代；1940 年，西里爾字母又取代

了亞尼亞利夫字母，並一直沿用至今。在此十年間，哈薩克亦經歷了大規模暴行，例如1930至1933 年的 人為飢荒，以及1937至1938年的哈薩克知識份子政治清洗。

卡迪哈諾娃表述：「這個作品所指向的是關於痛苦的失語。透過『寫下』與『抹消』、『縫針』與『拆線』， 我想為社會這個活體進行一場手術——往其身體徐徐注入不同身份。」

阿瑟爾

・卡迪哈諾娃

ASEL KADYRKHANOVA

Soz Joq / Speechless 2017, updated 2022

Video 20’ 00”

The Kazakh expression Soz Joq translates as ‘No words (left)’. Asel Kadyrkhanova performs surgery on the skin of fabric, stitching and unstitching soz or the word. It appears first in Arabic script, then in Roman letters, and finally Cyrillic. When the phrase is finished, the artist immediately undoes it, removing the stitches, but minuscule dots mark the scar left by needle and thread. Kadyrkhanova explores the issue of Soviet politics in Kazakhstan in the 1920s and 1930s and the associated political violence and collective trauma.

The Sovietisation of Kazakhstan was a complex process which involved, among other things, a change of alphabets. The alphabet was changed twice in the space of 10 years: in 1929, the traditional Arabic script was replaced with Latin Yanalif, and in 1940, the new Latin script was replaced by Cyrillic, which remains in use today. This decade saw mass atrocities, such as the man-made famine of 1930–1933 and the political purges of the Kazakh intelligentsia in 1937–1938.

Kadyrkhanova states, ‘With this work, I aim to point to the absence of the languages of pain. By doing and undoing, stitching and unstitching, I wanted to express the idea of performing surgery on the living body of the society –– literally, instilling a different identity into the body.’

《瑪利安（我的外婆之名）》 2022 布面刺繡

50 x 60 厘米，一組15 件

阿瑟爾 ・卡迪哈諾娃以哈薩克傳統的繃子繡花針法，以家族 記憶為題，在畫布繡上她外婆的名字──瑪利安。藝術家依靠 身體的記憶，投入這場持續的刺繡觸覺練習。哈薩克在裝飾 傳統上多使用對比色，但她卻刻意選擇與畫布同色的線，以 此突出「無形」與「缺席」。

卡迪哈諾娃述說：「我外婆的名字叫瑪利安。瑪利安生於 1909 年，這意味著她經歷過歷史上動盪的時期，見證了哈 薩克的革命、內戰、飢荒和蘇維埃化。她在少女時代學習的文字，是哈薩克一直沿用至1929 年的阿拉 伯字母，她要到晚年才自學西里爾字母，很遺憾她的大半生都錯過了哈薩克人以西里爾字母書寫的文 學作品。」

在哈薩克文化中，刺繡技藝通常由家族中的女性血脈傳承：外婆傳給母親、母親傳給女兒。針法是兩 代之間傳遞知識與記憶的線。無形的針法承載著語言的缺失、因為缺失而致的傷口，以及創傷所帶來 的身體記憶。

Marijam (Names of my grandmothers)

2022

Embroidery on fabric

50 x 60 cm, a set of 15

Using the tambour stitch traditional in Kazakh embroidery, Asel Kadyrkhanova works with familial memory and stitches onto canvases the name of her grandmother, Marijam. The artist devotes herself to the haptic durational practice of embroidery, relying on the memory of the body. The Kazakh ornamental tradition uses contrasting colours; Kadyrkhanova deliberately chooses thread of the same colour as the canvas, emphasising invisibility and absence.

Kadyrkhanova explains, ‘My grandmother’s name was Marijam. Marijam was born in 1909, which means she lived through a turbulent historical time, witnessing the revolution, civil wars, famines, and the Sovietisation of Kazakhstan. As a young girl, she learnt the Arabic script that had been used in Kazakhstan until 1929. It is only in her later years that she taught herself the Cyrillic alphabet, regretting that she had been missing classic Kazakh literature printed in Cyrillic most of her life.’

In Kazakh culture, the skill of embroidery is usually transferred through the female lineage of the family: from grandmother to mother, from mother to daughter. The stitch is an intergenerational thread that transmits knowledge and memory. The invisible stitch carries the loss of language and the wounds of the loss, the bodily memory of trauma.

《奇蹟》 2022

混合媒體裝置

270 x 240 厘米

《奇蹟》採用戲劇裝飾的形式，以及平面裝飾 表面的空間擴展，表達布比卡諾娃對魔法的 信仰，和她在特定環境中對奇蹟的追求。奇蹟 是「不可能發生之事」，是真實的反面；布比卡 諾娃對奇蹟的追尋，亦是她對繪畫極限的追 尋。當人到達極限時，以往不可能的事情也會發生。平面裝飾打破了畫布的二維空間並擴張至立體，這 種高階的現代主義傳統形式實驗，就此與童話故事的奇趣裝飾形式融為一體。

布比卡諾娃在她的創作中吸收和利用周遭的材料以製造及解決形式問題。作為一名畫家，她為自己定 下的任務就是構圖的建構與解構。她參照了具有宗教符號和意義的本土創意遺產，但以西方繪畫傳統 的方法，將之轉化為一種混合形式。布比卡諾娃正在追尋繪畫的極限；尋找奇蹟，即是尋找新的觀看之 道。

B

A KHY T B uBIKA N OVA

Miracle 2022

Mixed media installation

270 x 240 cm

Commissioned by CHAT

Miracle takes the form of a theatrical decoration and a spatial expansion of flat ornamental surfaces. The artist manifests her belief in magic and her search for a miracle in the given environment. A miracle is impossible; it is the opposite of what is real. Bubikanova’s search for the miracle is also a formal search for the limits of painting. It is when we reach the limit that we discover what used to be impossible. The flat ornament breaks the flatness of the canvas and expands into space –– the highend modernist tradition of formal experiments merged with the fun form of decorations for children’s fairy tales.

In Bubikanova’ works, she absorbs and uses the materials of her surroundings to make and solve formal problems. Trained as a painter, she sets as her main task as construction and deconstruction of composition. She refers to local creative heritage with sacral symbols and meanings, but transforms it through the means of Western pictorial tradition into a hybrid form. Bubikanova is looking for the limits of painting; the search for a miracle becomes a search for a new way of seeing.

故事的主軸圍繞一位藝術家與其對手之間的戰鬥和衝突。他們素未謀面，總是身處不同的空間。對巴 希 ・布比卡諾娃而言，對手身處的位置，複製並反映了哈薩克傳統工藝「補花氈」的視覺結構。補花氈 的製法是把兩層不同顏色的羊毛氈互疊，再切割出特定的圖案裝飾，然後將兩層圖案併疊，砌成一塊 完整圖案，如此一來，一幅裝飾圖案的顏色，就會變成另一幅圖案的背景顏色。補花氈透過正反空間 的張力與和諧而製成，圖案與背景是同等的，一如陰陽之間的張力與和諧。

布比卡諾娃將補花氈的形式特徵轉移至數碼媒體上，以探索物件與其複製品之間的張力。她對於可見 與不可見、原物與複製品、空間與屏幕之間的張力尤感興趣，為觀者與其觀看物件創造了現實與數碼 交織在一起的多重空間，展現出二元對立的陷阱。因為藝術家與其對手永遠不會相遇，所以在她的傳 奇裡沒有勝方，衝突既存在也不存在，在看似互相矛盾的兩股力量之間，存在著一種和諧張力。

Two-channel video 3’00”

At the centre of the story is a battle and a conflict between an artist and her rival. The artist and the rival have never met; they are always in different spaces. For Bakhyt Bubikanova the positions of the rivals replicate and reflect on the visual structure of a Kazakh syrmak carpet. Syrmak is made by placing two layers of felt of different colours on each other and cutting out the pattern-ornament. Then the layers are mixed and connected into one piece: the colour of the ornament on one part becomes the field for the same pattern on the other. Syrmak is constructed through the tension and harmony of positive and negative space, in syrmak, ornament and field are equal. It resembles the tension and harmony of yin and yang.

Bubikanova takes the formal characteristics of syrmak and transfers them to digital media, exploring the tension between an object and its mediated reproduction. The artist is interested in the tension between the visible and invisible, between object and reproduction, between space and screen. Creating multiple spaces of the real and the digital, of a viewer and an object of their vision, she makes a statement of the pitfalls of binary oppositions. There is no winner possible in her saga. The conflict is at the same time an absence of conflict –– as the artist and her rival will never meet –– and a harmonious tension of seemingly contradictory forces.

Saga 2022

古爾努爾 ・穆卡扎諾娃

G uL N uR M uKAZH A N OVA

《後遊牧現實 # 41》

2018-22

手工氈化的美麗諾羊毛和真絲羊毛、絲綢及大頭針

140 x 140 厘米

羊毛氈是哈薩克文化中一種傳統的物料，不論製作的 過程或最後的成品都被賦予獨特的意義和價值。製 作羊毛氈需時甚長，且涉及觸覺感知。在《後遊牧現

實》系列中，穆卡扎諾娃使用羊毛氈作為主要媒介， 將其轉化為物件，探索哈薩克文化在全球化之下的轉 變。她避開複製與羊毛氈地毯相關的傳統紋飾，藉此

指出當代社會中紋飾意義的流失，同時在作品中強調作為物料的羊毛氈和製氈的過程。

藝術家拒絕破譯或重構紋飾的含義，而是使用傳統的形式來傳達訊息，回應當下時刻，她正在尋找 一種能夠表達及傳遞訊息的當代裝飾語言。大頭針和已停產的舊式香港絲綢是《後遊牧現實》系列 新添加的元素，這些新元素揭示了穆卡扎諾娃創作紡織繪畫和拼貼作品的過程，亦象徵着她試圖除 去當下未解的焦慮。

Post-Nomadic Reality #41

2018-22

Merino and silk wool felted by hands, silk, pins

140 x 140 cm

Felt is a traditional material in Kazakh culture, where both the process and the final object are assigned meaning and value. Felt-making is a time-consuming and tactile bodily practice. In her series Post-Nomadic Reality, Gulnur Mukazhanova transforms material into object, using felt as a primary artistic medium and exploring the issue of the transformation of Kazakh culture in a globalised world. She intentionally avoids the reproduction of traditional ornaments associated with felt carpets, pointing out the loss of the meaning of ornaments in contemporary society. She centres the material, the felt, and the process of felt-making.

Refusing the attempt to decipher or reconstruct the meaning of ornaments, the artist uses the traditional form to convey a message in response to the current moment. Mukazhanova is looking for a contemporary language of ornament that is capable of conveying and transmitting the messages. Pins and old Hong Kong silk whose production was discontinued, are recent additions to her existing work from Post-Nomadic Reality series. New elements lay bare her artistic process of creating textile paintings and collages and strip out the unresolved social anxiety caused by current socio-political events in the post-Soviet space.

迴廊 C Arcade C

Yelena Vorobyova (Kazakhstan)

Lidiya Blinova (Kazakhstan)

Umida Akhmedova (Uzbekistan)

・弗若巴耶娃

《證件照片。必要加工》

2010

灰 紙印刷品

28.7 x 21 厘米，一組15張

拍攝證件照片是國家官僚機構要求公民進行的常規程序。蘇聯和後蘇聯地區的人通常也存有許多 此類小幅照片，尺寸為 2x3 或 3x4 厘米，照片上的人表情凝固，因為拍照時不許微笑，且要保持中 性和正式。弗若巴耶娃發現自己和丈夫都有許多此類證件照，而這些照片刻畫了一個不復存在的國 家的公民以及其官僚程序。藝術家將這些缺乏個人隱私的照片重新加工成裝飾品，把私人的個體轉 移至公共結構之中；同一時間，必要的藝術介入卻弔詭地恢復了這些證件照片所缺失的個人隱私── 藝術家的介入，在意識形態和集體壓力下為個人隱私保存了一個微小空間。

弗若巴耶娃與丈夫維克托 ・弗若巴耶夫常以藝術雙人組合形式進行創作，探索集體與私人之間錯 綜複雜的關係。對他們而言，裝飾自己的過程即是裝飾群眾，使私人個體成為集體的一部份。他們的 藝術探索既深邃又幽默，長期關注的議題包括在後蘇聯時期意識形態的運作，以及一個人在個人與 政治衝突之中的位置。有時也只有幽默方能使被裝飾過的群眾稍露趣味。

Document photo. Necessary additions

2010

Print on grey paper

28.7 x 21 cm, a set of 15

Taking a document photo is a regular procedure required by the state bureaucratic apparatus of its citizens. Personal archives of people in Soviet and post-Soviet spaces contain many of these small-scale pictures. Coming in 2 by 3 or 3 by 4 cm in dimension, each froze a person who had been asked not to smile and to be neutral and official. Yelena Vorobyova once discovered many such pictures of herself and her husband: these pictures depicted citizens of a no-longer-existing state and its bureaucratic procedures. The artist re-works photos already lacking privacy into ornamental compositions, transferring the private individual into the structure of a public body. At the same time, necessary artistic interventions paradoxically restore the missing privacy of the document photos, underlining the role of the artist in preserving the tiny space of the private under the pressure of the ideological and the collective.

Vorobyova and her husband Viktor Vorobyov usually work as an artistic duo and explore the intricate relationships between the collective and the private. The process of ornamenting for them is ornamenting of the masses, of making a private individual a part of a collective body. The working of ideology in the post-Soviet space and the place that an individual human being holds in the clash between the personal and the political are among the long-term themes of their profound and humorous artistic exploration. Sometimes only humour makes witty faces out of the ornamented masses.

L

IDIYA BL IN OVA 利迪婭 ・布林諾娃

《手指裝飾》 1995

相片列印

26 x 36 厘米，一組10 張

Khalfin基金會借出

利迪婭・布林諾娃（1948-1996）是一位藝

術家和詩人，亦是哈薩克當代藝術界先驅魯 斯坦・哈爾芬（1949-2008）的妻子。無論

她本人還是其創作都比較低調，去世後留下 的藝術作品也不多。這麼一個已死的藝術家 及其失落了的藝術，她的人生卻是一個關於「以藝術作為生活方式」的故事，當中無須牽涉物件創作。 製作標記就非得要留下標記嗎？一個人的足跡，可以透過她在生命中建立和維持的各種相遇與聯繫而 存在嗎？我們要如何記住一個作品已不復存在的藝術家？

《手指裝飾》是一組攝影裝置作品，由 10 幅藝術家的手部照片所組成。布林諾娃以自己的身體創造

了新的形式，參照了遊牧裝飾的觸感特質。她的雙手伸向裝飾品所隱藏的雙重對立面——圖案與背 景、視覺與觸覺。她把宗教象徵主義玩弄於指間，為自己繪製了一幅藝術家自畫像：她的手。藝術 家的手是開端，是宇宙的搖籃。概念攝影作品與「掌中握無限 （剎那現永恆 ）」的浪漫理念互相共 鳴。《手指裝飾》包含著樸素的形式以及多重聯想和意義，是布林諾娃留傳後世的少數作品之一。

Finger Ornament

1995

Photoprint

26 x 36 cm, a set of 10 Courtesy of Khalfin Foundation

Lidiya Blinova (1948–1996) was an artist, poet, and the wife of Rustam Khalfin (1949– 2008), a pioneering artist of Kazakhstan’s contemporary art scene. She was rather modest as a person and a creator, and when she died, she left relatively little art. A dead artist and lost art, somehow her story is a story of art as a way of living that does not necessarily result in object-making. Does making a mark require leaving a mark? Can it exist through the encounters and connections that one nurtures and sustains throughout one’s life? How do we remember artists whose works we do not possess?

Finger Ornament is a photo installation consisting of 10 pictures of the artist’s hands. Blinova creates new form using her own body, referring to the tactile nature of nomadic ornament. Her hands tap into the dual opposites that ornament withholds –– figure and ground, optic and haptic. She plays with sacral symbolism, making a self-portrait, a portrait of her hands. The artist’s hands are the beginning, the cradle of the universe. Conceptual photographic work resonates with the romantic idea of holding infinity in the palm (an eternity in an hour). Finger Ornament contains a modesty of form and multiplicity of associations and meanings; it is one of the few surviving works of Blinova.

《手指語言。向利迪婭 ・布林諾娃的〈手指裝飾〉致敬。》

2022

布面印花

350 x 130 厘米，一組3幅

耶列娜 ‧ 弗若巴耶娃向已故友人利迪婭 ・布林諾娃的作品致敬，這是一場藝術對話，亦是一場悼念。她 從布林諾娃拍攝雙手的膠卷底片中，選擇了代表這位已故藝術家的兩個手勢。弗若巴耶娃寫道：「這些 手勢象徵著精神戰勝環境。」這些生動而具紀念性的手勢，向所有以藝術作為生活方式的人致意。

Finger Language. Homage to Finger Ornament by Lidiya Blinova.

2022

Print on fabric

350 x 130 cm, a set of 3

Yelena Vorobyova, a friend of Lidiya Blinova, makes a homage to her work. It is an artistic conversation and an act in memoriam. Vorobyova uses film negatives of Blinova’s hands and chooses two gestures that represent the late artist. ‘They signify the triumph of the spirit over circumstances,’ writes Vorobyova. Monumental and lively, those hand gestures greet everyone whose art is a way of living.

烏米達 ・阿赫梅多娃

《人與他們的聖物》

2021-22

相片打印

180 x 120 厘米、90 x 60 厘米、90 x 60 厘米、

60 x 40 厘米、60 x 40 厘米、60 x 40 厘米

烏米達・阿赫梅多娃的攝影系列《人與他們的聖物》及 個人收藏項目《嫁妝的天真藝術》相互關聯，同樣植根

於藝術家對烏茲別克鄉村與城市日常生活的濃厚興趣。作為電影製作人和攝影師，阿赫梅多娃熱切探 索和記錄日常生活中的場景和儀式。《人與他們的聖物》系列描繪了年長夫婦、年輕夫婦以及已婚婦女 在家庭生活中所使用的紡織品。在烏茲別克文化中，婚姻是女性一生中的重要階段，而為了協助女性過 渡至新的角色，整個過程牽涉許多儀式。家族中的婦女通常會為女兒和孫女準備繡花地毯和紡織品， 以這些手工製品傳遞智慧、知識和家族記憶。

阿赫梅多娃走遍烏茲別克各區，尋找不同的人與他們的故事，描繪這些人與他們的隨身物品和個人收 藏。在她攝影系列中的物品，包括了手工製作的家用紡織品、繡花餐巾或桌布、披肩、手帕或傳統小帽 子，這些物件不僅富含記憶，更能儲存願望、保護夢想。

阿赫梅多娃的作品介乎於紀錄片、民族誌和藝術創作之間。這些關於家族收藏的藝術作品於正規藝術 展覽展出，此舉再次提出了藝術的排他性與自主性的問題，把「外面」（社會和家庭領域）的藝術和創 意實踐納入正規藝術圈子之中。

People and Their Sacral Objects

2021 - 22

The photographic series People and Their Sacral Objects and a personal collection project Naive Art of the Dowry are interrelated and rooted in Umida Akhmedova’s profound interest in the daily life of rural and urban Uzbekistan. A filmmaker and a photographer, Akhmedova passionately explores and documents scenes and rituals of the everyday. The series People and Their Sacral Objects depicts old and young couples and married women with textile objects that accompany their family life. Marriage is one of the most important stages in a woman’s life in Uzbek culture. This major event is surrounded by rituals that support the transition into a new role. Usually, women of the family prepare embroidered carpets and textile objects for their daughters and granddaughters; with these handmade objects they transmit wisdom, knowledge, and family memory.

Akhmedova travels across various regions of Uzbekistan, looking for people and their stories, depicting people and their companion objects, their personal archives. The objects of her photographic series –– pieces of handmade home textile, embroidered napkins or table cloths, shawls, handkerchiefs, or tyubeteikas –– small, traditional Central Asian hats –– are not only objects of memory –– they store wishes and protect dreams.

Akhmedova’s practice resides in between documentary, ethnography and art-making. Brought inside a formal art exhibition, her work with family archives once again raises questions concerning the exclusivity and autonomy of art, embracing the artistic and creative practices located outside –– in the social and familial terrains.

《太陽印記》 2010-22

相片打印

29.7 x 42 厘米，一組4件

這是紀實攝影師兼藝術家烏米達·阿赫梅多娃 於2010至2022年間拍攝的肖像精選。

《嫁妝的天真藝術》

藝術家從 1970 至 2000 年代收藏的刺繡品系列

棉布刺繡

Sun Marks

2010 - 22

Photoprint

29.7 x 42 cm each, a set of 4

This is a selection of portraits Akhmedova made between 2010 and 2022.

80 x 80 厘米、84 x 82 厘米、90 x 78 厘米、90 x 82 厘米、94 x 88 厘米、100 x 94 厘米、140 x 96 厘米

「Naive」（天真）是阿赫梅多娃為一種刺繡紡織品起的名字，2013至2014年左右她在塔什干的跳蚤市 場發現了這種刺繡紡織品，自此就一直收集和探索這種紡織品以及織製這種物品的婦女的故事。烏茲 等，都是不同類型的本土紡織品。「Naive」是這一傳統的變體，是為婚禮而製作的刺繡圖案，它植根 於烏茲別克女性的紡織文化，是她們從成長至成熟的重要一環。作為一種日常用品，「Naive」亦是一 種個人收藏，更是消失了的文化習俗的一部份，當被選為藝術家的收藏物件後，它既進入了藝術領域， 同時亦存在於個人及家庭領域中。阿赫梅多娃無法找到這些刺繡品由誰製作，創作者的身份一直不為 人知。這不正是藝術作為一種社會實踐的核心嗎？作者身份不在，但作品存在。

Naive Art of the Dowry

Artist’s collection of embroidered pieces from 1970s to 2000s Embroidery on cotton

80 x 80 cm, 84 x 82 cm, 90 x 78 cm, 90 x 82 cm, 94 x 88 cm, 100 x 94 cm, 140 x 96 cm

Naive is a name given by Umida Akhmedova to a type of embroidered textile piece, which she found on one of the flea markets in Tashkent in around 2013 or 2014. She has been collecting them ever since, and has started to explore the story of naive and of the women who were making it. Uzbekistan has a rich tradition of embroidery on cotton and silk: suzani, choishab and palak are all types of domestic textile pieces. Naive is a variation on this tradition, an embroidered picture made to

commemorate a wedding. It is rooted in Uzbek culture of female textile practices as a vital part of women’s upbringing, growth and maturity. Naive is an everyday object, a part of a personal archive, an element of disappeared cultural practice. Being chosen as an object of the artist’s collection, it enters the realm of art, while still occupying the terrain of personal and familial. Akhmedova did not find the authors of the embroidered pieces from her collection; they remain unknown. Is this not the core of art as a social practice? The absence of authorship, but the presence of practice.

別克有著豐富的棉絲刺繡傳統，例如大型金絲針繡（suzani）、刺繡床單及掛氈（choishab、palak）

CHAT 客廳 CHAT Lounge

CA

研究組：達娜

・伊斯卡柯娃、艾達 ・伊莎漢卡茲、愛莎 ・贊杜薩娃、

萊娜 ・波茲德尼亞科娃、安娜 ・普洛妮雅、楊陽（不同地方）

CA Research Group: Dana Iskakova, Aida Issakhankyzy, Aisha Jandosova, Lena Pozdnyakova, Anna Pronina, Yang Yeung (Varied)

CA 研究組

CA研究組匯集了藝術家和研究員，一同就裝飾的概念進行實驗、探索和深思，亦會交流想法和文 本，以及創作新作品。集體聚會與個人發現均擴闊了我們對於裝飾作為一個概念、一種以過程為主 導的藝術方法以及一種藝術作品的理解。

CA R ESEAR CH GR O u P

The Central Asia research group brings together artists and researchers to experiment, explore and speculate on the concept of the ornament, to exchange ideas and texts and to create new works. Collective gatherings and individual discoveries have deepened our understanding of what the ornamental is as a concept, as a method of process-driven art and also as an art object.

《裝飾品編目 / 裝飾品傳送》 2022

研究展示

尺寸可變

CHAT六廠委託作品

這個以研究為基礎的項目，主要關注俄國末年及蘇聯時代由研究 員、考古學家和修復人員進行的中亞裝飾品編目工程，當中包括建 築裝飾物、地毯、刺繡布料（suzani）以至其他應用藝術物品。

「編目」作為一種實踐，即是以某種特定方式為物件排序。借用歷 史學家弗朗辛・赫希的術語，「編目」可以說是一種統治的文化技 術，本質上有殖民色彩。這個作品所展出的目錄，展示了裝飾品與媒介的不同文化／民族／國家分類： 安德烈・博戈柳博夫的「地毯地圖」（1909）、塞繆爾・杜丁的「中亞地毯表」（1927）、鮑里斯・扎

西普金的「建築術語詞典」（1930 年代），都展示了如何收集及處理傳統知識，以便進一步使用。在

蘇聯時代，裝飾品從原有的文化背景中抽離，被國家積極納入新的文化生產中。

同一時間，這個項目的視覺部份參照了傳統的知識傳播方式。這些物件重現了一種建築裝飾品的生 把線條轉移至牆上。這些物件專為特定建築物而製，壽命短暫但有其功能，在若干年後成為了研究 人員的追尋對象和修復者夢寐以求的物件。

產技術，用一對一比例的描圖紙製成的穿孔模板，又稱為「suzan」或「ohty」，協助「usto」（母版）

安娜・普洛妮雅

A NN A PR O NIN A

This research-based project focuses on the various historical attempts to catalogue Central Asian ornaments in architecture and also in carpets, suzani and other objects of applied arts. These attempts were made by late-Imperial and Soviet researchers, archaeologists, and restorers.

Cataloguing, as a practice, always offers a particular way of ordering items. We might call a cultural technology of rule colonial in its essence, to use Francine Hirsch’s term. On display, there are catalogues representing the different cultural/ ethnic/ national classification of ornaments and media: the carpet map by Andrey Bogolyubov (1909), Samuil Dudin’s tables of Central Asian carpets (1927), the ‘dictionary’ of architectural terms by Boris Zasypkin (1930s). They show how traditional knowledge was gathered and processed in order to be further used. In the Soviet era, ornaments detached from their original contexts were actively incorporated into new cultural production.

Meanwhile, the visual part of the project refers to the traditional way of transmitting knowledge. These objects recreate a technique to produce architectural ornaments. The perforated stencilplates made of tracing paper on a one-to-one scale known as suzan or ohty were used to help the usto (master) to transfer the lines to the wall. These objects were created for each specific building; they were short-lived and functional. It was only some years later when they became the objects of researchers’ hunting and restorers’ dreams.

2022

混合媒體，三件式組合裝置

尺寸可變

CHAT六廠委託作品

《對話式物件／關懷之裝飾品》作為《關懷的實踐》項目的一部份，把紡織作品轉化為母女共同製作的關 係式作品。這些雕塑以多元的跨代對話形式，容納了溫柔與嚴厲的情感糾纏，然而作品的重點是透過物 件來呈現記憶的短促易逝。這個作品無形中呈現了跨代記憶的轉移，透過手作和對話來喚起聯繫與關 懷，同時討論因磨擦而帶來的創傷。

・波茲德尼亞科娃

A SA NIYA POZDNYA KOVA

L

SCULPTURE（S）Conversational Objects / Ornament of Care

2022

Mixed media, three-part installation

Dimensions variable

Conversational Objects / Ornament of Care, as part of the Practices of Care project, translates the role of the work with textiles in a relational piece produced by the mother and the daughter. The sculptures accommodate points of gentle and harsh entanglements as a form of multifaceted intergenerational dialogue. However, the key focus of the work is on the ephemera of memory, represented by object-based art. A non-tangible part of the piece puts forth the transference of transgenerational memory and hence, allows, through the hands-on work and conversations, to invoke bonding and care practice, as well as address the traumatic points of friction.

《雕塑，「對話式物件／關懷之裝飾品」》

《讓我為你畫一幅過去的圖畫》

2022年

錄像

10’00”

CHAT六廠委託作品

聲音協作：Eldar Tagi

影片攝製：Katerina Suvorova

‘Let me draw you a picture of the past’

2022

Video 10’00 ”

Commissioned by CHAT

Sound collaboration: Eldar Tagi

Videographer: Katerina Suvorova

這個影像作品呈現了藝術項目《關懷之裝飾品》的無形元素——將口述歷史描述為一種程序儀式的 形式、一種時間維度，以及中亞女性化手作勞動與工藝製作的特質。影片講述一位母親在藝術製作 時，一邊做紡織品一邊向女兒傳達的故事。

This video work depicts the non-tangible component in creating the ‘Ornament of Care’ –– a practice where the oral history is depicted as a form of procedural ritual, temporal dimension, and the character of the feminised hands-on work and crafts practices in Central Asia. The video tells the story that the mother conveys to her daughter while working on textiles during the course of the artwork’s production.

《據我記憶所及》

2022

聲音 6’00”

CHAT六廠委託作品

聲音協作：Eldar Tagi

這個聲音作品將記憶與紀念相關的範式轉移，置於相關語境中思考。作品指出了記憶作為一種虛構形 式的短暫本質，談及了敘事形式，亦同時強調了因世代和意識形態差異而對當前地緣政治事件產生的 認知落差。

‘As far as I remember’

2022

Audio

6’ 00”

Commissioned by CHAT

Sound collaboration: Eldar Tagi

This audio work contextualises the shifting paradigm related to memory and remembrance. The work points to the ephemeral nature of memory as a form of fiction, speaks to narration forms, and accentuates the disjunction in the perception of current geopolitical events due to generational and ideological differences.

「如果我們學習祖傳方法、『花時間』聆聽其教導，我們能從中學習或『反學習』到什麼？祖傳方法能 夠給我們開啟一道門或時空穿梭，讓我們更接近祖先的世界嗎？」

在這些問題的引領之下，愛莎・贊杜薩娃在她長期而緩慢的「再存在學習之旅」中，重現了其哈薩 克—吉爾吉斯祖先的日常審美和感官實踐。她希望能記住並重新連接祖先的知識，而這些知識在 以前甚至現在可能依然存在於族人的身體記憶之中。

在為期一個月的《向jeli 學習》中，贊杜薩娃日復日把「jeli」（裝飾品邊框）重新創作為剪紙。這些 圖案來自哈薩克的補花氈，最初於二十世紀不同年代由哈薩克女織匠設計和生產。學習裝飾品邊 框的形式語言期間，當與這種裝飾品創作方法對話時，她在與這種裝飾品創作方法的對話之中，有 了新的訊息、新的觀察、新的問題和新的理解。

Learning from jeli

2022

Paper, plexiglass

21 x 29.7 cm

Commissioned by CHAT

What can we learn or unlearn if we make an ancestral practice as our teacher and decide to ‘spend time’ listening to its teachings? Can an ancestral practice serve as a portal or a timetraveling device to get us closer to the worlds of our ancestors?

Guided by these questions, in her long-term, slow re-existencia learning journey, Aisha Jandosova reproduces the everyday aesthetic and sensory practices of her Kazakh-Kyrgyz ancestors, with the hopes of remembering and reconnecting to ancestral knowledge that was once –– and might still be –– inside her people’s bodies.

In Learning from jeli, Jandosova re-created jeli (ornamental borders) as papercuts on a daily basis over the course of a month. The patterns came from syrmak (Kazakh felt patchwork carpets) which were originally designed and produced by Kazakh woman-makers, in some decades of the 20th century. Throughout that time, as she was learning the formal language of jeli, Jandosova was also noting new information, observations, questions and understandings that emerged in her dialogue with this practice of ornament creation.

艾達・伊莎漢卡茲

《未命名地毯 # 1》

2022

混合媒體

125 x 75 厘米

CHAT六廠委託作品

Untitled carpet #1

2022

Mixed-media

125 x 75 cm

Commissioned by CHAT

如何激發傳統裝飾圖案的迭代和突變以生成新的形式，是伊莎漢卡茲所 關注的題材。她使用了不同物料、技術和方法，織出一幅數碼製作的多層 地毯。生產方法包括哈薩克傳統地毯的製作技術和物料、手工作業（縫 紉、切割、補丁）、激光切割和 3D 打印，而最終成品所呈現的則是源自哈 薩克裝飾品的眾多可能出現的紋飾之一。

Aida Issakhankyzy is interested in provoking iterations and mutations of traditional ornamental patterns into new form. She produced digitally-crafted multi-layered carpet using various materials, techniques, and methods. Production methods include Kazakh traditional carpet-making techniques and materials, handwork (sewing, cutting, patching), laser-cutting and 3D-printing. The final object is one of multitudes of possible textures that have its source in Kazakh ornaments.

達娜・伊斯卡柯娃

《製造金錢》 2022 印章、紙，互動裝置 尺寸可變 CHAT六廠委託作品

Money Making

2022

Stamps, paper, interactive installation

Dimensions variable

Commissioned by CHAT

金錢有如裝飾品一般，都是抽象的。儘管以數字呈現，金錢的價值一直處於流動且不確定的狀態。 就如可被複製的大眾裝飾品一樣，它在社會中流通，形成各種經濟模式。貨幣發行可以影響這些 模式：如果印太多錢，就會出現通貨膨脹，從而導致貨幣貶值。大規模生產會降低產品價值，所以 手工藝品通常更有價值，尤其是藝術品。《製造金錢》使人能透過製造金錢而賺錢。問題是，這有

什麼價值？

Money, very much like ornaments, is abstract. The value of money is fluid and uncertain, though

it is calculated in numbers. Like replicable mass ornaments, money circulates in society, forming various economic patterns. Money issuing can influence these patterns: if we print too much of it, we face inflation, and as a result, the value of money declines. Mass production reduces the worth of any product, whereas handicrafts are usually more valuable, especially if they are art. Money Making enables people to make money by making them. The question is, what value will they hold?

YAN G YEuNG 楊陽

《向縫線致敬——傷口的伴侶》

2022

文章

CHAT六廠委託作品

楊陽在其抒情作品《向縫線致敬——傷口的伴侶》中把想法、情緒、感受和觀察彼此交織。她打開 傷口，撫觸患處，緊記著縫線可以帶來癒合和連結。縫線帶來呼吸的空間，藝術有時也如此。文章 收錄於《縫線：對紋飾的重新想像》。除了文字作品之外，楊陽也將會與駐澳洲香港藝術家鄭詠兒 合作一件表演作品，將於展期內呈現。

Honoring Suture – A Companion to Wounds

2022

Essay

Commissioned by CHAT

Yang Yeung poetically weaves together ideas, emotions, feelings, and observations in her lyrical essay Honoring Suture – A Companion to Wounds. She opens up and touches wounds, keeping in mind that suturing can heal and connect. Suture brings air, as art sometimes does. This essay will be included in the publication Suture: Reimagining the Ornament. During the exhibition period, Yang Yeung will also present a collaborative art performance with Australia-based Hong Kong artist Pamela Leung.

紗廠坊 THE HALL

特別展出日期 Special Display Period : 24.03-23.04.2023

《希望之影：昨日之過去，今日之當下》

2022-23

羊毛氈、絲綢、布料、大頭針

150 x 1,650 厘米，一組二件

CHAT六廠委託作品

這件分為兩個部份的紡織裝置作品承載著對於當下時刻的焦慮不安，它的第一部份於藝術家駐留香 港CHAT六廠期間完成，第二部份則於藝術家位於柏林的工作室完成。

解構與切割、連接與再創造是兩組截然相反的概念，但同時是構成這件作品的元素。在第一個部份， 由不同布料裁出的圖案在大型底布上組成新的敘事和形態。第二部份則是一幅紡織抽象畫，以哈薩 克文化中的傳統物料——手工氈化的羊毛製成。

哈薩克斯坦是藝術家成長的地方，而移動和變遷是最能代表其歷史與現狀的詞語。穆卡扎諾娃不但 指出了傳統價值觀、物料的變化與傳統的流逝，亦表達了當下因後蘇聯時期政治變遷所引起的不安。

與此同時，作品形式上彼此衝突矛盾的部份，為這個希望的空間帶來脆弱和不穩定感，伴隨著這些感 覺，今日的碎片被一塊一塊拼湊到對明日的想像之中。

The Shadows of Hope: Yesterday’s Past, Today’s Present

2022-23

Felt, silk, fabrics, pins

150 x 1,650 cm each, a set of two

Commissioned by CHAT

Anxiety of the present moment is condensed in the two-part textile installation that Mukazhanova started during residency at CHAT in Hong Kong and finished at her studio in Berlin.

Deconstruction, scission and connection, re-creation are two opposite forces, two gestures that drive her work. She both bridges and disconnects. Cut-out elements of various types of fabric create new visual narrative and movement on the large-scale canvas-cloth. The second part is a textile abstract painting made by hand-felted wool, a traditional material for Kazakh culture.

Movement and transition are among the most important historical and current conditions of Kazakhstan, a home country and culture of the artist. Mukazhanova points out the transition from traditional values and materials, the loss of traditions, but also the anxiety of the current political transition in the post-Soviet space. At the same time, formal characteristics of the work contains and withstands the conflict and movement of oppositional driving forces leaving the space for hope, a fragile and ephemeral feeling that pins pieces of today into the dream of tomorrow.

CHAT六廠（六廠紡織文化藝術館）

香港荃灣白田壩街 45 號南豐紗廠

開放時間上午 11 時至下午 7 時

逢星期二休息 | 免費入場

CHAT (Centre for Heritage, Arts and Textile)

The Mills, 45 Pak Tin Par Street, Tsuen Wan, Hong Kong

Opening hours 11:00am – 7:00pm

Closed on Tuesdays | Free Admission

電子版展覽導讀

Digital Exhibition Guide