AN OPERA FOR ANIMALS 百物曲
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Introduction
簡介
Kenojuak Ashevak Shuvinai Ashoona Firelei Báez Julie Buffalohead Lee Bul 李昢 Chen Qiulin 陳秋林 Ali Cherri Clara Cheung 張嘉莉 Narcisa Chindoy Lok Chitrakar Chto Delat Cui Jie 崔潔 Juan Davila Heri Dono Ticio Escobar Jes Fan 范加 Sofia Ferrer Fifita Family Chitra Ganesh Beatriz González Ho Tzu Nyen 何子彥 Vivian Ho 何博欣 Saodat Ismailova Ilya and Emilia Kabakov Alexander Kluge Lawrence Lek 陸明龍 Candice Lin 林從欣 Euan Macdonald
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Barayuwa Munu gurr Ciprian Mure an Adam Nankervis Kelly Nipper Gabriel Pareyon Gary Ross Pastrana Tim Pitsiulak Gala Porras Kim Christoph Schlingensief Simon Soon 孫先勇 Angela Su 徐世琪 Tao Hui 陶輝 Wang Wei 王衛 Ming Wong 黃漢明 Haegue Yang 梁慧圭 Yang Shen 楊深 Yee I-Lann Samson Young 楊嘉輝 Robert Zhao Renhui 趙仁輝 Jágua-jágua 美洲豹像 Tibetan Refugee and Handicraft Centre
西藏難民及手工藝中心
82 Acknowledgements and Colophon 鳴謝與版權
An Opera for Animals “Opera” has been used as the name to describe various traditions of performance, social arrangement, entertainment, and spiritual work from around the world. Many of these are ancient and radically different from each other but are nevertheless classified as regional variants of the (relatively young) Western model. But more than being yet another example of lingering colonial taxonomy, this brings into discussion the status of opera as the highest art form, reflecting the European colonial project. There is an almost perfect chronological overlap between the golden age of Western opera and Europe’s occupation of most of the world, at the end of the 19th century and beginning of the 20th. There are, as well, the obvious cases of operas built on exotic desire like Turandot and Madama Butterfly or the case of Aida, commissioned for the inauguration of the Suez Canal. But there is more to this than just chronological coincidence. The scale of ambition needed to imagine the absolute art form that opera was, aiming to organise every aspect and implication of the viewer’s experience, is intimately connected to that moment of absolute hubris when Europe imagined that it could dominate and reorganise the entire world. But European opera was not only a form of bourgeois entertainment, even one that was celebrating the glory of imperial conquest. These total spectacles, held in some of the grandest buildings erected in this time period—in the symbolic urban position previously occupied by cathedrals—with society neatly organised by class facing the elaborate scene on the stage, were in many ways quasireligious experiences, where European glory was not just a subject of the performance but a collectively lived ecstatic apotheosis. This was happening as Europe was priding itself on its modern rationality, seeing itself in opposition to the “animist” world of the peoples it was occupying at the same time. The modern view, deeply connected to the colonial project, also changed the physical, emotional, and symbolic relationship between humans and animals, elevating the status of humans, in a view radically different from many indigenous systems of knowledge and value. But European opera contained the
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clues exposing this charade, for it was far from its official claim of a secular spectacle, amusing a modern society. The phantoms, monsters, and sacred animals of European Empires have always haunted these opera houses, where they were sacrificed, channeled, and embodied within the great shrines of modernity. An Opera for Animals is nevertheless interested in how these complexities are still alive, even after the demise of the colonial era and of Western opera as a fully living art form. As a parallel discussion, it includes less discussed connections between European classical music and other music systems. More extensively, the exhibition looks at different acts of staging that have been crucial to our imagination of modernity. The conflicts of staging, controlling, hiding, and repressing that occur within the operatic space are at the very core of our contemporary reality, defined by constructed and “alternative” truths, digital parallel worlds, self-staging of personal identities, and the increasingly palpable promise of a new technological turn in the field of intelligence. As such, the exhibition understands opera and related issues such as “staging” and “operatic environment” broadly, as terms describing the synthetic landscapes imagined and generated in our world today. Equally, the animal spirit connects the still very present ancient beliefs with a highly futuristic fear of new forms of irrationality and intelligence colonising our future. The world of technology continues to draw influence from the unique characteristics of certain animal species, enforcing this connection. This exhibition explores the way in which the future is now projected less as the rational thinking commonly remembered from the post-war era—advanced machinery, design, and social forms—but once more as a place of amorphous fear, of animals that might take over in artificial landscapes. The future it seems, will again be an opera for animals. Cosmin Costina , Claire Shea
3 百物曲
百物曲 「 歌 劇 」一 詞 常 用 於 描 述 發 生 在 世 界 各 地 的 表 演、社 會 活 動、娛 樂、 信 仰 等 傳 統。這 些 傳 統 大 多 歷 史 悠 久 且 迥 然 不 同，然 而 它 們 仍 被 籠 統 地 稱 為「 歌 劇 」，稱 為 這 一（相 對 年 輕 的）西 方 模 板 的 地 方 形 式。 這種殖民歷史所遺留的簡單分類法促使我們重新反思歌劇作最高 藝 術 形 式 的 地 位，以 及 與 之 密 切 相 關 的 歐 洲 殖 民 歷 史。從 時 間 上 來 看，西 方 歌 劇 的 黃 金 時 代 與 歐 洲 的 版 圖 擴 張 都 發 生 在 十 九 世 紀 末 與 二 十 世 紀 初，兩 者 幾 乎 完 美 重 合 — 然 而 這 並 不 僅 是 時 間 上 的 巧 合，從《杜 蘭 多》到《蝴 蝶 夫 人》，再 到 為 蘇 伊 士 運 河 落 成 而 特 別 創 作 的《阿 依 達》，在 歌 劇 中，以 異 域 渴 望 為 核 心 的 敘 事 在 歌 劇 中 時 常 可 見。 作 為 一 種 藝 術 形 式，歌 劇 試 圖 透 過 對 每 個 細 節、橋 段 的 控 制 來 主 導 觀 眾 的 體 驗，這 種 野 心 與 當 時 歐 洲 認 為 自 己 可 以 掌 控 並 重 組 世 界 的 自 負 密 切 相 關。但 是，即 使 是 那 些 歌 頌 帝 國 征 程 之 榮 光 的 歌 劇 作 品，也 不 僅 是 一 種 布 爾 喬 亞 的 娛 樂。當 時 的 劇 院 的 華 麗 建 築 常 建 於 曾 經 矗 立 著 大 教 堂 的 城 市 地 標 之 上，社 會 成 員 按 照 階 級 的 劃 分 被 分 佈 在 建 築 四 周，面 對 着 舞 臺 精 美 的 場 景，一 如 某 種 準 宗 教 式 的 體 驗。在 這 裏，歐 洲 的 榮 光 不 僅 僅 是 表 演 的 對 象，也 是 一 種 集 體 的 崇 拜 與 狂 歡。
那 些 人 造 的「 替 代 」真 相、數 字 平 行 世 界、個 人 身 份 的 自 我 表 演， 以 及 在 智 能 領 域 愈 發 顯 著 的 新 科 技 轉 向。因 此，是 次 展 覽 以 一 種 更 加 寬 泛 的 方 式 來 理 解 歌 劇 以 及 與 它 相 關 的「 演 出 」與「 舞 台 」等 問 題， 並 藉 助 這 些 術 語 來 描 述 現 今 世 界 所 想 象 並 生 成 的 合 成 風 景。同 樣 地， 動物之靈也連接着當下依舊可見的古老信仰與一種充滿未來感的 恐 懼，即 新 形 式 的 非 理 性 與 智 能 對 未 來 的 殖 民。與 此 同 時，技 術 世 界 繼 續 從 不 同 物 種 的 特 性 中 汲 取 靈 感，進 一 步 強 化 著 這 種 關 聯。 今 天 預 見 未 來 的 方 式 已 從 戰 後 常 見 的 理 性 思 考 — 先 進 的 機 器、 設 計 與 社 會 制 度 — 再 次 轉 變 為 某 種 無 法 預 料 的 恐 懼，以 及 可 能 被 動 物 之 地 以 及 接 替 人 造 景 觀 的 動 物 之 境。未 來，或 許 會 再 次 成 為 「 百 物 曲 」。 康 喆 明、謝 清
彼 時 的 歐 洲 正 沉 浸 在 對 自 身 現 代 理 性 的 驕 傲 之 中，而 被 他 們 佔 領 的 「 泛 靈 論 」世 界 則 被 視 為 這 種 理 性 的 反 面。這 些 與 殖 民 計 劃 息 息 相 關 的 現 代 觀 念 也 從 物 理、情 緒 與 象 徵 層 面 改 變 着 人 類 與 動 物 間 的 關 係。 這 種 觀 念 將 人 的 地 位 不 斷 抬 高，繼 而 與 許 多 本 土 知 識 與 價 值 系 統 形 成 根 本 的 差 異。然 而，歐 洲 歌 劇 也 包 含 着 揭 露 這 種 假 象 的 線 索，因 為 它 遠 非 官 方 所 宣 稱 的 那 種 用 於 娛 樂 現 代 社 會 的 世 俗 奇 觀。歐 洲 帝 國 的 幽 靈、怪 獸 與 神 聖 動 物 一 直 揮 散 不 去 地 縈 繞 著 歌 劇 院，它 們 在 那 裏 被 獻 祭、被 召 喚，並 被 呈 現 於 現 代 性 的 聖 祠 之 中。 展 覽「 百 物 曲 」感 興 趣 的 是，隨 著 殖 民 時 代 的 消 亡 和 西 方 歌 劇 全 盛 時 期 的 結 束，上 述 的 複 雜 性 何 以 仍 然 生 生 不 息。作 為 平 行 討 論，展 覽 也 涵 蓋 了 一 個 此 前 鮮 有 討 論 的 問 題，即 歐 洲 古 典 音 樂 與 其 他 音 樂 體 系 之 間 的 關 聯。同 時，是 次 展 覽 也 在 更 加 寬 泛 的 語 境 中，考 察 那 些 對 我 們 的 現 代 性 想 象 至 關 重 要 的、不 同 的 演 出 行 為。歌 劇 空 間 中 有 關 演 出、 控 制、隱 藏 與 抑 制 的 衝 突 正 是 我 們 所 面 對 的 當 代 現 實 的 核 心，例 如
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KENOJUAK ASHEVAK SHUVINAI ASHOONA BORN IN IKIRASAQ, CANADA, 1927 DIED IN KINNGAIT (CAPE DORSET), CANADA, 2013 1927年生於加拿大巴芬島， 2013年逝於加拿大開普多塞特
Kenojuak Ashevak was an Inuit artist, regarded as one of the most notable indigenous pioneers of modern art in Canada. Ashevak was born in an igloo in an Inuit camp, Ikirasaq, at the southern coast of Baffin Island, Canada. Her work is now part of the collections of Canada’s National Gallery, the Art Gallery of Ontario, and the Burnaby Art Gallery, among others. She became the first Inuit artist inducted into Canada’s Walk of Fame in 2001.
BORN IN CAPE DORSET, CANADA, 1961 LIVES AND WORKS IN KINNGAIT (CAPE DORSET) 1963年生於加拿大開普多塞特， 現居住和工作於開普多塞特
Shuvinai Ashoona is an Inuit artist who works primarily in drawing. She is known for her detailed pen and pencil works depicting Arctic landscapes and contemporary Inuit life. Ashoona was born in Kinngait (Cape Dorset), Nunavut to a family of celebrated artists.
Kenojuak Ashevak 是一位因紐特藝術家。
她被公認為加拿大最具盛名的原住民現代藝術 先鋒之一。 Kenojuak Ashevak 生於加拿大 巴芬島南部沿岸的因紐特社區上的一座雪屋裡。 她的作品被收藏於加拿大國家美術館，安大略省 美術館以及 Burnaby 美術館等。2001 年， 她成為了第一個在加拿大星光大道留名的 因紐特藝術家。
Untitled, 1962 Engraving Courtesy of Dorset Fine Arts 無題，1962
雕刻 由 Dorset Fine Arts 提供
Playful Spirits, 2012 Etching Courtesy of Dorset Fine Arts 歡靈，2012
蝕刻版畫 由 Dorset Fine Arts 提供
Bird with Green Plumage, 2012 Ink, coloured pencil Courtesy of Dorset Fine Arts 綠色羽毛的鳥，2012 墨、彩色鉛筆 由 Dorset Fine Arts 提供
Tapestry of Owls, 2013 Pendleton (woven wool blanket) Courtesy of Spirit Wrestler Gallery 貓頭鷹地毯，2013
Shuvinai Ashoona 是一位主要從事繪畫的 Tentacles, 2018 Lithograph Courtesy of the artist and Dorset Fine Arts 觸角，2018
因鈕特藝術家。她因細節豐富的鋼筆與鉛筆畫 而為人所知，並在畫中描繪了北極風光與當代 因鈕特生活。 Ashoona 於 1961 年出生在努納 武特區多塞特角的一個藝術世家。
平板印刷 由藝術家及 Dorset Fine Arts 提供
羊毛地毯 由 Spirit Wrestler 畫廊提供
Two Spirits, 1967 Engraving Courtesy of Dorset Fine Arts 雙靈，1967
雕刻 由 Dorset Fine Arts 提供
Fine Feathers, 2013 Etching, aquatint Courtesy of Michael Warren 精緻的羽毛，2013
蝕刻、水彩 由 Michael Warren 提供
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FIRELEI BÁEZ BORN IN SANTIAGO DE LOS CABALLEROS, DOMINICAN REPUBLIC, 1981 LIVES AND WORKS IN NEW YORK CITY, USA 1981年生於多明尼加聖地牙哥， 現居住和工作於美國紐約 Wanderlust Demanding Recompense, 2016 Acrylic and ink on paper Courtesy of the artist and Jamie G. Anderson 旅行癖的索酬，2016
紙面丙烯及墨 由藝術家及 Jamie G. Anderson 提供
In the ongoing Ciguapa series, the artist re-imagines an elusive female creature from the folklore of Dominican Republic, that has also been wellrepresented in the country’s art history. Ciguapa is a feminine archetype who lives in the high mountains of the island, who might be beautiful or horrendous depending on the person they encounter, bringing darkness or light into one’s life. They are also known for preying on men who dare to cross the highlands. These female tricksters live beyond borders, selfempowered through their magical qualities. The lore of ciguapas left a long-standing impact on Báez, who uses this creature as a vessel to build a body of works which, like most of her practice, is centred on a radical, fluid, and active, female body, and relies on science fiction and fantasy to address subjectivities and alternative forms of representation.
在長期創作系列「西卦帕豹」中，Firelei Báez 重新想象著這個來自多米尼加共和國神話的女性 生物。在該國的藝術史中，它也佔據重要的地位。 西卦帕豹是一個生活在多米尼加共和國高山上 的形象，曾經見過它的人或稱它美艷驚人、使人 充滿對生命的渴望，或稱它醜陋至極、讓人倍感 絕望。在廣為人知的傳說中，它們會獵殺膽敢 踏足高地的人。這些充滿迷惑性的生物沒有邊 界的觀念，它們透過自己神奇的屬性獲取力量。 Báez 對西卦帕豹的傳說深深著迷，她以西卦帕豹 的形象創作了一系列作品。一如她的大多數作品， 「西卦帕豹」系列關注那些激進的、流動的、 充滿能量的女性身體，並藉助科幻小說及想象 來塑造主體以及另類形態的象徵。
Ciguapa Pantera (to all the goods and pleasures of this world), 2015 Acrylic and ink on paper Courtesy of the Tiroche DeLeon Collection and Art Vantage PCC Ltd.
西卦帕豹（致世間所有美好 與幸福），2015 紙面丙烯及墨 由 Tiroche DeLeon 收藏及 Art Vantage PCC 公司提供
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JULIE BUFFALOHEAD
Untitled, 2017 Acrylic, ink, and pencil on Lokta paper Courtesy of the artist and Bockley Gallery 無題，2017 丙烯、水墨、鉛筆、Lokta 紙 由藝術家及 Bockley 畫廊提供
Spirit Dish, 2017 acrylic, ink, graphite on Lokta paper Courtesy of the artist and Bockley Gallery 靈碟，2017 丙烯、水墨、石墨、Lokta 紙 由藝術家及 Bockley
BORN IN PONCA, USA, 1972 LIVES AND WORKS IN SAINT PAUL, USA 1972年生於美國龐卡城， 現居住和工作於美國聖保羅市
畫廊提供
Entwined, 2014 Lithograph Courtesy of the artist and Bockley Gallery 纏繞，2014
Unravel, 2014 Lithograph Courtesy of the artist and Bockley Gallery 解開，2014
平板印刷 由藝術家及 Bockley 畫廊提供
平板印刷 由藝術家及 Bockley 畫廊提供
You are on Indian Land, 2017 Acrylic, ink, and pencil on Lokta paper Courtesy of the artist and Bockley Gallery 你在印第安的土地上，2017 丙烯、水墨、鉛筆、Lokta 紙 由藝術家及 Bockley
Julie Buffalohead’s work prominently features animals from Native American folklore, inverting these images to comment on the stereotyping and commercialisation of Native American culture. Buffalohead, a citizen of the Ponca tribe of Oklahoma, also portrays scenes that allude to contemporary Native American experiences, with works like You are on Indian Land depicting the recent Dakota Access Pipeline protests at Standing Rock. 在 Julie Buffalohead 的作品中，美國原住民 傳說中的動物扮演著重要的角色。Buffalohead 將這些圖像反轉，回應社會對美國原住民文化 的刻板印象和充滿偏見的商業化。作為俄克拉荷 馬州龐卡部落的一名成員，Buffalohead 在創作 中也描繪、反映著當代美洲原住民的遭遇，例如 作品《你在印第安的土地上》便描繪了近期的 達科他州反對輸油管的抗議。
畫廊提供
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LEE BUL 李昢
BORN IN YEONGJU, SOUTH KOREA, 1964 LIVES AND WORKS IN SEOUL, SOUTH KOREA 1964年生於南韓榮州， 現居住和工作於南韓首爾
Lee Bul’s chandelier-like sculptures uncannily evoke both modernist aspiration and bourgeois decadence, allowing one to imagine a grandioselybuilt but never-staged opera of great expectations. The series is inspired by futurist architect Bruno Taut who, during the horrors of the First World War, proposed an escapist plan of building fantastical crystal cities in the Alps. Lee Bul’s Sternbau can be read in many ways, as the collapse of old Europe into its own nightmares, as the more universal and inescapable connection between splendor and oppression, both readings being highly apt in our times of excess and impending abyss. 李昢猶如水晶吊燈的雕塑詭秘地體現著現代 主義的情懷以及資產階級的奢華趣味，人們聯想 到那些萬眾期待且鄭重排練卻從未上演的歌劇。 這一系列的靈感來自未來主義建築師 Bruno Taut。在一戰的恐怖陰影下，Taut 構思出了一套 逃避主義的建築計劃。他希望在阿爾卑斯山山間 建造幻想中的水晶城。李昢的《 Sternbau 》系列 可以生成多重解讀：一是舊歐洲在自我編織的 噩夢中的崩塌，二是輝煌盛景的背後普遍而無可 避免的壓迫。這兩種解讀也是對我們過剩的並且 徘徊在危機邊緣的年代的貼切形容。
Sternbau 30.8, 2010 Crystal, glass, acrylic beads on nickel-chrome wire, stainless steel, aluminum armature Courtesy of Bonnie Chan Woo
水晶、玻璃及亞克力珠、鎳 鉻絲、不鏽鋼、鋁制電樞 由胡陳德姿提供
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CHEN QIULIN 陳秋林 BORN IN YICHANG, CHINA, 1975 LIVES AND WORKS IN CHENGDU, CHINA 1975年生於中國宜昌， 現居住和工作於中國成都 Farewell Poem, 2007 Photograph Courtesy of the artist and Thousand Plateaus 別賦，2007
攝影 由藝術家及千高原藝術空間 提供
About the series of Untitled in 2005 — Untitled 3, 2005 Photograph Courtesy of the artist and Thousand Plateaus 關於 2005 年的無題系列 — 無題三，2005
In 2002, Chen Qiulin returned to her childhood town of Wanxian, Sichuan to document the landscapes and scenes, before their anticipated disappearance and destruction following the construction of Three Gorges Dam. Chen travelled back and forth between Wanxian, Yunyang, Fengjie, Wushan, and Dachang ancient towns, recording the demolition and the remaining ruins brought about by the large-scale hydroelectric project. As a farewell to the sites, she performed excerpts from the Beijing opera Farewell My Concubine in these locations. Three years later, Chen returned to the Three Gorges Dam to perform the Broken Bridge chapter from the Sichuan opera Legend of the White Snake on the container dock alongside the Yangtze River. Environmental alteration, modernised construction projects, and extravagant theatre, all merge in a manner that is absurd yet pointed, in these idiosyncratic and melancholic scenes.
ALI CHERRI
BORN IN BEIRUT, LEBANON, 1976 LIVES AND WORKS BETWEEN BEIRUT AND PARIS, FRANCE 1976年生於黎巴嫩貝魯特， 現居住和工作於貝魯特及法國巴黎
Ali Cherri 在他的創作中利用一批宗教、象徵、
2002 年，陳秋林回到童年故鄉四川萬縣，寄望
透過拍攝紀念這片正在並即將在三峽工程中消失 的故鄉土地。在萬縣、雲陽、奉節、巫山和大昌 古鎮之間，陳秋林來回記錄著國家大型水利 工程下城市拆遷的現場和已被夷為平地的遺跡， 並在那些滿目瘡痍的廢墟上上演京劇《霸王 別姬》的片段，是為別賦。三年後，藝術家重訪 三峽，將川劇《白蛇傳》中的一章，「斷橋」，呈演 在沿岸貨櫃碼頭之上（《江河水》）。大型自然 改造工程、現代化建設項目、彩衣厚粉的劇場， 被藝術家既荒誕又合理地共融在一個喧囂且 黯然神傷的現場。
攝影 由藝術家及千高原藝術空間 提供
藝術或文化意義皆相對模糊的拾來物殘片 進行創作，這些物件包括雕塑、塑像、物件，等 等。他將這些不同的物件進行拼接，繼而把玩 「合成品」所帶來的歷史與意義變幻，以及它們 流動的意涵。借用現代博物館的表達方式， 藝術家旨在挑動人類與非人類、文化與信仰與 瀆神之間的界限。藝術家所使用的「嫁接」 手法來自農耕中將植物的組織連接在一起，使 其繼續生長的方法，這一手法的優勢在於 推動植物早熟，並越過生長期，直接結出果實。
Hybrids E, 2018 Indus Valley painted terracotta bowl, porcelain fragment Courtesy of the artist and Galerie Imane Farès 混合物 E，2018 印度河地區手繪陶碗， 陶瓷碎片 由藝術家及 Imane Farès 畫廊提供
River, River, 2005 Photograph Courtesy of the artist and Thousand Plateaus
Ali Cherri uses discarded fragments of sculptures, figures, and objects that might or might not have had a religious, symbolic, artistic, or cultural value in their previous lives. He grafts them onto one another, playing with the idea of the fluidity of meaning and its contextual and historical transformation. The artist is interested in destabilising the borders between human and nonhuman, as well as between the cultural, religious, and profane, imposed through the instruments of modern museums. The grafting method he is referring to is a horticultural technique in which tissues of plants are joined so as to continue their growth together. The advantage of grafting is the ability to induce fruitfulness without the need for completing the juvenile phase.
Hybrids J, 2018 Plaster clay, bamboo, dried grass, fiber, wood Courtesy of the artist and Galerie Imane Farès 混合物 J，2018 灰泥、竹、干草、纖維、木 由藝術家及 Imane Farès 畫廊提供
江河水，2005 攝影 由藝術家及千高原 藝術空間提供
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Hybrids K, 2018 Plaster clay, bamboo, dried grass, fiber, wood Courtesy of the artist and Galerie Imane Farès 混合物 K，2018 灰泥、竹、干草、纖維、木 由藝術家及 Imane Farès 畫廊提供
CLARA CHEUNG 張嘉莉 One day in 2016, Clara Cheung set up a temporary stall in Canton Road Market, Hong Kong, “selling” a Lo Ting Toy—a doll with a fish head and a human body, made using a plastic figurine and dried salted fish —to passersby. To “purchase” the doll, the buyer need only listen to the artist tell the tale of Lo Ting, taken from the ‘Notes from Canton,’ and make a promise to share this story with their family and friends. “Selling” fish in this manner is for Cheung a tribute to her grandparents who themselves used to sell fish on the streets in Shek Kip Mei. Lo Ting, a creature which is supposed to have appeared on Lantau Island, and is considered the predecessor of Tanka people as well as an important figure of reference for contemporary Hong Kong mythology, is linked here to the artist’s personal history of her grandparents as the breadwinners of the family.
NARCISA CHINDOY BORN IN SIBUNDOY, COLOMBIA LIVES AND WORKS IN SIBUNDOY 生於哥倫比亞錫本多伊 現居住和工作於錫本多伊
Narcisa Chindoy is a weaver of the Kamëntsá nation in Sibundoy Valley, Colombia. Belonging to a known family of textile makers, chiefs, and ayahuasca shamans, Chindoy created this piece by imagining a much longer version of the belts worn in Sibundoy Valley. She employs traditional motifs and symbols of animals, places, and ideas, to compose a series of narratives, combining to tell a history of Sibundoy Valley. The Kamëntsá indigenous people have been successively occupied by the Incas, the Spanish, the Colombians, and in the previous decades by different factions active in the narco-civil war greatly affecting the valley. This ‘score’ is thus an artistic act of resistance, of writing one’s own repressed history by mobilising the available resources to compose a language of struggle.
2016 年一日，香港藝術家及策展人張嘉莉在香港
BORN IN HONG KONG, 1979 LIVES AND WORKS IN HONG KONG 1979年生於香港，現居住和工作於香港
旺角的廣東道街市上擺起一個臨時攤位，向 路人「售賣」由她製作的「盧亭」玩具 — 一個 由塑膠芭比玩偶和鹹魚干組成的魚頭人身 玩偶。「購買」玩偶的方法是：聆聽藝術家講述 《廣東新語》中記載的半人半魚生物「盧亭」 的故事，並承諾與家人分享這個故事，便可得到 玩偶。張嘉莉將這次「賣魚」視為對曾經在 石硤尾街頭販魚的外公外婆的致敬。在關於魚 和海的故事裡，出沒於香港大嶼山、被視為 蜑家人始祖的盧亭和維持張嘉莉一家生計的 祖輩，被一同連接在對歷史的想象和紀念中。
Lo Ting Toy Story — Salute to my grandmother who was a fish hawker, 2017 Plastic dolls, dried fish Courtesy of the artist 「盧亭」玩具故事 — 向賣魚 的外婆致敬，2017
Narcisa Chindoy 是哥倫比亞錫本多伊谷 Kamëntsá 王國的一位手工編織者。她來自當地
Untitled/Chumbe Kamëntsá (Kamëntsá sash) Early 21st century Woven fabric Courtesy of a private collection
塑膠玩偶、鹹魚 由藝術家提供
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無題 /Kamëntsá 腰帶 21世紀早期 織物 由私人收藏提供
望族，家族中有多位著名的手工編織者、族長 以及死藤薩滿巫醫。在創作這件作品時， Chindoy 希望製造一件適合在錫本多伊谷穿著的 長腰帶。她使用許多傳統紋飾，以及象徵動物、 地方以及思想的圖案與符號，來講述一系列關於 錫本多伊谷歷史的故事。Kamëntsá 原住民的 土地先後被印加人、西班牙人、哥倫比亞人侵佔， 在過去的幾十年間，錫本多伊谷亦受到毒品 戰爭帶來的地區衝突的波及。這篇「樂譜」因此 可被看作一種藝術的抵抗，運用身邊可及的 資源化作抗爭的語言，書寫自己受壓迫的歷史。
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LOK CHITRAKAR BORN IN KATHMANDU, NEPAL, 1961 LIVES AND WORKS IN KATHMANDU 1961年生於尼泊爾加德滿都，
現居住和工作於加德滿都
Lok Chitrakar is one of the most prominent Paubha painters in Nepal today. Self-taught, he is also an educator, keeping alive this ancient artistic tradition, older than Tibetan thangka. Employing one of the most intricate painterly traditions, a Paubha artist can work for decades on a single large-scale painting, and might hope to finish only a few in one lifetime. Lok Chitrakar also continues a tradition of Paubha painters acting as healers, in a subversion of prescribed caste roles, where painters are otherwise placed below the brahminic healers. Shown here, he draws two sacred lions around an eruption of shingles on the skin of a sufferer, in the hope that the power of these animals (and possibly the traditional mineral pigments in the paint) will alleviate the pain.
Lok Chitrakar 是尼泊爾當代最著名的博巴布 Healing lions, 2019 Paint on Lokta paper, silkscreen, photographs Courtesy of the artist Photo by Sheelasha Rajbhandari 療愈靈獅，2019 Lokta 卡紙繪畫、絲網、攝影 由藝術家提供 攝影：Sheelasha
繪畫師之一。自學成才的他現在也教授布繪，使 這個比西藏唐卡更古老的藝術傳統得以傳承。 布繪畫需要極其精巧繁瑣的工藝，布繪畫師常常 需要花費數十年去完成一幅大尺寸的布繪，因此 一生中可能僅能完成數件作品。Lok Chitrakar 延續了布繪畫師兼任治療師的傳統，顛覆了既定 的種姓地位，因為在傳統中，畫師的地位必須 在屬於婆羅門的治療師之下。畫中可見兩隻神獅 守護在一位飽受病痛的患者身上即將破開的 水痘旁，希望能夠藉著這些動物以及顏料中傳統 礦物的力量來消解疼痛。
Rajbhandari
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CHTO DELAT
FOUNDED IN SAINT PETERSBURG, RUSSIA, 2003 BASED IN SAINT PETERSBURG 2003年成立於俄羅斯聖彼得堡， 現工作於聖彼得堡
It seems that we live in a time of emotional turn. ‘What is truth and what is not’ no longer relies on reason but rather on the heavy emotional impact of communication and the changes that have occured in this language—the appearance of the culture of emojis and gif-animations in our daily interactions. This ‘opera farce’ is based on the story of the death of Arkady Babchenko, a notorious Russian journalist who lived in exile in Ukraine. It is told with the help of online trolls and emojis to lead the viewer into a surreal world of post-truth. 我們似乎生活在一個情緒轉向的時代。對「什麼 是真理，什麼不是」的判斷不再依賴於理性， 而是依賴於溝通中嚴重的情感影響。這一轉變的 基礎源於交流語言中的變化，例如表情符號和 gif. 動畫在我們日常互動中的出現。這部鬧劇 改編自流亡至烏克蘭的俄羅斯記者 Arkady Babchenko 廣為人知的死亡故事，同時，作品 故事的講述中使用了鍵盤戰士與表情符號等 手段，以帶領觀眾進入一個後真相的超現實世界。
Co-commissioned by Para Site and Rockbund Art Museum 由 Para Site 藝術空間和外灘美術館共同委託創作 One night in a social network: An Opera Farce, 2019 Video Courtesy of the artists
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社交網絡中的一夜： 一部鬧劇，2019 錄像 由藝術家提供
CUI JIE 崔潔 BORN IN SHANGHAI, CHINA, 1983 LIVES AND WORKS IN SHANGHAI 1983年生於中國上海，現居住和工作於上海 Cui Jie’s paintings of architectonic forms capture an eerie discomfort between aesthetics and ideology in Chinese modernity. Celebratory sculptures erected after the Chinese Economic Reform, architecture that embodies a mix of existing traditions, and the soundscape of urban spaces are all elements present in her work. In Escape #2, Cui revists the structure of the Honglou Hotel in Hangzhou, layered together with a modernist imagining of a traditional crane symbol; a process of amalgamating and superimposing imagery that she constantly returns to in her paintings, interjected with glitches generated by abnormal data found in 3D renderings of her cityscapes. The architectural forms that Cui portrays in Escape #2 are designed in the signature Japanese Metabolist style, where megastructure constructions fuse with organic matter and growth patterns, thus highlighting that these modernist ideals were only incorporated in the facades of contemporary China.
Escape #2, 2017 Acrylic and oil on canvas Courtesy of the artist and Thomas Vallat 逃 #2，2017 布面油畫及丙烯 由藝術家及 Thomas Vallat 提供
Dolphins Square, 2019 Acrylic on canvas Courtesy of the artist 海豚廣場，2019 布面丙烯 由藝術家提供
Wrong Model, 2017 Oil on canvas Courtesy of the artist 錯誤模型，2017 布面油畫 由藝術家提供
在她描畫城市建築與景觀的油畫創作中，崔潔 關注一種中國現代性的空間表達與失語。 基於此，改革開放 40 年以來慶典式的城市雕塑、 融合不同現代主義傳統的建築形態以及城市空間 的聲音景觀，都成為她考察的對象。在《逃 #2 》 中，崔潔重新繪畫了她在建築雕塑和繪畫中持續 回訪的杭州紅樓大酒店和仙鶴雕塑，將這座外形 臨摹自日本新陳代謝派的現代建築、兼具傳統中 國意象和現代主義抽象形態的仙鶴雕塑與 3D 建模軟件中因數據異常所形成的模型破碎合於 一體，構成一種既碎裂又堅固的現代中國圖景。
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JUAN DAVILA BORN IN SANTIAGO, CHILE, 1946 LIVES AND WORKS IN MELBOURNE, AUSTRALIA 1946年生於智利聖地亞哥， 現居住和工作於澳洲墨爾本 Untitled (Brunhilde and Wotan), 2011 Oil on canvas Courtesy of the artist and Kalli Rolfe Contemporary Art
無題（布倫希爾德與沃坦），
2011
布面油畫 由藝術家及 Kalli Rolfe Contemporary Art 提供
These paintings are part of The Ring of the Mapuches, a series of fifteen unframed canvases. The title of this monumental painting installation refers both to the cycle of four epic music dramas Der Ring des Nibelungen (The Ring of the Nibelung), composed during 1848–1874 by Richard Wagner and regarded by many as the gold standard for European opera, as well as to the Mapuche indigenous group, one of America’s largest, inhabiting southwestern Argentina and south-central Chile. The culturallyhybrid, surrealist, alchemist, and spiritual representations in the work reveal psychoanalytical narratives deriving from the artist’s childhood memories and influences of a Mapuche woman. They touch upon the antagonistic relations, angst, fear, tension, and other constructs of monstrous projections that have divided Eurocentric cultural values and indigenous tradition and wisdom in the Americas.
這些畫作來自「馬普切人的指環」系列。該系列 由十五幅未裝裱的布面油畫組成。這些紀念碑 式的繪畫裝置的標題一方面來自於 Richard Wagner 在 1848 到 1874 年間創作的四部史詩歌 劇系列《尼伯龍根的指環》— 這部歌劇被認為是 歐洲歌劇史上的巔峰傑作；另一方面來自於 馬普切人。他們是美洲最大的原住民族，生活在 從阿根廷西南部到智利中南部的廣闊地區。 而智利正是藝術家 Davila 的故土。這些糅合超現 實、鍊金術以及神性的作品表現了藝術家在 童年時對一個馬普切女性的記憶的精神分析， 表達著對立的關係、緊張、恐懼，以及其他龐大 的將歐洲中心思想與美洲原住民智慧所進行的 分隔的投射。
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Untitled (Mime and Siegfried), 2011 Oil on canvas Courtesy of the artist and Kalli Rolfe Contemporary Art
無題（啞劇和齊格芙里德），
2011
布面油畫 由藝術家及 Kalli Rolfe Contemporary Art 提供
Untitled (Sieglinde Flees), 2011 Oil on canvas Courtesy of the artist and Kalli Rolfe Contemporary Art 無題（西格林德逃亡），2011
布面油畫 由藝術家及 Kalli Rolfe Contemporary Art 提供
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HERI DONO BORN IN JAKARTA, INDONESIA, 1960 LIVES AND WORKS IN YOGYAKARTA, INDONESIA 1960年生於印尼雅加達， 現居住和工作於印尼日惹 Super Trump — Land, 2017 Acrylic on canvas Courtesy of the artist and Tang Contemporary 超級特朗普 — 土地，2017 布面丙烯 由藝術家及當代唐人 藝術中心提供
Trump vs the Dragon, 2017 Acrylic on canvas Courtesy of the artist and Tang Contemporary 特朗普大戰巨龍，2017 布面丙烯 由藝術家及當代唐人 藝術中心提供
Political caricatures of Donald Trump appear alongside mythological beasts, animals, and spaceships in these dystopian scenes created by Heri Dono shortly after the 2016 US elections. In these paintings, the figure of the US president is dressed in black and looms large. Dono, who is renowned for work that draws on the Javanese shadow puppet theatre tradition of wayang, uses techniques from this art form to satirise Trump, with the colour black often associated with anger, and large-scale forms often reserved for demons.
2016 年美國總統大選結束後不久，Heri Dono
創作了一批政治滑稽畫，描繪特朗普與傳說中的 野獸、動物和太空船一同出現的反烏托邦景象。 在這些畫作中，特朗普身著黑衣，預示著危機。 以爪哇傳統皮影戲為繪畫靈感的 Heri Dono 在這組繪畫中以同樣的繪畫傳統來諷刺美國 總統，其中黑色常代表憤怒，而大尺幅的黑色 則往往象征著惡魔。
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TICIO ESCOBAR BORN IN ASUNCIÓN, PARAGUAY, 1947 LIVES AND WORKS IN ASUNCIÓN 1947年生於巴拉圭亞松森， 現居住和工作於亞松森
Fight between the bull and the jaguar at the Arete Guasú festival, early 1990s Photograph / slide show Courtesy of the artist Arete Guasú 節中公牛及美 洲豹的角力，1990 年代早期 攝影、幻燈片 由藝術家提供
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These photographs taken by Ticio Escobar in the early nineties, depict a ritual fight between two men—one representing a bull and the other a jaguar—taking place during the Arete Guasú festival of the Guaraní people of Santa Teresita, in the Paraguayan Chaco. The bull and the jaguar are furthermore understood by the attendees to be standing in for the Spanish colonists (the bull being an imported animal) and the indigenous people (the jaguar is an animal native to the Americas) respectively. Thus, the foundational tragedy of the people of the Americas is repeatedly performed every year, with the hope that perhaps this catastrophic opera might one day end differently.
作品中的圖片描述了一場巴拉圭中部廈谷地區 聖塔雷西塔的瓜拉尼人 Arete Guasú 節日中 的儀式，兩位各自裝扮成公牛以及美洲豹的族人 正在進行決鬥。在場的觀眾皆有共識：作為外來 物種的公牛代表著西班牙殖民者，而作為美洲 當地的動物的美洲獅則象徵著原住民。因此， 美洲人民經歷的苦難被每年重演，與此同時， 人們也懷抱希望 : 也許這齣多災多難的戲劇終有 一天會有不同的結局。這些照片由 Ticio Escobar 攝於 1990 年代初。
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JES FAN 范加
BORN IN TORONTO, CANADA, 1990 LIVES AND WORKS IN NEW YORK CITY, USA 1990年生於加拿大多倫多， 現居住和工作於美國紐約
Jes Fan frequently employs organic materials and other components that invoke the body in exploring the possibilities of nature and animacy. Through ambiguous form, tactility, and by juxtaposing temperatures of both warm skin and cool laboratory, their works provoke a reexamination of the modernist concepts of binaries, segmentation, and categorisation, i.e. species, gender, race and so on. The ambivalent sculptures in Forniphilia I & II are molded from the chest and shoulders of Law Siufung, a genderqueer bodybuilder. The surfaces of the sculptures are covered in animal patterns, stirring up a cautious familiarity in viewing and understanding the forms of this work. 范加常在他們的創作中藉助雌性激素、人造 皮毛、生物體和有機體形態等材料來探索物種 及物體有生性的可能。透過那些形態曖昧、 觸感溫柔、兼具皮膚溫度與實驗室冰冷的雕塑 及裝置作品，范加挑動著物種、性別、種族等等 現代性區隔所構成的階級分類。在作品《人體 家具》中，范加在兩個皮毛包裹的平台上陳列 出兩個看起來柔軟、親密卻形態不明的雕塑。 這兩件以跨性別健身教練小風的身體為模板的 雕塑，將酷兒身體的乳房與肩膀裹以類似動物 皮毛的斑紋，撩動起一種溫柔而挑釁、陌生又 熟悉的觀看感受。
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Forniphilia I, 2018 Aqua resin, fiberglass, pigment, plywood, artificial fur Courtesy of the artist and Empty Gallery Photo by Michael Yu 人體家具 I，2018
水漾樹脂、纖化玻璃、顏料、 膠合板、人工皮草 由藝術家及 Empty Gallery 提供 攝影：Michael Yu
Forniphilia II, 2018 Aqua resin, fiberglass, pigment, plywood, artificial fur Courtesy of the artist and Empty Gallery Photo by Michael Yu 人體家具 II，2018
水漾樹脂、纖化玻璃、顏料、 膠合板、人工皮草 由藝術家及 Empty Gallery 提供 攝影：余宗翰
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FIFITA FAMILY
SOFIA FERRER BORN IN SAN FELIPE SANTIAGO, MEXICO, 1950 LIVES AND WORKS IN SAN FELIPE SANTIAGO 1950年生於墨西哥 SAN FELIPE SANTIAGO 現居住和工作於 SAN FELIPE SANTIAGO Untitled, early 21st century Embroidered cotton Courtesy of the artist 無題，21世紀早期 棉布刺繡 由藝術家提供
The artist is a master weaver who began practicing as a child, taught by her mother and grandmother following the traditions of the Mazahua people of central Mexico. The work should be viewed from both sides to fully understand the extremely fine woven pattern. The back-side, that reveals the process of making, is an important part of the work, complementing the figurative side that depicts sacred birds. Both sides creating together an abstract visual field of spiritual and psychotropic dimensions.
ORIGINATED FROM HA'AFEVA, TONGA 來自湯加群島哈阿菲瓦島
This ceremonial Tongan tapa (barkcloth) known as ngatu, was created especially for the formal inauguration ceremony of the King of Tonga Taufa ‘ahau Tupou IV on December 16th in 1965. Crafted by one of the most renowned ngatu makers of the time, the Fifita family, this cloth carries all the traditional symbols indicating Tonga’s profoundly individual culture, that has nevertheless also integrated references of both European royalty and Christianity in a deployment of natural and zoomorphic elements, performing the symbolic staging of power.
Sofia Ferrer 是一位紡織大師，孩童時起，她的 母親及祖母便教授她墨西哥中部 Mazahua 人
的傳統紡織。這件織物需要從兩面觀看，方能 理解它極為精細的紡織圖紋 — 呈現紡織過程的 一面為呈現神鳥紋樣的一面進行著補充，進而 創造出一個充盈著精神與迷幻維度的抽象視域。
這件用於大型儀式的湯加 Tapa 布（樹皮布） 也被稱為 ngatu，是為湯加國王 Taufa‘ahau Tupou 四世於 1965 年 12 月 16 日的正式登基所 特別製作的。它由當時最重要的 ngatu 製作者 之一，Fifita 家族所製作，布面上的傳統符號象徵 著湯加深邃的文化，同時也夾雜著歐洲皇族和 基督教元素，透過自然和動物符號進行著對權利 的呈演。
Ceremonial ngatu, on or before 1965 Painted bark cloth 儀式用 ngatu 布 , 1965 年或更早 樹皮布上繪畫
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CHITRA GANESH BORN IN NEW YORK CITY, USA, 1975 LIVES AND WORKS IN NEW YORK CITY 1975年生於美國紐約， 現居住和工作於紐約
Adventures of the White Beryl, 2018 Digital animation with color 2' 10'' Courtesy of the artist Developed and animated with The Studio NYC. 白寶石歷險，2018 彩色數碼動畫 2 分 10 秒 由藝術家提供 動畫製作及開發由 The Studio NYC 完成
Return of the Cat Women, 2018 Mixed media on paper Courtesy of the artist 貓女歸來 2018 紙面混合媒體 由藝術家提供
Cat Dancer, 2018 Mixed media on paper Courtesy of the artist 貓舞者，2018
South Asian mythologies, feminist narratives, and nonlinear or cyclical time come together in the works of Chitra Ganesh. She draws imagery and inspiration from sources past and present, from Hindu mythology, comic books, and science fiction, often including queer, multispecies and surrealist imagery to place politicised female protagonists at the core of her works. 在 Chitra Ganesh 的作品中，南亞神話、女權 敘事以及非線性或者輪迴式的時間觀交織融會。 Ganesh 從印度教神話、漫畫書、科幻小說中 採擷來自過去以及現在的圖像作為創作基礎。 那些在酷兒、多物種以及超現實主義的圖景之中 政治覺醒的女性主角是她創作的核心。
紙面混合媒材 由藝術家提供
BEATRIZ GONZÁLEZ BORN IN BUCARAMANGA, COLOMBIA, 1938 LIVES AND WORKS IN BOGOTÁ, COLOMBIA 1938年生於哥倫比亞布卡拉曼加， 現居住和工作於哥倫比亞哥波大
Decoración de interiores (Interior Decoration) consists of a serial image of Julio César Turbay Ayala, the president of Colombia between 1978–82, who was regularly pictured celebrating, drinking, and dancing amongst friends. In these images, Turbay appeared oblivious to the increasing violence, torture, and forced disappearances that took place under his government and would engulf the nation over the subsequent two decades. Gonzalez worked with a textile factory to reproduce this image of the president singing couplets with his friends, offering a metaphor for the corruption concealed by the ‘curtain’ of his public image. 《室內裝飾》描繪了於 1978 至 1982 年在任 的哥倫比亞總統 Julio César Turbay Ayala 的 一系列圖像。這位總統常被拍到在友人的簇擁下 暢飲起舞。在這些圖像中，Turbay 似乎對他 執政時發生的越來越多的暴力、酷刑、被迫失踪 和其他侵犯人權的行為渾然不知。Gonzalez 與一家紡織工廠合作，重現了這位總統與朋友們 一起高歌柯普拉民謠的形象，暗示著公眾形象 的「幕布」之下潛藏的腐敗。
Yamari website, 2018 Mixed media on paper Courtesy of the artist 亞馬里餃網站，2018 紙面混合媒材 由藝術家提供
Decoración de interiores (Interior Decoration), 1981 Silkscreen on fabric Courtesy of the artist and Casas Riegner 室內裝飾，1981 織物面絲網印刷 由藝術家及 Casas Riegner
Tiger Robot, 2018 Mixed media on paper Courtesy of the artist 機器虎，2018 紙面混合媒材 由藝術家提供
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HO TZU NYEN 何子彥
BORN IN SINGAPORE, 1976 LIVES AND WORKS IN SINGAPORE 1976年生於新加坡，
現居住和工作於新加坡
R for Resonance, 2019 Video 15' 30'' Commissioned by Sharjah Art Foundation, co-produced by Edouard Malingue Gallery + Rockbund Art Museum, and additional support from Para Site R 代表迴響，2019
錄像 15 分 30 秒 由沙迦藝術基金會委託創 作，由馬凌畫廊和外灘美術 館聯合製作、Para Site 藝術 空間提供額外支持
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Spanning more than 5,000 years of history, R for Resonance takes the gong—a ubiquitous musical (and ritual) object in Southeast Asia—as its starting motif. The video begins with the discovery of copper, then the refinement of the metallurgical arts, leading to the perfection of bronze casting and the birth of the bronze Dong Son drum—ancestor of the Gong, emerging at a time when social hierarchies were starting to be established within the prehistoric landscape of the region. Through the Gong’s passage across time and space, a story is woven with points of technological progress and their relationship to techniques of social stratification. R for Resonance is part of Ho’s Critical Dictionary of Southeast Asia, a project that seeks to tell a story of the region through its climate, music, minerals, technology, and histories of social control. 何子彥的作品《 R 代表迴響》橫跨五千年的歷史， 圍繞鑼這種東南亞常見的樂器（以及禮器）展開。 影片從金屬銅的發現開始，追溯精湛的冶金 藝術的發展，再聚焦銅澆注技藝的成熟以及銅製 東山鼓的誕生。東山鼓是鑼的前身，出現於史前 時期，即社會等級結構最初萌生之時。通過在 時間與空間上追溯鑼的發展史，我們看到的是 一個由科技發展以及科技與社會分層之間的關係 交織而成的故事。《 R 代表迴響》是何氏《東南亞 批判性辭典》項目中的一個詞條。這個項目通過 對當地氣候、音樂、礦產、科技以及社會控制史的 研究，展開一系列東南亞敘事。
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VIVIAN HO 何博欣 BORN IN HONG KONG, 1990 LIVES AND WORKS IN HONG KONG 1990年生於香港，現居住和工作於香港
unwrapped, 2013 Oil on canvas Courtesy of the artist and William Lim 布面油畫 由藝術家及林偉而提供
Two of Vivian Ho’s earliest series, animal farm— based on a true story and of delicacy and horror are the artist’s explorations of a Hong Kong identity using differences between Western and Chinese aesthetics as a tool. When studying art in a small town in Connecticut, USA, Ho missed both the atmosphere and the flavour of the fresh fish, meat, and organs on display in the stalls found abundantly throughout Hong Kong. From photos taken in Hong Kong wet markets, she transliterates the colourful scenes of entrails and dismemberment onto the canvas, creating vanitas born from local knowledge and daily life. In animal farm—based on a true story, she paints portraits of animal limbs differentiated into clear categories just as they appear in the market. By doing so, she reflects on the objectification and instrumentalisation of the animal in human society. The classic saying from Animal Farm by George Orwell, “All animals are equal, but some animals are more equal than others”, might be the inspiration for the work’s reflection on the hierarchy between species.
animal farm — based on a true story, 2013 Graphite on paper Courtesy of the artist 紙上石墨 由藝術家提供
不要吃太餓 會被吃掉的喔 ,
2013 Ink on paper Courtesy of the artist 紙上墨水 由藝術家提供
of delicacy and horror, 2012 Oil on canvas Courtesy of the artist 布面油畫 由藝術家提供
作為何博欣最早期的兩個繪畫系列，《 animal farm — based on a true story 》和《 of delicacy and horror 》是藝術家透過中西審美差異探索 一種「香港身份」的嘗試。彼時在美國康涅狄格 州小鎮學習藝術的何博欣懷念香港市場中新鮮 美味的現殺活魚和動物內臟，透過在香港市場中 拍攝的相片，她將色彩絢麗的肢解現場放大到油 畫布上，生成一種基於本土知識和生活的虛空 派繪畫。在「 animal farm — based on a true story 」系列中，她則為市場中被拆解、分區域 陳列的動物殘肢繪製肖像，並藉此思考人類社會 對動物徹底的物化與工具化。《動物農莊》中的 經典語句「所有動物生來平等，但有些動物比 其他動物更平等」也因此成為作品對於物種階級 思考的啟示。
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SAODAT ISMAILOVA BORN IN TASHKENT, UZBEKISTAN, 1981 LIVES AND WORKS BETWEEN TASHKENT AND PARIS, FRANCE 1981年生於烏茲別克塔什干，
The Haunted is an intimate video letter to the spirit of the Turan tiger, a majestic symbol of the Central Asian landscape which disappeared during the 20th century alongside the rise of Soviet rule in the region. Ismailova’s captivating film traces the history of this tiger, its presence in the dreams, memory and myths of the region, and its current absence from the landscape.
The Haunted, 2017 HD video 23' Courtesy of the artist 縈繞之地，2017
Saodat Ismailova 的作品《縈繞之地》以影像
現居住和工作於塔什干及法國巴黎
高清錄像 23 分 由藝術家提供
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的方式書寫著一封致裏海虎的私人信件。裏海虎 作為中亞的象徵，在 20 世紀蘇聯對中亞統治 日益加強的時期滅絕。 Ismailova 令人著迷的電 影追溯裏海虎的歷史。裏海虎在夢中、在地區 記憶以及神話中留下身影，卻絕跡於當地現實 的風景中。
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ILYA AND EMILIA KABAKOV ILYA WAS BORN IN DNIPROPETROVSK, UKRAINE, 1933 EMILIA WAS BORN IN DNIPROPETROVSK, 1945 LIVE AND WORK IN NEW YORK CITY, USA 伊莉亞於 1933年生於烏克蘭第聶伯羅， 艾米莉亞於 1945年生於第聶伯羅， 現居住和工作於美國紐約長島 A Vertical Opera, 2015 HD video, sketches, drawings 9' 4" Courtesy of the artist Video produced by Douglas Dinger 縱向歌劇，2015 高清錄像、草圖、繪畫 9分4秒 由藝術家提供 錄像由 Douglas Dinger 製作
A Vertical Opera was conceived by Ilya and Emilia Kabakov in the 1970s and developed as a project for the Solomon R. Guggenheim Museum in New York, though as yet, it remains unrealised. The work explores the theatricality of history and proposes that historical development could be conceived on a vertical scale, rather than a chronological one. Each level of the rotunda stands for a different chapter in Soviet Russian history in this operatic environment: ‘Before Revolution,’ ‘Revolution / Reconstruction,’ ‘Soviet Times / Life Becomes Better,’ ‘Perestroyka,’ and ‘After Perestroyka’. The installation is envisaged as a series of sculptures, puppets, and projections.
《縱 向 歌 劇》由 Ilya Kabakov 和 Emilia Kabakov 於 1970 年 代 構 思，後 發 展 成 紐 約 Solomon R. Guggenheim 博 物 館 的 項 目，雖 然 該 項 目 至 今 尚 未 實 現。《縱 向 歌 劇》研 究 了 歷 史 的 戲 劇 性， 並提出從縱向而非時間維度來構想歷史發展的 可 能 性。在 這 個 歌 劇 環 境 中，圓 形 建 築 的 每 一 層 都 代 表 了 蘇 俄 歷 史 中 不 同 的 篇 章：「前 革 命」、 「革命 / 重建」、「蘇維埃時期 / 生活變好」、「改革」 與「後 改 革」。在 作 品 的 構 想 中，此 裝 置 由 一 系 列 雕 塑、木 偶 與 投 影 所 組 成。
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ALEXANDER KLUGE
LAWRENCE LEK 陸明龍
BORN IN HALBERSTADT, GERMANY, 1932 LIVES AND WORKS IN MUNICH, GERMANY 1932年生於德國哈爾貝爾斯塔特，
BORN IN FRANKFURT, GERMANY, 1982 LIVES AND WORKS IN LONDON, ENGLAND 1982年生於德國法蘭克福，
現居住和工作於德國慕尼黑 The gut is thinking, 2016 5' 40" Courtesy of the artist 內臟在思考，2016 5 分 40 秒
Moved mountains, Roots in The Mouth, 2017 5' 06" Courtesy of the artist
Mr. Court singer, why do you act with a spark of hope in your face; sequent from The Power of Emotions, 1983 / 2017 3' Courtesy of the artist
由藝術家提供
由藝術家提供
宮廷歌手先生，為何在表 演中，你的臉上有一絲希 望？ —《情緒的力量》 續篇，1983/2017 3分 由藝術家提供
Helge Schneider as mute opera singer, 2017 22' 53" Courtesy of the artist 啞巴歌劇演員黑格爾 · 施耐 德，2017 22 分 53 秒 由藝術家提供
移動的山巒，口中的根莖，
2017 5 分 06 秒
Several works by the legendary German author, philosopher, and film director are interspersed throughout the exhibition, instigating different discussions on Western opera, from its complicit relationship with European colonialism and fascism to Kluge’s obsession with bifurcation, the possibility of parallel endings, the great “What if?” question of drama and history.
現居住和工作於英國倫敦
數件由德國傳奇作家、哲學家及電影導演 Alexander Kluge 創作的作品散落在展覽中， 延展著關於歌劇的不同討論：從它與歐洲 殖民主義和法西斯主義的關聯，到 Kluge 對 分岔理論的癡迷，到多重結局的可能性，再到 戲劇和歷史中那著名的「若是」提問。
Madame Butterfly’s Son, 2018 5' 17" Courtesy of the artist 蝴蝶夫人之子，2018 5 分 17 秒
Lawrence Lek’s Deep Blue Monday is an extracted music video that serves as a trailer for his upcoming CGI feature film which will be shown in the Rockbund Art Museum iteration of this exhibition in Summer 2019. In the film, a fading superstar enlists the help of an AI songwriter to aid her in making a comeback performance at the 2065 eSports Olympics in Genting, Malaysia. As the sequel to Lek’s 2017 film Geomancer, the project continues to explore the impact of automation and AI technology on the politics of creativity. The focus here shifts from computer vision to music and voice, with the artist blending real and computergenerated vocals to formulate a soundtrack that embodies the conflict between algorithmic and intuitive modes of composition. 《深藍星期一》是陸明龍為他即將在 2019 年夏天 於上海外灘美術館上映的三維動畫長片製作 的一個音樂預告片。在影片中，一個過氣明星 借人工智能作曲人之力，準備在 2065 年馬來西亞 雲頂舉行的電子競技奧運會獻聲復出。這是 陸氏 2017 年電影《風水師》的續集，項目繼續探討 自動化以及人工智能對創意政治生態的影響。 而在這部影片中，焦點從電腦視角轉換到音樂， 再到聲音。藝術家對人聲聲道以及電腦合成聲道 進行編輯混聲，在算法以及創作直覺的矛盾中 創作音頻。
由藝術家提供
And the evening in the opera Chapter one: Why do dictators not learn from operas? 2' 43" Chapter two: Only cans were saved 6' 15" Chapter three: Zoo animals in the bomb war: thirst in the desert 4' 11" Courtesy of the artist
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歌劇院之夜 第一章：獨裁者們為何不能 從歌劇中汲取教訓？ 2 分 43 秒 第二章：只有罐頭保住了 6 分 15 秒 第三章：炸彈戰爭中的動物 園動物：沙漠中的饑渴 4 分 11秒，2017 由藝術家提供
Deep Blue Monday, 2019 CGI Music Video 4' Courtesy of the artist and Sadie Coles HQ, London 深藍星期一，2019
三維動畫音樂錄像 4分 由藝術家及倫敦 Sadie Coles HQ 畫廊提供
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林從欣 CANDICE LIN BORN IN CONCORD, USA, 1979 LIVES AND WORKS IN LOS ANGELES, USA 1979年生於美國康科特， 現居住和工作於美國洛杉磯
Candice Lin’s works mine material and non-human histories, tracing their intersections with imperial conquest and historical figures, whose stories point out the fallacies and inequities in our inherited ideas around race, gender, or human exceptionalism. In fragments from A Hard White Body, she brings together an unlikely cast of characters, figures separated by time and geography who negotiated normative power constructions of race, gender, and sexuality and, in some cases, the conflation of these constructions. In Sycorax’s Collection (Herbarium) the gendered and racialised figure of the healer, herb-woman, or witch, is used to examine the role of botany in relationship to empire and colonialism. Lin’s lifesize cockroach at the entrance of the show evokes the beginning of Kafka’s novel Metamorphosis, in which the protagonist wakes up one morning only to realise he had become a cockroach. 林從欣的作品挖掘物料本身以及非人類歷史， 追溯它們與帝國侵略以及歷史人物的敘事交集。 這些故事指出我們既定思維中關於種族、性別 以及人類例外論的偏見。在《硬白體》作品局部 中，她將一批看似無關的角色進行並置，這些 故事討論著固化的權利結構，包括種族、性別， 甚至這些權力結構之間的融合。在作品《西考拉 克斯的收藏》中，性別及種族特定的治療師、女 草藥師或女巫形象被納入她檢驗植物和帝國擴張 之間關係的討論。展覽入口處那隻等身大小的 蟑螂則令人想到卡夫卡的小說《變形記》的開頭。
Sycorax’s Collection (Herbarium), 2011 Etching watercolor, ink and magazine collage, dried herbs Courtesy of the artist and François Ghebaly, Los Angeles
西考拉克斯的收藏（標本植 物館），2011 水彩蝕刻、水墨及雜誌拼 貼、植物標本 由藝術家及洛杉磯 François Ghebaly 畫廊提供
The Roots of Industry, 2016 Etching Courtesy of the artist and François Ghebaly, Los Angeles 工業之根，2016
Fragments from “A Hard White Body”, 2017–2018 Porcelain, organic matter Courtesy of the artist and François Ghebaly, Los Angeles 《硬白體》作品局部，2017− 2018
陶瓷、有機物質 由藝術家及洛杉磯 François Ghebaly 畫廊提供
Lovecraftian Glory Hole for Ernst Hackel, 2013 Silicone and brads Courtesy of the artist and Gallery Quadrado Azul 獻給恩斯特 · 海克爾的洛夫 克拉夫特式尋歡洞，2013
Metamorphosis in Space (human sized cockroach), 2013 Papier Mache, paper clay, joint-compound, paint, wood, mattress, sheets Courtesy of the artist and Gallery Quadrado Azul 空間變形（等身蟑螂），2013
混凝紙、紙黏土、接縫泥、顏 料、木、床墊、床單 由藝術家及 Quadrado Azul 畫廊提供
硅膠、角釘 由藝術家及 Quadrado Azul 畫廊提供
蝕刻版畫 由藝術家及洛杉磯 François Ghebaly 畫廊提供
Reproduction of a Reproduction, 2016 Oil on canvas Courtesy of the artist and François Ghebaly, Los Angeles 複製的複製，2016
布面油畫 由藝術家及洛杉磯 François Ghebaly 畫廊提供
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EUAN MACDONALD BORN IN EDINBURGH, SCOTLAND, 1965 LIVES AND WORKS IN LOS ANGELES, USA 1965年生於蘇格蘭愛丁堡， 現居住和工作於美國洛杉磯
Euan MacDonald’s cacophonous video portrays the vigorous testing of the 9,000 assembled piano components produced at a musical instrument factory in Shanghai. They are being readied for export to Europe and America, where the remaining 10 percent of the work will be “finished” so the product could be labelled as being made in the country of import. As with some of his early videos, 9,000 Pieces also subtly points to questions about the sustainability and speed of fast changing economies and globalised societies. The history of pianos in China has undergone vastly different chapters in recent decades, from widespread destructions of the instruments during the Cultural Revolution, to the country now generating 80% of the annual world production of pianos.
Euan MacDonald 略顯刺耳的錄像作品描繪了 9000 件鋼琴零件熱火朝天的測試場景。這些零件
由上海一家樂器廠生產，正準備出口歐美，並在 那裡進行最後 10% 的生產工序，最後按照這些 歐美國家的所在地貼上產地標籤。與藝術家一批 早期錄像作品相似，《 9000 件》同樣微妙地指出 了瞬息萬變的經濟與全球化社會中的可持續性和 速度問題。鋼琴在中國的歷史亦在進幾十年經歷 著巨大的變化，從文革時期對這一樂器的大規模 破壞，到近年來承擔全球 80% 的鋼琴生產。
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9000 Pieces, 2010 Video 5' Courtesy of the artist 9000 件，2010 錄像 5分 由藝術家提供
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BARAYUWA MUNUNGURR BORN IN YIRRKALA, AUSTRALIA, 1980 LIVES AND WORKS IN YIRRKALA 1980年生於澳洲 YIRRKALA， 現居住並工作於 YIRRKALA
Yi aki are didjeridus specific to Northeast Arnhem Land in Australia’s Northern Territory. The name yi aki is used for instruments that are made and decorated by the Yol u people, who are masters of making and playing the yi aki. Yol u artists carefully select tree stems that have been hollowed out by termite colonies, and subsequently cut and shape them into musical instruments. They are formed based on certain desired acoustics and pitch that can vary dramatically between clans. Barayuwa Munu gurr, inspired by his uncle, renowned ritual expert and painter ula urruwutthun, uses natural earth pigments to adorn this yi aki with sacred patterns descendent from his mother’s clan, Munyuku. The designs are associated with ancestral events relating to the death of a whale, on the shores of the clan’s saltwater estate within Blue Mud Bay. Yi aki is traditionally used in performances at ceremonies along with the sacred instrument, bi ma, which is used to hold the rhythm of Manikay (sacred song) and Bu gul (sacred dance). Presented here together with the yi aki, is a pair of bi ma made by the Gälpu songman, Guwanbal Gurruwiwi. They are shaped from Botj (known in English as Ironwood), which is toxic to termites.
Yi aki 是澳洲北領地阿納姆東北地區特有的迪吉 里杜管。雍古族人是製作和演奏 yi aki 的大師， 而 yi aki 這個名字指的就是那些由他們製作並 裝飾的樂器。雍古族藝人們會仔細挑選被白蟻自 然蛀空的樹幹，然後再將它們切割成適合的發聲 器具。這些樂器被製成不同的聲響效果，所發出 的音調在不同的部族之間存在很大差異：有的 很高，有的則非常低。 Barayuwa Munu gurr（ 知名 儀式專家與畫家 ula urruwutthun 的外甥）在 展出的這件 yi aki 上，使用自然顏料繪製他母親 的氏族的神聖標誌，講述了這一氏族的藍泥灣 海域上，一條鯨魚之死。 傳統上，Yi aki 會在部落儀式上表演，並伴隨着 音樂、舞蹈與神聖樂器 bi ma 的聲音，用於在 深度儀式中維持 Manikay（神聖歌曲）與 Bu gul （神聖舞蹈）的節奏。這裏與 yi aki 共同呈現的， 是 Gälpu 歌者 Guwanbal Gurruwiwi 用 Botj 製成 的一對 bi ma。「 Botj 」在英語中也常被叫做庫克 鎮鐵木，是一種密度很大且對白蟻有毒的木材。
Yi aki, 2019 Stringybark Yi aki，2019 澳洲桉樹
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CIPRIAN MURESAN BORN IN DEJ, ROMANIA, 1977 LIVES AND WORKS IN CLUJ-NAPOCA, ROMANIA 1977年生於羅馬尼亞代日， 現居住和工作於羅馬尼亞克路治 Dog Luv, 2009 Video 30' 05" Courtesy of the artist and Saviana St nescu 犬愛，2009 錄像 30 分 05 秒 由藝術家及 Saviana Stănescu提供
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The video shows a conversation between five dog puppets, the members of the “Republic of Dogmachina”, discussing a version of human history from Ancient Greece to our times, from the perspective of humanity’s appetite for cruelty and torture. The video commences with an unsettling litany of human horrors, putting under question the definitions of humanity, human, humane through the voice of non-human characters. The dialogue is based on a text by the Romanian playwright Saviana St nescu. 此件錄像作品呈現了五隻狗玩偶之間的對話： 它們是「 Dogmachina 共和國」的成員，正在討論 從古希臘到今天的人類歷史，以及人性對殘酷 與折磨的嗜好。錄像在開頭部分通過非人類角色 的敘述，長篇累牘地列舉了人類的可怕，並對 人性、人與人道提出了質疑。錄像中的對話改編 自羅馬尼亞劇作家 Saviana Stănescu的文本。
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ADAM NANKERVIS Sirens portraits, impromptus + fanatic missions David Medalla, portraits by Adam Nankervis
「塞壬」系列 肖像、即興創作、瘋狂項目 肖像主角：David Medalla 攝影：Adam Nankervis
A Cloud in Trousers, David Medalla, Manila, 2018 Ink jet on Murakumo Kozo paper Courtesy of Adam Nankervis and another vacant space 褲子裡的雲，David Medalla，馬尼拉，2018
和紙噴墨打印 由 Adam Nankervis 及 another vacant space 提供
A Conversation with the Cosmos, David Medalla, Singapore, 2017 Ink jet on Murakumo Kozo paper Courtesy of Adam Nankervis and another vacant space 宇宙對話，David Medalla，新加坡，2017
和紙噴墨打印 由 Adam Nankervis 及 another vacant space 提供
Gung Hay Fat Hau Choy, David Medalla, Manila, 2019 Ink jet on Murakumo Kozo paper Courtesy of Adam Nankervis and another vacant space
恭喜發好財，David Medalla，馬尼拉，2019
和紙噴墨打印 由 Adam Nankervis 及 another vacant space 提供
New Gold Dawn, David Medalla, Venice, 2019 Ink jet on Murakumo Kozo paper Courtesy of Adam Nankervis and another vacant space 新的金色清晨，David Medalla，威尼斯，2019
DAVID MEDALLA BORN IN MANILA, PHILIPPINES, 1942 LIVES AND WORKS IN LONDON, ENGLAND, AND BERLIN, GERMANY 1942年生於菲律賓馬尼拉， 現居住和工作於英國倫敦和德國柏林
ADAM NANKERVIS BORN IN MELBOURNE, AUSTRALIA, 1965 LIVES AND WORKS IN NEW YORK CITY, USA 1965年生於澳洲墨爾本，
現居住和工作於美國紐約
和紙噴墨打印 由 Adam Nankervis 及 another vacant space 提供
The Fairy Mountain, A Hommage to Mei Lanfang, David Medalla, Verona, 2017 Ink jet on Murakumo Kozo paper Courtesy of Adam Nankervis and another vacant space 仙山，向梅蘭芳致敬，David Medalla，維羅納，2017 和紙噴墨打印 由 Adam Nankervis 及 another vacant space 提供
這一親密的肖像系列是傳奇藝術家 David About this series of intimate portraits of legendary artist David Medalla by his husband and Medalla 的丈夫及合作者，藝術家 Adam collaborator, artist Adam Nankervis, the author Nankervis 所創作的。他寫道：「此一系列是 我在照顧 Dave 旅行、工作的兩年期間所記錄的 wrote: “This series is but a fraction of actions 大量圖片中的一部分，當時我尚未搬往馬尼拉， I documented with Dave whilst I took care of 是最早開始照料他的人。因為 2016 年 11 月 him on the road for two years as his only carer, 的一次中風，Dave 的身體大面積癱瘓。在我將 before arriving in Manila. Dave’s initial stroke in 他接到柏林家中照顧以後，這一日常的面具 November 2016 left him largely paralysed. After 儀式便展開了。我將這一行為視作維持我們 bringing him home to Berlin to care for him, the 之間合作活力的嘗試。因為身體部分癱瘓且失去 ritual of the daily masks began, as an attempt of 知覺，他很喜歡我將不同物品置於他面龐時的 mine to keep our collaboration alive. As his body 觸感，使他在痛苦之餘能夠沉浸在短暫的創作 was partially paralysed with no sensation, he loved 歡愉之中。威尼斯雙年展後，我們在威尼斯 the touching whilst I moved elements about his 及意大利各地的旅途和酒店中繼續這個項目， face, a temporary creative immersion beyond 直到我們回到家，並從英國的醫生口中獲得 his pain. It continued whilst on the road after 那個我不願分享的診斷。因此，處於各種原因， the Venice Biennale, in Venice and throughout 我開始每天進行這個面具項目，它是一部 Italy, in many cities and hotels, and then coming 傳記、一本自傳、一場記錄以及一次對展覽 home to Berlin, after the prognosis of doctors 《蒙德里安粉絲俱樂部》的致敬；它也是一種更加 in England which I refused to share. Therefore I 私人的東西、是對瞬間的記錄、是來自我們 created masks daily for multifarious reasons, as a biography, an autobiography, a record and a homage 友誼的迷人行動，這種親密既是身體的、又是 更超然的。我亦將這一行為視為一種反叛：對我 to past actions with the Mondrian Fan Club, and 來說，「美可以戰勝什麼？」，這個問題是對我們 then something more intimate, a document of 日常困境的超越。因此，創造面具的行為也成為 the moment, a spellbinding action within our 我抵抗疾病的背叛的戰略，它是一種治癒、一種 friendship. An intimacy both physical and higher. 由共同的經歷所達成的勝利，猶如一道閃電， I also saw it as an act of defiance—to create beauty 使其它一切都顯得暗淡無關。這是一次關於愛 over what, at times, seemed to me a transcendence 的研習，是利用美來欺騙日食的抵抗。」 of our ongoing life’s dilemma together. At points a Damocles of futility. They have over time become a tactile ritual where I create masks in an act of defiance of the betrayal of illness, a healing, and a triumph of our shared experience in something that had, like lightning, made all fall dark. It is a study in love, and a defiance using beauty as a tool to trick the eclipse.”
Mondrian in Excelsis, David Medalla, Manila, 2017 Ink jet on Murakumo Kozo paper Courtesy of Adam Nankervis and another vacant space 蒙德里安佳作，David Medalla，馬尼拉，2017
和紙噴墨打印 由 Adam Nankervis 及 another vacant space 提供
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Zeitgeist, David Medalla, Manila, 2018 Ink jet on Murakumo Kozo paper Courtesy of Adam Nankervis and another vacant space 時代精神，David Medalla，馬尼拉，2018
和紙噴墨打印 由 Adam Nankervis 及 another vacant space 提供
KELLY NIPPER BORN IN EDINA, USA, 1971 LIVES AND WORKS IN LOS ANGELES, USA 1971年生於美國伊代納， 現居住和工作於美國洛杉磯
Smoke, 2019 Video projection 5' 54" Courtesy of the artist and Performa, New York 煙，2019 錄像投影 5 分 54 秒 由藝術家及紐約 Performa 行為藝術雙年展提供
Space Phrasing Diagram, 2013 Charcoal on paper Courtesy of the artist 空間表達圖示，2013 紙面炭筆 由藝術家提供
地板上的佛洛依德，2007 表演筆記、裝框拼圖 由藝術家及 Sutton-Rath 家 族收藏提供
Floyd on the Floor, 2007 Performance Notes, Framed collage Courtesy to the artist and Artemisa Clark 地板上的佛洛依德，2007
Kelly Nipper’s work draws on the foundations of movement theorist Rudolph Laban, translating some of his theories from the discipline of dance to time-based forms of image making. Laban’s theory of Space Harmony is based on patterns of nature and of man that he considered part of a universal order. In his thinking, these spatial patterns underscored human movement and they could be symbolised using the Platonic solids. He created a notation system for human movement that explored the intersections between motion and the environment, with spatial patterns that were based upon the complex geometries of crystals and the human skeleton. Nipper applies these theories to her studies of dance, experimenting across disciplines to create works that transform human bodies into structures that are depersonalised or dehumanised by geometric space. Her works explore the ways in which human subjectivity is being remade in contemporary society, owing to the many spatial and temporal dislocations instigated by digital technology.
Kelly Nipper 的作品借鑒舞蹈理論家 Rudolph Laban 的動作理論，並將他的舞蹈理論轉化於
創作以時間為基礎的圖像製作。基於他對普遍 規律中自然和人的模式的理解，Laban 創造了 「空間和諧理論」，他認為，這些空間模式強調 人的身體運動，而這些運動模式可以通過幾何 多面體呈現。他創造了一套紀錄人體動作的舞蹈 譜系，探索動作的概念及其與環境的關係， 表演筆記、裝框拼圖 由藝術家及 Artemisa Clark 他根據晶體和人體骨骼的複雜幾何結構，創造了 一系列空間模式。 Nipper 將這些理論應用於 提供 她的舞蹈研究並進行跨界實驗，她運用幾何空間 將人體轉化為去人格化或非人化的結構。她的 作品探索當代社會中人類主體性如何因數碼技術 帶來的時空錯位而被重塑。
Floyd on the Floor, 2007 Performance Notes, Framed collage Courtesy of the artist and the Sutton-Rath Family Collection
GABRIEL PAREYON BORN IN ZAPOPAN, MEXICO, 1974 LIVES AND WORKS IN GUADALAJARA, MEXICO 1974年生於墨西哥薩波潘， 現居住和工作於墨西哥瓜達拉哈拉
Musical score from A performance of Xochicuicatl Cuecuechtli Xochicuicatl Cuecuechtli (Ribald Flowersong) (Ribald Flowersong) Original composition by Composition, text, and Gabriel Pareyon, based on subtitles by Gabriel an original Nahuatl text Pareyon, 2015 from the 16th century, 《下流花歌》演出 2012 由 Gabriel Pareyon 譜曲、 Courtesy of the artist 作詞及製作字幕，2015 下流花歌 歌劇樂譜 由 Gabriel Pareyon 根據 16 世紀納瓦特爾語原文譜曲，
Xochicuicatl Cuecuechtli (Ribald Flowersong) is the first opera conceived uniquely in Nahuatl language and employing autochthonous instruments from ancient Mexico. The composer, Gabriel Pareyon, created an entirely new notation system for the musical score for these native instruments. The opera’s title is drawn from the eponymous poem by Friar Bernardino de Sahagun from the 16th century, based on accounts by Nahua informants who survived the conquest of Mexico. 《下流花歌》是第一部完全使用納瓦特語創作的 歌劇作品，劇中使用了古墨西哥的原住民樂器。 為此，作曲家 Gabriel Pareyon 為這些本土樂器的 樂譜創造了一個全新的記譜系統。此部歌劇的 題目來自修士 Bernardino de Sahagun 創作於 16 世紀的無名詩，該詩根據墨西哥淪陷時倖存的 納瓦人所提供的描述所寫就。
2012
由藝術家提供
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GARY ROSS PASTRANA BORN IN MANILA, PHILIPPINES, 1977 LIVES AND WORKS IN MANILA 1977年生於菲律賓馬尼拉， 現居住和工作於馬尼拉
Pastrana’s film unfolds in three parts: with a musician discussing the principles of his craft, a piano-maker describing termite infestations and their implications to the instruments, and a scientist describing the unique social and biological structures of a termite colony. This association of an imported instrument of European origin and a tropical parasite, as well as of vastly different but no less complex systems, mediate on the balance between order and chaos found in musical performance but also in these complex social structures.
Gary Ross Pastrana 的電影分為三個部分：
一位音樂家談論他的工作、一位鋼琴製造者描述 白蟻對鋼琴的腐蝕，以及一位科學家描述白蟻 領地的社會及生物結構。來自歐洲的樂器、熱帶 的寄生昆蟲和龐雜多樣的系統在影片中被連于 一體，討論著音樂表演以及複雜社會結構中的 秩序與混亂。
Rewilding II, 2019 Single channel HD Video Courtesy of the artist 回野 II，2019 錄像 由藝術家提供
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TIM PITSIULAK
Tattooed Whale, 2016 Screenprint on arches cover black Courtesy of the artist and on loan from the Koplowitz/Pulver collection 紋身的鯨魚，2016
紙上網印 由藝術家及 Koplowitz/ Pulver 收藏提供
Mattaaq, 2014 Coloured pencil and graphite Courtesy of the Koplowitz / Pulver collection 鯨肉，2014
Vocal Communications, 2014 Coloured pencil and graphite Courtesy of the artist and on loan from the Koplowitz/Pulver collection 歌聲交流，2014
彩色鉛筆及石墨 由 Koplowitz/Pulver 收藏提供
Edna, 2012 Coloured pencil and graphite Courtesy of the Koplowitz / Pulver collection
彩色鉛筆及石墨 由藝術家及 Koplowitz/ Pulver 收藏提供
彩色鉛筆及石墨 由 Koplowitz/Pulver 收藏提供
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Internal Drive, 2016 Coloured pencil and graphite Courtesy of the Koplowitz / Pulver collection 內在動力，2016 彩色鉛筆及石墨 由 Koplowitz/Pulver 收藏提供
Ugalikaqvi, 2016 Graphite and ink Courtesy of Madrona Gallery 石墨、墨水 由 Madrona 畫廊提供
BORN IN KIMMIRUT, CANADA, 1967 DIED IN IQALUIT, CANADA, 2016 1967年生於加拿大今米鲁特， 2016年逝於加拿大伊魁特
Timootee “Tim” Pitsiulak was an Inuit artist and hunter, best known for his large coloured pencil drawings of Arctic scenery, wildlife, and Inuit culture. Pitsiulak was born in Kimmirut in the Canadian territory of Nunavut. He was the nephew of the artist Kenojuak Ashevak. He was based in Cape Dorset, Nunavut until his death.
Timootee “ Tim” Pitsiulak 是一名因鈕特
藝術家和獵人，他著名的大幅彩色鉛筆畫描繪 了北極地區的風景、野生動物和因鈕特文 化。 Pitsiulak 出生於加拿大努納武特地區的 Kimmirut，他是藝術家 Kenojuak Ashevak 的侄子，生前一直生活在努納武特區多塞特角。
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GALA PORRAS KIM BORN IN BOGOTÁ, COLOMBIA, 1984 LIVES AND WORKS IN LOS ANGELES, USA 1984年生於哥倫比亞哥波大， 現居住和工作於美國洛杉磯 Whistling and Language Transfiguration, 2012 LP album, cyanotype print Courtesy of the artist and Commonwealth and Council 口哨及語言升華，2012
Courtesy of the artist and Commonwealth and Council 復甦景觀序列：So So，2012
Commonwealth and Council 畫廊提供
Towards Huautla, OX video, 2012 15' 25" Courtesy of the artist and Commonwealth and Council
密紋唱片、藍曬印刷 由藝術家及
Whistling Score, 2012 Ink on paper Courtesy of the artist and Commonwealth and Council 口哨樂譜，2012 紙上水墨 由藝術家及
Commonwealth and Council 畫廊提供 Score for a Ritual Healing, 2012 Wood, mirror, wax, plastic, paper Courtesy of the artist and Commonwealth and Council 療愈儀式樂譜，2012 木、鏡子、蠟、塑膠、紙 由藝術家及
Commonwealth and Council 畫廊提供
木、繩、石頭、聲浪、音頻 由藝術家及
Commonwealth and Council 畫廊提供
朝向瓦烏特拉 錄像，2012 15 分 25 秒 由藝術家及
Commonwealth and Council 畫廊提供 For Learning Zapotec Verbs, 2012 Wood, pencil, paper, wire, found rocks Courtesy of the artist and Commonwealth and Council 學習薩波特克動詞，2012 木、鉛筆、紙、金屬絲、 拾來岩 由藝術家及
Commonwealth and Council 畫廊提供
Gala Porras Kim’s work is based on a study of the Zapotec language of the Tlacolula Valley in Oaxaca, Mexico. Zapotec is a tonal language in which seventy-five percent of its meaning can be communicated through sound, in this case— whistling. Unlike other whistled languages around the world that are primarily used to communicate across vast distances, Zapotec was employed by the indigenous population in the valley as a strategy of resistance against their Spanish colonisers. Until recently, Zapotec was mainly a spoken language, being as well endangered by the marginalisation of indigenous communities in Mexico and the policies of linguistic colonisation of the central government. This collection of Porras Kim’s notation diagrams for whistled Zapotec accompany her recordings of a compilation of local stories transformed into an LP and a musical score. Porras Kim has also produced recordings and musical scores for curandera, traditional native healer, Maria Sabina’s legendary mushroom rituals that took place in Huautla, Oaxaca during the 1960s.
Notes after G. M. Cowan 2, 2012 Graphite on paper, post-it, wood Courtesy of the artist and Commonwealth and Council 關於 G.M. 考曼的筆記 2， 2012 紙上石墨、便簽紙、木 由藝術家及
Commonwealth and Council 畫廊提供 Notes after G. M. Cowan 10, 2012 Graphite on paper, post-it, wood Courtesy of the artist 關於 G.M. 考曼的筆記 10， 2012 紙上石墨、便簽紙、木 由藝術家提供
Notes after G. M. Cowan 6, 2012 Graphite on paper, post-it, wood Courtesy of Susan Baik 關於 G.M. 考曼的筆記 6， 2012 紙上石墨、便簽紙、木 由 Susan Baik 提供
Gala Porras Kim 的作品基於對墨西哥瓦哈卡
州特拉科路拉山谷的薩波特克語的研究。薩波特 克語是一種聲調語言，其中 75% 的含義通過聲 音，即吹口哨，來溝通。與世界上其他的口哨語言 不同，薩波特克語並不是為了進行遠距離溝通， 而是當地原住民用來抵抗西班牙殖民者的一種 策略。直到最近，薩波特克語都主要是一種口語， 因為墨西哥原住民的社會與政治孤立，以及在此 過程中的語言殖民化而瀕臨滅絕。Porras Kim 製作了一系列用於學習薩波特克語的圖表，並以 黑膠唱片與樂譜的形式記錄了一份當地故事的 合集。此外，Porras Kim 還為女薩滿 Maria Sabina 於 1960 年代在瓦哈卡州瓦烏特拉舉行的 傳奇性的蘑菇儀式製作了錄音和樂譜。
Sequence for a Landscape Revival: So So, 2012 Wood, string, stones, sound wave, audio
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CHRISTOPH SCHLINGENSIEF BORN IN OBERHAUSEN, GERMANY, 1960 DIED IN BERLIN, GERMANY, 2010 1960年生於德國奧伯豪森， 2010年逝於德國柏林
The African Twintowers, 2005–2007 18 flatscreen monitors, 18 videos Courtesy the Estate of Christoph Schlingensief and Hauser & Wirth 非洲雙子塔，2008 18 件平板電視、18 頻錄像 由 Christoph Schlingensief 藝術資產及 Hauser & Wirth 提供
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Christoph Schliengensief (1960–2010) was a German director, actor, performance artist, and filmmaker. His documentary film The African Twintowers portrays Schlingensief ’s attempt to stage Richard Wagner’s Der Ring des Nibelungen (The Ring of the Nibelung) in Lüderitz, Namibia. It was imagined as a script that included elements of Wagner, 9/11, and Hagen von Tronje. Soon after Schlingensief arrived to film this full-length feature, he abandoned the project. Instead, he erected a stage in the middle of the township, inviting local residents to participate in the construction of new narratives. In over 300 hours of footage, Schlingensief sought to capture the economic and political situation in this former German colony, using experimental visual and acoustic methods in an attempt to portray reality.
德國導演、演員、行為藝術藝術家及電影人 Christoph Schlingensief 的電影《非洲雙子塔》 記錄了他在納米比亞盧德里茲為將 Richard Wagner 的《尼伯龍根的指環》搬上舞台所作 的努力。最初構思的劇本內容包括 Wagner、 911 事件以及 Hagen von Tronje 的故事。然而，當 Schlingensief 到拍攝地並開機後不久，他就 放棄了初衷。 Schlingensief 在鎮子的中央搭起 戲台，邀請當地民眾參與項目並共同創作故事。 在至少 300 個小時的影片資料中，Schlingensief 嘗試捕捉這個前德國殖民地的經濟以及政治 境況，透過實驗性的視覺以及聲音手法描繪當地 的現實。
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SIMON SOON 孫先勇 BORN IN KUALA LUMPUR, MALAYSIA, 1983 LIVES AND WORKS IN KUALA LUMPUR 1983年生於馬來西亞吉隆坡， 現居住和工作於吉隆坡
In the Malay world, a person’s identity is never fixed. Encounters of the other are always opportunities for one to slip out of one’s former self and enter, or masuk, a different cultural universe and establish new social compact. The power of transforming oneself has in the past been fulfilled through ritual theatre called ‘main’ (also translates as ‘playing’), where the performer loses the self to become another being to assume another form, and this journey is accounted as a story. The presentation of this work is comprised of three parts: three sets of hand-cranked whirligigs depicting characters in a Muharram procession, a display that illustrates a pataphysics of colonial encounters, and a broadcast of an 18th century Malay song composed by British East India Company navigator Captain Thomas Forrest set to the tune of the Corrente (Vivace) in the 3rd Sonata of A. Corelli.
informing frameworks of universalism in the age of Enlightenment—the Navigator charts the sea and makes the world known for the purpose of surplus accumulation through extraction and exchange, in the belief that free intercourse will ultimately restore in humanity both truth and freedom, while the Tyger circulates as an open-source language of resistance and the promise of building new narratives and new worlds. On the eve of the imperium, destiny has yet to be written in the stars. In the history of colonial encounters, moments of antagonism were also moments of cross-boundary learning. The songs, images, stories, poems collated in the display are archival materials yoked to their historical burden yet also pulsate with new affinities when constellated with other materials in a museological setting. Ideas morph across images like dream rebuses. It might all just be a reverie, after all, what has really changed? In the end, we play both the parts of the navigator and the tiger.
在馬來世界的文化中，一個人的身份永遠不是 固定的。與他者相遇時，個人便有機會脫離原先 的自己，進入 (masuk) 一個不同的文化，並建立 新的社會契約。以往，傳統儀式劇場 ( 稱為 Main) 提供了這種改變自身的力量：表演者失去自我， 成為另一個人或以另一種存在，並將這段旅程 以故事的形式訴說出來。
The Tyger and the Navigator refers to the two protagonists of our story depicted in one set of whirligig. The Tyger plays an archetypal role that connects the ‘immortal hand or eye’ of Blake to the weretigers of Malay folk beliefs, to the tiger dancers 《老虎與航海家》分為三部分：三組描繪穆哈蘭姆 of the Muharram, to the 18th century ruler of 月節慶角色的手動旋轉玩具，一個展示殖民邂逅 Mysore Tipu Sultan’s life-sized wooden automaton 的荒誕玄學的櫥窗，及 18 世紀英國東印度公司 of a tiger attacking a fallen East India Company 的航海家 Thomas Forrest 船長基於 A. Corelli Officer. The Navigator is the music-playing East 第三奏鳴曲中的「 Corrente: Vivace 」所作的一 India Company map-maker Captain Thomas 首馬來語歌曲的廣播錄音。 Forrest, who uses poetry and music as a type of currency in the oral economy of intercultural 「老虎與航海家」意指我們故事中的兩位主角， diplomacy in order to gain favourable trade 而他們各處於旋轉玩具的兩面。「老虎」代表一 relations. These two figures are locked in combat and also embrace. They could be read as an allegory describing two opposing but also mutually
個典型的角色，它結合著 Blake 筆下「不死的手或 眼」、馬來西亞民俗傳說中的「虎人」、穆哈蘭姆 中的虎舞者、以及屬於 18 世紀蒂普蘇丹所收藏的 真人大小的木質機械塑像，呈現老虎襲擊東印度
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公司職員的場景。而「航海家」則是一位東印度 公司的製圖者 Thomas Forrest，他略懂音樂， 以詩和音樂作為跨文化外交中的籌碼，以獲取 良好的交易關係。 這兩個角色注定是敵友共存的關係。我們可以將 其視為在啟蒙時代中，兩個相反又互相曉喻 的普世主義框架：航海家出海、探索世界，透過 開採和交易囤積剩餘資源，並相信自由交易將 最終為人性帶來真理和自由；而老虎則作為一種 關於抵抗的開源語言在人與人之間流傳，並 承諾建立新論述和新世界。 在帝國權力降臨的前夕，命運尚未被寫下。 在殖民歷史中，對峙的時刻亦可以是跨界研究 的對像。展櫃中的歌曲、圖像、故事、詩歌都 背負著沉重的歷史，但在博物館環境下，它們 亦與其他材料形成著新的關係。意念在圖像間 演變，一如夢中的謎語。一切可能都只是遐想， 畢竟，什麼又真的改變了？其實，我們同時都是 老虎，又都是航海家。
Acknowledgements: Rismiliana Wijayanti, Octo Cornelius, Wicked Music People, Iwan Effendi, Cosmin Costina , Rob Tan, Anggit and Riki from HeluTrans Institutions: Para Site, Hong Kong; National Library Board, Singapore; Asian Civilisations Museum, Singapore; National Archive of Singapore; Tropen Museum, Amsterdam; Museum Volkenkunde, Leiden; Rijksmuseum, Amsterdam; Victoria and Albert Museum, London; Metropolitan Museum of Art, New York; Ask for PDFs from People with Institutional Access; Sci-Hub; University of Malaya Library; Visual Art Program, Cultural Centre at University of Malaya. 鳴謝：Rismiliana Wijayanti, Octo Cornelius, Wicked Music People, Iwan Effendi, 康喆明 , Rob Tan, Anggit 和 Riki（ HeluTrans ）。 鳴謝機構：香港 Para Site 藝術空間，新加坡國家圖書館 管理局，新加坡亞洲文明博物館，新加坡國家檔案館， 阿姆斯特丹熱帶博物館，萊頓國立民族學博物館， 阿姆斯特丹國家博物館，倫敦維多利亞與艾伯特博物館， 紐約大都會藝術博物館，Ask for PDFs from People with Institutional Access，Sci-Hub，馬來亞大學中心 圖書館，馬來亞大學視藝系藝術中心。
The Tyger and The Navigator, 2019 Whirligig, scores, images, maps, reproduction of books from Public Domain Courtesy of the artist in collaboration with Rismilliana Wijayanti, Octo Cornelius, and Wicked Music People
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老虎與探險家，2019 旋轉玩具、樂譜、圖片、 地圖、書籍副本（文件來自 公有領域） 由藝術家提供 合作者：Rismilliana Wijayanti、Octo Cornelius 及 Wicked Music People
ANGELA SU 徐世琪
Wicked Wiccan Wicker Wish, 2019 Ink on drafting film Courtesy of the artist and Blindspot Gallery 巫，2019 墨、繪圖用薄膜 由藝術家及刺點畫廊提供
BORN IN HONG KONG LIVES AND WORKS IN HONG KONG 生於香港，現居住和工作於香港
在關於中世紀煉金術的傳說中，何蒙庫魯茲是 In Medieval alchemy, scientists posited that the Homunculus was a being made from human semen, 一個由人類精液、血液、馬糞和草藥製成的人工 生命，這種結合人與動物元素的複製人可被 blood, horse manure, and wild herbs, in their quest 視為人體克隆的最早設想之一。徐世琪在的繪 to artificially create life. This is often regarded to 畫創作《巫》中所試圖想象的正是這種由巫術、 be the first concept of human cloning. In Wicked Wiccan Wicker Wish, Angela Su attempts to imagine 玄學及不同物種構造而成的未來人體。在新作 a future human body fabricated by witchcraft, from 《 Voigt-Kampff 測試》中，徐世琪呈現了一段拍 various other species. In her new work Voigt-Kampff 攝於迪士尼樂園「小小世界」的錄影，錄像中自動 玩偶伴隨著催眠的迪士尼配樂不斷旋轉、舞蹈。 Test, Su uses footage of the Disneyland ride ‘It’s a Small World,’ showing a choreography of automated 引用哲學家笛卡爾的觀點「動物都是機械人」，和 《銀翼殺手》中用以分辨仿真人和人類的 Voigtmachines dancing to theatrical, iconic Disney Kampff 測試，徐世琪將作品視為一個徐氏版本的 music. Drawing inspiration from Descartes—who Voigt-Kampff 測試 : 錄像中的自動玩偶究竟是擬 contended that animals are natural automations— 人化的動物，還是動物化的人？藉此將「你是人類 and from the Voigt-Kampff Test—which 還是仿真人」的問題轉向作品的觀眾。 distinguishes natural humans from ‘replicants’ (a reference from the film Blade Runner)—Su considers this work her own interpretation of the Voigt-Kampff Test, 2019 Voigt-Kampff Test: are the automations in the Digital video video anthropomorphised animals or animalised Courtesy of the artist humans? And the question, “Are you a human or a Voigt-Kampff 測試，2019 數碼錄像 replicant?” is thus directed to the audience. 由藝術家提供
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TAO HUI 陶輝 BORN IN CHONGQING, CHINA, 1987 LIVES AND WORKS IN BEIJING, CHINA 1987年生於中國重慶，
現居住和工作於中國北京 Joint Images, 2016 Video 12' 27" Courtesy of the artist 我們共同的形象，2016 錄像 12 分 27 秒 由藝術家提供
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In the video, Tao Hui selects ten historically representative clips from Chinese TV news, drama, variety and talent shows from different recent eras. Actors, standing before a screen showing these clips, do their best to recreate the scene complete with synchronised lines. This performance of a performance, a copy of a copy even more removed from the original, as well as the mini-history of the Chinese media landscape point to the ambiguity of our times of self-staging subjectivity, and the difficulty everywhere in the world today to distinguish real space amongst the many layers of fake. 在作品中，陶輝選取了中國電視歷史裡十個具有 代表性的片段，這些取自不同時代的電視新聞、 劇集、綜藝、選秀等節目片段成為一批演員模仿 的藍本。站在播放著節目原片的屏幕前，演員們 重現節目畫面中的場景和對白。作品所呈現的 中國電視圖景和一種基於表演的表演指向我們 所處的自我表演的時代的曖昧性，以及辨別表 演、虛構空間、「真實」和「類真實」之間的困境。
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BORN IN BEIJING, CHINA, 1972 LIVES AND WORKS IN BEIJING 1972年生於中國北京， 現居住和工作於北京
Wang Wei’s series Natural History originates from his observations made inside the Beijing Zoo, particularly the large frescoes of nature and animal life that adorn the walls within spaces of captivity. Wang first questions who these flimsy versions of virtual reality are truly for—the animals or the tourists? In response to this question, he explores the imprisonment and regulation hidden within our daily environments, through the deconstruction of architectural syntax and structures, and the borrowing of public space imagery. In 2018, Wang began using lightweight bricks, an architectural material with an obviously artificial texture, in his wall installations. Panorama 3 further shifts this idea of synthetic imprisonment by taking the fresco from the Nocturnal Animals Section of the Beijing Zoo and placing it upon a low median wall of lightweight bricks. The wall’s unimposing height, a structure that can be easily overlooked or overcome, playfully renders a supposed imprisoning enclosure useless.
WANG WEI 王衛
王衛的創作系列「自然史」始於他 2007 年在北京 動物園中的一個觀察：動物園包圍動物的 囚禁空間裡總有描畫自然和動物景觀的大型 壁畫，作為一種笨拙的虛擬現實，這些壁畫 和它的幻象是提供給遊客的，還是動物的？基於 這一發問，王衛在他的創作中透過對建築結構 語法的拆分和對公共空間圖像的挪用，探索那些 潛伏在日常環境中的禁錮與規訓。2018 年起， 藝術家開始在他的弧形全景墻裝置中使用輕體磚 這種更具合成質感的建築填充材料。在展覽 呈現的《全景 3 》中，王衛將北京動物園夜行動物 館的壁畫藝轉換到作品的輕體磚墻上。同時， 可被視線直接切過的矮墻結構亦戲謔地令這一 囚禁失效。
Panorama 3, 2019 Acrylic on CMU wall Courtesy of the artist 全景 3，2019 輕體磚上丙烯繪畫 由藝術家提供
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MING WONG 黃漢明 HAEGUE YANG 梁慧圭 BORN IN SINGAPORE, 1971 LIVES AND WORKS IN BERLIN, GERMANY 1971年生於新加坡， 現居住和工作於德國柏林 Rhapsody in Yellow, 2019 2-channel video, toy pianos 6' 15" & 19' 25" Courtesy of the artist, Vitamin Creative Space, Guangzhou, and carlier | gebauer, Berlin
黃色狂想曲，2019 雙屏錄像、玩具鋼琴 6 分 15 秒 & 19 分 25 秒 由藝術家及廣州 維他命藝術空間、柏林 carlier | gebauer 畫廊提供
Alluding both to Rhapsody in Blue by George Gershwin, the quintessential American piece of music, mixing jazz and European classical music traditions and to the Yellow River Piano Concerto by a group of Chinese composers with a strong input by Jiang Qing, the wife of Chairman Mao, during the Cultural revolution, Ming Wong’s newly commissioned piece stems from the artist’s interest in the history of European classical music in China. From its adoption by modernising figures in the late Qing Dynasty—early Republican era to its complicated position during the Cultural Revolution, from the destruction of pianos in that period to the country becoming the producer of an overwhelming number of the world’s pianos, the position of classical music in China has been constantly re-negotiated between such distinct views as a suspicious or desirable foreign product or as an element integrated into Chinese culture to such an extent that it is the main carrier of the country’s revolutionary ideals. 黃漢明最新的委任作品圍繞藝術家對中國 歐洲古典樂史研究的興趣展開。這件作品同時 涉及了《藍色狂想曲》以及《黃河大合唱》。 George Gershwin 的《藍色狂想曲》是美國音樂 史上的重要著作，它將爵士傳統以及歐洲 古典音樂傳統糅合在一起。而《黃河大合唱》 是中國文革期間數名作曲家在毛澤東妻子 江青的授意下進行的集體創作。從清朝末年民國 初期受到持現代化觀點的維新派的青睞，到 文革期間面臨的複雜命運，從過去鋼琴在中國 被大量銷毀，到當下中國鋼琴產量領先世界， 西洋古典音樂在中國的地位始終經歷著這樣 的搖擺：作為可疑的舶來品，或是流行的新事物， 或是為革命服務的東漸西學。
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BORN IN SEOUL, SOUTH KOREA, 1971 LIVES AND WORKS BETWEEN SEOUL AND BERLIN, GERMANY 1971年生於南韓首爾，
現居住和工作於首爾及德國柏林
The Intermediate—Adorned Frosty Shield is part of a series of works by Haegue Yang titled The Intermediates (since 2015), which use an abstract as well as ornamental vocabulary to generate equally ambivalent and distinctive creatures. Yang employs labor-intensive, manual craft techniques alongside contemporary materials such as synthetic cords, substituting traditional weaving materials to create sculptures evocative of ancient or pagan beliefs. Operating as intermediaries, the works from this series blur the seemingly objective boundaries between past and future or civilization and nature, and that both commonness as well as distinctiveness coexist in a non-hierarchical and anachronistic mode. 《中間類型 — 裝飾霜盾》是梁慧圭自 2015 年 開始的「中間類型」系列的一部分，作品使用了 抽象及裝飾性的詞彙來生成既含糊不清又 與衆不同的造物。藝術家將勞動密集型的手工 技藝運用到了包括合成線在內的各種當代 材料之上，替代了傳統的編織材料，創造出反映 古老或異端信仰的雕塑。作為某種中介， 「中間類型」模糊了過去與未來，或文明與自然 之間看似客觀的分界，讓共同性與獨特性以 一種不分等級、不合時宜的形式共存。
The Intermediate — Adorned Frosty Shield, 2018 Powder-coated stainless steel frame, powder-coated metal grid, plastic twine Courtesy of the artist and Kukje Gallery © Haegue Yang Photo by Chunho An
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中間類型 — 裝飾霜盾，
2018
粉末塗料、不鏽鋼外框、 金屬網格、塑料繩 由藝術家及 Kukje 畫廊提供 攝影：Chunho An
YANG SHEN 楊深
BORN IN BEIJING, CHINA, 1973 LIVES AND WORKS IN BEIJING 1973年生於中國北京，現居住和工作於北京 Part of a larger series of paintings, the works show characters and elements from comics, low budget sci-fi films, zoos, and socialist urban landscape in endless accidental encounters and clashes, becoming dreamscapes or even nightmares. Yang’s background in both formal art training and in game design play a role in instilling his pictorial world with curious characters and plots. Through the use of socialist-realist illustration and typefaces, he creates an absurd but familiar reality imbued with historical memory.
Garden Oddity, 2016 Oil on canvas Courtesy of the artist 遊園驚夢，2016 布面油畫 由藝術家提供
在楊深創作的一系列奇幻的繪畫中，來自漫畫、 低成本科幻電影、動物園和社會主義城市景觀中 的各種角色 — 動物、植物、人物、建築、城市空 間，等等 — 不斷意外地相遇、碰撞，形成 一種夢境（甚至是噩夢）般的空間。接受中國正統 美術教育、曾經從事遊戲設計的楊深持續地為 他的圖像世界注入奇趣的角色與情節，並在社會 主義現實主義插畫風格的圖像和美術字體之下， 創造著一種充盈著歷史記憶的、荒謬又不失熟悉 感的現實。
Nocturnal Animals, 2012 Oil on canvas Courtesy of the artist and MadeIn Gallery 夜行動物，2012 布面油畫 由藝術家及沒頂畫廊提供
Evolution, 2018 Oil on canvas Courtesy of the artist and MadeIn Gallery 進化，2018 布面油畫 由藝術家及沒頂畫廊提供
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YEE I-LANN
BORN IN KOTA KINABALU, MALAYSIA, 1971 LIVES AND WORKS IN KOTA KINABALU 1971年生於馬來西亞亞庇， 現居住和工作於亞庇
Kerbau began as an homage to the water buffalo, an animal with both a utilitarian and a symbolic value, throughout Southeast Asian culture. In many countries of the region, and quite opposite from South America, the buffalo symbolises the masses, the rural population, having been employed as the stand in for the local community in fights with tigers, representing the foreign colonists, in ancient Javanese games. In recent years, Yee became aware of the replacement of these bovidae by cows and tractors throughout the region’s landscape, the work took on additional meaning when the Malaysian government condemned street demonstrations claiming that this is “not our culture” (“bukan budaya kita”). Kerbau is Yee’s attempt to reclaim meaning for these creatures who are disappearing from the landscape and from the budaya (“culture”). The Ch'i_lin Of Calauit pictures Calauit island, in the Philippines, from which all of the inhabitants were resettled during the Marcos regime in order to transform the island into a private safari park for wildlife imported from Africa, in a claim to save these species from threat.
作品《水牛》是對水牛的致敬。水牛既有實用意義 又有象徵價值，在東南亞文化中廣受歡迎。在 東南亞的許多國家，水牛代表著民眾及鄉村人口， 在關於殖民史的敘述中，水牛常常象徵著與以 老虎為代表的殖民者抵抗的本土民眾 — 這與南 美洲的符號使用恰恰相反。近年來，Yee I-Lann 發現在當地田間，這些水牛被奶牛和拖拉機 代替。近來馬來西亞政府譴責市民街頭示威，並 指這樣的行動「不是我們的文化」，在這樣的背景 下作品有了更深一層的意義。藝術家在《水牛》 中，為這種在田間以及在當地文化中逐漸消失的 生物重奪意義。作品《克勞伊島休閒 》描繪了 菲律賓的克勞伊島，它的居民曾在 Marcos 執政 時期全被遷移出島。島嶼也以保護野生動物的 名義被改造為一個私人野生動物園，現棲息著從 非洲進口的野生動物。
The Ch'i_lin Of Calauit, 2005 C-print Courtesy of the artist and Silverlens Galleries 克勞伊島休閒，2005
彩色打印 由藝術家及 Silverlens 畫廊 提供
Kerbau, 2007 C-print Courtesy of the artist and Silverlens Galleries 水牛，2007
彩色打印 由藝術家及 Silverlens 畫廊 提供
SAMSON YOUNG 楊嘉輝 BORN IN HONG KONG, 1979 LIVES AND WORKS IN HONG KONG 1979年生於香港， 現居住和工作於香港
Mo Li Hua (Jasmine Flower) is an iconic folk song that is widely circulated and appropriated in both high and popular cultures, within and outside of China, including Puccini’s opera Turandot and the Beijing 2008 Summer Olympics opening ceremony, among many others. Due to conflicting historical records, its “authentic form” has long been a subject of much speculation. Scholars from Taiwan and mainland China traced the tune’s origin as far back as the Yuan Dynasty (1271‒1368), and a version of the song’s melody, though under another name, was dated back to the reign of the Wanli Emperor (1563‒1620). Japanese, English, and American transcriptions of the melody also survive outside of China, however they contradict not only each other in both their melodic contour and lyrics, but they are also markedly different to the popularly circulated version that we have now come to recognise as Mo Li Hua. A particularly 《茉莉花》是一首極具代表性的民歌，在中外 peculiar version transcribed and published by 廣為流傳，也在嚴肅文化以及流行文化中有著 Englishman Karl Kambra in 1796, which combined 不同的演繹，包括 Puccini 的《圖蘭朵》和 2008 年 the melody with Kambra’s original harpsichord 北京奧運會開幕儀式等等。有關《茉莉花》的 accompaniment, is paradoxically the version that is 歷史記載充滿矛盾，人們一直對它的「原始版本」 perhaps the closest to how we imagine Mo Li Hua 饒有興趣。來自台灣以及中國內地的學者認為 in China today. The set of materials displayed in 歌曲起源元代（ 1271-1368 ）。另在萬曆（ 1563– this exhibition are research documents related to 1620 ）年間也流傳著旋律與《茉莉花》相似、但 a work-in-progress by the artist, which focuses on 名字不同的歌曲。日本、英國、美國都流傳著各自 the genealogy of Mo Li Hua, and the questions that 版本的《茉莉花》曲譜，然而這些版本不但在旋律 the tune’s conflicted history poses about notions of 以及歌詞上各自有所出入，它們也與現今廣為 authenticity, appropriation, and cultural ownership.
Research materials for the Jasmine Flower Song Project, 2019 Courtesy of the artist
「茉莉花項目」研究資料，
2019
流行的《茉莉花》大相逕庭。其中值得一提的 是英國人 Karl Kambra 在 1796 年記譜並發表的 版本。 Kambra 在這個版本中為原本的旋律 配上原創的大鍵琴伴奏，反而最接近我們印象中 今日中國版的《茉莉花》。此處陳列的材料 記錄了藝術家楊嘉輝正在進行的《茉莉花》編年 史研究。以它錯綜複雜且相互矛盾的歷史， 《茉莉花》面向原創性、挪用以及文化主權等主題 進行著發問。
由藝術家提供
AN OPERA FOR ANIMALS 76
77 百物曲
ROBERT ZHAO RENHUI 趙仁輝
BORN IN SINGAPORE, 1983 LIVES AND WORKS IN SINGAPORE 1983年生於新加坡 ，現居住和工作於新加坡
Robert Zhao Renhui’s works in this exhibition are part of an ongoing research on Christmas Island. Once part of the Crown Colony of Singapore, the island is now an External Territory of Australia. The island’s relative isolation in the Indian Ocean led to its endemic biodiversity. The first settlers to the island arrived in 1887, bringing with them invasive species along with the advent of the phosphorus mining industry. Over the years, Christmas Island’s natural habitat has become vulnerable to these changes, placing many native species under threat of extinction. Zhao’s works document the island’s natural phenomena as well as the unintended consequences of man’s presence. 趙仁輝在本次展覽中呈現的創作來自他近期在 聖誕節島上駐留時所進行的一系列研究。聖誕島 曾是新加坡殖民地的一部分，現在則為澳洲的 境外領土。由於聖誕島在印度洋上處於相對 偏遠、孤立的地理位置，使島上保留了自成一體 的生態多樣性。1887 年，第一批踏足該島的 殖民者帶來了外來入侵物種，並開始在當地開採 磷礦。週而復始，聖誕節島的生態系統因此變得 脆弱，許多當地生物瀕臨滅絕。趙仁輝的作品 以個人田野調查筆記的形式紀錄了島上的自然 現象以及人類活動所帶來的不可估計的後果。
Christmas Island, Naturally series, 2016 Photographs, installation Courtesy of the artist
《聖誕島，自然而然》系列，
2016
攝影、裝置 由藝術家提供
AN OPERA FOR ANIMALS 78
79 百物曲
JÁGUA-JÁGUA 美洲豹像
TIBETAN REFUGEE AND HANDICRAFT CENTRE 西藏難民 及手工藝中心
“Jágua” is the word for jaguar in the Guaraní language. The repetition of a word in the language indicates its representation, so “jágua-jágua” translates to “image of the jaguar.” These masks are spiritual items used for ritual purposes, where the wearer of the mask is understood by everyone as just a representation, and the ritual is seen as a performance. 「 Jágua 」是瓜拉尼語中表達「美洲豹」的詞彙。 對這一詞彙的重疊代表對它的象徵，因此 「 jágua-jágua 」可被理解成對美洲豹的視覺象 徵，或，美洲豹的圖像。展覽中呈現的面具為用 於儀式的神聖物件，戴上面具的人將會成為美洲 豹的象徵，因此，這類儀式亦被視為一種表演。
Jágua-jágua 1989, 1993, 1996 Wood Courtesy of the Museo de Arte Indígena, Centro de Artes Visuales/Museo del Barro 美洲豹像 1989，1993，1996 木 由原住民藝術美術館、 視覺藝術中心 / Barro 博物館提供
Tibetan tiger rug, 2019 Handmade sheep wool rug 西藏虎紋地毯，2019 手工羊毛毯
Tibetan refugees, after the 1959 uprising, made Nepal the centre for traditional Tibetan carpet production. Crafted in one of the refugee camps in Nepal, this piece is a fine example of the prized tigers rugs, used for prayers and as adornments for gods. These were made in a variety of patterns, from realistic representations of tigers to this striking example of ancient abstraction.
1959 年 的 暴 亂 之 後，流 亡 尼 泊 爾 的 藏 人 把 尼 泊 爾
作 為 傳 統 西 藏 地 毯 的 生 產 中 心。展 覽 中 呈 現 的 是 著 名 的 虎 皮 織 紋 地 毯 的 一 個 極 佳 的 代 表，它 生 產 於 尼 泊 爾 的 一 個 難 民 營。虎 紋 地 毯 常 用 於 祈 禱 儀 式 或 是 作 為 神 靈 的 裝 飾，有 多 種 圖 樣，例 如 逼 真 的 虎 皮 圖 樣，而 此 件 地 毯 所 呈 現 的 是 令 人 印 象 深 刻 的 一 例 古 老 的 抽 象 圖 飾。
AN OPERA FOR ANIMALS 80
81 百物曲
Para Site is Hong Kong's leading contemporary art centre and one of the oldest and most active independent art institutions in Asia. It produces exhibitions, publications, discursive, and educational projects aimed at forging a critical understanding of local and international phenomena in art and society.
An Opera for Animals at Para Site, Hong Kong (March 23–June 9, 2019) is a prelude to a partnership with Rockbund Art Museum, Shanghai. Between June 22–August 25, 2019 at Rockbund Art Museum, and September–December 2020 at Para Site, the two institutions will develop and present together two related exhibitions.
展 覽「百 物 曲」 （2019 年 3 月 23 日至 6 月 9 日）為 香 港 亦 是 亞 洲 歷 史 最 悠 久、最 活 躍 的 獨 立 藝 術 機 構 之 一。 Para Site 藝 術 空 間 與 上 海 外 灘 美 術 館 合 作 計 劃 的 成 立 宗 旨 在 透 過 展 覽、出 版 刊 物 及 教 育 項 目 等 活 動， 序 曲。在 兩 個 機 構 的 共 同 推 動 下，該 項 目 將 於 2019 年 促 進 在 地 與 國 際 間 的 對 話，希 冀 打 造 一 個 對 當 代 藝 術、 6 月 22 日 至 8 月 25 日（上 海 外 灘 美 術 館）和 2020 年 9 月 社 會 現 象 提 出 批 判 性 論 述 及 理 解 的 平 台。 至 12 月 （香 港 Para Site 藝 術 空 間）舉 辦 兩 場 相 互 關 聯 的 展 覽。
Para Site 藝 術 空 間 為 香 港 首 屈 一 指 的 當 代 藝 術 中 心，
TEAM 團隊
BOARD 理事會
FOUNDING FRIENDS
FRIENDS
Cosmin Costina
Alan Lau Ka Ming
Executive Director/ Curator
Chair
Mimi Brown and Alp Ercil Burger Collection, Hong Kong Stephen Cheng CMBB Cultural Organization David Zwirner Gallery A. Gaw Mimi and Chris Gradel Inna and Tucker Highfield IEs Collection K11 Art Foundation Alan Lau Wendy Lee James Lie Edouard and Lorraine Malingue Heidi & James Paradise Stefan Rihs Nick and Melanie Simunovic SUNPRIDE FOUNDATION Honus Tandijono Susanne and Gregor Theisen Virginia Yee
Nick and Cordula Adamus-Voegtle Christine and James Boyle Rachel Catanach and David Boyce Jonathan Cheung Lawrence Chu Andrew L. Cohen Jane DeBevoise Faux Amandine and Edouard Hervey William Lim, CL3 Lisson Gallery Dr. Ingrid Lok Elaine W. Ng and Fabio Rossi Joe Pang Esther Schipper Bonnie & Darrin Woo Andres Vejarano & Kee Foong
康喆明
Claire Shea 謝清
Deputy Director Qu Chang
朱沛宗
Co-Vice Chair Mimi Chun Mei-Lor 秦美娜
Co-Vice Chair
Fanny Chan
Bonnie Chan Woo Tak Chi
Curator
Project Manager/ Assistant Curator Celia Ho
胡陳德姿
Treasurer Sara Wong Chi Hang 黃志恆
何思穎
Secretary
Keiko Wang
Nick Adamus Shane Akeroyd Kurt Chan Yuk Keung
Project Manager
Alan Y Lo
Project Manager/ Assistant Curator 王惠子
Apoorva Rajagopal Development and Communications Manager Jenny Tam 譚蔚廷
Gallery Manager
Para Site 藝 術 空 間 獲 香 港 特 別 行 政 區 政 府 「藝 術 發 展 配 對 資 助 計 劃」的 資 助
Jehan Pei Chung Chu
瞿暢
陳趣源
Para Site Art Space is financially supported by the Art Development Matching Grants Scheme of the Government of the Hong Kong Special Administrative Region
劉家明
陳育強 羅揚傑
Mina Park Yana Peel
GLOBAL COUNCIL Shane Akeroyd Eric Booth Jehan Chu & Nydia Zhang Lynn Ou Yana Peel Ivan Pun Lin Qi
COMMUNICATIONS PARTNER
AN OPERA FOR ANIMALS 百物曲
Curators 策展人 Cosmin Costina , Claire Shea 康喆明、謝清
Head of Exhibition Production 展覽製作統籌 Celia Ho 何思穎
Catalogue Editor 出版物編輯
Qu Chang 瞿暢
Exhibition Coordination 展覽協調
Qu Chang, Keiko Wang 瞿暢、王惠子
Exhibition & Graphic design 展覽空間與平面設計 Wkshps Leong Leong Construction 展覽搭建 JR Engineering Consulting Limited
俊文工程顧問有限公司
Exhibition Supporter 展覽支持
Para Site and the curators would like to extend our deep gratitude to the artists, lenders, collaborators, and individuals who provided crucial support and research to the project: Para Site 藝 術 空 間 及 展 覽 策 展 人 謹 在 此 向 本 展 覽
所 有 參 展 藝 術 家、借 展 人 及 機 構、貢 獻 者 以 及 重 要 支持者致以最深謝意 :
INDIVIDUALS AND INSTITUTIONS 個人及機構
Akiq Aw Buku-Larrnggay Mulka Center Clark House Initiative Gabriel Burkett Hans D. Christ Jehan Pei Chung Chu
活動內容並不反映香港特別 行政區政府的意見。
Jamie G. AndersonArt Vantage PCC Ltd. Susan Baik Blindspot Gallery 刺點畫廊
Liu Yingjiu 劉迎九 Erica Lyons Michelle Newton Camila Nichols Kelly Nipper David Norr Felipe Quintero Sheelasha Rajbhandari Kathrin Rhomberg Simone Sentall Sumesh Sharma Gražina Subelyte Alia Swastika Howl Sze Kim Chiu
Bockley Gallery Casas Riegner carlier | gebauer Museo de Arte Indígena, Centro de Artes Visuales/Museo del Barro Artemisa Clark Commonwealth and Council Dorset Fine Arts Empty Gallery François Ghebaly Hauser & Wirth Galerie Imane Farès Kalli Rolfe Contemporary Art Koplowitz / Pulver collection Kukje Gallery William Lim 林偉而 MadeIn Gallery 沒頂畫廊 Madrona Gallery Adam Nankervis and another vacant space Gallery Quadrado Azul Sadie Coles HQ Silverlens Galleries Sutton-Rath Family Collection Tang Contemporary
Billy Tang 曾明俊 Andres Velasco Sara Wong Chi Hang
Tiroche DeLeon Collection Thousand Plateaus
Chris Wu 吳承桓 Hsieh Feng-Rong
Thomas Vallat Vitamin Creative Space
Yang Jian 楊堅
Michael Warren Bonnie Chan Woo
朱沛宗
Lia Colombino Ekaterina Degot Jose Ruiz Díaz Larys Frogier Inti Guerrero Luisa Gabriela Guerrero Hitman Gurung Anders Kreuger Aino Laberenz Warren Leung Chi Wo 梁志和
施劍超
The content of these activities do not reflect the views of the Government of the Hong Kong Special Administrative Region.
LENDERS 借展人及機構
黃志恆
謝豐嶸
當代唐人藝術中心
千高原藝術空間
維他命藝術空間
胡陳德姿