雲、權力與紋飾──中亞織行 Clouds, Power and Ornament – Roving Central Asia by mill6chat

展覽引言

Exhibition Preface

中亞織行

Roving Central Asia

王慰慰

Wang Weiwei

展覽紀錄片

Exhibition Documentary

展場圖片

Exhibition View

策展引言

Curatorial Statement

雲與權力

Clouds and Power

斯拉夫與韃靼、由宓

Slavs and Tatars, You Mi

縫線：對紋飾的重新想像

Suture: Reimagining Ornament

亞歷珊卓・崔

Alexandra Tsay

展覽作品

Exhibiting Works

雲與權力

Clouds and Power

縫線：對紋飾的重新想像

Suture: Reimagining Ornament

112

作品總覽

List of Artworks

150

團隊名單

Staff Credits

158

展覽引言 EXHIBITION PREFACE

6中亞織行

王慰慰 WANG WEIWEI

ROVING CENTRAL ASIA 綁染、羊毛氈、刺繡、補花氈……各種傳統的紡織材料、

中亞帶來了不同歷史時期的社會轉型以及商品、人口、

技藝，伴隨著獨特的樣式、花紋，組成了複雜而又極具

宗教、文化持續上千年的頻繁交流與融合。時至今日，

特色且歷史悠久的中亞紡織文化。隨著對紡織的多樣性

當國際政治關係和全球經濟面臨新一輪競爭和挑戰的

的深入瞭解，對中亞的紡織文化的探索成為CHAT六廠

時候，這一地區依然處於敏感的核心地帶。對中亞的

迫切需要展開的課題。與此同時，就中亞本身而言，也是

考察，將有希望幫助我們突破二元對立的侷限，在複雜和

一個急需我們去學習和理解的世界，即使它在長久以來

矛盾中建立流動的思維方式，學習多元族群共存的經驗

都似乎被世界遺忘。廣義的中亞，是一個西至裡海，東至

和智慧。

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、

紡織文化往往是投射政治經濟、社會生活的重要載體。

吉爾吉斯斯坦、塔吉克斯坦和土庫曼斯坦這5個前蘇聯

對於中亞來說，這一點更為明顯，即使是在當下的資訊

國家。連接東西方的地理位置、古老絲綢之路的貿易網絡、

技術時代，各式各樣的紡織品以及其背後的生活方式和

以及多個帝國或政權在這地區的角逐和輪流統治，都為

精神意義，依然廣泛地根植於中亞民眾的日常實踐中。

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傳統的手工藝是中亞當代藝術領域裡不容忽視的重要組成部分，工藝與當代藝術的分野雖然存在，但並非互不

紡織文化往往是投射政治經濟、社會生活的重要載體。

往來。大量的中亞藝術家都以當地傳統的紡織材料、技術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，或為凝聚社群帶來動力。因此，紡織為我們對中亞的考察提供了關鍵性的方法和工具，讓我們得以以自下而上的方式，從無意識和容易被忽略的生活細節窺探更深邃的歷史和更盤根錯節的政治社會文化圖景。

7 , felt,

... All these traditional

Textile practices permeate the economy and serve as a medium for social life

materials and techniques, along with their unique styles and ornaments, make up the complex,

Likewise, the region has experienced for thousands

distinctive and time-honoured textile culture of Central

of years frequent exchanges and integration of

Asia. At CHAT, as we gain a deeper understanding of

commodities, peoples, religions and cultures.

the diversity of textiles, exploring the textile culture of

Even today, as international relations and the global

this region has become a pressing concern.

economy face new rounds of competition and challenges, Central Asia remains at the forefront of

At the same time, Central Asia also urgently demands

conflicts and scrutiny. Exploring Central Asia will help

to be studied and understood, even as it seems to be

us break through the limitations of binary opposition to

long forgotten by the world. Broadly speaking, Central

uncover more fluid ways of thinking about complexity

Asia extends from the Caspian Sea in the west to the

and contradiction and learn the ways and wisdom of

western borders of China and Mongolia in the east,

coexistence in diversity.

to Afghanistan and Iran in the south, and Southern Russia in the north. It includes the 5 former Soviet

Textile practices permeate the economy and serve

republics of Kazakhstan, Uzbekistan, Kyrgyzstan,

as a medium for social life. This is particularly

Tajikistan and Turkmenistan. Geographically linking

evident in Central Asia—even in the current era of

East and West through ancient Silk Road trade routes,

information technology, textile production of all

the area is where various empires and political powers

kinds and the lifestyles and spiritual significance

have converged and competed, giving rise to different

behind them are still deeply rooted in the daily lives

periods of social transformation.

of many Central Asian people.

CHAT六廠本次的中亞紡織文化項目，包含了對當地藝術家

遮蔽起來的重要力量。同時，亞歷珊卓・崔還發起組織了

的實地考察和研究、為期三個月的展覽、論壇和出版

中亞年輕女性藝術家對傳統紋飾的集體研究創作項目，

工作。項目邀請了三組策展人對實體展覽進行規劃，意在

並集結成冊出版。

從不同視角呈現和討論中亞議題：生活在德國的藝術團體斯拉夫與韃靼和策展人由宓，他們長期對歐亞論述的

這次的項目不僅僅只是圍繞紡織文化的一場展覽，更是

研究得以將中亞置於全球政治經濟力量角逐和分野的

一次對這一地區藝術世界的集體性探訪，並前所未有地

大背景下進行考察；而出生和生活在哈薩克斯坦的策展人

將中亞和香港的藝術文化網絡連結到一起。不管是香港

亞歷珊卓・崔則深根於中亞的當地文化土壤，從內部視角

的普通觀眾，還是對藝文世界的專業人士來說，中亞都是

呈現真正被當地藝術文化圈所討論和關注的課題。展覽

一個相對遙遠而陌生的區域。當世界的政治經濟文化中心

因而分成了兩個部份：由斯拉夫與韃靼和由宓共同策劃

向海洋國家轉移之後，作為內陸地區的中亞便失去了

的「雲與權力」；由亞歷珊卓・崔策劃的「縫線：對紋飾

曾經的樞紐地位，也因而淡出人們的視野。但作為港口

的重新想像」。前者以傳統的綁染編織為隱喻，呈現中亞

城市的香港，向來以東西方的交匯點著稱，這與中亞長久

錯綜複雜的政治社會圖景，「集市」般的展廳設計亦帶來

以來作為交流通道的特性不謀而合。而近現代的中亞其

┏

中亞當代藝術的群像。而後者則專注於中亞的傳統紋飾，

所面臨的政治經濟壓力，轉型社會背景下的集體創傷；

探索其作為一種語言，如何與政治、社會和文化的形塑互相

族群的融合與矛盾、文化認同和身份危機等等問題，都有

影響，對中亞女性藝術家的聚焦，則揭示了曾被主流敘述

與香港這個後殖民社會產生共鳴的可能性。而如果將香港置於中國的大背景之下，將之視為提供對話的出口的話，那麼能夠對話的內容則會變得更為豐富。

這次的項目不僅僅只是圍繞紡織文化的一場展覽，更是一次對這一地區藝術世界的集體性探訪。

在這次項目中，除了紡織文化這個中心點之外，另一個值得關注的是中亞藝術世界的自發性與集體性力量。這一點在展覽的衍生活動「Asar!讓我們一起建造── 中亞文化節」中被突顯出來。我們和居住在阿拉木圖的策展人安凡 ‧ 穆斯列波夫共同策劃了一系列對談、表演和放映活動，邀請來自中亞的多位策展人、藝術家和香港當地的藝術文化工作者展開對話，建立更廣闊的社群網絡。這些中亞的藝術實踐者們，從城市文化研究、藝術駐留、跨領域合作、藝術市場、集體電影創作和酷兒電音社群等多個

古爾努爾 ‧ 穆卡扎諾娃，《希望之影：昨日之過去，今日之當下》，2022-23 展場圖片：「雲、權力與紋飾 – 中亞織行」，CHAT 六廠（六廠紡織文化藝術館），香港，202 Gulnur Mukazhanova, , 2022-2 Exhibition view: , CHAT (Centre for H

23 23 Heritage, Arts and Textile), Hong Kong, 2023

Traditional craftsmanship is an essential part of Central

profound history and more intricate political, social and

Asian contemporary art, where the distinction between

cultural landscape of Central Asia.

craft and contemporary art exists, but the two are not mutually exclusive. A large number of artists from this

The Central Asian textile culture project at CHAT

region often use traditional textiles and techniques

includes on-site study and research on the artists

for inspiration and as creative material to respond to

of the region, a three-month exhibition, forums and

political and social transformations, raising discussions

publications. We invited three groups of curators to

around the preservation of traditions, the circulation

plan the physical exhibition, in an attempt to present and discuss Central Asian issues from different perspectives: German-based art collective Slavs and Tatars work together with curator You Mi—their longterm research on the Eurasian discourse allow them to examine Central Asia in the context of global political and economic power competition and divergence;

A collective tour of the Central Asian art world, connecting the art and cultural networks of Central Asia and Hong Kong like never before

Kazakh curator Alexandra Tsay—her deep roots in the local culture of Central Asia allow her to present from an internal perspective topics that are widely discussed in local art and cultural circles.

The exhibition is therefore divided into two parts: , co-curated by Slavs and Tatars and You Mi; and

, curated

by Alexandra Tsay. The first part uses traditional of collective memory and how textiles can foster unity

as a metaphor to present the intricacies of Central

within communities. Therefore, textiles provide us with a

Asia’s political and social landscape. The ‘bazaar-like’

crucial approach and tool to explore Central Asia—from

exhibition design also paints a group portrait of Central

the bottom up and through the unconscious and often

Asian contemporary art. The second part focuses on

overlooked details of life, we can delve into the more

Central Asian traditional ornamentation, exploring it

角度，探討中亞當代文化之中的社群力量，讓我們看到在長期沒有任何政府或企業支持的情況下，藝術家們自發的、持久的表達；互助的友誼和難能可貴的幽默與創意。也讓我們意識到，當集體性創作現在成為藝術圈熱門話題的時候，其實在中亞，這早已是最自然而然的方式，是與世界觀、生活方式和現實條件下的策略密切相關的，因而成為藝術文化領域真正具有參考價值的寶貴經驗。中亞和香港，看似互相遙不可及，但在這次的項目中，我們看到了兩地藝術文化實踐者們之間交流的熱情與合作的潛力，更令人欣喜的是來自觀眾的好奇和興趣。從冰冷而抽象的政治經濟的龐大圖景回歸到充滿溫度的人與人的交流，而這也正是紡織這種與身體和生活最密切相關的藝術形式能發揮的無可取代的作用和力量。

哈薩克阿拉木圖藝術家米迪娜‧巴薩格利與卡康婭與香港的音樂團體JVSY 的電音表演 Techno performance by Almaty based artists Medina Bazargali and Kokonja in collaboration with Hong Kong collective JVSY

as a language that both reflects and shapes politics,

If we place Hong Kong in the context of China and take

it has long been the norm in Central Asia, and it is

society and culture. Its focus on Central Asian female

it as a path to dialogue, the content of the dialogue may

closely related to worldviews, lifestyles and strategies

artists also reveals important powers that have been

become more fruitful.

developed according to real-life circumstances.

concealed by mainstream narratives. At the same time,

Therefore, it provides a truly valuable reference for the

Alexandra Tsay also initiates a collective research and

In addition to the focus on textile culture, the

creation project on traditional ornaments by young

spontaneous and collective forces of the Central

female Central Asian artists, the findings of which have

Asian art scene also constitute a noteworthy aspect of

Central Asia and Hong Kong may seem out of reach

been compiled in a publication.

the project, and it was spotlighted in the exhibition’s

of each other, but in this project, we saw the passion

spin-off event,

for exchange and cooperative potential between the

More than merely an exhibition on textile culture, this

. With guest curator Anvar

realm of arts and culture.

arts and cultural practitioners from the two regions,

project is also a collective tour of the Central Asian

Musrepov from Almaty, we introduced a series of talks,

and what is more gratifying is the curiosity and

art world, connecting the art and cultural networks of

performances and film screenings, inviting a line-

enthusiasm of audiences. Breaking away from the cold

Central Asia and Hong Kong like never before. Central

up of curators and artists from Central Asia to have

and abstract political and economic grand landscape

Asia is a region that is rather distant and unfamiliar

conversations with Hong Kong arts and cultural talents,

and throwing ourselves back into the warm and hearty

to Hongkongers, whether they be the general public

and in so doing, building a stronger social network.

communication between people, it is exactly the

or art professionals. Central Asia, as a land-locked

Central Asian artists explored the development and

irreplaceable role and power that textiles—the art form

region, lost its former pivotal position and faded from

potential of arts and culture from the region through the

most closely related to our bodies and our daily lives—

sight when the world shifted its political, economic and

diverse lenses of urban cultural studies, art residencies,

can play.

cultural focus towards maritime countries; Hong Kong,

interdisciplinary collaboration, art markets, collective

as a port city, has always been known as the intersection

filmmaking and techno-queer communities. Their

between the East and West, and this feature coincides

practices demonstrated how, in the long absence of

with Central Asia’s long-standing characteristic as

any government or corporate support, artists can have

a hub of communication and exchange. On the other

spontaneous and enduring expression, mutual support

hand, the issues faced by modern Central Asia—

from each other, as well as humour and creativity,

political and economic pressures, collective trauma

something both rare and precious.

under social transformation, ethnic integration and conflicts, cultural recognition and identity crisis—might

This project also made us realize that, when collective

all resonate with Hong Kong, a post-colonial society.

creation has become a hot topic in the art scene,

12 展覽紀錄片 EXHIBITION DOCUMENTARY

按下播放圖示以觀看展覽記錄片 Click the play button to view the Exhibition Documentary

展場圖片 EXHIBITION VIEW

展覽第一部分

雲與權力

由斯拉夫與韃靼、由宓策展

EXHIBITION VIEW SECTION ONE

CLOUDS AND POWER Co-curated by Slavs & Tatars, You Mi

展覽第一部分

雲與權力

由斯拉夫與韃靼、由宓策展

EXHIBITION VIEW SECTION ONE

CLOUDS AND POWER Co-curated by Slavs & Tatars, You Mi

展覽第二部分

縫線：對紋飾的重新想像由亞歷珊卓 ∙ 崔策展

EXHIBITION VIEW SECTION TWO

SUTURE: REIMAGINING ORNAMENT Curated by Alexandra Tsay

展覽第二部分

縫線：對紋飾的重新想像由亞歷珊卓 ∙ 崔策展

EXHIBITION VIEW SECTION TWO

SUTURE: REIMAGINING ORNAMENT Curated by Alexandra Tsay

策展引言 CURATORIAL STATEMENT

26 雲與權力

斯拉夫與韃靼、由宓 SLAVS AND TATARS, YOU MI

CLOUDS AND POWER 「雲與權力」共展出19組來自藝術家、研究員、設計師

的壯舉，因此最後帶來一種本質上模糊的效果，但卻受到

和女性工匠的作品，同時包括一批文獻資料。展覽從

追捧、令人渴求珍視。展覽的靈感來自於綁染編織中的

傳統的綁染編織技術出發，將中亞的紡織文化作為

「閃爍」，或者說是一種特別的模糊效果：在這種中亞

一種方法，解讀當下這個動盪不安的時代裡各種虛實

傳統的編織品中，其染色線和防染線以數學方式精準

交錯的邊界。策展團隊在共同策劃的過程中，著眼於通過

對齊，創造出圖案，正因為不可能達到完美，其複雜性反而

紡織與工藝品梳理中亞當地、區域以至全球背景下手工藝

導致了一種模糊的效果。這種綁染編織原本在波斯語中

製作背後種種的虛與實。

被稱為「abr-bandi」，意為「繫雲」。站在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

從本質而言，紡織品本就「包羅萬有」── 在生產製作上，

編織向我們提供了另一種想像：在一個「數據織機」裡，

紡織品由眾多緯紗和經紗交錯而成；在宗族系譜上，

一切都在數據化和數字化，而各種顯現、消失和抵抗都在

紡織品是集體知識和技藝的傳承載具。中亞的「ikat」

同時發生。人們常常會把紡織物柔軟的面料與政策中的

則多了一個元素 ── 透過多輪染色從而理解數量、豐度、

軟實力相對應，與之相反的則是編（織）碼過程中的數字

過剩，結果往往達成一種閃爍效果 ── 毛線在編織之前

和數據所代表的硬實力，而「繫雲」，則正是啟發我們去

早已染色，要把這些毛線完美排列，就成了幾乎不可能

質疑這樣的二元對立視角。展覽由全新委託作品、現有

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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。

從本質而言，紡織品本就「包羅萬有」

參展單位包括娜茲・貝格拉利、阿力拜・巴帕諾夫、蘇里 ‧ 杜森比娜、迪利亞拉・凱波娃與 N o o l O din、娜茲利雅 ‧ 納基莫娃、阿斯哈特・阿赫米亞羅夫、

Bringing together works from 19 artists, researchers, designers and craftswomen along with archival materials,

looks to

weaving

, an original Persianate term, the weaving of means ‘to tie clouds’. Seen from the perch of the

early 21st century, in the thick of the information age,

and textiles from Central Asia as a means to better

the cloud-tying of

understand the blurry borders between the illusory and

of data and digitisation as much as one of emergence,

suggests another horizon: one

the real in our current unstable times. The curators

resignation or resistance within the ‘data loom’.

have selected a variety of artworks highlighting textiles and crafts in general to examine the material and

As a metaphor, clouds invite us to question the

discursive nature of craft-making in the local context

binary vision often contained in crafts: the softness

of Central Asia and its regional and global contexts.

of the fabric co-opting with the soft power of policymaking versus the hard power of numbers and data

By their very nature, textiles contain multitudes.

found in coding. The exhibition consists of new

Both in their production—through the weft and warp

commissions, existing works and archives, as artists

of numerous threads—as well as in their genealogy—

consider the ambivalent role of textiles and crafts, as

through the transfer of collective knowledge and skills.

well as historically prized repositories of collective

The

of Central Asia adds a further element—via

multiple rounds of dyeing—to this understanding of

knowledge, whose production often mirrors the technological advances in our digital age.

quantities, of abundance, of excess. What often results is a shimmer effect—as the threads are dyed prior to weaving and perfectly, aligning them becomes a near impossible feat—in essence, a blur, but one which is sought after, coveted and prized. The exhibition takes its inspiration from this ‘shimmer’ (in Russian мерцание) or exceptional blur found in

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

By their very nature, textiles contain multitudes

庫巴拉 ‧ 哈德米、阿奇兹・哈奇拉、蘇里・巴帕諾娃、古扎麗・扎克爾、馬拉・迪爾曼、艾希莎・沙迪諾娃、 705 、瑪迪娜・祖迪比可娃、賈絲古爾・瑪達茲莫娃、古爾娜拉・卡斯馬利耶娃與穆拉特・朱馬利耶夫、庫卡特・帕爾凡・扎德、米迪娜・巴薩格利與卡康婭及哈薩克斯坦共和國中央國家電影、照片及錄音檔案館。策展團隊亦鳴謝尤里亞・索羅金那於策展過程的協助。斯拉夫與韃靼對集體閱讀行為的興趣，可以追溯至他們作為非正式讀書俱樂部成立之初。自 2 0 0 6 年，他們創作了不少雕塑、裝置和聲音作品，這些作品兼作閱讀與反思的空間。在這次展覽中，他們重新探討傳統的土耳其托盤桌，桌腿可拼寫出「文以載道」 4個字，托盤上則用奧斯曼風格蝕刻一系列維吾爾語的水果詞彙。2021 年，他們將 19 世紀末的維吾爾族史詩改編，製作成電影《水果大賽》；另外，由麻省理工學院出版、他們編寫的同名書藉則探索了維吾爾人的文學文化。在這個空間裡，斯拉夫與韃靼亦為觀眾推薦了一批曾為展覽帶來策展思路，能輔助觀眾理解作品的閱讀材料。

Participants in

include Nazzy

contribute to the curatorial process of the exhibition,

Beglari, Alibay Bapanov, Saule Dyussenbina,

in order to provide further historical, literary and

Dilyara Kaipova & NoolOdin, Nazilya Nagimova,

sociological context for the artworks.

Askhat Akhmedyarov, Kubra Khademi, Aziz Hazara, Saule Bapanova, Guzel Zakir, Marat Dilman, Aziza Shadenova, 705, Madina Zholdybekova, Jazgul Madazimova, Gulnara Kasmalieva & Muratbek Djumaliev, Furqat Palvan-Zade, Medina Bazargali and Kokonja, and The Central State Archive of Film, Photo Documents, and Sound Recording of the Republic of Kazakhstan. The curators are also grateful for Yulia Sorokina’s support in the curatorial development.

Slavs and Tatars’ interest in the collective act of reading dates back to their founding as an informal book club. Since 2006, the collective has conceived sculptures, installations, and sound works which double as spaces to read and reflect together. For

, the collective revisits the

traditional Ottoman tray table, the legs of which spell out in Chinese ‘the Calligraphic State’ and on the trays are etched out a series of fruits in the Uighur language. In 2021, Slavs and Tatars produced the film

, based on a late-19th-

century Uighur epic poem. A book of the same name, published by MIT Press, explores the literary culture of the Uyghurs. In this space, Slavs and Tatars has also recommended a list of reading materials, which helped

30 縫線：對紋飾的重新想像

SUTURE: REIMAGINING ORNAMENT 假設我們把紋飾視為一種方法，那麼紋飾會把我們導往

我們致力從歷史、形式、社會文化和批判的角度思考紋飾，

何方？會引發什麼提問？會激起怎樣的想法和感受？

不把紋飾視為自然世界的再現，而是視之為一種載體，能

我凝視著眼前的紋飾地毯，而這幅地毯也凝視著我。

顯現那些驅動和形塑著社會的抽象規律與無形力量。我們

「 Tekemet 」這種自家手製的毛毯，平坦的表面強調了其

視遊牧文化的紋飾為一種語言，向我們述說著所有生命體

物質性、其溫暖的手工毛織。「 Tekemet 」和「 Syrmak」

之間、人與非人之間複雜的互動與溝通。20世紀的政治與

傳統上由婦女為家庭製作或由女工織造，紋飾圖案的豐富

社會變革深刻地影響了中亞傳統紋飾的發展，那些抽象的

線條以自然顏色如白、黑、紅、藍、黃、綠、棕、灰等構成，

視覺元素都體現和回應了當下的權力結構。參展的藝術家

顏色明亮的線條橫越氈面，組織成一片片圖塊，線條邊界

對紋飾的型態和意義展開了全新的探索，藉此揭示在延續

模糊，沉浸氈面之中。這些圖案能傳遞信息、喚起感覺，更會

與斷裂、遺忘和想像之間來回擺盪的複雜世界。

創造空間，而且是多重空間：家居的物理空間、家庭關係與記憶的情感空間、意義的語義空間。

┏

以地毯作為思考對象，能促使我們超越工藝與藝術之間的二元對立，並以批判角度重新思索審美階級制度。於蘇聯

是次展覽「縫線：對紋飾的重新想像」以中亞傳統紋飾為

統治之前，毛毯是遊牧文化的重要元素，既是極端天氣的

出發點，探索紋飾作為一種概念和美學體驗。透過展覽，

庇護之所，亦能抵禦邪靈厄運，不單構成了一種創作

紋飾，代表了所有生物之間親密而有機的連結。紋飾並非一種自然的模型，而是從自然中提取出來的法則。威廉・沃林格

亞歷珊卓・崔 ALEXANDRA TSAY

Ornament represents an intimate organic connection between all living things. It is not a natural model, but the law abstracted from it. Wilhelm Worringer

aesthetic experience. It strives to think about ornament historically, formally, socioculturally and critically.

It sees the lines of ornament not as a representation of the natural world, but as an embodiment of the abstract laws and invisible forces that drive and shape societies. It looks at the ornament of nomadic culture as a language that elucidated the complex system of

Suppose we take ornament as a method: Where will it

interactions and connections between living creatures,

lead us? What questions will it provoke? What thoughts

between human and non-human subjects. The waves of

and feelings can it spark? I am looking at the carpet

political and social transformations profoundly affected

with its ornamentation and the carpet is looking at me.

the journey of traditional ornament throughout the 20th

The flat surface of the

century in Central Asia, making the abstract elements

–– a homemade and

handmade carpet –– emphasises the materiality of the

reflect and respond to the existing power structures.

object, its warm handmade felt.

By rediscovering the form and meaning of ornament,

and

are traditionally made by women for their families, or by

artists of the exhibition unravel the complexity between

craftswomen. Voluminous lines of ornamental patterns

continuity and rupture, between what has been lost and

are composed of natural colours: whites, black, red,

what can be imagined.

blue, yellow, green, brown, grey. Bright lines traverse the surface, organising the compositional blocks. The lines

Thinking with carpets impels us to think beyond

have blurry edges, they are soaked into the ground.

the binary opposition of craft and art and critically

They deliver the message, they evoke sensations.

reconsider aesthetic hierarchies. The felt carpet

They create space and spaces: the physical space of the

was a key element of pre-Soviet nomadic culture.

household, the emotional space of familial relations and

It operated as a shelter from extreme weather;

memory, the semantic space of meanings.

it protected against evil spirits and bad luck; it constituted a form of creative practice and worked

The exhibition

takes

as a means of transferring knowledge and wisdom

Central Asian traditional ornamental production as a

inside families and communities. Forced modernisation

point of departure to explore ornament as a concept and

policies launched by Soviet rule in the 1920 and 1930s

形式，也是一種傳承工具，在家庭和族群內傳遞知識與智慧。1920至1930年代，蘇聯強制推行現代化政策，為中亞帶來了激烈的社會文化改變：遊牧人口定居化、集體化和工業化。產業政策得到文化及意識形態運動的支持：國家文化機構提升了具象油畫的地位，視之為主導的藝術創作形式。社會主義現實主義被賦予了意識形態任務，用來打造新國家和新社會主義主體，而地區的藝術實踐則被歸類為工藝和民間藝術。視覺記錄被分配了不同的時間制度：具象的繪畫用來象徵現代性，而裝飾性的織物、毛氈和工藝則被視為「傳統」實踐。來到近代，藝壇開始致力重建本地的創意遺產、重新改造傳統裝飾品和織物，這些現象均為審美和政治等級制度帶來批判；轉向非現代和「傳統」的藝術取態，亦成為一種用來揭露及質疑當下權力結構的重要工具。紋飾的生產，是由人類對抽象概念的渴望以及對空間的感知所驅動的，那並非只是對特定環境的再現，而是對於

正是這份虛空創造了形式。在補花氈上，圖形與氈面的

與其複製品之間的衝突進行探索。在這個雙頻錄像中，

構成該環境的無形力量與連結，作出一種感性且有意識的

二分法被完全打斷。補花氈的製法是把兩層不同顏色的

藝術家正與屏幕上的對手戰鬥，而在另一個屏幕上，則是

展現。德國藝術史學家威廉・沃林格在其經典著作《抽象與

毛氈互疊，由女工匠切割出圖案裝飾，然後把兩層圖案

其對手與藝術家的數碼複製品彼此戰鬥。布比卡諾娃在此

移情：對藝術風格的心理學研究》就描述了「人類對移情的

併疊，砌成一塊完整圖案：如此一來，一幅裝飾圖案的顏色，

創造了多重空間，探索了主體及其複製品的存在/不存在、

渴望（從而促成具象藝術）」與「人類對抽象概念的渴望」

就會變成另一幅圖案的背景顏色。正反空間之間的張力和

兩個對手之間的戰鬥以及戰鬥的不存在。裝置作品《奇蹟》

之間的區別，而對抽象概念的渴望，是從否定生命的無機

圖形與背景之間對稱複製的張力，形成了補花氈的視覺

則採用了戲劇裝飾的形式，那是一種平面裝飾表面的空間

及非視覺元素之中尋求美，因而在不同文化中激發出抽象

空間。這種飾紋地毯的形式特徵，維持了圖形與背景的

擴展，邀請觀眾踏上旅程、漫步遊走、感受尋找奇蹟的體驗。

藝術創作。毛氈紋飾由幾何、花卉、動物主題和圖案組成，

張力與和諧──兩者總是處於動態關係之中。

透過繪畫形式，她表達了自己對魔法和靈魂之旅的信仰。

連結與無形力量。在「 tekemet 」毛氈上，紋飾線條在

圖形與背景之間的張力，成為了藝術家巴希・布比卡諾娃

對傳統藝術媒介的重新挪用，是古爾努爾・穆卡扎諾娃的

氈面上交錯，然而圖案的構圖節奏卻擾亂了圖形裝飾與

的創作起點，她對於重構飾紋的形式特徵深感興趣。在其

創作核心。她以毛氈和紡織品作為藝術媒介，並利用毛氈

氈面之間的區分。飾線縱橫的氈面，成為了新的圖案 ──

影像作品《傳說》中，她把正反空間之間的關係作為主體

和地毯的傳統工序，創作出大型的藝術裝置。她投身於這種

但這些圖案並不代表自然世界，而是體現了流經自然世界的

brought radical socio-cultural transformations to

urge for abstraction. This second impulse seeks

starting point for Bakhyt Bubikanova, who is interested

Central Asia: sedentarisation of the nomadic population,

beauty in the life-denying inorganic and in non-visible

in reworking formal characteristics of ornament. In the

collectivisation and industrialisation. Industrial policies

elements that inspire abstract creative practices in

video work

were supported by cultural and ideological campaigns;

different cultures. Ornaments of felt carpet consist of

positive and negative spaces as a conflict between

state cultural institutions promoted figurative oil painting

geometric, floral, animalistic motifs and patterns, but

a subject and its mediated reproduction. In the two-

as the dominant creative form. Socialist realism was

they do not represent the natural world, they embody the

channel video the character-artist is fighting with

assigned the ideological task of forming new nations

connections and invisible forces that flow through it.

a rival who is mediated on the screen, while on the

and new socialist subjects, while local artistic practices

other screen it is the rival who is fighting with the digital

were classified as craft and folk art. Visual registers

the felt surface, but the compositional rhythm of the

reproduction of the artist. Creating multiple spaces,

were assigned different temporal regimes: figurative

patterns disrupts the distinction between figure-

Bubikanova is interested in the absence-presence of

painting signified modernity, while ornamental textile,

ornament and ground. Ground intersected by the

the object and its reproduction, in the fight of the two

felt, and craft were considered ‘traditional’ practices.

ornamental line becomes a new pattern. It is an

rivals and the absence of the fight. The installation

Contemporary efforts to re-establish local creative

emptiness that creates form.

an ornamental line is laid out on top of

she explores the relations between

, which takes the form of theatrical decorations,

heritage and rework traditional ornaments and

is an expansion of flat ornamental surfaces in the space.

textile constitute a critique of aesthetic and political

The figure and ground dichotomy is completely

It invites viewers to take a journey, to walk through,

hierarchies. The artistic turn to the non-modern and

interrupted in

to move, to have an experience of searching for

the ‘traditional’ operates as a critical tool to expose

felt of contrasting colours. The craftswoman places

a miracle. Through pictorial forms, the artist manifests

and question existing power structures.

them on top of each other and cuts out the pattern-

her belief in magic and spiritual journeys.

is made of two layers of

ornament. Then the layers are shifted and connected Ornamental production is driven by the human urge

into one piece: the colour of the pattern of one part

The reappropriation of traditional artistic media is at the

to abstraction and the perception of space not as

becomes the ground on the other. The tension between

centre of Gulnur Mukazhanova’s practice. She works

a reproduction of the given environment, but as an

positive and negative space, between figure and ground

with felt and textile and creates large-scale installations

affective and conscious unfolding of the invisible forces

that symmetrically replicate each other, forms the visual

using the traditional process of felt and carpet-making.

and connections that constitute it. German art historian

space of

The artist devotes herself to the durational, tactile

Wilhelm Worringer in his classic text

ornamental carpet sustain the tension and harmony of

practice of felt-making and transforming material into

figure and ground; they are always in dynamic relation.

an object. The traditional medium is an intentional

. The formal characteristics of the

describes the difference between the human urge to empathy that fosters figurative art and the human

artistic choice to convey a critical response to current The tension between figure and ground becomes the

political and social issues in Kazakhstan.

需時漫長的持續觸覺創作，把物料轉化為物件。她刻意選擇

標誌著新階段的開始，需作長時間準備，過程當中充滿不

空間，讓大家分享想法、質疑假設。被稱為「CA 研究組」

毛氈這種傳統物料，藉此表達她對哈薩克政治與社會現況

同儀式。「Naïve」延續了金絲針繡（suzani）的傳統，但從

的參展藝術家和研究員，在論文集《縫線：對紋飾的重新

的批判回應。

傳統的花卉和裝飾圖案轉向為日常生活的圖像和場景。

想像》中發表了他們手上研究項目的發現，亦為展覽製作

女孩和婦女繡上她們的夢想、幸福婚姻的畫面，以及主流

全新委託藝術品。

用以述說痛苦的語言以及文化身份被暴力改變的記憶，

電影中的演員和大眾文化的偶像。「Naïve」刺繡是一種

是阿瑟爾・卡迪哈諾娃長久關注的議題。她透過其家族

許願，是對文化和創意傳統的致敬，是一種藝術表達。

對紋飾的探索，把我們引向核心的邊緣，讓我們得以調轉

故事，反思1929至1940年間蘇聯改變哈薩克字母的歷史：

在烏茲別克文化中，每個人也是藝術家。

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、

到底身體如何承載記憶？歷史如何存儲「缺席」？沉默能夠如何發聲？藝術家透過傳統的繃子繡花針法來揭示身體

紋飾是一個開放的概念，可以引發不同的想法和感受。地毯

編織故事、建立聯繫。紋飾是正與負、圖形與背景之間和

記憶，強調觸覺多於視覺，刻意選擇與畫布同色的線，

製作的過程是一次社群聚會，讓同一個家庭或族群的婦女

諧張力的體現，既是一種視覺符號，也是一種觸覺性的身體

以無色的刺繡象徵「缺席」和「抹消」，而這種觸覺練習

分享她們的故事，透過集體織氈來建立聯繫。她們所創造

練習。展覽中新的紋飾作品，探索著那些不可見的共生與

能夠產生情感的記憶空間。

的連結，以至知識和思想的流動與傳承，為最終完成品

脆弱的依存，它們沉浸於關係的美學中，激發觀者以開放的

（即毛毯）造就意義。在這次展覽的框架內，我們亦須透過

態度面對他人與危機四伏的當下。

耶列娜・弗若巴耶娃以個人的照片檔案作為切入點，探索私人與公共領域。她常與丈夫維克托・弗若巴耶夫以組合形式創作，在這個作品，她收集了自己的黑白舊照 ── 這些照片是在蘇聯時期應國家要求為官方用途而拍，一般公民需以這些照片來申請證件和領取身份證。藝術家利用自己的照片編制成裝飾結構，再加入墨水筆觸和曲線等小型圖像元素。她認為國家對群眾的操縱，猶如把私人的個人裝飾轉移至社會結構中的過程；其必要的藝術加工，則為這種國家規定的標準照片添上一絲幽默與活潑。攝影師烏米達・阿赫梅多娃長年收集一種她稱之為「Naïve」（天真）的刺繡紡織品，這些珍藏促成了她的攝影系列《人與他們的聖物》。在烏茲別克悠久而豐富的刺繡傳統中，有為女性的嫁妝和婚禮製作紡織品的習俗，而「Naïve」是這一傳統的變體。婚禮是女性的人生大事，

探索和藝術創作的過程，創造出一個彼此互動與連結的

The language of pain and memory of violent change

structure. Meanwhile, her necessary artistic additions

created and the flow and transfer of knowledge and

of cultural identity is a long-term interest of Asel

spark humour and liveliness in the standard state-

ideas supported the significance of the final object,

Kadyrkhanova. She reflects on the history of how

mandated photographs.

the carpet. In the framework of the current exhibition, it was vital to rely on the process of exploration and

alphabets changed in Soviet Kazakhstan from 1929 to 1940 through connections with her familial story.

A personal collection of embroidered textile pieces

art-making, to create a space of interactions and

How does the body carry memory? How does history

that photographer Umida Akhmedova called

connections, to share ideas and question assumptions.

store absence? How does silence speak? The artist

brought her to the photographic project

Participating artists and researchers of so-called

Central Asia research group delivered the findings

relies on the act of embroidery by traditional tambour

is a variation of the long

stitch to reveal the memory of the body. She emphasises

and rich Uzbek tradition of embroidering textile pieces

of their ongoing research projects in the published

haptic and tactile over visual and chooses thread of

for a woman’s dowry and for a wedding ceremony.

collective volume of essays

the same colour as the canvas. Colourless embroidery

A wedding, as one of the most important events in

signifies absence and erasure; haptic practice produces

a woman’s life, marks the beginning of a new stage

an affective space of memory.

in life, requires long preparation, and is surrounded by numerous rituals.

continues a tradition of

, but it moves from traditional

along with new art objects commissioned for the exhibition.

The journey with ornament brings us to the pivotal

A personal photographic archive opens the exploration

embroidered

margins and allows us to change perspectives,

of private and public in the project by Yelena

floristic and ornamental patterns to pictures and

to see not autonomous subjects, but the system of

Vorobyova, who usually works with her partner Viktor

scenes of everyday life. Girls and women embroidered

interactions between them, to emphasise the process

Vorobyov. She gathers old black and white photos

their dreams, scenes of happy marriages, along with

of making –– making objects, dreams, stories and

of herself taken during the Soviet period for official

actors and actresses from popular movies and icons

connections. Ornament is a harmonious tension

purposes by the state’s demand: regular citizens

of mass culture.

embroidery is wish-making, a

between positive and negative spaces, between figure

needed them to apply for documents and to receive an

tribute to a cultural and creative tradition, an artistic

and ground. It is both a visual mark and a haptic bodily

identity card.

expression. Everybody was an artist in Uzbek culture.

practice. New ornamental objects explore the ambiguity of invisible connections and fragile co-dependency.

The artist compiles ornamental structures with

Ornament is an open concept that invites a different

They dwell upon the aesthetics of mutuality that

pictures of herself adding small graphic elements

kind of thinking and feeling. The process of carpet-

provokes their beholders to stay open for others and

like ink strokes and curves. Vorobyova refers to the

making was a community gathering, when women

for the troubled present.

manipulation of the masses by the state as a process

of a family or a community shared stories and made

of ornamentation of private individuals into a social

connections over collective felting. The bonds they

36 展覽作品 EXHIBITING WORKS

雲與權力 CLOUDS AND POWER

38 娜茲・貝格拉利是一位時裝設計師兼記者，作品

Nazzy Beglari is a fashion designer and journalist

深受其多元文化背景所影響。她在德黑蘭長大，

whose work has been strongly influenced by her

來自伊朗、阿塞拜疆和格魯吉亞人組成的多元文化

multicultural background. Growing up in Tehran

家庭，自小接觸到祖母收藏的復古綁染外衣、金絲

in a family of Iranian, Azerbaijani and Georgian

針繡（suzani）床罩和各種稀有紡織品。她於1979年

descent, Nazzy was exposed to her grandmother’s

離開伊朗，前往美國修讀新聞學，並成為報導衝突

collection of vintage

地區新聞的資深國際記者，之後在阿布扎比的

and rare textiles. She left Iran in 1979 and

CNN和《時尚芭莎中東藝術》（Harper’s Bazaar

moved to the US, where she studied journalism

Art Middle East）擔任自由撰稿人。她把自己對

and eventually became a senior international

織物的熱愛轉化為合乎道德的慢時尚業務，

correspondent covering conflict zones. She later

其設計的長袍源自亞洲的束腰外衣，反映她的

freelanced for CNN in Abu Dhabi and for

跨文化人生之旅，以及大中亞的多元物質文化。

coats,

bedspreads

. 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.

2011

Paranjan上有線繡圖案。背面是手織印度生絲綁染

天鵝絨、絲綢

織物。刺繡靈感來自莫臥兒（Moghul）的設計。 Hand-loomed tie-dye velvet Uzbek on traditional Uzbek loomed tie-dye Indian raw silk

《娜茲002》

手織綁染天鵝絨烏茲別克織物。傳統烏茲別克長袍

132 厘米長

. Thread embroidery 2011

robes. The reverse side is hand-

Velvet, silk

. Embroidery is inspired by

132 cm long

Moghul designs.

《娜茲001》

手織綁染復古天鵝絨烏茲別克織物與手工刺繡，結合

2019

手織泰國絲綢綁染織物，飾有古董印度 Pachampali

天鵝絨、絲綢 132 厘米長

綁染織物。 Hand-loomed tie-dye vintage velvet Uzbek

2019 Velvet, silk 132 cm long

with hand

embroidery. The reverse side is hand-loomed tie-dye Thai silk

adorned with antique Indian Pachampali

《娜茲004》

手織綁染天鵝絨烏茲別克織物。結合手織絲綢和棉質

2021

綁染織物。正面衣邊的刺繡靈感來自傳統烏茲別克長袍

絲綢及棉 132 厘米長

Paranjan的襯裡。

Hand-loomed tie-dye velvet Uzbek tie-dyed handloomed silk and cotton

. The reverse side is

2021

. The embroidery on

Silk and cotton

the front border is inspired by the lining of traditional Uzbek

132 cm long

robes.

《娜茲003》 2021 天鵝絨、絲綢及棉

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。

132 厘米長

Hand-loomed tie-dye silk kaftan; the kaftan reverse is 2021 Velvet, silk and cotton 132 cm long

Almond-shaped handloomed tie-dye silk and cotton Uzbek . Hand embroidery on the pocket.

《娜茲005》 2019 絲綢及棉

132 厘米長

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 The

‘adras’.

on the reverse of the kaftan is hand-loomed

tie-dye silk and cotton Uzbek are hand embroidered.

‘adras’. The pockets

42 阿力拜・巴帕諾夫在哈薩克掛毯編織界享負盛名，

Alibay Bapanov is a well-known figure in

The spiral is a common mythological genesis

他是一名出身於學術界傳統的偉大藝術家，現在

tapestry-weaving in Kazakhstan. Trained as

story of various Turkic cultures.

仍於藝術學院擔任掛毯製作的教授，長期以來一直

a monumental artist in the academic tradition

integrates the spiral with other natural elements

實驗各種構圖和技術，例如「Tekemet」（一種壓製

and a professor of tapestry-making at the

and

羊毛纖維的傳統製氈方法）。其大尺度的作品

Academy of Art, he has long experimented with

небом) shows a woven sky and clouds in an open

呈現出生動的趣味。今次他於 CHAT六廠展示的

compositions and techniques such as

sky within knots of interlaced ornaments.

精選作品營造出沉浸式的裝置體驗，令觀眾置身於

(the traditional felt-making technique which is

中亞的紡織傳統之中。他的作品受到中亞遊牧

produced by pressing wool fibres together).

文化所啟發，經常出現神話生物、奇異風景以及

His works take a playful approach to the scales.

象徵性的裝飾物。作品《母狼》以動物身體的條紋

The works presented in the space at CHAT

螺旋形狀出現，而螺旋是各種突厥文化的常見

creates an immersive installation in the textile

創世神話故事。《神話》將螺旋與其他自然元素

traditions of Central Asia. Inspired by the

結合，《與天堂的對話》則在交錯的飾結之中呈現了

nomadic culture of the region, Bapanov’s

編織的天空與雲彩。

compositions often refer to mythological creatures, fantastic landscapes, and symbolic ornaments. In the work,

appears in the

shape of a streaked spiral, the body of an animal.

(Миф)

(Разговор с

《母狼》 2010 羊毛 158 x 175 厘米

2010 Wool 158 x 175 cm

《神話 (Миф) 》 2010 羊毛 160 x 150 厘米

(Миф) 2010 Wool 160 x 150 cm

《與天堂的對話 (Разговор с небом) 》 2020 羊毛 327 x 158 厘米

(Разговор с небом) 2020 Wool 327 x 158 cm

46 蘇里・杜森比娜的牆紙以拼貼形式結合了俄羅斯

Saule Dyussenbina’s wallpaper combines in a

The Friendship of Peoples Fountain is a

兩座不同的紀念建築：國民經濟成就展和民族

collage style two distinct monuments located

monument of 16 statues that represent the

友誼噴泉。國民經濟成就展是莫斯科最大的展覽

in Russia: The Exhibition of Achievements

constituent nations of the former Soviet Union.

綜合體和遊樂園（始建於 1939年），是全球最大的

of the National Economy and the Friendship

Each bronze- and gold-plated maiden wears

50個展覽中心之一，乃蘇聯時代的紀念性建築，亦

of Peoples Fountain. The Exhibition of

the national dress of their country. The main

是不同時期建築潮流的典型代表。這個地標在不同

Achievements of the National Economy is the

objective of the fountain was to present the

時期也需附帶某些宣傳口號——蘇聯成功勝利、民族

largest exhibition complex and amusement

idea of national unity to the Soviet people

友誼、戰勝敵人、蘇聯國家團結。民族友誼噴泉共有

park in Moscow (construction began in 1939)

and the world. The symbol of the friendship of

1 6 座雕像，各代表前蘇聯的 1 6 個成員國，每座

and one of the 50 largest exhibition centres in

peoples turned out to be a utopia, like the entire

青銅鍍金的少女雕像身穿各成員國的民族服裝。

the world. It is a monument of the Soviet era

communist project, predatory and colonial,

這座噴泉的主要目的是向蘇聯人民和世界展示

and a characteristic example of architectural

and, as time shows, turned into a tragedy

民族團結的思想。民族友誼的象徵最終只是一個

trends that dominated at different times.

and the loss of their own identity for many

烏托邦，就像整個共產主義計劃一樣，具有掠奪性

At various times, it was supposed to carry

peoples. Dyussenbina reflects on the Soviet

和殖民性，而且慢慢演變成一場悲劇，令許多民族

a certain propaganda slogan –– the triumph

past through the symbolism and meanings of

喪失了自己的身份。藝術家透過公共紀念性建築的

of the success of the USSR, the friendship of

public monuments. She creates patterns which

象徵和意義來反思蘇聯的過去，其創造的圖案

peoples, the victory over the enemy, and unity

challenge optical perception and provoke

挑戰視覺感知，發人深省。

of Soviet nations.

thoughtful contemplation.

《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

2023 Prints on white wallpaper 650 x 310 cm

48 這三幅屏幕展示的節錄影片，來自哈薩克斯坦

The three screens show extracts of videos

共和國中央國家電影、照片及錄音檔案館的

from archives that are part of the collection of

檔案館藏。

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

在第一幅屏幕上，觀眾會看到遊牧生活方式的不同

Republic of Kazakhstan.

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

On the first monitor, the audience glimpses

藏品，這間美術館保存了哈薩克重要的紡織品和

aspects of the nomadic lifestyle, specifically

著名藝術家的藏品。這條影片把工藝品從製作到

carpet and felt-making. At the end of the video, a

保存過程連結起來，亦呈現了中亞文化中神話符號

woman visits Kasteev Museum in Almaty, which

的延續 ── 從地毯上模糊的氈製圖案，可看到一些

preserves an important collection of textiles and

和宇宙信仰相關的動物形象。

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.

第二段影片記錄了哈薩克歷史中的慘痛段落。塞米巴拉

The second video documents a more sorrowful

The third monitor introduces another aspect of

金斯克基地又被稱為「多邊形區」，座落在塞米巴拉金斯克

chapter of Kazakhstan’s history. The Semipalatinsk

the culture of Kazakhstan and the transition of

（現名塞米伊）以西僅150公里，曾是蘇聯主要的核武器

test site, also known as ‘The Polygon’, located only

textile making from nomadic culture to industrial

試驗基地。於1949至1989年間，蘇聯漠視核武對當地

150 km west of the town of Semipalatinsk, was the

production. It brings the viewer on a journey through

人民和環境的影響，進行了約456次核試。據哈薩克

primary location for Soviet nuclear weapon tests.

the city of Almaty, its shopping malls developed

專家稱，當時每年有150萬人暴露於放射性塵埃之中。

From 1949 to 1989, the Soviet Union conducted

for consumer culture in the 1980s, alternating with

原爆所產生的蕈狀雲為該區的土壤和水源帶來輻射

about 456 nuclear tests with little regard for

glimpses of the weaving industry.

污染，釀成嚴重的生態災難，直到現在俄羅斯當局依然

their effect on the local people and environment.

拒絕承認這一點。

According to Kazakh experts, these tests exposed 1.5 million people to fallout during that time. The

第三幅屏幕的影片帶來哈薩克文化的另一面向，以及

atomic clouds have highly irradiated the area,

紡織品的製造如何從遊牧文化轉型至工業生產。影片

contaminating its soil and water, creating an

帶觀眾漫步於阿拉木圖市，市內為1980年代的消費文化

ecological disaster which Russian authorities today

而開發的購物中心，與織造業的畫面交替出現。

still refuse to acknowledge.

50 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

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

52 迪利亞拉・凱波娃以卡夫坦長袍作為一種藝術

In her practice, Dilyara Kaipova uses kaftans as a

Today, it is still promoted as the main ingredient

手段，藉此表達她對於全球化影響價值觀和

means to create a statement about globalization

for ‘true’ Uzbek cuisine. Its production has

國族身份的看法。卡夫坦長袍以 Abr 阿布拉織物

and its impact on values and national identity.

been very profitable. Cotton harvests were

製成，是中亞的一種傳統外衣，也是烏茲別克

The kaftan is a traditional Central Asian tunic

constant and increased rapidly over decades.

的傳統服飾。這次展覽展出的兩件委託新作，

produced by using handmade abr fabrics. The

Cottonseeds were considered a wasteful

均來自其長期項目《棉花之路計劃》。在項目中，

textiles are subsequently sewn into traditional

by-product. The oil was produced using a cold

她繪製了烏茲別克公共空間中棉球的表現形式，

items of Uzbek clothing. The exhibition shows

press and became ubiquitous throughout the

追溯「棉」是如何無處不在 ── 蘇聯政權把「棉」

two new pieces commissioned for

country, and was also considered a medicine.

廣泛宣傳為一種高度評價的單一作物。她的

. They are part of her long-term project

《民族烏茲別克長袍 ──「棉籽油」》展示了棉籽油

. In this project, Kaipova

poisonous compounds and had a repulsive

如何長期取代烏茲別克所有其他植物油，而且時至

maps the representation of cotton bulbs in

smell. Heated for a long period, the oil would

今日仍被宣傳為烹飪「真正」烏茲別克菜式的主要

public spaces in Uzbekistan. She traces the

produce acrid smoke which resulted in making

材料。生產棉籽油相當有利可圖，事實上棉花的收成

omnipresence of the motif, which was highly

the oil unpalatable.

很穩定，更在幾十年間迅速增長，而棉花種子則被

promoted by Soviet authorities as an esteemed

視為浪費的副產品。棉籽油經冷壓生產並在全國

monoculture. Her

銷售，也被當作藥物使用。然而，作為一種未經精製

shows how for a long time

的產品，棉籽油卻含有毒化合物，並散發令人厭惡

cottonseed oil supplanted all other vegetable oils

的氣味。長時間加熱後，棉籽油會產生刺鼻的煙，

available in Uzbekistan.

從而令油變得不可口。

However, as an unrefined product, it contained

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。 Remarks:

fabric refers to handmade

The traditional name of the fabric is

fabric. .

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《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

Dilyara Kaipova and Noolodin, in collaboration with artisans from the city of Margilan, Fergana Valley, Uzbekistan

2022 Handmade abr

fabric, silk (60%) and cotton (40%)

123 x 190 cm Commissioned by CHAT

54 烏茲別克斯坦傳統手工綁染 Abr 織物的圖案是透過染線

The patterns of the fabric abr (

的排列技法而織成的，布料的傳統名稱是adras，做法是

methodically sequencing reserves of dyeing thread.

decorating minarets and the arched architecture

把需要染色的位置先綁起來，然後把布浸入染料中，

The traditional name of the fabric is

of madrasas and mosques in Uzbekistan. She also

令綁起的部份不會吸收染料。這種染法最重要的步驟，

to be dyed is first tied up and then immersed in a vat

questions the reforms that have gradually transformed

是在染布前先估算所需的染線數量，這會決定之後織出

of dye so it doesn’t absorb it completely. The most

the Uzbek language from the Arabic script,

怎樣的圖案，這技法與數碼領域的編碼技術十分近似。

important thing is to evaluate the number of threads

then Yanalif using the Latin alphabet, and Cyrillic,

迪利亞拉・凱波娃編織的長袍「棉」（Paxta）將古代與

so as to determine how the pattern is to be woven.

before transitioning once again to the Latin alphabet.

現今的知識傳播方法互相對照。此外，綁染 Abr 織物在

In a similar way to digital coding, Dilyara Kaipova’s

Kaipova’s work informs the potential of combining

波斯語中的意思是「雲」，也令人想起數據編織。這幅

woven kaftan ‘Paxta’ draws a parallel between ancient

two temporal technologies.

白色圖案首先由程式設計師 NoolOdin 開發的三元數字

and new methods of transmitting knowledge.

系統（即三進制代碼）基於詞語「 Paxta 」（烏茲別克語

Abr

「棉」的意思）而生成，再轉換成 0、1 及 -1 位數的重複

the data loom. The white pattern is first generated via

序列（共 23位數），之後以三種不同的視覺元素（如

a ternary numeral system (i.e. trinary code) developed

水平線「 – 」）來取代 0 、1 及 -1 位數。這三種不同類型

by programmer NoolOdin based on the word ‘Paxta’,

的線條合併成單一的視覺形式，衍生成看上去白色的

which means ‘cotton’ in Uzbek. It is converted into

圖案，令人聯想起阿拉伯字母「庫法體」（Kufic）。在此，

a sequence of repetition using 0, 1, -1 digits (23 digits

迪利亞拉・凱波娃繼續搜集於烏茲別克無處不在的棉花

in total). The 0, 1 and -1 digits are then replaced by

象徵。在烏茲別克，庫法體出現在裝飾尖塔的馬賽克、

three distinct visual elements, such as dashes.

伊斯蘭教學校和清真寺的拱形建築中；與此同時，藝術

These three types of lines merge into a single visual

家對於烏茲別克的文字改革提出質疑 ──烏茲別克語言

form, which is seen as a white pattern reminiscent

先從阿拉伯文字變為拉丁文的亞納利夫字母，再被西里爾

of Arabic Kufic script. Here, Kaipova continues to

字母所取代，然後過渡至現今的拉丁字母。藝術家的作品

collect the omnipresent representations of cotton

揭示了兩種不同時間性的技術互相結合的潛力。

) are created by

. The fabric

in Uzbekistan. The script is recognisable in mosaics

also means ‘cloud’ in Persian, which evokes

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。 Remarks:

fabric refers to handmade

The traditional name of the fabric is

fabric. .

迪利亞拉・凱波娃與 NoolOdin，與烏茲別克

Dilyara Kaipova and Noolodin, in collaboration with artisans

費爾干納盆地馬爾吉蘭的工匠合作

from the city of Margilan, Fergana Valley, Uzbekistan

《民族烏茲別克長袍 ──「棉」》（《棉花之路計劃》系列） 2022

2022

手工綁染Abr織物，60%真絲、40%棉

Handmade abr

123 x 190 厘米

123 x 190 cm

CHAT六廠委託作品

Commissioned by CHAT

fabric, silk (60%) and cotton (40%)

《棉花之路計劃》 2022

2022

手工地毯、羊毛和棉

Handmade carpet, wool and cotton,

205 x 132 厘米

205 x 132 cm

擴增實境（AR）應用：zappar.com

AR application: zappar.com

地毯工匠：比比古爾、祖萊霍

Carpet makers: Bibigul and Zulayho

影片製作：帖木兒‧卡爾波夫

Video: Timur Karpov

57 這幅地毯圖案重現了1995年於莫斯科出版的《烏茲別克

The carpet pattern reproduces a ceiling mural

民間藝術》一書所描繪的天花壁畫。木製排版的天花裝飾

depicted in the book

壁畫，是最古老的烏茲別克民間藝術之一，現正逐漸

in Moscow in 1995. Decorative woodcut ceiling murals

失傳，然而在蘇聯時期，這種傳統紋飾混合了紅星與

are one of the oldest examples of Uzbek folk art,

白色棉球的符號，形成一種獨特風格。自此，棉花的圖像在

now fast disappearing. However, during Soviet times

烏茲別克無處不在，出現於日常餐具、傳統陶瓷、紡織品、

the traditional ornamentation was mixed with symbols

室內裝飾以及建築、馬賽克和壁畫上。到了20世紀末，

such as red stars and white cotton bolls, creating

烏茲別克的單一棉花種植，導致土壤和水源過度開發，

a distinctive style. Since then, images of cotton have

釀成環境災難，鹹海乾涸就是其中一個矚目例子。

been ubiquitous in Uzbekistan: on everyday tableware

, published

and traditional ceramics, textiles, in interior design in 在1960年代曾經有句口號：「金手種白金」，後來演變成

architecture, and on mosaics and murals. By the end

are poisonous to inhale. Though in recent years there

「白金是由黑勞所種」。採棉工人需要長時間彎腰工作，

of the 20th century, Uzbekistan’s cotton monoculture

has been a decrease in overexploitation, the rueful

而且棉桃帶著尖銳的刺，會令工人的手傷痕累累。此外，

had led to an environmental disaster due to the

collective memory of many generations of Uzbeks

田地經過化學處理，微粒連同塵埃吸入體內會致毒。

overexploitation of soil and water. The dried-up

remains, the main symbol of which is the snow-white,

即使近年已經減少過度開發，然而許多代人的集體傷痛

Aral Sea is one of the most striking results of this.

fluffy cotton boll.

A slogan of the 1960s ‘Golden hands grow white gold’

The work by Dilyara Kaipova transforms the ceiling

later became ‘White gold is grown by black labour’.

mural into a carpet pattern: a place on a cotton field

迪利亞拉・凱波娃的作品將天花板裝飾改成地毯圖案：

Cotton pickers work long hours in a crouched posture;

where people are laboriously picking cotton by hand.

在棉花田上的某處，工人正在疲累地以手採摘棉花。

the cotton bolls have sharp spikes, which can lead to

The video, activated by pointing the tablet’s camera

影片透過預裝的AR應用程式來啟動，將平板電腦的鏡頭

multiple hand wounds. In addition, chemicals are used

at the carpet through a pre-installed AR app, shows

對準地毯，就會出現烏茲別克棉田上採棉工人的影像。

on the fields, particles of which, together with dust,

pickers in a cotton field in Uzbekistan.

記憶猶新，而這份記憶的主要標誌，就是雪白蓬鬆的棉桃。

58 娜茲利雅・納基莫娃的系列作品以羊毛氈為創作

Nazilya Nagimova’s series of works is directly

of the wall. Various coloured woollen fabrics

材料，靈感啟發自這種物料的特性和觸感。羊毛氈

inspired by the characteristics and tactility

are assembled to create specific geometrical

是中亞的傳統織物，其做法是先透過澆水或加熱，

of the materials she uses to create them: felt.

patterns. Unlike in traditional pieces,

把羊毛或其他合適的布料軋平和壓實，然後將

The fabric, a traditional material of Central

the back of the felt piece is visible.

織物纖維融合在一起。藝術家用的是名為 Ala Kiyiz

Asia, is produced by rolling and pressuring

Traditionally, patterns represent elements

的製法：圖案被直接裹進羊毛氈的底層，而非縫合

wool or another suitable textile by applying

of the nature surrounding the nomadic

在一起。羊毛氈可製作出一幅平坦的織物，所以通常

water, or heat with an aim of matting together

culture, but also references to cosmological

用來製作地毯。內吉莫娃對這種材料的阻力深感

the fibres of the materials. The artist uses the

beliefs. The series makes reference to both a

technique, of which the patterns are

traditional ancestral practice and a modern

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

wrapped directly into the felt base and not

vision of the fabric. The geometric colours

不同顏色的羊毛織物組合成為特定的幾何圖案。

sewn together. Felt production usually aims to

overlap with different variations that are no

與傳統作品不同，觀眾可以見到她作品的背面。

create a flat surface, often a carpet. In these

longer arranged in a linear fashion.

傳統上，毛氈圖案通常圍繞遊牧文化的自然元素及

works, Nagimova is interested in the resistance

宇宙觀。這個系列引用了傳統的祖傳習俗和織物的

of the material. Folding and bending the felt,

現代視野，幾何顏色以不同方式重疊，不再以線性

she transforms its initial meaning by creating

排列。

sculptural elements that shape bas-reliefs out

60 《蛻變》《四個天空》《我們的路永遠不會相交》 2022 羊毛氈及草本染料，三聯畫尺寸可變

61 2022 Felt, herbal dyes, triptych Dimensions variable

62 阿赫米亞羅夫的影像紀錄片《讓我們拯救博茲拉》

關注生態危機。他選擇薩滿意象，是為了展示對

片長11分鐘，展示了抵抗的藝術以及藝術家為集體

「騰格里」（Tengri）的堅定信仰。騰格里是民族

生態價值而進行的鬥爭。蘇聯解體後，許多國家都

和古老突厥 — 蒙古的宗教，起源於歐亞大草原，

變成了寡頭社會；2021年，哈薩克西部的博茲拉

以民間薩滿教和萬物有靈論為基礎，常以天空之神

自然保護區成為遊客聖地，亦引來該國統治家族的

騰格里為中心，曾是前伊斯蘭時期中亞草原的主要

覬覦。權貴菁英繞過法律，打算佔用這片神聖之地，

信仰。薩滿作為祭司，是社會階級中的關鍵人物，

並在保護區附近興建一座五星級酒店。這個影像

被信奉為現實世界與屬靈世界之間的溝通管道。

作品展示了藝術家在自然保護區內敲擊「doyre」，

然而在這裡，薩滿衣著的裝飾物卻被螺帽和螺栓

即一種背面帶有金屬環的鼓，最後一名警察制止了

所取代，呈現了工業社會的轉型以及人類對靈性與

表演，並要求把藝術家帶返警署。這位藝術家體現了

工藝感知的影響。

薩滿的意志，召喚中亞社會的古老信仰來吸引大家

《讓我們拯救博茲拉》 2021 錄像 11’00”

2021 Video 11’00”

Akhmedyarov’s 11-minute video documentary illustrates the art of

Central Asian society to create an awareness of ecological crisis. The choice to address

resistance and the artist’s struggle for

the shaman imaginary shows the persistent

collective ecological values. Following the

belief in

collapse of the Soviet Union, many countries

Mongolic religion originating in the Eurasian

have seen the rise of oligarchical societies.

steppes, based on folk shamanism, animism

By 2021, the Bozzhira nature reserve in western

and generally centred around the titular sky

Kazakhstan was an attraction for both tourists

god

and the country’s voracious ruling family.

steppe in Central Asia. The shaman, as a priest,

Bypassing laws, the ruling elite decided to

occupied a key position in the hierarchy of

appropriate the sacred landscape and build

society. In the beliefs of the people he was the

a 5-star hotel near the reserve. The video

conduit between the real world and the mythical

shows the artist hitting on a

world of spirits. However, here, the ornaments

, a drum with

(an ethnic and old state Turko-

) that dominated the pre-Islamic

metallic rings in the back, on the site of the

of the shaman costume have been replaced with

natural reserve. His performance is stopped

nuts and bolts, which shows the transformation

by a policeman who asks him to accompany

into an industrial society and the impact on

him to the station. Embodying shaman

human perception of spirituality and craft.

characters, the artist summons old beliefs of

阿赫米亞羅夫的創作靈感經常來自塑造當代哈薩克的

價格管制，引起大型的示威行動。示威人士在行動中

生態變化和社會轉變，而藝術家本人亦長期從事環保

被投擲手榴彈，現場充滿濃霧和毒雲。阿赫米亞羅夫

行動。《霧裡的人》系列以火藥燃燒織物表面來作畫。

作為時代的見證人，分享了自己目擊這個時代的重要

織物共有兩層，燃燒表層之後就會顯露第二層的裝飾

證詞，同時回溯他人生中看到的各種急遽變化。這位行動

物，那是來自阿拉木圖市集的紡織品。這個對比以隱喻

主義藝術家利用織物塑造出看似政治宣傳的橫幅，

呈現，透過揭露表層的做法，寓意真實故事無法一眼看透，

在此訴求社會公義與引起關注，希望以此更為了解230名

或是隱藏在厚厚的政治謎團 ──迷霧之中。在此，藝術家

手無寸鐵的抗議者被開槍鎮壓的創傷經歷。這些橫幅

回憶起阿拉木圖的示威場面（事件又稱為「血腥一月」或

提出了對藝術家身份和社會責任的疑問，亦引領觀眾

Qandy qañtar），當時液化石油氣價格突然飆升，政府取消

反思同樣問題。

《霧裡的人》

As is often the case, Askhat Akhmedyarov takes his

which followed a sudden sharp increase in LPG prices

inspiration from the ecological and social changes

and the lifting of the government enforced price

128 x 80 厘米、128 x 80 厘米、

that shape contemporary Kazakhstan. The artist has

ceilings. During the demonstrations, tear gas grenades

133 x 94 厘米、130 x 83 厘米

long been engaged in environmental activism. The

were launched at protestors, producing a heavy toxic

series

fog and cloud. A witness of his time, Akhmedyarov

2022 橫幅織物，一組4幅

2022 Textile banners, a set of 4 128 x 80 cm, 128 x 80 cm, 133 x 94 cm, 130 x 83 cm

creates drawings by burning

with gunpowder the surface of a textile. Compiling

shares important testimonies while remembering the

two layers, the action of burning reveals the ornament

rapid changes he has seen during his life. Using textiles

of the second textile, which has been sourced in

to shape seemingly political banners, the artist-activist

the bazaars of Almaty. The contrast approaches in

here claims for justice and awareness in order to

a metaphorical way, through the action of revealing

understand the traumatic experiences prompted by

the true stories that cannot be perceived at first

security forces shooting at 230 unarmed protestors.

sight, or made invisible under a thick layer of political

The banners raised the question of an artist’s position

mysteries: a fog. Here, the artist also recalls some

and responsibility within the society he/she lives while

glimpses of mass demonstrations in Almaty in January

calling to ask ourselves the same question.

2022 (known as Bloody January or

)

66 庫巴拉・哈德米在今次展覽的作品，嘗試透過中亞

各個女性幫助動物分娩的畫面：她們或蹲或躺或站，

Kubra Khademi’s works in this exhibition offer

文化中的不同脈絡和鬥爭來處理中亞文化。她在藝術

將駱駝和雞帶到這個世界，而這些都是藝術家的故鄉

the opportunity to tackle culture in Central Asia

創作中經常使用不同的技術（畫作、織物、演出）來

阿富汗主要馴養的動物。哈德米將之與女性的待遇

through its various contexts and struggles.

描繪塔利班 2021 年掌權後不斷惡化的阿富汗婦女

互作對照，藉此喚起關注：女性被降格成「生育

Khademi uses different techniques (drawings,

狀況，其描繪的女性往往渴望爭鬥、反抗，突顯出具

機器」，生育能力被看成她們的最大價值，而這種

textiles, performances) to depict the condition

力量的存在。在不同的環境下，「出生」或「分娩」在

情況在世界各地依然存在。在動物輪廓上描繪的

of women in Afghanistan, which has deteriorated

她的作品中均扮演著重要的角色。出生於有9個孩子

文字，選自於13世紀詩人魯米的詩歌，魯米的出生地

since the Taliban took over the whole country in

的家庭，卡德米憶說她的任務就是結婚生子。而系列

據傳為現今的阿富汗。在此，藝術家描述了在她童年

2021. The women Khademi represents are often

作品《分娩》（2020 -）中的兩幅水粉畫，主要表現了

時代母親常說的故事，以及阿富汗的波斯遺產。

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 (2020 -) show individual women giving birth to

67 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 13th century 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.

《分娩#04》 2021 混合媒體、布面刺繡和絲印 200 × 150 厘米藝術家和Galerie Eric Mouchet提供

2021 Mixed media, embroidery and silk print on tissue 200 x 150 cm Courtesy of the artist and Galerie Eric Mouchet

《分娩#03》 2021

2021

混合媒體、布面刺繡和絲印

Mixed media, embroidery and silk print on tissue

200 × 150 厘米

200 x 150 cm

藝術家和Galerie Eric Mouchet提供

Courtesy of the artist and Galerie Eric Mouchet

70 阿奇茲・哈奇拉的創作涵蓋攝影、裝置和錄像，作品

就好像攝影機與拍攝對象之間的空間關係：人際

主要關注阿富汗的政治和社會狀況，以及蘇聯和

距離學。在畫面的背景中，我們可以看到一個美國

美國先後佔據阿富汗所留下的痕跡。展覽中的影像

監視氣球慢慢消失於地平線上。藝術家以聲音作為

作品《塔基爾》展示了2021年塔利班奪權不久後的

錄像作品的核心 ── 在他的影片作品中，聲音往往

喀布爾市夜空。從遠處的固定角度拍過去，在看不見

擔當記憶的載體，有時作為一個額外的、看不見的

的運鏡技巧中，光線漸漸模糊，而鏡頭卻仍嘗試

角色。真主至大（Allāhu Akbar）的呼聲響徹全城，

聚焦於黑暗天空中一些閃爍的光錐上。具有爭議

這句誦辭既用於日常的祈禱或戰爭時的吶喊，但亦可

的是，如無人機這樣的戰爭武器帶來了戰爭的

表達喜悅、悲傷或擔憂。在政治局勢緊張與幻想

不對等，同時與被攻擊的平民目標拉開了距離，

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。

《塔基爾》 2022

2022

單屏錄像、5.1 環繞立體聲

Single channel digital video, 5.1 surround sound

9’58”

之間藝術影像基金會委託作品

Commissioned and produced by Fondazione Between Art Film

藝術家及Experimenter畫廊提供

Courtesy of the artist and Experimenter gallery

Aziz Hazara’s practice spans photography,

slowly fade into the horizon. The artist places

installation and videos. His works are concerned

sound at the centre of the video work. It operates

with the political and social situation of

as a vector of memory in Hazara’s videos, and

Afghanistan and the vestiges of the successive

sometimes as an additional, invisible character.

Soviet and US occupations of Afghanistan.

The cry ‘Allāhu Akba’ (‘God is great’) resonates

The video work

in the whole city. The call is part of the daily

presented in the exhibition

shows the sky over Kabul by night shortly after

prayer and is used as a war cry, but it can also

the Taliban seized power in 2021. From the distant

be an expression of joy, sadness or worry.

fixed point of view, the lights become blurred

raises questions on the relation between

while the lens tries to focus on shimmering cones

power and agency at a time of political tension

of lights in the dark sky. Called into question

and successive disillusion.

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

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.

72 蘇里・巴帕諾娃的紡織作品設法將抽象概念與

The textile works of Saule Bapanova bring

返祖主義融入掛毯、吉爾吉斯傳統毛氈以至時裝

abstraction and atavism together in tapestry

作品中。在這個展覽，她的作品《棕土》將石頭

works, felt

融入一幅織製的掛毯中，藉此向自然材料的儀式化

exhibition, her work

or fashion pieces. In the incorporates

使用以及中亞紡織品最初存在的環境狀態致意。

stones into a woven tapestry, a nod to the

《宇宙》則結合了螺旋圖案，此圖案在中亞神話中

ritualist use of primary earthen materials and

有無限的意思。

the context from which Central Asian textiles

《宇宙》

《棕土》

2012

2014

羊毛及絲綢

羊毛及石頭

175 x 90 厘米

160 x 96 厘米

2012

2014

Wool, silk

Wool, stones

175 x 90 cm

160 x 96 cm

originally sprung. Another work includes the spiral pattern inspired by Central Asian mythology referring to infinity.

76 古扎麗・扎克爾的藝術創作主要探討身份、歷史、

At the centre of Guzel Zakir’s practice are

傳統與記憶相關的議題。這次展出的畫作屬於

issues related to identity, history, tradition

她的《連眉》系列的一部份，藝術家以亞麻為

and memory. The paintings on display are part

主要材料，強調工藝背後的勞動。她回想起突厥

of the series

地區女工匠的傳統，她們曾經生產絲製紙張或

main material, the artist underlines the labour

地毯，用來傳播地理或歷史知識，於是她希望

behind craftsmanship. She recalls a tradition

使用一種持久耐用的材料來製造同樣的傳遞

of craftswomen in Turkic regions (Uyghur) who

方式。

used to produce paper from silk, or carpet to

. Using linen as the

transmit geographical, or historical knowledge. Using a long-lasting material, the artist hopes to produce the same gesture of transmission.

《和田對話》 2022 亞麻布面油畫 120 × 120厘米、70 x 70厘米

2022 Oil on linen 120 x 120 cm, 70 x 70 cm

三幅畫中的女性或互相對望，或望向同一方向；

The three paintings represent women who either look

兩幅畫中的女性則在互相對話。她們都是連眉、穿戴

at each other, or in the same direction. Two represent

類似的珠寶。突厥婦女常用一種名叫「菘藍」的植物染眉，

women in conversation. They are represented with

在參加儀式、派對或秘密聚會時使眉毛看上去更濃密。這位

monobrows and similar jewellery. Turkic women

藝術家的母親以往常把菘藍榨汁來製作染液，以棉花和

usually dye their eyebrows using a plant called

掃帚的樹枝製成畫筆。西方人普遍對連眉抱有負面的

, with the aim of making the hairs thicker for

觀感，其實畫連眉的習俗起源於波斯帝國時代，在中亞

ceremonies, parties or secret social gatherings.

的突厥文化傳統中代表了生育能力和女性優雅的象徵和

The artist’s mother used to prepare it by squeezing

崇拜。藝術家為連眉洗脫汙名，將之頌揚為重新挪用自己

out the juice of

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。

(another name for

) 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

《女性。生命。自由》

the monobrow originated in the time of the Persian

2022

Empire. In the Turkic cultures of Central Asia, the

亞麻布面油畫 130 × 90厘米

monobrow is traditionally a symbol and veneration of fertility and feminine elegance. Rather than a stigma, Zakir celebrates the monobrow here as

2022

a symbol of the reappropriation of one’s own culture,

Oil on linen

which serves a decolonial approach towards Western

110 x 90 cm

fashion dictates and against social discriminations.

《連眉》

古扎麗・扎克爾的陶瓷系列作品，向突厥文化常見的

The series of ceramics by Guzel Zakir are a homage

2022

連眉之美致敬。連眉被視為一種美，其歷史起源於波斯

to the beauty of fused eyebrows which are often used

直徑25 厘米、直徑23 厘米、直徑22 厘米、

帝國，延續至現今的中亞。這系列作品讓藝術家有機會

in Turkic culture. Considered as a sign of beauty, the

直徑22 厘米、直徑17 厘米

藉此處理關於身份及傳統相關的議題。

monobrow has its origins in the Persian Empire and

陶瓷 / 粘土、釉陶

is still considered so in Central Asia today. The series 2022

is an opportunity for the artist to approach issues

Ceramic/ clay, glaze pottery

related to identity and tradition.

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

80 馬拉・迪爾曼的攝影作品具有非凡的美學、色彩和

Marat Dilman’s photographs are defined by

that manifest themselves through visual

諷刺意味，令他從其他紀錄片、建築或政治工作者

an exceptional sense of aesthetics, colour

vocabulary existing in between irony, beauty

之中脫穎而出。他的作品數量不多，每年只有5至7件，

and irony distinguishing the artist from many

and domination. Dilman is also interested

而且雖以攝影手段創作，但效果更接近繪畫。迪爾曼

others working in documentary, architecture

in how technology impacts these very social

透過城市景觀掛毯、國家慶典、紀念品、汽車、城市

or politics. The artist produces a rather limited

structures juxtaposing government dreams of

設計以至在現今哈薩克城市會遇上的日常體驗，闡述

number of artworks –– about 5 to 7 per year

nation-building mixed with technocracy.

意識形態問題，以及其視覺特質如何造成吸引力。

–– and brings it closer to painting, although

Both relate in a seemingly unreliable chaos

迪爾曼於1990年代初出生於蘇聯解體後的新生

achieved via photography. Dilman addresses

where traditional yurts are installed next to

國家，見證了新的意識形態結構的誕生，而這些結構

issues of ideology and how its visual qualities

Soviet modernist buildings or ornaments

透過存在於諷刺、美和統治之間的視覺詞彙表現

appeal through the tapestry of the cityscape,

appearing on freshly assembled robots and the

出來。他還對科技如何影響這些社會結構深感興趣，

national celebrations, souvenirs, cars, urban

like. The myth of the past and our dreams of

這些社會結構將政府的國家建設夢想與技術官僚

design and other day-to-day experiences

the future, codes and symbols from which the

主義並列在一起。兩者都發生在一個看似不可靠的

one can encounter in cities in contemporary

new semiotic reality of Kazakhstan is formed

混沌中：傳統的蒙古包被安裝在蘇聯現代主義建築

Kazakhstan. Born in the early 1990s in the

are strange and dear to the artist’s heart.

旁邊，或是裝飾品出現在新組裝的機器人上。無論是

newly independent country after the collapse

昔日的神話以及我們對未來的夢想，或是形成哈薩克

of the Soviet Union, Dilman has witnessed

新符號現實的代碼和符號，均令藝術家感到既奇怪

the birth of new ideological structures

又珍貴。

《無題》 2014-20

2014-20

相片，一組10幀

Photographs, a set of 10

60 x 40 厘米

60 x 40 cm

84 《星星馬賽克》是現居倫敦的藝術家艾希莎・沙迪

The work

諾娃的系列畫作之一，白色衣領在畫布上被組裝及

of paintings by the London-based artist Aziza

factories and contributing to the economy,

繪畫成一顆星的形狀。作品的靈感來自於烏茲別克

Shadenova. White collars are assembled and

especially during the years of Soviet rule in

的伊斯蘭藝術，當地的星形圖案常以裝飾品形式出

painted on a canvas in the shape of a star.

Uzbekistan and other Central Asian countries.

現，用來美化建築物。當衣領與畫布融合時，就產

Shadenova takes her inspiration from the

In an attempt to create gender equality in the

生了淺浮雕的效果。這些衣領主要來自二手店，因

Islamic art of Uzbekistan, where the pattern

1920 and 1930s, the Soviet Union used female

為生產需求減退而從時裝工業慢慢消失。同一時

is often present as an ornament, embellishing

labour and promoted it as an opportunity for

間，衣領在集體想像中亦意味著工人階級，而工人

architecture. The work produces the effect

emancipation. Female labour was used by

歷史往往以男性視角來書寫。沙迪諾娃在此希望

of a bas-relief as the collars merge with the

the Soviets to support the transition from a

強調女性對支撐工廠和經濟的貢獻，尤其在蘇聯

canvas. The collars are sourced mainly from

traditional society to an industrial one. The

時代的烏茲別克和其他中亞國家。蘇聯於1920至

second-hand shops, which reflect their slow

rapid change over less than 30 years continues

1930年代為了建立性別平等，於是把女性勞動力

disappearance from the fashion industry as

to have an impact today on the economy and

推廣成一個解放的機會。蘇維埃政權把女性勞動

their production is no longer required. At the

landscapes of Central Asia. By merging labour

力加以利用，以協助國家從傳統社會過渡至工業

same time, the collars connote the working

history and Islamic craft aesthetics, Shadenova

社會，不到30年間的急遽變化至今仍影響著中亞

class in collective imagination. In addition,

deconstructs the oppositions between past and

的經濟和景觀。透過把工人歷史引入伊斯蘭工藝

workers’ history has largely been written from

present, and craft and industry.

美學，藝術家解構了過去與現在、工藝與工業之間

a male perspective. Here, Shadenova wishes

的對立。

is part of a series

to emphasise the role of women in maintaining

《星星馬賽克》 2022 繪畫尺寸可變，一組4件

2022 Painting Variable dimensions, a set of 4

88 藝術團體 705 以街頭即興創作為其主要的藝術實踐。

走去。比什凱克位於吉爾吉斯阿拉套山脊附近，有兩條

這個團體自 20 0 5 年於吉爾吉斯的首都比什凱克創立

主要河流發源於此地，冬天時份冰川停止融化之時，河床

以來，就一直於這個城市的廢棄空間組織表演，成為

就變為空地，在城市內部和河床沿線創造出錯綜複雜的

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。2009年正值全球經濟危機之際，比什凱克市卻開始

空間標誌著比什凱克由蘇聯年代到獨立至今，成為貿易、

大規模興建多層大廈和購物中心，並把部份空置工廠重新

工作和娛樂之都的艱難過程。現在播放的影片，紀錄了

規劃重建，隨之而來的卻是迅速的私有化和通貨

705 為是次春季展覽創作的全新委託表演：2023年1月

膨脹。基於地理特徵，這個城市保留了一些未被商業

4日，於比什凱克內的其中一段阿拉穆丹河上，「送葬」

佔用或物理圍封的特殊區域，河流亦會在某些季節流入

隊伍的一群人沿著空蕩蕩的河床前進，他們戴上 705

城內的拓撲結構。河床成了一個行動場地，而表演則重新

製作的口罩，模仿著已告消失的水流，沿著河岸向城市

激活了大自然的力量。

89 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

In Winter, when the glaciers stop melting, the riverbed

the difficult transition between the Soviet period to

empties. It creates complex and intricate spaces

Bishkek as a city of trade, work and entertainment.

inside the city and along the riverbed. In 2009, despite

For CHAT’s Spring 2023 exhibition, 705 has been

the global economic crisis, the city of Bishkek began

commissioned to produce a new performance of

to be intensively built up with multi-storey buildings

which the video on display is the documentation.

and malls being developed and empty factories being

The performance took place in the Alamedin river,

partially rebuilt for new purposes. It was followed by

on a stretch of the river inside the city on 4th January

a rapid riticize ion and inflation of the prices. The

2023. It shows a group of people in a cortege working

geographical feature of the city makes it possible to

along the empty riverbed. The group members carry

work with special sections of the space which remain

masks produced by the collective, and walk along the

unoccupied by businesses or physically closed off by

riverbanks toward the city, imitating the flow of the

fences. Seasonally, the river embraces the topology of

missing water. Bishkek is located near the Kyrgyz

the city. The riverbed becomes a site of action, where

Ala-Too ridge, which is the source of two main rivers.

the performance has reactivated the power of nature.

91 《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

2023 Video 29’31” Commissioned by CHAT Idea: Malika Umarova, Marat Raiymkulov (705) Preliminary location: Alamedin riverbed

92 瑪迪娜・祖迪比可娃的創作主要針對性別不平等、人權、

Madina Zholdybekova’s practice addresses

多面向母性、移民和專制政權等問題，而這些問題常與

questions of gender inequality, human rights,

哈薩克的社會政治脈絡糾纏不清。

multi-faceted motherhood, migration and authoritarian regimes, often entangled with the sociopolitical context of Kazakhstan.

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，

《正常星。中子星。黑洞》 2021 塑膠彩、棉、羊毛

是身體自主的核心問題。初為人母並開始餵哺母乳的

61 x 67 厘米、60 x 97 厘米、

女性，乳房會出現某些轉變：不僅形狀和大小可能有變，

63 x 138 厘米

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。 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 selfdetermination. 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 is an appeal of sorts to the acceptance of woman’s changed breasts and the riticize ion 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.

2021 Acrylic, cotton, wool 61 x 67 cm, 60 x 97 cm, 63 x 138 cm

《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

2021 Acrylic, cotton, wool 45 x 56 cm, 30 x 41 cm

女性在分娩前後如何管理自己的身體，似乎幾乎與當事人

The way a woman decides to manage her body

無關，甚至好像不由得她本人來選擇，因為她只是在履行

before and after giving birth seems to not be her

女性被預設的生理角色，而作為孕育生命的容器，她唯一

own decision. It appears to be not even her choice,

應做的就是以烈士般的自我否定來造福世界。我們如此

since she is now performing her predetermined

輕鬆自在的談論母乳餵哺，批評那些無法或不願餵哺

physical role and the only thing she ought to do,

母乳的婦女（無論是因為她們不能或不想在這種被賦予

as a vessel of life, is to bless our world with a child

神聖意義的陳規行為上投放太多精力時間），都在反映

in martyr-like abnegation. The ease with which we

我們把「母親」當成一份職業，亦因此把女性身體視為一種

discuss breastfeeding and riticize women who do not

共同財產。在這件雙聯屏中，藝術家表述了餵哺母乳的

naturally breastfeed their children, either because

疲憊過程：當一個女人的乳房不再屬於她自己、而是成為

they can’t or don’t want to devote so much time and

吸引嬰兒的焦點，而且嬰兒日以繼夜地掛在自己身上，

energy to the process in the name of the stereotypical

這令人聯想起錄音機「吃掉」你最愛的卡式錄音帶時的

sanctity of the act, is evidence of the way we consider

畫面。在粉紅色的面紗背後，隱藏著的是永無止境、身心

motherhood a vocation and the female body a

俱疲的艱苦工作。

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.

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

《黑膠唱片》 2022 塑膠彩、棉、羊毛 115 x 106 厘米

《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。 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 , played on repeat over and over, a fitting analogy for the exhaustion of nursing and the lack of body autonomy.

2022 Acrylic, cotton, wool 115 x 106 cm

96 「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。

97 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

nets, wooden

sticks and barbed wired structures shape the landscape of her remembrance. Fencing 《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

a family house physically marks the borders of a land and divides one property. Jazgul Madazimova’s drawings use

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

2018 Drawings 70 x 54 cm, 70 x 54 cm, 70 x 50 cm 70 x 50 cm, 50 x 33 cm

drawings that transpose the mixed feeling of being strangers to the territory one enters with the pleasant memories of her childhood.

98 這個裝置作品所展示的影片紀錄，來自藝術家二人組

抗議、一種反叛、一種想要改變和擺脫過時傳統的

古爾娜拉・卡斯馬利耶娃和穆拉特・朱馬利耶夫

渴望。兩位藝術家延續一貫的創作主題，今次亦藉此

於2001年在比什凱克國家美術博物館的的《告別

作品思考蘇聯解體後的吉爾吉斯如何在社會崩壞

之歌》演出：卡斯馬利耶娃身穿傳統吉爾吉斯長袍，

與新自由主義交易下試圖重新挪用民族傳統。

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

99 《告別之歌》 2001

2001

錄像裝置

Video installation

尺寸可變

Dimensions variable

3’40”

The installation shows the documentation of

fabric of memory. Indeed, Kyrgyz women’s hair

a performance that was shot in 2001 at the

has a kind of horsehair appearance, which has

Kyrgyz National Museum of Fine Arts in Bishkek

been used to produce lassos. It has also been

by the artistic duo Gulnara Kasmalieva and

sometimes pressed into service when there was

Muratbek Djumaliev. In the

no rope at hand. As a prelude, the song turns

live performance, Kasmalieva dresses in a

into an inharmonious melding. At the end of the

traditional Kyrgyz dressing gown and plays the

performance, the artist cuts off the braids in a

traditional bowed instrument, the

symbolic gesture of breaking connection with

A hand-held spinning wheel is placed nearby.

the past and tradition: a protest, a rebellion,

Woollen threads extending from the spinning

a desire to change and be free from outdated

wheel are woven into Kasmalieva’s braids. Long

traditions. As it is often the case in the duo’s

hair braided into ‘Kyrk chach’ (40 braids) slowly

works, the performance offers a reflection on

and deftly turns into ‘terme’ in the hands of a

post-Soviet Kyrgyzstan in an attempt to co-opt

skilled craftswomen. It becomes something

reappropriation of national traditions within a

that no longer belongs to the body, a fabric that

context of social collapse and new liberal ideals.

has absorbed the experience of generations of women accumulated over centuries, a kind of

100

101

102 這個裝置作品展示了藝術家對奇爾奇克的一些

This installation displays some of the artist’s

consists of a collage and a very loose timeline,

研究。奇爾奇克位於烏茲別克首都塔什干附近，建於

research on the fascinating city of Chirchik.

which allows us to revisit the history of the

1930年代，以奇爾奇克河命名。研究的出發點源於

Located within easy reach of the capital

city’s planning and construction, and the ways it

2 0 21 年底開展的一場討論：當地的奇爾奇克斯

of Uzbekistan, Tashkent, it was founded in

accumulated human energy, inspiration, hope,

特羅伊酒店面臨拆卸，那是一楝碩果僅存的後結構

the 1930s and named after the eponymous

and pain. In this collage, Furqat Palvan-Zade

主義建築，幸得歷史學家鮑里斯・楚科維奇發起的

Chirchik river. The point of departure for

uses unique archival materials unearthed in

一場公共運動，成功保護這座地標免受破壞。

this research was a discussion that unfolded

Chirchik’s local history museum — these traces

奇爾奇克的第一個建設工地是為了興建基礎設施，

in late 2021 around plans to demolish the

of the past recount how the life and work of the

目的是開發河流的水力能源，以及為烏茲別克

Chirchikstroy Hotel, a rare surviving example

city’s builders were structured.

蘇維埃社會主義共和國的棉花農地生產化肥。

of post constructivist architecture. Luckily,

這個裝置作品包含了一幅拼貼畫和一條鬆散的

the public campaign initiated by historian

時間線，讓我們重溫這座城市的規劃建設歷史以及

Boris Chukhovich was successful and the

此地如何累積人類的能量、靈感、希望與痛苦。

landmark was saved from destruction. The

在拼貼畫中，藝術家使用了奇爾奇克當地歷史博物館

first construction sites in Chirchik built

出土的獨特檔案材料 —— 這些昔日的痕跡，講述了

infrastructure for harnessing energy from

城市建設者的生活和工作是如何構建的。

the river and producing fertilisers for cotton farming in the then Uzbek SSR. This installation

103

104

105

《夢境與河流》 2023

2023

數碼印刷品

Digital prints

尺寸可變

Dimensions variable

106 這個裝置作品由聲音藝術家卡康婭與多媒體藝術家

The installation is a collaboration between the

sisterhood. The installation aims at creating

米迪娜・巴薩格利合作製成，結構參考了中亞游牧

multimedia artist Medina Bazargali and the

a diversion of the aforementioned logic in an

文化中的傳統房屋—— 蒙古包的設計，上方覆蓋著

sound artist Kokonja. The structure refers to

attempt to turn a security state to a safe space

藝術家的手工羊毛氈。他們在作品內部設置了專門的

the architecture of a yurt, a traditional house

for audiences. The artists refer to the sound

演算系統，當觀眾進入空間後，系統便會掃描他們

of nomadic culture from Central Asian life,

produced by the algorithm as an ‘ornament’.

的身體和面部以產生特定的聲音組合。雖然

covered in the artist’s handmade felt. The

Overcoming its traditional decorative meaning,

所收集的數據不會保留，然而這種掃描和挪用

audiences are invited to enter this architectural

ornament here refers to the cosmology often

數據的行徑，卻揭示了我們生於這個高度科技化環境

space within an algorithm produced especially

represented in the craft of Central Asia.

所面臨的風險。演算法和其他用作收集數據的網絡

for the installation, which will scan their body

In the installation, algorithms and crafts meet

工具一樣，其驅動力來自控制邏輯、排斥少數群體

and face to produce a specific assemblage of

to overcome the duality between the rational

和追求經濟利益，而非來自團結和姊妹情誼。這個

sounds. While the data collected is not retained,

science of modern times and the old beliefs of

裝置作品則試圖轉換上述邏輯：將一個保安系統

the act of scanning and appropriating the data

Central Asian nomad culture.

轉變為令觀眾感到安全的空間。藝術家把演算法

reveals the effects of the hyper-technologised

所產生的聲音稱為「紋飾」，這裡的「紋飾」不再限於

environment we live in. Algorithms, like other

傳統的裝飾意義，而是代表中亞工藝中經常出現的

data-collecting tools, are often driven by the

宇宙觀。在這個裝置作品中，演算法與手工藝相遇，

logic of control, exclusion of minorities and

共同對抗現代理性科學與中亞游牧文化古老信仰

economic profit rather than solidarity and

之間的二元對立。

107

108

《那時會有自由嗎？（erkindik bola ma eken sol kezde?) 》 2023 演算法、聲音及羊毛氈 CHAT六廠委託作品演算法：阿爾讓・阿勒泰

2023 Algorithm, sound and felt Commissioned by CHAT Algorithm by Arwjan Qaltay

109

110 展覽作品 EXHIBITING WORKS

縫線：對紋飾的重新想像 SUTURE: REIMAGINING ORNAMENT

111

112 《Soz Joq / 無言》

哈薩克語「Soz Joq」意為「無言」，阿瑟爾・卡迪

2017，2022更新

哈諾娃為織物的表皮動「手術」，重覆把「 Soz」

錄像

（言）這個字縫上再拆開。這個字先是以阿拉伯字母

20’00”

出現，然後是拉丁字母，最後是西里爾字母。詞彙一旦縫好，藝術家就立即將之消除，拆掉針腳，

哈薩克的蘇維埃化過程複雜，牽涉範圍甚廣，當中

然而針線所留下的「疤痕」卻會以小圓點標記

包括了字母變化。哈薩克人使用的字母便在短短

出來。卡迪哈諾娃藉此探討 1920 至 1930 年代

十年間變了兩次：1929 年，傳統的阿拉伯文字被

哈薩克的蘇聯政治問題，以及相關的政治暴力與

拉丁文的亞尼亞利夫字母取代；1940年，西里爾字母

集體創傷。

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。」

The Kazakh expression

113

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

Kadyrkhanova states, ‘With this work, I aim

immediately undoes it, removing the stitches,

to point to the absence of the languages of

but minuscule dots mark the scar left by needle

pain. By doing and undoing, stitching and

and thread. Kadyrkhanova explores the issue of

unstitching, I wanted to express the idea of

Soviet politics in Kazakhstan in the 1920s and

performing surgery on the living body of the

1930s and the associated political violence and

society –– literally, instilling a different identity

collective trauma.

into the body.’

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

, 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.

2017, updated 2022 Video 20’00”

114

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。

115 《瑪利安（我的外婆之名）》 2022 布面刺繡 50 x 60 厘米，一組15件

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

she learnt the Arabic script that had been used in

grandmother, Marijam. The artist devotes herself to

Kazakhstan until 1929. It is only in her later years that

the haptic durational practice of embroidery, relying

she taught herself the Cyrillic alphabet, regretting

on the memory of the body. The Kazakh ornamental

that she had been missing classic Kazakh literature

tradition uses contrasting colours; Kadyrkhanova

printed in Cyrillic most of her life.’

deliberately chooses thread of the same colour as the canvas, emphasising invisibility and absence.

In Kazakh culture, the skill of embroidery is usually transferred through the female lineage of the family:

Kadyrkhanova explains, ‘My grandmother’s name

from grandmother to mother, from mother to

was Marijam. Marijam was born in 1909, which

daughter. The stitch is an intergenerational thread

means she lived through a turbulent historical time,

that transmits knowledge and memory. The invisible

witnessing the revolution, civil wars, famines, and

stitch carries the loss of language and the wounds of

the Sovietisation of Kazakhstan. As a young girl,

the loss, the bodily memory of trauma.

116 《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

《奇蹟》 2022 混合媒體裝置

環境中對奇蹟的追求。奇蹟是「不可能發生之事」，

270 x 240 厘米

是真實的反面；布比卡諾娃對奇蹟的追尋，亦是她對繪畫

CHAT六廠委託作品

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。

117

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.

2022 Mixed media installation 270 x 240 cm Commissioned by CHAT

118 故事的主軸圍繞一位藝術家與其對手之間的戰鬥和衝突。

布比卡諾娃將補花氈的形式特徵轉移至數碼媒體上，

他們素未謀面，總是身處不同的空間。對巴希・布比卡諾娃

以探索物件與其複製品之間的張力。她對於可見與

而言，對手身處的位置，複製並反映了哈薩克傳統工藝

不可見、原物與複製品、空間與屏幕之間的張力尤感

「補花氈」的視覺結構。補花氈的製法是把兩層不同

興趣，為觀者與其觀看物件創造了現實與數碼交織在

顏色的羊毛氈互疊，再切割出特定的圖案裝飾，然後將

一起的多重空間，展現出二元對立的陷阱。因為藝術家與

兩層圖案併疊，砌成一塊完整圖案，如此一來，一幅裝飾

其對手永遠不會相遇，所以在她的傳奇裡沒有勝方，衝突

圖案的顏色，就會變成另一幅圖案的背景顏色。補花氈

既存在也不存在，在看似互相矛盾的兩股力量之間，存在著

透過正反空間的張力與和諧而製成，圖案與背景是

一種和諧張力。

同等的，一如陰陽之間的張力與和諧。

119 2022 Two-channel video 3’00”

《傳說》

At the centre of the story is a battle and a conflict

2022

between an artist and her rival. The artist and the rival

雙頻錄像 3’00”

Bubikanova takes the formal characteristics of and transfers them to digital media, exploring

have never met; they are always in different spaces.

the tension between an object and its mediated

For Bakhyt Bubikanova the positions of the rivals

reproduction. The artist is interested in the tension

replicate and reflect on the visual structure of a

between the visible and invisible, between object and

Kazakh

reproduction, between space and screen. Creating

carpet.

is made by placing two

layers of felt of different colours on each other and

multiple spaces of the real and the digital, of a viewer

cutting out the pattern-ornament. Then the layers are

and an object of their vision, she makes a statement

mixed and connected into one piece: the colour of the

of the pitfalls of binary oppositions. There is no winner

ornament on one part becomes the field for the same

possible in her saga. The conflict is at the same time

pattern on the other.

an absence of conflict –– as the artist and her rival will

is constructed through

the tension and harmony of positive and negative

never meet –– and a harmonious tension of seemingly

space, in

contradictory forces.

, ornament and field are equal.

It resembles the tension and harmony of

and

120 羊毛氈是哈薩克文化中一種傳統的物料，不論

Felt is a traditional material in Kazakh culture,

Refusing the attempt to decipher or reconstruct

製作的過程或最後的成品都被賦予獨特的意義和

where both the process and the final object are

the meaning of ornaments, the artist uses

價值。製作羊毛氈需時甚長，且涉及觸覺感知。

assigned meaning and value. Felt-making is a

the traditional form to convey a message in

在《後遊牧現實》系列中，穆卡扎諾娃使用羊毛氈

time-consuming and tactile bodily practice.

response to the current moment. Mukazhanova

作為主要媒介，將其轉化為物件，探索哈薩克文化

In her series

is looking for a contemporary language of

在全球化之下的轉變。她避開複製與羊毛氈地毯

Mukazhanova transforms material into object,

ornament that is capable of conveying and

相關的傳統紋飾，藉此指出當代社會中紋飾意義的

using felt as a primary artistic medium and

transmitting the messages. Pins and old Hong

流失，同時在作品中強調作為物料的羊毛氈和

exploring the issue of the transformation of

Kong silk whose production was discontinued,

製氈的過程。

Kazakh culture in a globalized world. She

are recent additions to her existing work from

, Gulnur

intentionally avoids the reproduction of

series. New elements

藝術家拒絕破譯或重構紋飾的含義，而是使用

traditional ornaments associated with felt

lay bare her artistic process of creating textile

傳統的形式來傳達訊息，回應當下時刻，她正在

carpets, pointing out the loss of the meaning

paintings and collages and strip out the

尋找一種能夠表達及傳遞訊息的當代裝飾語言。

of ornaments in contemporary society.

unresolved social anxiety caused by current

大頭針和已停產的舊式香港絲綢是《後遊牧現實》

She centres the material, the felt, and the

socio-political events in the post-Soviet space.

系列新添加的元素，這些新元素揭示了穆卡扎諾娃

process of felt-making.

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。

121 《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

2018-22 Merino and silk wool felted by hands, silk, pins 140 x 140 cm

122

這件分為兩個部份的紡織裝置作品承載著對於當下時刻

哈薩克斯坦是藝術家成長的地方，而移動和變遷是最能

《希望之影：昨日之過去，今日之當下》

的焦慮不安，它的第一部份於藝術家駐留香港CHAT六廠

代表其歷史與現狀的詞語。穆卡扎諾娃不但指出了傳統

2022-23

期間完成，第二部份則於藝術家位於柏林的工作室完成。

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

解構與切割、連接與再創造是兩組截然相反的概念，但同時

彼此衝突矛盾的部份，為這個希望的空間帶來脆弱和

是構成這件作品的元素。在第一個部份，由不同布料裁出

不穩定感，伴隨著這些感覺，今日的碎片被一塊一塊拼湊

的圖案在大型底布上組成新的敘事和形態。第二部份則是

到對明日的想像之中。

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。

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

古爾努爾・穆卡扎諾娃為CHAT六廠 2022年駐場藝術家

123

Anxiety of the present moment is condensed in the

Movement and transition are among the most

two-part textile installation that Mukazhanova started

important historical and current conditions of

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

during residency at CHAT in Hong Kong and finished

Kazakhstan, a home country and culture of the

Commissioned by CHAT

at her studio in Berlin.

artist. Mukazhanova points out the transition from

Gulnur Mukazhanova is CHAT’s 2022 Artist-in-Residence

Deconstruction, scission and connection,

but also the anxiety of the current political transition

re-creation are two opposite forces, two gestures

in the post-Soviet space. At the same time, formal

that drive her work. She both bridges and

characteristics of the work contains and withstands

disconnects. Cut-out elements of various types of

the conflict and movement of oppositional driving

fabric create new visual narrative and movement on

forces leaving the space for hope, a fragile and

the large-scale canvas-cloth. The second part is a

ephemeral feeling that pins pieces of today into the

textile abstract painting made by hand-felted wool,

dream of tomorrow.

2022-23 Felt, silk, fabrics, pins

traditional values and materials, the loss of traditions,

a traditional material for Kazakh culture.

124

125 按此播放藝術家訪問影片 Click to view the artist’s interview

126 拍攝證件照片是國家官僚機構要求公民進行的

弗若巴耶娃與丈夫維克托・弗若巴耶夫常以藝術

常規程序。蘇聯和後蘇聯地區的人通常也存有

雙人組合形式進行創作，探索集體與私人之間錯綜

許多此類小幅照片，尺寸為 2 x 3 或 3 x 4 厘米，

複雜的關係。對他們而言，裝飾自己的過程即是

照片上的人表情凝固，因為拍照時不許微笑，

裝飾群眾，使私人個體成為集體的一部份。他們的

且要保持中性和正式。弗若巴耶娃發現自己和丈夫

藝術探索既深邃又幽默，長期關注的議題包括在

都有許多此類證件照，而這些照片刻畫了一個

後蘇聯時期意識形態的運作，以及一個人在個人

不復存在的國家的公民以及其官僚程序。藝術家

與政治衝突之中的位置。有時也只有幽默方能使

將這些缺乏個人隱私的照片重新加工成裝飾品，

被裝飾過的群眾稍露趣味。

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。

127

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. The working of ideology in the post-Soviet space

《證件照片。必要加工》

Vorobyova and her husband Viktor Vorobyov

and the place that an individual human being

2010

usually work as an artistic duo and explore the

holds in the clash between the personal and the

intricate relationships between the collective

political are among the long-term themes of their

and the private. The process of ornamenting for

profound and humorous artistic exploration.

them is ornamenting of the masses, of making

Sometimes only humour makes witty faces out

a private individual a part of a collective body.

of the ornamented masses.

灰紙印刷品

2010

28.7 x 21 厘米，一組15張

Print on grey paper 28.7 x 21 cm, a set of 15

128

129

130 利迪婭・布林諾娃（1948-1996）是一位藝術家和詩人，

Lidiya Blinova (1948–1996) was an artist, poet,

亦是哈薩克當代藝術界先驅魯斯坦・哈爾芬（1949 -

and the wife of Rustam Khalfin (1949– 2008),

2008）的妻子。無論她本人還是其創作都比較低調，

a pioneering artist of Kazakhstan’s contemporary

去世後留下的藝術作品也不多。這麼一個已死的藝術家

art scene. She was rather modest as a person and

及其失落了的藝術，她的人生卻是一個關於「以藝術

a creator, and when she died, she left relatively little

作為生活方式」的故事，當中無須牽涉物件創作。製作

art. A dead artist and lost art, somehow her story is a

標記就非得要留下標記嗎？一個人的足跡，可以透過

story of art as a way of living that does not necessarily

她在生命中建立和維持的各種相遇與聯繫而存在嗎？

result in object-making. Does making a mark require

我們要如何記住一個作品已不復存在的藝術家？

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?

《手指裝飾》是一組攝影裝置作品，由10幅藝術家的手部

《手指裝飾》

照片所組成。布林諾娃以自己的身體創造了新的形式，

1995 相片列印

參照了遊牧裝飾的觸感特質。她的雙手伸向裝飾品所

26 x 36厘米

隱藏的雙重對立面 ——圖案與背景、視覺與觸覺。她把

Khalfin 基金會借出

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。

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).

contains a modesty of form

and multiplicity of associations and meanings; it is one of the few surviving works of Blinova.

1995 Photoprint 26 x 36 cm Courtesy of Khalfin Foundation

131

132

耶列娜‧弗若巴耶娃《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

Yelena Vorobyova 2022 Print on fabric 350 x 130 cm, a set of 3

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。

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.

133

134 烏米達・阿赫梅多娃的攝影系列《人與他們的聖物》及

阿赫梅多娃的作品介乎於紀錄片、民族誌和藝術創作

個人收藏項目《嫁妝的天真藝術》相互關聯，同樣植根

之間。這些關於家族收藏的藝術作品於正規藝術展覽

於藝術家對烏茲別克鄉村與城市日常生活的濃厚興趣。

展出，此舉再次提出了藝術的排他性與自主性的問題，

作為電影製作人和攝影師，阿赫梅多娃熱切探索和記錄

把「外面」（社會和家庭領域）的藝術和創意實踐納入

日常生活中的場景和儀式。《人與他們的聖物》系列描繪了

正規藝術圈子之中。

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。

《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

135 2021- 22 Photoprint 180 x 120 cm, 90 x 60 cm, 90 x 60 cm, 60 x 40 cm, 60 x 40 cm, 60 x 40 cm

The photographic series and a personal collection project

are interrelated

rituals that support the transition into a new

–– small, traditional Central Asian hats –– are

role. Usually, women of the family prepare

not only objects of memory –– they store wishes

embroidered carpets and textile objects for

and protect dreams.

and rooted in Umida Akhmedova’s profound

their daughters and granddaughters; with

interest in the daily life of rural and urban

these handmade objects they transmit wisdom,

Akhmedova’s practice resides in between

Uzbekistan. A filmmaker and a photographer,

knowledge, and family memory.

documentary, ethnography and art-making.

Akhmedova passionately explores and

Brought inside a formal art exhibition, her

documents scenes and rituals of the everyday.

Akhmedova travels across various regions of

work with family archives once again raises

The series

Uzbekistan, looking for people and their stories,

questions concerning the exclusivity and

depicts old and young couples and married

depicting people and their companion objects,

autonomy of art, embracing the artistic and

women with textile objects that accompany

their personal archives. The objects of her

creative practices located outside –– in the

their family life. Marriage is one of the most

photographic series –– pieces of handmade

social and familial terrains.

important stages in a woman’s life in Uzbek

home textile, embroidered napkins or table

culture. This major event is surrounded by

cloths, shawls, handkerchiefs, or

136

《太陽印記》 2010-22

2010-22

相片打印

Photoprint

29.7 x 42 厘米，一組4件

29.7 x 42 cm each, a set of 4

137

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

138

139

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

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:

and

are all types of domestic textile pieces.

a variation on this tradition, an embroidered picture 《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

豐富的棉絲刺繡傳統，例如大型金絲針繡（suzani）、刺繡

made to commemorate a wedding. It is rooted in Uzbek

床單及掛氈（choishab、palak）等，都是不同類型的

culture of female textile practices as a vital part of

80 x 80 厘米、84 x 82 厘米、90 x 78 厘米、90 x 82 厘米、

本土紡織品。「Naive」是這一傳統的變體，是為婚禮而

women’s upbringing, growth and maturity.

94 x 88 厘米、100 x 94 厘米、140 x 96 厘米

製作的刺繡圖案，它植根於烏茲別克女性的紡織文化，

everyday object, a part of a personal archive, an element

是她們從成長至成熟的重要一環。作為一種日常用品，

of disappeared cultural practice. Being chosen as an

「 Naive 」亦是一種個人收藏，更是消失了的文化習俗的

object of the artist’s collection, it enters the realm of art,

is an

一部份，當被選為藝術家的收藏物件後，它既進入了

while still occupying the terrain of personal and familial.

「 Naive」（天真）是阿赫梅多娃為一種刺繡紡織品

藝術領域，同時亦存在於個人及家庭領域中。阿赫梅多娃

Akhmedova did not find the authors of the embroidered

起的名字，2013 至 2014 年左右她在塔什干的跳蚤市場

無法找到這些刺繡品由誰製作，創作者的身份一直不為

pieces from her collection; they remain unknown. Is this

發現了這種刺繡紡織品，自此就一直收集和探索這種

人知。這不正是藝術作為一種社會實踐的核心嗎？作者

not the core of art as a social practice? The absence of

紡織品以及織製這種物品的婦女的故事。烏茲別克有著

身份不在，但作品存在。

authorship, but the presence of practice.

140 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。 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.

141

《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

2022 Research display Dimensions variable

這個以研究為基礎的項目，主要關注俄國末年及蘇聯

Commissioned by CHAT

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

This research-based project focuses on the various

knowledge was gathered and processed in order

（suzani）以至其他應用藝術物品。「編目」作為一種實踐，

historical attempts to catalogue Central Asian

to be further used. In the Soviet era, ornaments

即是以某種特定方式為物件排序。借用歷史學家弗朗辛・

ornaments in architecture and also in carpets,

detached from their original contexts were actively

赫希的術語，「編目」可以說是一種統治的文化技術，

and other objects of applied arts. These attempts

incorporated into new cultural production.

本質上有殖民色彩。這個作品所展出的目錄，展示了

were made by late-Imperial and Soviet researchers,

裝飾品與媒介的不同文化／民族／國家分類：安德烈・

archaeologists, and restorers.

博戈柳博夫的「地毯地圖」（1909）、塞繆爾・杜丁的

Meanwhile, the visual part of the project refers to the traditional way of transmitting knowledge.

「中亞地毯表」（1927）、鮑里斯・扎西普金的「建築術語

Cataloguing, as a practice, always offers a particular

These objects recreate a technique to produce

詞典」（1930年代），都展示了如何收集及處理傳統知識，

way of ordering items. We might call a cultural

architectural ornaments. The perforated stencil

以便進一步使用。在蘇聯時代，裝飾品從原有的文化背景中

technology of rule colonial in its essence, to use

plates made of tracing paper on a one-to-one scale

抽離，被國家積極納入新的文化生產中。同一時間，這個

Francine Hirsch’s term. On display, there are

known as

項目的視覺部份參照了傳統的知識傳播方式。這些物件

catalogues representing the different cultural/

(master) to transfer the lines to the wall. These

重現了一種建築裝飾品的生產技術，用一對一比例的

ethnic/ national classification of ornaments and

objects were created for each specific building;

描圖紙製成的穿孔模板，又稱為「 suzan 」或「 ohty 」，

media: the carpet map by Andrey Bogolyubov (1909),

they were short-lived and functional. It was only

協助「 usto 」（母版）把線條轉移至牆上。這些物件專為

Samuil Dudin’s tables of Central Asian carpets

some years later when they became the objects of

特定建築物而製，壽命短暫但有其功能，在若干年後成為了

(1927), the ‘dictionary’ of architectural terms by

researchers’ hunting and restorers’ dreams.

研究人員的追尋對象和修復者夢寐以求的物件。

Boris Zasypkin (1930s). They show how traditional

were used to help the

142 《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。

《雕塑，「對話式物件／關懷之裝飾品」》 2022 混合媒體，三件式組合裝置尺寸可變 CHAT 六廠委託作品

as part of the

143

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.

2022 Mixed media, three-part installation Dimensions variable Commissioned by CHAT

144 《讓我為你畫一幅過去的圖畫》 2022 錄像 10’00” CHAT六廠委託作品聲音協作：Eldar Tagi 影片攝製：Katerina Suvorova

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.

1145 《據我記憶所及》 2022 聲音 6’00” CHAT 六廠委託作品聲音協作：Eldar Tagi

2022 Audio 6’00” Commissioned by CHAT Sound collaboration: 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。 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.

聲音裝置中展示的圖像 Image displayed in the audio installation

146

《向jeli學習》 2022

2022

紙張、有機玻璃

Paper, plexiglass

21 x 29.7 厘米

21 x 29.7 cm

CHAT六廠委託作品

Commissioned by CHAT

Guided by these questions, in her long-term, slow 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.

, Jandosova re-created

(ornamental borders) as papercuts on a daily basis over the course of a month. The patterns came from (Kazakh felt patchwork carpets) which were originally designed and produced by Kazakh woman-makers, in some decades of the 20th century. Throughout that time, 「如果我們學習祖傳方法、『花時間』聆聽其教導，我們

在為期一個月的《向 jeli 學習》中，贊杜薩娃日復日把

as she was learning the formal language of

能從中學習或『反學習』到什麼？祖傳方法能夠給我們

「 jeli 」（裝飾品邊框）重新創作為剪紙。這些圖案來自

was also noting new information, observations, questions

開啟一道門或時空穿梭，讓我們更接近祖先的世界嗎？」

哈薩克的補花氈，最初於二十世紀不同年代由哈薩克

and understandings that emerged in her dialogue with this

女織匠設計和生產。學習裝飾品邊框的形式語言期間，

practice of ornament creation.

在這些問題的引領之下，愛莎・贊杜薩娃在她長期而

當與這種裝飾品創作方法對話時，她在與這種裝飾品

緩慢的「再存在學習之旅」中，重現了其哈薩克—吉爾吉斯

創作方法的對話之中，有了新的訊息、新的觀察、新的

祖先的日常審美和感官實踐。她希望能記住並重新連接

問題和新的理解。

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。

, Jandosova

147 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 digitallycrafted 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. 《未命名地毯 #1》 2022

2022

混合媒體

Mixed-media

125 x 75 厘米

125 x 75 cm

CHAT六廠委託作品

Commissioned by CHAT

148 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. enables people to make money by making them. The question is, what value will they hold?

《製造金錢》 2022

2022

印章、紙，互動裝置

Stamps, paper, interactive installation

尺寸可變

Dimensions variable

CHAT六廠委託作品

Commissioned by CHAT

149 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，楊陽也與駐澳洲香港藝術家鄭詠兒合作，在展期間呈現了一件表演作品，圍繞椅子出發探索歸家、痛苦與孤獨、鄉愁與渴望。 Yang Yeung poetically weaves together ideas, emotions, feelings, and observations in her lyrical essay

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

《向縫線致敬 ——傷口的伴侶》 2022 文章及表演 CHAT六廠委託作品

. During the exhibition period, Yang Yeung also presented a collaborative art performance with

2022

Australia-based Hong Kong artist Pamela Leung,

Essay and performance

which explores pain and solitude, nostalgia and

Commissioned by CHAT

longing, homecoming in space and movement across spaces around a chair.

150

作品總覽 LIST OF ARTWORKS

–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

–––––––––––––––––––––––––––––––––––––

1 娜茲・貝格拉利 Nazzy Belgari

2 阿力拜・巴帕諾夫 Alibay Bapanov

《娜茲001》

《娜茲004》

《母狼》

2019

2021

2010

天鵝絨、絲綢

絲綢及棉

羊毛

132 厘米長

158 x 175 厘米

2019

2021

2010

Velvet, silk

Silk and cotton

Wool

132 cm long

158 x 175 cm

《娜茲002》

《娜茲005》

《神話 (Миф) 》

2011

2019

2010

天鵝絨、絲綢

絲綢及棉

羊毛

132 厘米長

160 х 150 厘米

2011

2019

2010

Velvet, silk

Silk and cotton

Wool

132 cm long

160 х 150 cm

《娜茲003》

《與天堂的對話 (Разговор с небом) 》

2021

2020

天鵝絨、絲綢及棉

羊毛

132 厘米長

327 х 158 厘米

2021

2020

Velvet, silk and cotton

Wool

132 cm long

327 х 158 cm

151

–––––––––––––––––––––––––––––––––––––

3 蘇里・杜森比娜 Saule Dyussenbina

4 哈薩克斯坦共和國中央國家電影、照片及錄音檔案館 The Central State Archive of Film, Photo Documents, and Sound Recording of the Republic of Kazakhstan

5 迪利亞拉・凱波娃與 NoolOdin Dilyara Kaipova and Noolodin

2022

205 x 132 厘米

檔案影片3798 - 第二部份（0:09-5:15）

與烏茲別克費爾干納盆地馬爾吉蘭的工匠合作

擴增實境（AR）應用：zappar.com

手工綁染 Abr織物，60%真絲、40%棉

地毯工匠：比比古爾、祖萊霍

123 x 190 厘米

影片製作：帖木兒 ‧ 卡爾波夫

CHAT六廠委託作品

2022

檔案影片3140 - 第一部份（3:04-8:59）

2022

Handmade carpet, wool and cotton,

In collaboration with artisans from the city of

205 x 132 cm

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

Margilan, Fergana Valley, Uzbekistan

AR application: zappar.com

Archive video 73 video 1 (Polygon)

Handmade abr

(0:01:04-0:03:46; 0:10:09-0:10:55;

silk (60%) and cotton (40%)

0:11:31-0:12:25; 0:13:58-0:14:30)

123 x 190 cm

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

Commissioned by CHAT

1972-88

《民族烏茲別克長袍 ──「棉」》

哈薩克斯坦共和國中央國家電影、照片及錄音

（《棉花之路計劃》系列）

《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 2023 Prints on white wallpaper 650 x 310 cm

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）

《民族烏茲別克長袍──「棉籽油」》

《棉花之路計劃》

（《棉花之路計劃》系列） 2022 手工地毯、羊毛和棉

fabric,

檔案館提供 1972-88 Courtesy of the Central State Archive of Film, Photo

2022

Documents, and Sound Recording of the Republic

與烏茲別克費爾干納盆地馬爾吉蘭的工匠合作

of Kazakhstan

手工綁染 Abr織物，60%真絲、40%棉 123 x 190 厘米 CHAT六廠委託作品 2022 In collaboration with artisans from the city of Margilan, Fergana Valley, Uzbekistan Handmade abr

fabric, silk (60%)

and cotton (40%) 123 x 190 cm Commissioned by CHAT

Carpet makers: Bibigul and Zulayho Video: Timur Karpov

152

作品總覽 LIST OF ARTWORKS

–––––––––––––––––––––––––––––––––––––

6 娜茲利雅・納基莫娃 Nazilya Nagimova

7 阿斯哈特・阿赫米亞羅夫 Askhat Akhmedyarov

8 庫巴拉・哈德米 Kubra Khademi

《蛻變》

《讓我們拯救博茲拉》

《分娩#04》

2021

錄像

混合媒體、布面刺繡和絲印

11’00”

200 × 150 厘米

2021

藝術家和Galerie Eric Mouchet提供

2022

Video

2021

羊毛氈及草本染料，三聯畫

11’00”

Mixed media, embroidery and silk print on tissue

《四個天空》《我們的路永遠不會相交》

尺寸可變 2022

200 x 150 cm 《霧裡的人》

Courtesy of the artist and Galerie Eric Mouchet

2022

《分娩#03》

Felt, herbal dyes, triptych Dimensions variable

橫幅織物，一組 4幅 128 x 80 厘米、128 x 80 厘米、

2021

133 x 94 厘米、130 x 83 厘米

混合媒體、布面刺繡和絲印

2022

200 × 150 厘米

Textile banners, a set of 4

藝術家和Galerie Eric Mouchet提供

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

2021 Mixed media, embroidery and silk print on tissue 200 x 150 cm Courtesy of the artist and Galerie Eric Mouchet

153

–––––––––––––––––––––––––––––––––––––

9 阿奇兹・哈奇拉 Aziz Hazara

10 蘇里・巴帕諾娃 Saule Bapanova

11 古扎麗・扎克爾 Guzel Zakir

12 馬拉・迪爾曼 Marat Dilman

《塔基爾》

《棕土》

《和田對話》

《無題》

2022

2014

2022

2014-20

單屏錄像、5.1 環繞立體聲

羊毛及石頭

亞麻布面油畫

相片，一組10幀

9’58”

160 x 96 厘米

120 × 120厘米、70 × 70厘米

60 x 40 厘米

之間藝術影像基金會委託作品

2014

2022

2014-20

藝術家及 Experimenter畫廊提供

Wool, stones

Oil on linen

Photographs, a set of 10

2022

160 x 96 cm

120 x 120 cm, 70 x 70 cm

60 x 40 cm

《宇宙》

《女性。生命。自由》

Between Art Film

2012

2022

Courtesy of the artist and Experimenter gallery

羊毛及絲綢

亞麻布面油畫

175 x 90 厘米

130 × 90厘米

2012

2022

Wool, silk

Oil on linen

175 x 90 cm

110 x 90 cm

Single channel digital video, 5.1 surround sound 9’58” Commissioned and produced by Fondazione

《連眉》 2022 陶瓷 / 粘土、釉陶直徑25 厘米、直徑23 厘米、直徑22 厘米、直徑22 厘米、直徑17 厘米 2022 Ceramic/ clay, glaze pottery 25 cm Ø, 23 cm Ø, 22 cm Ø, 22 cm Ø, 17 cm Ø

154

作品總覽 LIST OF ARTWORKS

–––––––––––––––––––––––––––––––––––––

13 艾希莎・沙迪諾娃 Aziza Shadenova

15 瑪迪娜・祖迪比可娃 Madina Zholdybekova

16 賈絲古爾・瑪達茲莫娃 Jazgul Madazimova

《星星馬賽克》

《正常星。中子星。黑洞》

《拉比察》

2022

2021

2018

繪畫

塑膠彩、棉、羊毛

繪畫

尺寸可變，一組4件

61 x 67 厘米、60 x 97 厘米、63 x 138 厘米

70 x 54 厘米、70 x 54 厘米、70 x 50 厘米、

2022

2021

70 x 50 厘米、50 x 33 厘米

Painting

Acrylic, cotton, wool

2018

Variable dimensions, a set of 4

61 x 67 cm, 60 x 97 cm, 63 x 138 cm

Drawings

–––––––––––––––––––––––––––––––––––––

《被吃掉的卡式錄音帶》

70 x 50 cm, 50 x 33 cm

14 705

2021

–––––––––––––––––––––––––––––––––––––

70 x 54 cm, 70 x 54 cm, 70 x 50 cm,

塑膠彩、棉、羊毛

《黑膠唱片》

17 古爾娜拉・卡斯馬利耶娃與穆拉特・朱馬利耶夫 Gulnara Kasmalieva and Muratbek Djumaliev

創作意念：瑪麗卡‧烏瑪洛娃、馬拉‧萊姆庫洛芙（705）

2022

《告別之歌》

首次展演位置：阿拉穆丹河床

塑膠彩、棉、羊毛

2023

115 x 106 厘米

Video

2022

29’31”

Acrylic, cotton, wool

尺寸可變

Commissioned by CHAT

115 x 106 cm

3’40”

45 x 56 厘米、30 x 41 厘米《河流演出》

2021 Acrylic, cotton, wool

2023

45 x 56 cm, 30 x 41 cm

錄像 29’31” CHAT六廠委託作品

2001 錄像裝置

Idea: Malika Umarova, Marat Raiymkulov (705)

2001

Preliminary location: Alamedin riverbed

Video installation Dimensions variable 3’40”

155

–––––––––––––––––––––––––––––––––––––

18 庫卡特・帕爾凡・扎德 Furqat Palvan-Zade

20 阿瑟爾・卡迪哈諾娃 Asel Kadyrkhanova

21 巴希・布比卡諾娃 Bakhyt Bubikanova

22 古爾努爾・穆卡扎諾娃 Gulnur Mukazhanova

《夢境與河流》

《Soz Joq / 無言》

《奇蹟》

《後遊牧現實 #41》

2023

2017，2022更新

2022

2018-22

數碼印刷品

錄像

混合媒體裝置

手工氈化的美麗諾羊毛和真絲羊毛、絲綢及大頭針

尺寸可變

20’00”

270 x 240 厘米

140 x 140 厘米

2023

2017, updated 2022

CHAT六廠委託作品

2018-22

Digital prints

Video

2022

Merino and silk wool felted by hands, silk, pins

Dimensions variable

20’00”

Mixed media installation

140 x 140 cm

270 x 240 cm

–––––––––––––––––––––––––––––––––––––

19 米迪娜・巴薩格利與卡康婭 Medina Bazargali & Kokonja 《那時會有自由嗎？（erkindik bola ma eken sol kezde?) 》

2023 演算法、聲音及羊毛氈 CHAT六廠委託作品演算法：阿爾讓・阿勒泰 2023 Algorithm, sound and felt Commissioned by CHAT Algorithm by Arwjan Qaltay

《瑪利安（我的外婆之名）》

Commissioned by CHAT

2022

《傳說》

布面刺繡

《希望之影：昨日之過去，今日之當下》

2022-23

50 x 60 厘米，一組15件

2022

羊毛氈、絲綢、布料、大頭針

2022

雙頻錄像

150 x 1,650 厘米，一組二件

Embroidery on fabric

3’00”

CHAT六廠委託作品

50 x 60 cm, a set of 15

2022

2022-23

Two-channel video

Felt, silk, fabrics, pins

3’00”

150 x 1,650 cm each, a set of two Commissioned by CHAT

156

作品總覽 LIST OF ARTWORKS

–––––––––––––––––––––––––––––––––––––

23 耶列娜・弗若巴耶娃 Yelena Vorobyova

24 利迪婭・布林諾娃 Lidiya Blinova

25 烏米達・阿赫梅多娃 Umida Akhmedova

《證件照片。必要加工》

《手指裝飾》

《人與他們的聖物》

2010

1995

2021-22

灰紙印刷品

相片列印

相片打印

28.7 x 21 厘米，一組15張

26 x 36 厘米，一組10張

180 x 120 厘米、90 x 60 厘米、90 x 60 厘米、

2010

Khalfin基金會借出

60 x 40 厘米、60 x 40 厘米、60 x 40 厘米

Print on grey paper

1995

2021- 22

28.7 x 21 cm, a set of 15

Photoprint

26 x 36 cm, a set of 10

180 x 120 cm, 90 x 60 cm, 90 x 60 cm,

Courtesy of Khalfin Foundation

60 x 40 cm, 60 x 40 cm, 60 x 40 cm

《手指語言。向利迪婭・布林諾娃的〈手指裝飾〉致敬。》

《太陽印記》 2022

2010-22

布面印花

相片打印

350 x 130 厘米，一組3幅

29.7 x 42 厘米，一組4件

2022

2010- 22

Print on fabric

Photoprint

350 x 130 cm, a set of 3

29.7 x 42 cm each, a set of 4 《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 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 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

157

––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

26 CA研究組 CA Research Group 安娜・普洛妮雅 Anna Pronina

愛莎・贊杜薩娃 Aisha Jandosova

達娜・伊斯卡柯娃 Dana Iskakova

《裝飾品編目 / 裝飾品傳送》

《讓我為你畫一幅過去的圖畫》

《向 jeli學習》

《製造金錢》

2022

研究展示

錄像

紙張、有機玻璃

印章、紙，互動裝置

尺寸可變

10’00”

21 x 29.7 厘米

尺寸可變

CHAT六廠委託作品

2022

聲音協作：Eldar Tagi

2022

Research display

影片攝製：Katerina Suvorova

Paper, plexiglass

Stamps, paper, interactive installation

Dimensions variable

2022

21 x 29.7 cm

Dimensions variable

Commissioned by CHAT

Video

Commissioned by CHAT

艾達・伊莎漢卡茲 Aida Issakhankyzy

楊陽 Yang Yeung

10’00 ”

萊娜・波茲德尼亞科娃、薩尼亞・波茲德尼亞科娃 Lena Pozdnyakova, Saniya Pozdnyakova

Commissioned by CHAT

《雕塑，「對話式物件／關懷之裝飾品」》

《據我記憶所及》

《未命名地毯 #1》

《向縫線致敬—— 傷口的伴侶》

Sound collaboration: Eldar Tagi Videographer: Katerina Suvorova

2022

聲音

2022

混合媒體

6’00”

文章及表演

混合媒體，三件式組合裝置

125 x 75 厘米

CHAT六廠委託作品

尺寸可變

CHAT六廠委託作品

聲音協作：Eldar Tagi

2022

CHAT六廠委託作品

2022

Essay and performance

2022

Mixed-media

Commissioned by CHAT

Mixed media, three-part installation

Audio

125 x 75 cm

Dimensions variable

6’ 00”

Commissioned by CHAT

Commissioned by CHAT Sound collaboration: Eldar Tagi

158

團隊名單 STAFF CREDITS

CHAT六廠團隊高橋瑞木

（截至2023年2月25日）

執行董事及首席策展人

策展團隊 ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– 王慰慰

展覽及館藏策展人

胡敏儀

策展項目管理總監

李勺言

展覽及館藏 (文化遺產及紡織) 副策展人

梁輝文

策展項目管理經理

謝詠琳

展覽及館藏高級館藏管理專員

陳信騫

策展項目管理高級主任

麥巧琳

展覽及館藏策展助理

Paola Sinisterra

紡織項目專員 (合約)

羅璧如

共學及社區助理策展人

麥咏恩

紡織項目助理主任 (合約)

梁頌霖

共學及社區策展助理

郭杏蓮

車衣隊

司徒萱庭

共學及社區策展助理

李卓翹

團體參觀統籌主任 (合約)

管理及財務團隊 –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– 趙子珉

營運及財務高級總監

郭穎淘

創意製作高級主任

李盈慧

行政辦公室經理

黃昭穎

創意製作高級主任 (紡織)

袁建暉

行政助理主任

馮可貝

創意製作行政助理 (合約)

林秀蘭

行政助理主任

吳啟峰

創意製作技術助理

鄒詠婷

財務助理經理

曾曉彤

訪客服務主管

溫志堅

營運經理

潘嘉俊

訪客服務專員

文永亮

創意製作經理

梁小鳳

訪客服務專員 (合約)

林泳欣

創意製作助理經理 (平面設計)

楊狄恩

訪客服務專員 (合約)

春山正

創意製作高級主任 (數碼媒體)

159 品牌及傳訊團隊

––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

蘇綽玲

品牌及傳訊總監

羅港俊

品牌及傳訊助理經理 (數碼媒體)

黃曉恩

品牌及傳訊高級主任

李德心

品牌及傳訊高級主任

夥伴及發展團隊

李家焯

國際夥伴、發展及項目管理總監

麥紫琴

夥伴及發展經理

展覽製作技術員 –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– 蔡詠茱葉政宏黃慧心邱永亮

160

團隊名單 STAFF CREDITS

CHAT Crew Takahashi Mizuki

(As of 25 February 2023) Executive Director and Chief Curator

Curatorial Team –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– Wang Weiwei

Curator, Exhibitions and Collections

Bruce Li

Associate Curator, Exhibitions and Collections (Heritage and Textiles)

Maggie Tse

Senior Registrar, Exhibitions and Collections

Megan Mak

Curatorial Assistant, Exhibitions and Collections

Eugenia Law

Assistant Curator, Learning and Community

Leung Chung Lam

Curatorial Assistant, Learning and Community

Claudia Szeto

Curatorial Assistant, Learning and Community

Casper Li

Officer, Tour Coordination (Contract)

Wendy Wo

Director, Curatorial Programme Management

Raymond Leung

Manager, Curatorial Programme Management

David Chan

Senior Officer, Curatorial Programme Management

Paola Sinisterra

Textile Specialist (Contract)

Nicole Mak

Assistant Officer, Textile Programme (Contract)

Kwok Hang Lin

Sewing Team

Operations and Finance Team –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– Chiu Tsz Man

Senior Director, Operations and Finance

Stephanie Li

Manager, Executive Office

Leo Yuen

Assistant Officer, Administration

Varia Lam

Assistant Officer, Administration

Ida Chow

Assistant Manager, Finance

161

Dominic Wan

Manager, Operations

Dennis Man

Manager, Creative Production

Willis Lam

Assistant Manager, Creative Production (Graphic Design)

Haruyama Masashi

Senior Officer, Creative Production (Digital Media)

Joyce Kwok

Senior Officer, Creative Production

Gabrielle Wong

Senior Officer, Creative Production (Textiles)

Colbie Fung

Administrative Assistant, Creative Production (Contract)

Ng Kai Fung

Technical Assistant, Creative Production (Contract)

Cloris Tsang

Supervisor, Visitor Experience

Sam Pun

Associate, Visitor Experience

Ellie Leong

Associate, Visitor Experience (Contract)

Yeung Tik Yan

Associate, Visitor Experience (Contract)

Branding and Communications Team –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– Zon So

Director, Branding and Communications

Felix Lo

Assistant Manager, Branding and Communications (Digital Media)

Grace Wong

Senior Officer, Branding and Communications

Marie Lee

Senior Officer, Branding and Communications

Partnership and Development Team –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– Aidan Li

Director, International Partnership, Development and Programme Management

Mak Tsz Kam

Manager, Partnership and Development

Exhibition Production Technicians Choi Wing Chu Belinda

–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

Nakamura Masahiro

Wong Winsome Dumalagan

Yau Wing Leung Thomas

162

團隊名單 STAFF CREDITS

數碼圖錄 Digital Catalogue 編輯王慰慰

Editor Wang Weiwei

文字編輯 Oliver Farry (P. 6-11, 26-35) 陳信騫麥巧琳

Copyeditors Oliver Farry (P. 6-11, 26-35) David Chan Megan Mak

設計李海怡

Design Jeramy Lee

撰稿王慰慰 (P. 6-11) 斯拉夫與韃靼、由宓 (P. 26-29) 亞歷珊卓・崔 (P. 30-35)

Contributors Wang Weiwei (P. 6-11) Slavs and Tatars, You Mi (P. 26-29) Alexandra Tsay (P. 30-35)

中文翻譯魏家欣 (P. 30-35)

Chinese Translation Luna Ngai (P. 30-35)

攝影 Chris Lusher

Photography Chris Lusher

展覽紀錄編輯羅港俊 Cstand Production

Exhibition Documentary Production Felix Lo Cstand Production

163

出版 Published by

六廠基金會有限公司 Mill 6 Foundation Limited 荃灣白田壩街45號南豐紗廠CHAT六廠 CHAT/MILL6 Foundation The Mills, 45 Pak Tin Par Street Tsuen Wan, N.T., Hong Kong T (852) 3979 2301 W www.mill6chat.org E enquiry@mill6chat.org ISBN: 978-988-79608-7-4 2023年8 月出版 Published in August 2023 版權所有。除構成合理交易的私人學習、研究和評論外，在未經出版者的書面同意下，均不被授予任何許可複製、印製或以數碼、影印、攝錄等其他形式發佈數碼圖錄的任何內容。 All rights reserved. Apart from any fair dealing for the purposes of private study, research, criticism, or review, no part of the contents of this digital catalogue may be reproduced, printed, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written consent from the publisher. © 2023 the artists, authors and Mill 6 Foundation Limited © 2023 版權屬於藝術家、作家及六廠基金會有限公司