Garden of Six Seasons by Para Site

15 MAYâ&#x20AC;&#x201C;30 AUGUST 2020

PARA SITE HONG KONG

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Andrew Thomas Huang 卓寧 Citra Sasmita Makara: Notes on Recalcitrant Folds 摩伽羅 : 關於頑抗折曲的札記 7 Komal Purbe 8 Liu Kuo-Sung 劉國松 10 Mary Dhapalany 12 Dong baby carrier panel 侗族嬰兒車罩布

14 Burmese yantra temple hanging 緬甸密宗圖形

16 Mae Clark 18 Brittney Leeanne Williams 20 Dao/Yao Làn Tiẻn wrapping cloth for a female silver crown 藍靛瑤族女性銀冠包布

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J. D. ’Okhai Ojeikere Ashmina Ranjit Ana Mendieta Julia Mage’au Gray Amulet Clothes 護身衣 Emma Kunz Batsa Gopal Vaidya Sheroanawe Hakihiiwe Wing Po So 蘇詠寶 Antonio Pichillá Patrizio Di Massimo Uriel Orlow Britta Marakatt-Labba Hung Fai 熊輝 & Wai Pong Yu 韋邦雨 Trevor Yeung 楊沛鏗 Izmail Efimov Ekaram Singh The Man of Commerce 商 ·人 Iban beaded panel for baby carrier

伊班族嬰兒車裝飾珠串片

56 John Pule

58 Figurative Map of the Successive Losses in Men of the French Army in the Russian Campaign 1812至1813 年間法軍出征俄羅斯相繼陣亡人數形象圖表

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Pavel Mikushev Korakrit Arunanondchai & Alex Gvojic Sudhira Karna Madhumala Mandal Rebati Mandal Chudesnitsa

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Katerina Teaiwa Liu Chuang 劉窗 Pooja Gurung & Bibhusan Basnet Lam Tung Pang 林東鵬 Uzbek ikat, Kalamkari palampore, Sumba ikat, Azemmour embroidery, Flemish tapestry

奇跡締造者

烏茲別克依卡布、印花棉布墻縵、桑巴依卡布、阿澤穆爾刺繡、弗蘭德掛毯

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Pacita Abad Naufus Ramirez-Figueroa Liang Hao 郝量 Vvzela Kook 曲淵澈 Pan Lu & Bo Wang 潘律、王博 Dominique Gonzalez-Foerster Charles Gaines Chang En-Man 張恩滿 Wing Po So 蘇詠寶 Uriel Orlow Trevor Yeung 楊沛鏗 Hung Fai 熊輝

一園六季

Kiss of the Rabbit God, 2019 Single-channel video, 14' Courtesy of the artist

HUANG卓寧

BORN IN 1984 IN LOS ANGELES, LIVES AND WORKS IN LOS ANGELES / 1984年生於洛杉磯，現居住並工作於洛杉磯

GARDEN OF SIX SEASONS

這部使人神往的半自傳體電影講述了一名平凡美籍亞裔餐廳侍應非同尋常的性覺醒故事。兔兒神每夜以神秘撩人的陌生人姿態造訪身處典型中國社區的男主角，而與兔兒神的幽會最終令男主角踏上了自我探索的旅途。藝術家說：「我將我家庭經營中餐廳的經歷與中國神話交織於一起。《兔兒神》是我對我所屬的亞裔酷兒社群的剖白及情書。」清代神話兔兒神講述了一名福建士兵因偷窺其男性戀人被處死的故事。地府的官吏認為該士兵因愛犯罪情有可原，將其封為「兔兒神」，即保佑同性之愛的神祗。

ANDREW THOMAS

This absorbing semi-autobiographical fantastic short film about an ordinary Asian-American restaurant worker’s extraordinary sexual awakening, starts with the nightly visits to a typical Californian Chinese joint from the Rabbit God, arriving in the body of a tantalising mysterious stranger, before blossoming into a tryst that empowers the young man to embark on a painful but liberating journey of self-discovery. The Qing dynasty myth of Tu’er Shen—the Rabbit God—traces the story of a Hokkienese soldier who was executed for spying on his male lover. The ruler of the underworld decided that since the soldier’s crime was one of love, he would be ordained as Tu’er Shen, or the Rabbit God, the patron deity of gay love.

兔兒神，2019 單頻錄像，14' 由藝術家提供

BORN IN 1990 IN TABANAN, LIVES AND WORKS IN SINGARAJA / 1990年生於塔巴納縣，現生活並工作於新加拉惹

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CITRA SASMITA

The striking work on a full cow’s hide reflects the Kamasan Balinese painterly language that Sasmita has been developing in her practice. It represents a geography of female figures, fires, and various natural elements, composed whimsically in an unfolding of pansexual energy. While rooted in mythological thinking, with Hindu and Balinese specific references, the scenes are equally part of a contemporary process of imagining a secular and empowered mythology for a post-patriarchal future. 這幅畫在整張牛皮上的驚艷畫作延續了 Citra 的自身實踐，使用的是巴厘卡瑪桑的繪畫語言。畫中描繪了由女性人物、火焰和各種自然元素所組成的群陣，它們以奇異的方式結合在一起，釋放出一種泛性戀的能量。雖說她的創作植根於神話思維，且對印度和巴厘文化有著具體的內容引用，但這些畫面場景仍可被視作當代進程的一部分，它為後父權制的未來設想了一種人人自主的世俗神話。

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「Timur Merah」項目 II；不安幽靈之港，2019 墨、牛皮由藝術家提供

GARDEN OF SIX SEASONS

Timur Merah Project II; The Harbor of Restless Spirits, 2019 Ink on cow leather Courtesy of the artist

‘Makara’ is a Sanskrit term, meaning crocodile. Throughout South and Southeast Asia, makaras can be found in traditional architectural structures in different forms, but always in a combination of aquatic and terrestrial animals with parts including elephant trunks, fish tails, dragon heads, and crocodiles, among others. In East Asia, similar composite creatures could also be found by various names: chiwen, mojie, and shachihoko. The geographical and formal variety of the makaras outlines an entangled network of connections and hybrids across Asia and perhaps beyond. Malaysia-based artist and scholar Tan Zi Hao conducted extensive research on the genealogy and variations of makaras, while creating an imaginary skeleton for this composite creature.

摩羯、鉾。摩伽羅在地緣與形式上的多樣性，勾勒出一個跨越亞洲乃至更遠地區的糾纏不清的混合網絡。新加坡藝術家兼學者陳子豪對摩伽羅的系譜與變異進行了廣泛的研究，並為這種合成生物創建了一副假想的骨架。

Makara: Notes on Recalcitrant Folds, 2016 Digital slideshow 摩伽羅 : 關於頑抗折曲的札記，

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Makara: Notes on Recalcitrant Folds

2016

電子幻燈片

Tan Zi Hao Born in 1989 in Kuala Lumpur. Lives and works in Singapore 陳子豪 1989年生於吉隆坡。現生活並工作於新加坡

摩伽羅 : 關於頑抗折曲的札記

「摩伽羅」是一個梵語詞，意為鱷魚。在東亞及東南亞，摩伽羅常以不同形式出現於傳統的建築結構之中，它們的形象總是由水棲與陸棲生物組合而成，常見的元素包括象鼻、魚尾、龍頭與鱷魚，等等。在東亞，類似的組合生物則有不同的名字：螭吻、

KOMAL PURBE

BORN IN 1986, MADHUBANI, LIVES AND WORKS IN JANAKPUR / 1986年生於馬杜巴尼，現居住和工作於賈納克布爾

Purbe 的繪畫語言很大程度上與彌薩羅文化相關，但她也將這一傳統中常見 A woman flying a rocket, 2019 Acrylic on lokta paper Courtesy of the artist and Janakpur Women's Development Center

女人開火箭，2019 樹皮紙本塑膠彩由藝術家及賈納克布爾女性發展中心提供

的元素與火箭、直升機與電單車等現代元素相糅合。藝術家認為，在我們的時代，彌薩羅文化的許多方面已然失落了，但即便如此，她仍舊感到為了保持它的活躍和時代相關性，這門文化需要對當代現實予以回應。

GARDEN OF SIX SEASONS

In her paintings, largely realized in the language that came to be associated with Mithila culture, Purbe incorporates modern elements such as rockets, helicopters, and motorcycles with elements more commonly depicted in this tradition. While the artist feels that there has been a loss of many aspects of Mithila culture in our age, she also feels in order to stay alive and relevant it needs to speak about contemporary realities.

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The Ring B,1973 Ink, acrylic, and collage on paper Courtesy of the artist and Wendy Lee 環中 B，1973 水墨、塑膠彩及拼貼紙本由藝術家及利宛虹提供

劉國松

劉國松常常被認為是「現代水墨畫之父」，50 年代，他在台灣成立「五月畫會」，發起了台灣現代藝術運動。50 年代末期，劉國松開始進行中西合璧的材料試驗，嘗試融合油畫與水墨的趣味與意境。他在繪畫中充滿獨特的個人趣味與探索，透過對畫紙、風格、顏料的混合與創新運用，不斷創造連接不同宇宙觀的繪畫作品。1972 至 1992 年，劉國松任香港中文大學藝術系主任，他的繪畫理念亦深刻影響著香港畫壇。這幅創作於 1973 年的作品為他《太空畫系列》中的一幅，其創作靈感來自 1969 年美國阿波羅 17 號太空船前一年所拍攝的一幅題為《藍大理石》的地球相片。劉氏的作品為人類意象中的地球與實際於太空觀測到的地球間的一次碰撞。

GARDEN OF SIX SEASONS

LIU KUO-SUNG 現居住並工作於上海及桃園

Liu Kuo-Sung is widely regarded as the ‘Father of Modern Ink Painting’. In the 1950s, he founded the ‘Fifth Moon Group’ in Taiwan, seen as the beginning of the Taiwanese modern art movement. In the late 50’s, Liu started experimenting with a mixture of Chinese and Western materials, attempting to fuse the atmospheres of oil and ink painting. Personal interest and exploration permeate his paintings, and diverse cosmologies are connected through an innovative use of paper, style, and paint. From 1972 to 1992, Liu was the Dean of the Faculty of Arts at Chinese University of Hong Kong, and his understanding of painting made an impact in the Hong Kong art scene as a whole. This 1973 work is among his Space series, inspired by the iconic Blue Marble photo of the Earth taken by the crew of Apollo 17 only the year prior. Liu’s work shows the striking encounter between millennia of imagination about our planetary home and our stunned actual view of it from a cosmic distance.

BORN IN 1932 IN BENGBU, LIVES AND WORKS IN SHANGHAI & TAOYUAN / 1932年生於蚌埠，

significance, representing both the complex family kinships of her community and geographical features of her territory as well as cosmic bodies, being thus complex maps of the Yolngu universe at all its levels. The patterns, colours, and designs are unique to Dhapalany, being grounded in techniques and knowledge learnt from her grandmother.

Mary Dhapalany is a weaver and actress, having starred, among others, in the legendary Ten Canoes (2006), the first feature film entirely in Australian Aboriginal languages. Her weaving originates from the Yolngu's nganiyal (woven mats) lineage, objects which have ritual, ceremonial, and practical

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MARY DHAPALANY BORN IN 1950 IN RAMINGINING, LIVES AND WORKS IN RAMINGINING / 1950年生於北領地，現生活並工作於北領地

Mary Dhapalany 以編織為媒介進行創作，同時也是一名演員，她曾經出演於著名的電影《十隻獨木舟》（2006），這是首部

Untitled, 2018 Pandanus mat Courtesy of the artist 無題，2018 露兜樹蓆由藝術家提供

GARDEN OF SIX SEASONS

完全用澳大利亞原住民語言製作的故事片。她的編織承襲於雍古族的 Nganiyal（編織墊），一種具有儀式、禮儀意義和實際用途的物件，不僅代表她的族群中復雜的家庭血統和其領土的地理特徵，也象徵宇宙天體，因此，在各個層面上，它都構成了一幅雍古世界的精妙地圖。對 Dhapalany 來說，這些紋路、色彩與設計意義非凡，因為它們無一不根植於她從祖母那裡學來的知識與技藝。

Dong baby carrier head cover panel featuring the Dong cosmos, with silk threads on indigo cotton, first half of the 19th century, Qing Dynasty.

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Dong baby carrier panel

侗族嬰兒襁褓罩布侗族嬰兒襁褓罩布，繪有侗族宇宙，材料為靛青棉布與絲線。製於清朝，19 世紀上葉。

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Burmese yantra temple hanging on fine commercial cotton, used in a healing context and representing both an astrological chart and references to actual historical cities. 1970’s. 緬甸密宗圖形，精緻商品棉布，用於治療，圖形呈現星象圖，並指涉具體的歷史城市。製於 1970 年。

緬甸密宗圖形，手紡棉布，圖形為星象圖，用於冥想。製於 1940–50 年代。

GARDEN OF SIX SEASONS

Burmese yantra temple hanging on hand spun cotton, used as an astrological chart for meditation. 1940’s–1950’s.

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MAE CLARK BORN IN 1965 IN ROCKY RIDGE, LIVES AND WORKS IN NEW LANDS / 1965年生於洛磯脊，現生活並工作於新土

colour and intricate in pattern and have formed a significant part of the Navajo economy over the past century. Clark learned about weaving from her mother, among many other guiding figures. To Clark, The Emergence rug—a highly dynamic and complex composition, strikingly different from the more symmetric traditional Navajo rugs—represents her view of the creation, and the intimate connection between humans and nature.

Mae Clark is a Navajo weaver, born to the Towering House People (her maternal clan) and the Chricahua Apache People (her paternal clan). Weaving, is believed to have been taught to the Navajo people by the deity Spider Woman. The matriarchal Navajo began to weave with wool and cotton in the 17th century, weaving being done mostly by the women in the community. The hand-woven Navajo rugs and blankets are vibrant in

Mae Clark 是一位編織者，她擁有高屋人（母方部族）與曲力卡華（父方部族）的血統。傳說中，是蜘蛛神女將編織這種藝術傳授給納瓦荷族人。17 世紀，母系的納瓦荷人開始用羊毛與棉進行編織，這項工作主要由氏族中的女性完成。這些手工製作的地毯與毛毯流光溢彩，圖案精緻，在過去一個世紀裡支撐著納瓦荷的經濟發展。Clark 從母親與其他導師處學會了編織技藝。毛毯作品《出現》是一幅極具動感的複雜創作，於 Clark 而言，它代表著她對「創造」的詮釋，以及人與自然的親密連接。

出現，1998–1999 織物由藝術家提供

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The Emergence, 1998–1999 Textile Courtesy of the artist

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BRITTNEY LEEANNE WILLIAMS BORN IN 1990 IN PASADENA, LIVES AND WORKS IN CHICAGO / 1990年生於帕薩迪納，現生活並工作於芝加哥

Bridging, 2019 Oil and acrylic on canvas Courtesy of the artist

搭橋，2019 布面油畫及塑膠彩由藝術家提供

GARDEN OF SIX SEASONS

生活在芝加哥的藝術家 Brittney Leeanne Williams 總以其鮮活的作品來關注人，更準確地說，她所關注的是既承載著痛苦、哀悼與紀念又能夠超越與改造的黑人的身體。她的作品拷問著景觀中身體的雙重性以及被景觀化的身體。她在影像中所呈現的環境，往往是由記憶、藝術史和平面色域結合而成的。身體經常通過扭曲的形式與這些環境進行接觸，雖然模仿了一種起伏的風景，但卻也同時成為了一種揭示創傷暴力與系統壓迫的手段 —— 而它們決定了黑人身體的方向與位置。紅色的身體反覆出現在她的實踐之中，而它們的形態則來自個人的家庭創傷以及對黑人壓迫的研究。紅色變成了一個關鍵的顏色，讓這些身體釋放出一種信號，強迫著觀眾的注意力，如同救護車的警笛或紅色的脈動燈一樣。它們披掛上陣，命令著觀眾的注意。

drawing their form from excavated personal family traumas, as well as investigating black communal grievances. Red has become a key colour, enabling these bodies to emit a signal, like an ambulance siren or red pulsating light, taking command and authoritatively demanding attention from the viewer.

These works focus on the figure, more specifically on the black body as a site of suffering, mourning, and memorialisation yet capable of transcendence and transformation. Williams’ works interrogate the duality of the body in the landscape as well as the body landscaped. The environments featured in her works are often assembled from memory, art history, and flat colour fields. The bodies engage with these environments, often through contorted forms, mimetic of an undulating landscape, but as a means of revealing the traumatic violence and systematic oppression that have dictated the orientation and placement of the black body. These red bodies recur throughout her practice,

Dao/Yao Làn Tiẻn wrapping cloth for a female silver crown. The crowns are worn by the Làn Tiẻn as part of a complex arrangement of power between the female spirit, women’s hair, and the cosmos, with different levels in this dynamic being periodically revealed or hidden. When the crowns are not being worn, they are kept wrapped in a cloth such as the one shown here. This extremely intricate and brilliantly executed cosmic map uses indigo cotton-embroidered symbols and old Chinese characters. Their usage in a non-Chinese language, re-signification in a magical context, and the particular calligraphy employed, all make them difficult to read outside the context in which they were made. 1950’s-60’s.

一園六季

Dao/Yao Làn Tiẻn wrapping cloth for a female silver crown.

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藍靛瑤族女性銀冠包布藍靛人以佩戴頭冠寓意其文化中複雜且時隱時現的權力排列，這包括女性靈魂、女性頭髮及宇宙。當頭冠不被佩戴時，它們被保藏於展覽呈現的包布中。這塊靛青棉布精巧地繡有宇宙地圖、圖文和古中文。在非中文地區使用這樣的繡飾，突顯出其神秘的背景。這些文字亦刻意使用某種書法體，使其在當地之外難以被閱讀。製於 1950–60 年代。

GARDEN OF SIX SEASONS

一園六季

J.D.’OKHAI OJEIKERE

無題（Na Poi Kiko），1969 印刷

Untitled (Suku Sinero Kiko), 1974 Print 無題（Suku Sinero Kiko），

1974 印刷

Untitled (Pineapple), 2006 Print

Courtesy of Estate of J.D.’Okhai Ojeikere/ Foto Ojeikere 由 J.D.’Okhai Ojeikere 遺產及 Foto Ojeikere 提供

Hairstyles have a very powerful cultural and historical significance, being repositories of tradition, style, and knowledge. In one example, route maps for escaping slaves in the Americas were secretly recorded in hairdos, some of these maps surviving as hairstyles reminiscent of that history of liberation. Each portrait in the series is titled by name of the hairstyle and the year of recording.

《髮型》是尼日利亞傑出攝影師 J.D.’Okhai Ojeikere 最受讚譽的作品之一，此系列包括藝術家於 1968 年至他 2013 年逝世前在尼日利亞拍攝的逾千幅髮型黑白攝影。或潮流前衛，或充滿傳統元素的髮型在極簡背景前得到展示，髮型中琳琅滿目的幾何形狀，結構，圖案以及質地聯繫着不同的社交場合與社會地位，並記錄着家族傳承、社群視覺標誌等尼日利亞文化與風俗的變遷。Ojeikere 把這些頭髮的形狀與樣式作為一種文化物件，創建出一系列描述非洲後殖民時期社會與文化變遷的視覺文獻。髮型常常承載著充滿能量的文化及歷史意義，它們記錄著傳統、風格和知識。在一個案例中，美洲奴隸便將逃亡地圖秘密地記錄在髮型中 —— 這些地圖作為髮型被留存下來，成為追憶解放歷史的線索。該系列中的攝影皆以所呈現髮型的名稱和拍攝年份命名。

GARDEN OF SIX SEASONS

無題（菠蘿），2006 印刷

One of the most celebrated works by the prominent Nigerian photographer J.D. ’Okhai Ojeikere, the Hairstyle series is a collection of over 1,000 black and white portraits of coiffures recorded in Nigeria from 1968 to the artist’s death in 2013. The various hairstyles—some experimental and modern while others reflecting more traditional elements—showcase a wide range of geometries, structures, graphics and textures that connect to the changing culture and traditions in Nigeria, including different social occasions and statuses, family genealogies, as well as community visual symbols. Ojeikere documented these forms and shapes as cultural artefacts, creating a visual archive that narrates the social and cultural changes in Africa in the post-colonial era.

Untitled (Na Poi Kiko),1969 Print

BORN IN 1930 IN OVBIOMU-EMAI, DIED IN 2014 IN LAGOS 1930年生於OVBIOMU-EMAI村， 2014年逝於利亞拉哥斯

Hair Warp—Travel Through Strand of Universe, 2020 Charcoal & pastel on lokta paper

Hair Warp—Travel Through Strand of Universe, 3, 2000 Charcoal & pastel on lokta paper

曲髮 — 暢遊一絲宇宙，之八，2000 炭筆及粉彩樹皮紙本

曲髮 — 暢遊一絲宇宙，

曲髮 — 暢遊一絲宇宙，之三，2000 炭筆及粉彩樹皮紙本

2020

炭筆及粉彩樹皮紙本

Courtesy of the artist 由藝術家提供

一園六季

ASHMINA RANJIT

Hair Warp—Travel Through Strand of Universe, 8, 2000 Charcoal & pastel on lokta paper

BORN IN 1966 IN KATHMANDU, LIVES AND WORKS IN KATHMANDU 1966年生於加德滿都，現生活並工作於加德滿都

In this series, human hair is treated as a sacred element that connects womanhood and ‘all phenomena beyond the sky’ (Ranjit). In the paintings, the sinuous hair strands morph constantly into different braids, swirls, and landscapes, emitting a mysterious force of life, as they ‘flow, fly, dance, celebrate, shout, and echo in the night sky’ (Ranjit).

在 Ranjit 的炭筆及鉛筆繪畫系列「曲髮」中，人的髮絲被視作一種神聖的主體，連接女性身份和「天空之上的一切現象」（Ranjit）。畫中蜿蜒的髮絲不斷幻化成不同的編織、旋渦和景觀，伴隨着它們「流動、飛翔、舞蹈、歡慶、叫喊與夜空中的回音」（Ranjit），神秘的生命力持續彌散於畫作之中。

25 GARDEN OF SIX SEASONS

BORN IN 1948 IN HAVANA, DIED IN 1985 IN NEW YORK / 1948年生於哈瓦那，1985年逝於紐約

哥倫布時期遺址的旅行，並開始學習中美洲與加勒比地區的宗教。她的藝術實踐也因此深受非洲 - 古巴儀式與泛神論的桑特里亞宗教的影響。彼時，她也開始創作一系列名為「輪廓」的作品，並在隨後的十年間在墨西哥與愛荷華繼續着這一創作。在這些作品中，Mendieta 會用土、沙、泥、花、石、草等自然元素把她的形象插入景觀之中，並經常結合使用煙花與火藥等可燃材料。有時，她也會使用動物的心臟或自己的手印。這些作品與 Mendieta 許多其他的作品一樣，積極地參與了女性主義的運動，並致力於顛覆同時期男性大地藝術家作品中紀念碑式的姿態。她死後，她的丈夫 —— 藝術家 Carl Andre 被控謀殺但最後在爭議中被無罪釋放。

Untitled: Silueta Series, 1978 Super-8mm film transferred to highdefinition digital media, color, silent 3'14" Courtesy The Estate of Ana Mendieta Collection, LLC and Galerie Lelong & Co., New York

Ana Mendieta 是一位古巴裔美國藝術家，其作品涉及表演、大地藝術、攝影、雕塑與電影。Mendieta 的作品以自然與身體為基礎，探討身份、放逐與流離失所等議題。1970 年代初，流亡自故鄉古巴的 Mendieta 開始了在墨西哥前

Ana Mendieta was a Cuban-American artist whose practice spanned performance, earthworks, photography, sculpture, and film. Mendieta’s works were grounded in nature and the body, exploring identity, exile, and displacement. In the early 1970s, Mendieta, exiled from her home in Cuba, began travelling to pre-Columbian sites in Mexico, learning about Central American and Caribbean religions. Her artistic practice became deeply influenced by Afro-Cuban ritual and the pantheistic Santeria religion. At this time, she also began a series of works entitled the Silueta (Silhouette) series, which she continued to produce throughout the following decade

一園六季

ANA MENDIETA

in Mexico and Iowa, USA. In these Silueta works, Mendieta would insert her form into the landscape using natural elements such as earth, sand, clay, flowers, rock, and grass, often in conjunction with flammable materials such as fireworks and gunpowder or, in some cases, combined with animal hearts or her handprints. These works, as with many of Mendieta’s were also actively engaged with feminism and working to subvert the monumental gestures of the works by contemporary male artists at the time. After her death, Ana Mendieta’s husband, artist Carl Andre, was arrested and controversially acquitted for her murder.

無題：剪影系列，1978 超8米厘菲林轉高清數字媒體，彩色，無聲 3'14" 由 Ana Mendieta 遺產收藏及紐約 Lelong 畫廊提供

GARDEN OF SIX SEASONS

一園六季

JULIA MAGE’AU GRAY BORN IN 1973 IN PORT MORESBY, LIVES AND WORKS IN DARWIN 1973年生於莫爾斯比港，現生活並工作於達爾文

藝術家 Julia Mage’au Gray 一直以來都以手針與手錐紋身的方法來創作身體印記類作品，她的工作方法取自美拉尼西亞群島文化中個體以紋身來作為具有深遠意義的社會實踐象徵的案例。自然，藝術家的實踐同時與其他的藝術表現形式也有深度鏈接，例如在地性舞蹈賦予「身體標記」複雜的在地歸屬性與社群性；然而基於對皮膚與紋身完全不同的理解，這項藝術形式被殖民主義和天主教文化抹平殆盡。在緊張地協商之後，是次展覽期間，藝術家將與這位模特共同完成長達數月的手針創作，除模特皮膚的展示之外將不會有任何其他記錄形式。 Hand tap & hand poke melanesian tattoo, 2020 手工拍打穿刺的美拉尼亞紋身，2020

Amulet Clothes

Julia Mage’au Gray has been making body marks using the hand poke and hand tap methods, working from within the perspective of Melanesian cultures where skin marking has been a practice of profound significance. Deeply connected to other forms of expression, in particular with dance, and imbued with a complex sense of belonging and community, this art form has been almost extinguished by colonialism and Christianity with its radically different understanding of skin and body. Following a protocol of intense dialogue, the artist will mark a person during the exhibition’s run. No other visual representation of the marks will be produced outside the skin of the person.

Within the universal culture of amulets, protective objects or incantations, a particular position is occupied by wearable amulets. In South East Asia, these powerful magical objects, with a tradition complementary to different lineages of art history, these blouses are connected to the tattoo culture of the region, itself a form of protecting, healing, and connecting the body to higher forces. Included in the exhibition are such amulets from the Philippines, known as anting-anting, used primarily in military and outlaw worlds, and examples from Burma and Northern Thailand.

在附身符這放之四海皆有的「保護物」或「符咒」文化中，佩戴式附身符佔據了一個特殊的位置。在東南亞，這些魔法物件對不同時代的地方藝術史提供了補充（它們與當地藝術史的譜系分支相輔相成），亦與在地的紋身文化緊緊相連。護身符本身就提供了一種保護、治癒和連接人類肉身的高級力量。是次展覽中，來自菲律賓的特殊護身衣曾被廣泛用於軍中與罪犯群體中，亦出現於緬甸和泰北的部分地區。 Anting anting, detail 護身衣細節

GARDEN OF SIX SEASONS

護身衣

一園六季

EMMA KUNZ

BORN IN 1892 IN BRITTNAU, DIED IN 1963 IN WALDSTATT 1892年生於布里特瑙，1963年逝於瓦德斯塔特

could contain the cause and treatment of an illness for one of her patients, or they could provide an explanation of a political situation and the resulting consequences of it.

Kunz was an artist, healer, and researcher. As a young child, she became aware of her capacity for telepathy and extra-sensory powers. At 18, she began applying these powers and, in parallel, making drawings in exercise books. In her 40s, she started large-scale drawings using the technique of radiesthesia. She would consult a divining pendulum, by posing a question, and then the answer would subsequently reveal itself within the drawing that appeared on these large sheets of graph paper. For Kunz, each colour and shape had a precise meaning in her understanding of the world. She understood her images as holograms, with a spatial dimension, that could be unfolded and collapsed. These drawings could be spiritual or philosophical, they

Kunz’s art also has a significant relevance through its orginal and pioneering contribution to our understanding of abstraction, contributions that only started to be fully recognized in recent years, long after her death, by a still patriarchal art history. Kunz 是一位生活在瑞士鄉村的藝術家、治療師與研究者。她在幼年時便發現自己擁有心靈感應與超感官力量的能力。18 歲時，她開始使用這些力量，並開始在練習簿上作畫。四十多歲時，她開始使用一種叫做「輻射感應力」的技術來創作大型繪畫。創作期間，她會向一個靈擺提問，而答案則會在繪畫中得到揭示。對 Kunz 的宇宙觀中，每一個顏色與形狀都帶有確切的含義。她把自己的圖像視作一種具有空間維度的全息圖，可以將其展開與摺疊。這些畫作是帶有靈性並充滿哲思的，它們或是蘊含着她所收治的病人身上某種疾病的病因與療法，亦或提供對某種政治局勢及其結果的解釋。

對藝術史的貢獻在她離世後很久的近些年才被這個依然充滿父權意味的藝術史挖掘並發現。 Work No. 032, 1892 –1963 Pencil, crayon, and oil crayon on brown scale paper white with raster 作品編號032，1892–1963 鉛筆、蠟筆、棕色白線柵格紙

Work No. 097, 1892 –1963 Crayon and oil crayon on blue scale paper white with raster 作品編號097，1892–1963 鉛筆、蠟筆、棕色白線柵格紙

Courtesy of the Emma Kunz Foundation 由 Emma Kunz 基金會提供

GARDEN OF SIX SEASONS

Kunz 這些原創而先鋒的奉獻與我們對抽象的理解之間有某種非凡的聯系，雖然她的藝術作品

BORN IN 1946 IN LALITPUR, LIVES AND WORKS IN LALITPUR 1946年生於勒利德布爾，現居住和工作於勒利德布爾

一園六季

BATSA GOPAL VAIDYA

The word ‘vaidya’ in Sanskrit means physician, and Batsa Gopal Vaidya comes from a caste of traditional healers of the Newar indigenous community of the Kathmandu Valley. According to legends, his family were healers of tigers and in the twentieth century even served as ayurvedic physicians to the court of prime-minister Juddha Sumsher Rana. After returning to Kathmandu from Bombay in 1970, Vaidya was urged by his sister to put together an exhibition. While conducting research, Vaidya came across a manuscript of shaman practices in his father’s collection. In the manuscript, esoteric tantric practices were detailed for the creation of healing amulets and medicines, which included animal sacrifices and shamanistic rituals in cremation grounds. While Vaidya eschewed such rigorous rites, he appropriated images that would have traditionally been drawn to heal certain ailments—for example, the motif used in Ayurvedic Yantra II is intended to cure eye disorders. In this way, Vaidya underscores the aim of the modernist art movement in Nepal to root itself in indigenous traditions and simultaneously to experiment with new media of expression, creating works that were remarkably timely to the artistic conversations taking place that decade around the world.

II 阿育吠陀徽紋 II，1971 浮雕紙本油彩由藝術家及 Santos Shakya 博士提供

GARDEN OF SIX SEASONS

Ayurvedic Yantra, 1971 Oil on embossed Paper Courtesy of the artist and Dr. Santos Shakya

在梵語中，「 vaidya 」意為醫生，而 Batsa Gopal Vaidya 出身於加德滿都谷 Newar 原住民的傳統醫者種姓世家。根據神話，他的家族曾為老虎治病。20 世紀，他們成為首相 Juddha Sumsher Rana 的阿育吠陀御醫。1970 年，Vaidya 從孟買回到加德滿都之後，他的姊姊鼓勵他舉辦展覽。在為展覽做研究時， Vaidya 在父親的藏書中發現一卷薩滿手稿。書上記載製作祛病護身符的密宗奧義以及藥方，其中包括動物祭祀及在火葬場進行的薩滿法事。Vaidya 避開書中的殘酷儀式，但挪用其中治療日常病痛的傳統圖像，譬如《阿育吠陀徽紋 II》中的圖樣即用於治療眼疾。Vaidya 強調尼泊爾現代藝術運動的目標應該在重視尼泊爾原住民傳統淵源的同時用新的創作材料進行藝術實驗，創作出與彼時藝術對話緊扣的作品。

現居住並工作於卡拉卡斯及上奧林科

Hakihiiwe develops through drawing a synthetic, concrete, and minimal language on the vast and intense relationship of his Yanomami community with the landscape that surrounds it. These links permeate the realm of the personal and the collective, his work being a contemporary revision of the cosmogony and the Yanomami imaginary. His works are conceived as the expression of knowledge (natural, medical, etc.) and as the foundation that unites the ancestral with the contemporary in a fragmented time in which past and present coexist, consciously and unconsciously. Hakihiiwe 通過繪畫發展出一種合成、具體且極簡的語言，以此表現他的社群與其所屬環境之間豐富且強烈的關係。這些聯繫彌散在個人與集體的場域，而他的作品則是對宇宙起源學以及亞諾馬米文化意象的一次當代修訂。這些作品意在講述知識（自然、醫學等等），亦有意無意作為連接祖先記憶與當代的基礎。

Ara Thotho Bejuco (liana) medicinal, 2018 Acrylic on primed paper

HAKIHIIWE

一園六季

SHEROANAWE

BORN IN 1971 IN SHEROANA, LIVES AND WORKS BETWEEN CARACAS AND ALTO ORINOCO / 1971年生於西羅阿納，

藥用藤蔓，2018 底漆紙本及塑膠彩

Hahoshi / Tarantula’s ass, 2019 Acrylic on primed paper 鳥蛛的臀部，2019 底漆紙本及塑膠彩

GARDEN OF SIX SEASONS

Courtesy of the artist and ABRA gallery 由藝術家及 ABRA 畫廊提供

Born into a family of Chinese traditional medicine practitioners, many of So’s works are connected to her memories of family and childhood. She has solid knowledge of growing herbs, flows of energy, astrological science, traditional psychology and philosophy and she employs them in her artistic work, connecting her views of microscopic and macroscopic phenomena and her in-depth exploration of the physical and philosophical world. In So’s work, different herbs combine into forms that are sometimes organic, sometimes artificial. By blurring the boundary between species and objects, these forms and structures are endowed with mysterious life force, calling for the connection of individual lives with the vast space of the universe. 蘇詠寶成長於香港傳統中醫學世家，她的作品許多都與家庭和童年回憶相關。她在草藥栽種、能量流動、天文科學、傳統心理學及哲學等領域有著深厚的知識，並將其運用在自己的藝術創作中，藉此連接起她對微觀和宏觀景象、以及物質和哲學世界的深度探索。在蘇詠寶的作品中，不同的藥草組成時而有機時而人造的形態，它們在模糊物種與物件邊界的同時，也為這些形象與結構賦予了神秘的生命力，並以此召喚個體生命連與廣闊宇宙空間的連接。

蘇詠寶

36 37

Interior, 2018 Powdered herbs, steel Courtesy of the artist

WING PO SO

一園六季

BORN IN 1985 IN HONG KONG LIVES AND WORKS IN HONG KONG / 1985年生於香港，現居住並工作於香港

內面，2018 草本植物磨粉、鋼由藝術家提供

Emission, 2017-2018 Dried envoy fruit without seeds, copper tubes, LED lights Courtesy of the artist 散發，2018 使君子、銅管、燈由藝術家提供

GARDEN OF SIX SEASONS

一園六季

ANTONIO

PICHILLÁ

Blows and Healing, 2018 Single-channel video, 4’ 療 · 傷，2018 單頻錄像，4分鐘

Courtesy of the artist 由藝術家提供

Pichillá 的作品總讓人想起居住在危地馬拉的瑪雅 – 楚圖希爾人的彩色世界。他的布料作品提煉了瑪雅 - 楚圖希爾傳統男士服裝裡的抽像圖案，且結合黃色、紅色、黑色和白色的線進行實驗，這些都是玉米的自然色彩，而玉米是對美洲印第安文明有着文化價值的重要食物，也對當下土著族群的生存抗爭有重大的意義。通過將部分作品以親屬的名字命名，藝術家對自己深受文化滅絕威脅的先祖遺產表達崇敬與讚頌。其餘作品則以瑪雅神靈命名，譬如 Q uq umatz，即與特佩神一同創造了人類的羽蛇神。

GARDEN OF SIX SEASONS

結，2014 布面油畫、手工布

Nudo / Knot, 2014 Oil on canvas and handmade textile

Pichillá’s work conjures the chromatic universe of the MayaTz`utujil people in Guatemala. His fabric works further refine the abstract patterns found in Maya-Tz`utujil traditional male attire, and experiments with combinations of yellow, red, black, and white colour threads, quoting the natural colour of maize— an important food of cultural value for Amerindian civilisations and present-day indigenous struggles. By naming some of his pieces after his relatives, the artist honours and celebrates his ancestral heritage which is threatened by cultural extinction. Other works are named after Maya deities, such as Q uq umatz, the Feathered Serpent divinity of the Popol Vuh who created humanity together with the God Tepeu.

BORN IN 1982 IN SOLOLA, LIVES AND WORKS IN SOLOLA 1982年生於索洛拉，現居住並工作於索洛拉

一園六季

PATRIZIO

DI MASSIMO 無題，2020 布面油畫由藝術家及柏林 ChertLüdde 畫廊提供

Di Massimo 覆述了聖經中聖葛斯默與達彌盎的奇跡故事：兩個阿拉伯游醫與早期天主教殉道者（雙胞胎兄弟或愛人）, 免費為人們診病。在這個故事中，他們出現在一位男性的夢中（很可能是病人處於麻醉狀態的隱喻），並為他治好了正在吞噬其腿上血肉的疾病。兩位聖人切除其壞肢，並把一位剛在附近教堂墓地下葬的衣索比亞死者的腿移植給他（在另外一個版本中這個衣索比亞人並沒有死，於是移植腿的過程便值得懷疑）。當這個患者醒來以後，他發現自己有了一條健康的黑腿，而那位非洲人的屍體則少了一條腿。這個故事在西方繪畫的敘事中無疑有種莊嚴的意味，Di Massimo 以當代的在地性繪畫語言與類卡通文化的方式將它建立於歐洲式具象繪畫語言之上。

GARDEN OF SIX SEASONS

Di Massimo retells a biblical miracle story of Saint Cosmas and Damian, two Arab itinerant doctors and early Christian martyrs (twin brothers or lovers), practicing medicine without pay. In this story, they appeared to a man in a dream (a possible metaphor for a state of anesthesia), to rid him of a disease that was eating away the flesh of his leg. The saints cut off the bad limb and transplanted the leg of a dead Ethiopian man who had just been buried in a nearby churchyard (in other versions the Ethiopian had not died, the process of obtaining his leg being thus questionable). When the patient awoke, he found that he had a healthy black leg, while the African’s body now lacked a limb. This story has a venerable tradition of representation in Western painting, Di Massimo building upon it with his unmistakable vocabulary combining a lineage of figurative European painting (from various historical eras and modern revival currents) with contemporary vernacular and animation cultures.

Untitled, 2020 Oil on Canvas Courtesy of the artist and ChertLüdde, Berlin

BORN IN 1983 IN JESI, LIVES AND WORKS IN LONDON 1983年生於傑西，現生活並工作於倫敦

一園六季

The Crown Against Mafavuke, 2016 Single-channel HD video with sound, 18' Courtesy of the artist and Mor Charpentier, Paris Mafavuke 的審判，2016 單頻高清有聲錄像 18'

由藝術家及巴黎

Mor Charpentier 畫廊提供

作品以 1940 年發生在南非的一次審判為基礎。Mafavuke Ngcobo 是一位傳統草藥師，而他卻被當地白人醫療機構指控從事「非傳統行為」。影片探討了兩種截然不同卻又相互交織的醫學傳統在意識形態與商業上的交鋒以及它們對植物的使用，並隨着性別與種族間的流動，進一步質疑了純粹與起源的概念。這一法庭案件的重現拍攝於比勒陀利亞的司法院，這裏也是 1963 至 1964 年舉行瑞佛尼亞審判並把曼德拉與其他被指控的同伴送進羅本島監獄的地方。

GARDEN OF SIX SEASONS

BORN IN 1973 IN ZURICH, LIVES AND WORKS BETWEEN LONDON AND LISBON 1973年生於蘇黎世，現居住和工作於倫敦和里斯本

URIEL ORLOW

The work is based on a South African trial from 1940 in which Mafavuke Ngcobo, a traditional herbalist, was accused by the local white medical establishment of ‘untraditional behaviour’. The film explores the ideological and commercial confrontation between two different yet intertwining medicinal traditions and their uses of plants, with slippages across gender and race further questioning notions of purity and origination. The re-imagined court case is filmed at the Palace of Justice in Pretoria, where the Rivonia trial was held in 1963–1964 that sent Mandela and his fellow accused to Robben Island prison.

一園六季

BRITTA

MARAKATT-LABBA Mátki (The Journey), 1985 Embroidery, wool on linen 旅程，1985 羊毛、刺繡、亞麻布

Siellu (The Soul), 2003 Fish skin and embroidery on linen

Courtesy of the artist and RiddoDuotarMuseat

靈魂，2003 魚皮、刺繡、亞麻布

由藝術家及 RiddoDuotar 博物館提供

GARDEN OF SIX SEASONS

藝術家出身北歐原住民薩普米地區薩米族一戶飼養馴鹿的家庭。她的作品大多使用刺繡與縫飾，並借鑑北薩米一種被稱作「 duodji 」（應用藝術、設計）的工作方法。她的作品以表現薩米族文化的歷史及神話而聞名，創作素材多來自口述傳統，這些創作亦描繪深刻影響薩米鄉土的當代事件。其中尤為突出的是因日益增長的資本貪念，而愈演愈烈的氣候變化。

The artist was born into a family of reindeer farmers from Sápmi, the indigenous territory of Sami people in Northern Europe. She works predominantly with embroidery and appliqué, drawing from a Northern Sami method, known as duodji (applied art and design). Her works represent history and mythology associated with Sami culture, much of it drawn from oral tradition, as well as depictions of contemporary events that are shaping her native land, particularly as it faces increasing attempts to extract its resources and the resulting struggles against climate change.

BORN IN 1951 IN IDIVUOMA, LIVES AND WORKS IN KIRUNA 1951年生於伊迪沃瑪，現生活並工作於基律納

一園六季

HUNG FAI 熊輝

BORN IN 1988 IN HONG KONG LIVES AND WORKS IN HONG KONG / 1988年生於香港，現生活並工作於香港 For The Six Principles of Chinese Painting: Transmission by Copying, in a reversal of master and disciple roles, Hung Fai invited his father Hung Hoi, a major figure of Chinese painting, to paint a landscape, with cinnabar red colour on xuan paper, as a model. With the paper folded and saturated, Hung traced the model landscape with black ink dots. For the series Vessel, Hung decided to collaborate with his mother, who is not an artist, to use xuan paper to fold a ship, which served as a carrier of her childhood memories. 於作品《繪畫六法：傳移模寫》中，熊輝逆轉了通常的師徒角色關係，邀請作為中國畫大師的父親熊海在宣紙上以硃砂繪畫山水，作為範本。他其後將宣紙摺疊、濕透，再於山水的上層以墨點描摹。在《源》系列作品內，熊輝決定邀請並非藝術家的母親一起合作，他們共同用宣紙摺了一艘船，以紙船為載體，記錄母親童年時對船的印象和回憶。

Vessel II, 2019 Ink on paper (a set of 3) Courtesy of the artist and Joseph Pang 源 ll，2019 水墨紙本（一組三幅）由藝術家及彭若書提供

(Hung Fai & Wai Pong Yu 熊輝、韋邦雨 )

轉生之十四，2017 有色水墨及原子筆紙本由藝術家及嘉圖現代藝術提供

WAI PONG YU WAS BORN IN 1982 IN HAINAN, LIVES AND WORKS IN HONG KONG 韋邦雨1982年生於海南，現生活並工作於香港 The project is a collaboration between Hung Fai and Wai Pong Yu. It reflects a tendency in contemporary Hong Kong ink art, in which the spirit of this tradition is captured through the exploration of both traditional and non-traditional media. 熊輝與藝術家韋邦雨合作的《轉生》系列則反映了香港當代水墨的主流趨勢 —— 透過對傳統和非傳統物料的探索來捕捉水墨的精神。

GARDEN OF SIX SEASONS

Same Line Twice 14, 2017 Pigmented ink and ballpoint pen on paper Courtesy of the artists and Grotto Fine Art

HUNG FAI 熊輝 & WAI PONG YU韋邦雨

(Hung Fai 熊輝 )

一園六季

沛鏗楊 TREVORYEUNG BORN IN 1988 IN DONGGUAN, LIVES AND WORKS IN HONG KONG / 1988年生於廣東，現生活並工作於香港

Volcanic lover 3, 2019 Volcanic rock, Tubipora, copper Courtesy of the artist and Blindspot Gallery

火山情人，之三，2019 火山岩、笙珊瑚骨、銅由藝術家及刺點畫廊提供

Volcanic rock and corallum share a similar structure of layers and gullies, but their quality and the environment producing them are far from similar: volcanic rock, which is acidic, is solidified magma; corallum, on the other hand, is alkaline and the corpse of coral, a marine invertebrate. In the tradition of gardening, volcanic rock is often used as a fundamental structure, and combined with plants and birds to create a landscape, while corallum is used as a more refined object of arrangement in fish tanks or other decorations. Yeung combines volcanic rock and corallum according to Chinese traditional aesthetics of arrangement, imagining a couple of unfateful lovers while reflecting upon the artificiality of the aesthetics of gardening.

火山岩與珊瑚骨在形態上有着相似的層巒與溝壑，它們的屬性與生成環境卻有着不可抵達的距離：酸性的火山岩是凝固的地殼岩漿，而鹼性的珊瑚骨則是海洋中無脊椎生物珊瑚的屍體。園藝傳統中，火山岩常作為園林基礎結構，與植物花鳥組合構成景觀，而珊瑚骨則作為更加精緻的擺件被置於魚缸或其它裝飾中。楊沛鏗以中式傳統擺件的美學將火山岩和珊瑚骨相嵌，在想象一對不可結合的多舛愛人的同時，反觀園林美學的人工力量。

GARDEN OF SIX SEASONS

contributing to the ongoing process of inventing his nation, perhaps one of the supreme forms of artistic work. Izmail Efimov 的創作從兩條軌跡發展而來，一是他在學術訓練中所形成的社會現實主義觀念，二是蘇聯的暮年時期，他在展覽中表現出的被 Anders Kreuger 稱作「批判民族未來主義」的實踐。這些作品的靈感有各式不同的來源，包括史前北俄羅斯的考古文物、蘇聯時代的印刷，還有電子遊戲，種種元素組合在一起，形成幾乎無法辨認的形象，在給人朦朧的神話感的同時喚起一種未來主義圖景。作品中的古老幽靈幾乎都是自創的，此現象普遍存在於從蘇聯解體中誕生的國族和土著族群當中。列寧主義初期，蘇聯進行並集中指揮了史上頭幾次的文化去殖民實踐，俄羅斯沙皇主義早前的主導痕跡被抹去，一系列具體又平等的現代民族身份被炮製出來，它們有新創的書面語言（主要是在前帝國的西里爾字母中夾雜中性的拉丁字母）、國家文學、新編寫的民俗，以及藝術形式和符號。但這些實踐還在萌芽期就被拋棄了，進而被斯大林時期蘇聯的國家主義以及後續那些相對溫和的意識形態所取代。儘管如此，對於廣闊的歐亞大陸上絕大多數土著族群來說，一種文化空間存留了下來，甚至有所發展；共產主義的垮台讓他們開始搜尋一種新的敘事，又或許是一種傳說。有趣的是，Efimov 是他的家鄉馬里埃爾共和國的官方制章師，這個國家居住著東芬蘭的山地馬里人和草原馬里人，Efimov 書寫着國家的符號系統，以可見的方式為這個國家的形成作出貢獻，這大概是最高級別的藝術工作之一。

藻澤之神，1993 紙面水彩

由藝術家及安特惠普 M HKA 收藏提供

BORN IN 1946 IN PORANDAYKINO, LIVES AND WORKS IN YOSHKAR-OLA 1946年生於巴蘭塔伊季諾，現居住並工作於約什卡爾奧拉

GARDEN OF SIX SEASONS

Courtesy of the artist and Collection of M HKA, Antwerp

EFIMOV

IZMAIL

Swamp Divinity, 1993 Watercolour on paper

一園六季

Izmail Efimov’s practice developed between the socialist realist figuration of his academic training and, since the last years of the Soviet Union, what Anders Kreuger calls his ‘critical ethno-futurist’ practice, featured in this exhibition. These works find diverse sources of inspiration, from archaeological artefacts in prehistoric North Russia, Soviet-era printmaking, and computer games, which ally to compose barely discernible figures, evoking both a possible mythical ancestry and a futurist horizon. The ancient spectre here would have been largely invented, a phenomenon that was widespread in the national and indigenous communities emerging from the dissolution of the Soviet Union. In its early Leninist years, USSR practiced one of the first (and centrally directed) processes of cultural decoIonisation by removing earlier traces of Russian Tsarist dominance and crafting an archipelago of specific, yet equal and modern ethnic identities, with their newly written languages (mostly in what would have been the neutral Latin alphabet amidst the dominant Cyrillic of the previous Empire), national literatures, codified folklore, and artistic forms and symbols. This process was largely abandoned in its infancy, replaced by Stalinist Soviet nationalism and all its future, softer iterations. In spite of this, a cultural space remained and even developed for most of the indigenous communities in the vast Eurasian space and the fall of communism found them in search of a new story and perhaps of a legend. Interestingly, Efimov is the official Master of Heraldry in his native Republic of Mari El, home to the Volga Finnic Hill Mari and Meadow Mari peoples, where he authored the national symbols, visibly

一園六季

EKARAM SINGH

BORN 1965 IN KATHMANDU, LIVES AND WORKS IN KATHMANDU / 1965年生於加德滿都現生活並工作於加德滿都

Illustrated manuscript of Hindu tantrism (Recreated), 2020 Acrylic on cotton canvas Courtesy of the artist

印度怛特羅密教繪圖手稿（再現），2020 棉質帆布本塑膠彩由藝術家提供

GARDEN OF SIX SEASONS

這卷手稿為奧義「細微身」的圖解，在印度教密宗中，「細微身」是人的「真正」自體。這具身軀內有數個能量中樞，即垂直分佈如圖的七個脈輪之蓮（輪子，圓）。流動能量的孔道（脈），包括主要脈（中脈）以及其他次要脈落連結脈輪。兩條重要經脈從大腳趾到鼻孔貫穿細微身，在此圖中示意為右側的紅線（太陽）與左側藍線（月亮），它們纏繞各個脈輪。從尾椎處的海底輪依次到頭頂反向向內生長的千瓣蓮花頂輪，每個脈輪代表由低級到高級的意識。在圖中，細微身站在原始的海洋中，或可看作從海中現身。此處的海洋象征深層的潛意識，而註釋中海洋則解釋為無限個地下世界。這一示意圖中的審美趣味與視覺經驗體現了在尼泊爾特殊的文化中對超乎肉身的脈輪位置理論的理解。

beginning with the muladhara chakra at the base of the spine and ending above the head in an inverted, thousand-petalled lotus, the sahasrara chakra. The subtle body pictured in this manuscript stands on (or emerges from) the primeval ocean symbolising the depths of the unconscious, defined in the commentary as billions of underworlds. The representation reflects an artistic style and visual understanding of the position of chakras above the human body that is specific to the Nepali context.

This contemporary reproduction of a stolen manuscript provides an annotated diagram of the esoteric ‘subtle body’ which Hindu tantrism conceives to lie within the ‘real’ human body. This body contains specific energy centres, or lotuses of chakras (wheels, circles), usually seven in number and arranged vertically as illustrated here. The chakras are connected by energy-transmitting channels (nadis), a primary central one (sushumna) and several subsidiary ones. Two critical nadis traverse the subtle body from the big toes to the nostrils, depicted here as a red (solar) line on the right and a blue (lunar) line on the left, both entwining the chakras in their passage. Each chakra represents an ascending level of consciousness,

一園六季

The Man of Commerce The Man of Commerce is a detailed map that conflates human anatomy with the American transportation system. Published in 1889 by the Land & River Improvement Company of Superior, Wisconsin, the map promotes Superior as a transportation hub and shows the routes of 29 railroads across the United States. The outline map of North America is superimposed by a cutaway diagram of the human body. The map’s metaphor makes West Superior ‘the centre of cardiac or heart circulation’. The railways become major arteries. New York is ‘the umbilicus through which this man of commerce was developed’. The explanatory notes conclude: ‘It is an interesting fact that in no other portion of the known world can any such analogy be found between the natural and artificial channels of commerce and circulatory and digestive apparatus of man.’ Use of the human body as a cartographic metaphor dates back at least to the 16th century, to the anthropomorphic map of Europe as a queen in Sebastian Münster’s Cosmography (1570). This map applies this metaphor to North America, befittingly in a context of advertising, capitalism, and expansion. (World Digital Library)

商 ·人

「心臟循環系統的核心」，鐵路便成了其中主要的動脈，而紐約則是「這個商人賴以成長的肚臍」。這份地圖在註釋中寫道：「有趣的是，在世界已知的地域裡，沒有另一個地方可以像這樣將自然、人工商渠及人類循環消化系統進行類比」。將人體當作一種製圖隱喻的做法至少可以追溯到 16 世紀 ——1570 年，Sebastian Münster 就曾在其《宇宙誌》中將歐洲地圖擬人化為一位女王。此地圖將這個比喻應用於北美洲宣傳、資本及擴張的語境。（世界數碼圖書館）

商·人，1889 地圖由美國地理學協會圖書館電子地圖館藏提供

《商 · 人》是一份合成了人體解剖結構與美國交通系統的詳細地圖，於 1889 年由威斯康星州蘇必略市陸河整治公司出版。地圖將蘇比略市視一個交通樞紐，並展示了美國 29 條鐵路的路線。這份北美地圖的輪廓上還叠加着一幅人体剖面圖。地圖將西蘇比略市比作

The Man of Commerce A.F. McKay, 1889 Map Courtesy of the American Geographical Society Library Digital Map Collection

Iban beaded panel for baby carrier

伊班族嬰兒襁褓裝飾珠串片用以裝飾藤編嬰兒襁褓的伊班族珠串片，圖像描繪先祖形象及其與時間、家庭及自然的聯繫。製於 20 世紀上葉的砂拉越。

GARDEN OF SIX SEASONS

Iban beaded panel created to decorate a rattan baby carrier, depicting a chiefly ancestor figure and its connections with time, family, and nature, first half of the 20th century, Sarawak.

一園六季

原型 —— 神話的舊址，1995 未拉伸帆布面油彩由藝術家及奧克蘭 Gow Langsford Gallery 提供

John Pule 為大西洋地區最著名的藝術家、詩人和教育家之一，他在實踐中專注於復原故鄉紐埃島的傳統樹皮編織工藝 Hiapo。他的研究工作包括在展示有關 Hiapo 的視覺語言資料，同時也以參考文獻輔助藝術作品一同呈現。在 Pule 有關天文、宗教、移民和殖民的創作中，有關宇宙、海洋、陸地、人群與之揭露的歷史也一點一點的鋪陳開來。

GARDEN OF SIX SEASONS

BORN IN 1962 IN LIKU, NIUE, LIVES AND WORKS IN AUCKLAND 1962年生於紐埃LIKU村，現生活並工作於奧克蘭

One of the most significant artists, poets, and educators in the Pacific, John Pule has also crucially contributed to the research and revival of hiapo, the highly original tradition of barkcloth in his native Niue. The works included in the exhibition are deeply informed by the visual language of hiapo, as well as by some of the references found in these ancient artworks, in further dialogue with Pule’s own interests in cosmology, religion, migration, and colonialism, appearing as forms of mapping in which the cosmos, the ocean, lands, people and their histories reveal themselves little by little.

JOHN PULE Prototype—site of old myths, 1995 Oil on unstretched canvas Courtesy of the artist and Gow Langsford Gallery, Auckland

1812至1813年間法軍出征俄羅斯相繼陣亡人數形象圖表，1896 信息圖由巴黎橋路學院電子圖書館提供

Figurative Map of the Successive Losses in Men of the French Army in the Russian Campaign 1812–1813

1812至 1813年間法軍出征俄羅斯相繼陣亡

Charles Minard’s 1869 cartographic depiction of numerical data of Napoleon’s disastrous losses suffered during the Russian campaign of 1812 is a crucial piece in the development of information graphics, flow maps, and graphic design in general. The illustration depicts Napoleon's army departing the PolishRussian border, where a thick band reflects the size of his army at specific geographic points during their advance and retreat. It displays six types of data in two dimensions: the number of Napoleon's troops; the distance traveled; temperature; latitude and longitude; direction of travel; and location relative to specific dates without making mention of Napoleon; Minard's interest was to reveal the shocking magnitude of the less incurred by French soldiers. This type of band graph visualisation became a crucial component in the modern culture of representing data. The depicted subject is one of the key moments in European history, an epode that would lay the ground for all major European and colonial events of the next two centuries.

1869 年，Charles Minard 根據拿破崙在 1812 年俄國戰役期間

人數形象圖表

一園六季

Figurative Map of the Successive Losses in Men of the French Army in the Russian Campaign 1812–1813, 1869 Charles Minard Infographic Courtesy of the Bibliothèque numérique patrimoine des ponts et chaussées

遭受的災難性損失的具體數字繪製了地理示意圖。這幅圖是可視訊息、流型圖和平面設計發展史上的重要一筆。圖片描繪拿破崙的軍隊撤離波蘭與俄羅斯邊界的情況，加粗的箭頭反映他在特定地區進攻與撤退時的軍隊規模。圖片通過兩個維度顯示六種數據：拿破崙的軍隊人數；行軍距離；溫度；經緯度；行進方向；特定日期時所處位置，信息並未提及拿破崙。Minard 希望揭示法軍驚人的慘敗情況。這種帶狀圖現已成為現代數據可視化文化的重要組成部分。圖中描繪的是歐洲歷史上極其關鍵的時刻之一，它為未來兩個世紀種種歐洲和殖民歷史事件定下基調。

58 59 GARDEN OF SIX SEASONS

一園六季

PAVEL

MIKUSHEV

Pavel Mikushev may be counted among the founders of the ethnofuturist movement in visual art, which took shape in the mid-1990s in the Finno-Ugric republics of the Russian Federation: Mordovia, Mari El, Udmurtia, and Komi. Ethno-futurism was first invented as a playfully paradoxical term by the Estonian poet Karl Martin Sinijärv in the late 1980s, but it was taken seriously by artists, writers, and theatre directors in the Volga Basin and is still a presence on the cultural scene there. Mikushev is a painter of elaborately stylised images of beings and objects associated with archaic Finno-Ugric beliefs and value systems. His images address both creation myths and the ‘totemistic’ worshipping of clan animals.

BORN IN 1962 IN SYKTYVKAR, LIVES AND WORKS IN SYKTYVKAR 1962年生於瑟克特夫卡爾，現生活並工作於瑟克特夫卡爾

Pavel Mikushev 是視覺藝術領域的民族未來主義運動發起人之一。 20 世紀 90 年代中期，這項運動於俄羅斯聯邦的烏芬共和國成型，

路，2020 帆布面塑膠彩

GARDEN OF SIX SEASONS

Paths, 2020 Acrylic on canvas

包括莫爾多維亞，馬里埃爾，烏德穆爾特和科米這四個國家。「民族未來主義」最初只是一個悖論式的俏皮話，在 20 世紀 80 年代末由愛沙尼亞詩人 Karl Martin Sinijärv 所發明，但卻被伏爾加盆地的藝術家、作家和戲劇導演們嚴肅對待，至今仍出現在當地的文化場景之中。Mikushev 自身則是一位畫家，他筆下那些經過精心風格化的生物和物品都與古早的烏芬信仰和價值系統有所關聯。這些圖像在處理創世神話這一題材的同時，也探討人們對氏族動物的「圖騰式」崇拜。

在一個滿是怪人的房間裡沒有歷史，

2018

單頻錄像，30' 44" 由藝術家、倫敦 Carlos/Ishikawa、紐約 Clearing，及曼谷 Bangkok CityCity Gallery 提供

GARDEN OF SIX SEASONS

No history in a room filled with people with funny names, 2018 5 Single channel video, 30' 44" Courtesy of the artist; Carlos / Ishikawa, London; Clearing, New York; and Bangkok CityCity Gallery, Bangkok

該作品是錄像裝置系列「在滿是怪人的房間裡，用歷史作畫」中的一部。整部作品充斥著歷史的幽靈，以及泰國和其他地區的當代社會活躍又頑冥的塑造因子。作品以電子書的形式呈現，當中摻雜著一次全球跟隨救援任務的不同敘事線。在那次險情中，13 名男孩被困在泰國北部一個洪水氾濫的洞穴裡。藝術家藉此追踪了政治宣傳、宗教、皇家神話和遺留的冷戰格局在東南亞的力量角逐，以及在這個虛假新聞的時代裡，地方信仰和權力運作是如何在兩相結合之下創造出了新的大眾消費與操控的神話。或許是作為一種抵抗形式，作品的核心錨點是一個異質的、彎曲的主體（而非將男孩們從山腹中救出的英雄式主體），它就是 Naga—— 代表著藝術家立場的蛇靈，無論是法典還是國家權力都無法將其收服。而在具體的內容中，Naga 則由 boychild 予以賦形。

The work is part of a loose series of video-installations titled Painting with History in a Room Filled with People with Funny Names, however with an altered title. The work is haunted by many ghosts of history, active and obsessive shapers of contemporary society in Thailand as much as elsewhere. It is composed as an epos, blending narrative lines around the globally followed rescue mission of the 13 boys who were stuck in a flooded cave in Northern Thailand, from which the artist traces the forces of propaganda, religion, Royal myths, lingering Cold War politics in Southeast Asia, and vernacular beliefs and power plays as they come together to create new myths for popular consumption and manipulation in our age of fake news. Perhaps as a form of resistance, the work is punctured by a different sinuous body (opposed to the heroic body that extracted the boys from the abdomen of the mountain), the Naga —the serpent spirit who represents for the artist that which cannot be subsumed by code or subjected to state power—embodied here by queer performer boychild.

BORN IN 1986 IN BANGKOK, LIVES AND WORKS IN BANGKOK AND NEW YORK 1986年生於曼谷，現居住並工作於曼谷及紐約

一園六季

KORAKRIT ARUNANONDCHAI & ALEX GVOJIC

一園六季

SUDHIRA KARNA

BORN IN 1967, DHANUSHA, LIVES AND WORKS IN DHANUSHA / 1967年生於達努夏，現居住和工作於達努夏 Mithila painting is closely associated with the artists’ culture and traditions. Karna began her painting on paper career by making kohbar, ceremonial paintings made in the context of marriages, depicting religious-mythological stories, animals related to gods, and other traditional icons. However, after a project that required the artist to make paintings of animals from the jungle, she started to paint animals from her imagination and used them instead of human figure in otherwise very human day-to-day scenes. Women riding bicycles, 2019 Acrylic on lokta paper Courtesy of the artist and Janakpur Women's Development Center

女性踩單車，2019 塑膠彩樹皮紙本由藝術家及賈納克布爾女性發展中心提供

MADHUMALA MANDAL

彌薩羅繪畫與藝術家自身的文化傳統息息相關。Karna 最早開始紙本繪畫時，她的創作題材僅限於婚房、宗教 / 神話故事、神獸以及其他傳統圖像。但是在一個繪製叢林動物的項目之後，她便開始描繪自己想象中的動物，並在畫作中用這些動物替代了人物的形象。

BORN IN 1973, MAHOTTARI, LIVES AND WORKS IN DHANUSHA / 1973年生於馬霍塔里現居住和工作於達努夏 mud walls in her home, an earlier medium from which Mithila painting developed, around three decades ago. 在她的繪畫作品中， Mandal 以母親講的故事為靈感來源，描畫日常生活情景，創造自己的敘事。她向母親處學習彌薩羅繪畫。她記得母親曾講述那些市集上、排燈節的夜晚以及在田間勞作時發生的事。這些故事豐富了藝術家的想像，她將種種奇聞融入彌薩羅繪畫傳統。在轉用紙本創作前，她在家中的泥牆上作畫，而泥牆亦為彌薩羅繪畫三十年前最初發展的媒介。

A well of death in a funfair, 2019 Acrylic on lokta paper Courtesy of the artist and Janakpur Women's Development Center

遊樂園內的死亡之井，2019 塑膠彩樹皮紙本由藝術家及賈納克布爾女性發展中心提供

GARDEN OF SIX SEASONS

In her paintings, Mandal depicts daily activities and creates her own narratives drawing inspiration from stories that she’s heard from her mother. She also learned Mithila painting from her and remembers being told stories such as happenings at fairs, during the nights of Diwali, and while working in fields. These stories enrich the artist’s imagination, enabling her to introduce whimsical elements besides other elements traditionally used in Mithila painting as a form of intervention. Before switching to paper, Mandal used to paint on

一園六季

MADHUMALA

MANDAL

一名女性利用鏟泥車修路，

2019

塑膠彩樹皮紙本由藝術家及賈納克布爾女性發展中心提供

A woman repairing road with an excavator, 2019 Acrylic on lokta paper Courtesy of the artist and Janakpur Women's Development Center

REBATI MANDAL

BORN IN 1960, JANAKPUR, LIVES AND WORKS IN JANAKPUR / 1960年生於賈納克布爾現居住並工作於賈納克布爾

Mandal 的繪畫描繪了彌薩羅的文化與傳統。她的繪畫創作過程始於對「創造何物」，「創造美」這兩個問題的思考。Mandal 的創作並沒有局限於宗教 Separating paddy from crop, 2019 Acrylic on lokta paper Courtesy of the artist and Janakpur Women's Development Center

稻田收割，2019 塑膠彩紙本由藝術家及賈納克布爾女性發展中心提供

聖靈與神話，這些繪畫亦描繪平凡事物與日常情境。

GARDEN OF SIX SEASONS

Mandal’s works depict Mithila culture and heritage. Her painting process starts with the questions of what to make and what would be beautiful to make. Mandal doesn’t limit her creative process to religious icons or myths more commonly associated with Mithila painting, but instead tries to create narratives from everyday objects and scenes.

一園六季

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Chudesnitsa

奇跡締造者，1957 錄像，1'39"

《奇跡締造者》是前蘇聯在 1957 年製作的一部動畫短片。就在赫魯曉夫發起大規模的玉米運動之後，彼時，他主張將大量的蘇聯耕地都更換為玉米種植田。這曾是最大的人類對自然的干預之一，當然，最終引向一個令人懷疑的結果。這部短片講述了玉米從南方遷往北方，以其多樣的應用為地方與國家帶來財富和繁榮的故事。我們可以在影片中看到一對虛擬的「玉米夫婦」與玉米們一同贊美他們所擁有的非凡價值。伴着一支歡慶的俄羅斯民間舞蹈，玉米們變身成為玉米麵、麵包、衣物、塑料以及許多其他產品。

GARDEN OF SIX SEASONS

Chudesnitsa, 1957 Video, 1'39"

Chudesnitsa is a short cartoon produced in the USSR in 1957, just after the massive corn campaign initiated by Nikita Khrushchev, who advocated the transformation of large swaths of Soviet territory into arable land for corn cultivation. It was one of the largest single human attempts of landscape transformation and led to questionable results. The cartoon narrates the adventure of the corn, who used to live in the South but is now moving to the North, enriching the nation with its multiple uses. We see a happy corn couple together with other corns praising their exceptional value. Through a festive Russian folk dance, they transform into cornmeal, bread, clothes, plastics, and many other products.

奇跡締造者

一園六季

BORN IN 1974 IN SAVUSAVU, LIVES AND WORKS IN CANBERRA 1974年生於薩武薩武，現居住並工作於坎培拉

地雷之地：獻給杜麗莎，2017 錄像，7'17" 由藝術家提供，由悉尼車場空間委託製作

這件三屏錄像作品以1980年代澳大利亞烹飪電視節目《Come and Get It》的原聲作為開場，以蒙太奇的手法融合了民族誌材料、檔案、當代影片素材，以及關於巴納巴島的個人回憶。巴納巴島是一座位於太平洋基里巴斯共和國的小島，也是藝術家祖先生活過的土地。1900年至1980年間，磷酸鹽曾在那裏被大量開採，用於生產澳大利亞、新西蘭、英國等殖民地農田所需的肥料。開採活動不僅在環境上對巴納巴島造成了污染，使那裏的土地變得無法居住，也在精神上讓巴納巴原住民不得不遷居至斐濟或其他太平洋島嶼。巴納巴島是被殖民者剝削嚴重的極端案例之一，為了為殖民霸權供給土壤與經濟養分，她的土地千瘡百孔。

GARDEN OF SIX SEASONS

Mine Lands: for Teresia, 2017 Video 7'17" Courtesy of the artist Commissioned by Carriageworks, Sydney

KATERINATEAIWA

Opening with the soundtrack of a 1980s Australian cooking television show Come and Get It, this three-screen video is a montage of ethnographic materials, archival and contemporary footage, as well as personal memories of Banaba Island. The small island of the Republic of Kiribati in the Pacific Ocean and the artist’s ancestral land was, from 1900 to 1980, heavily mined for phosphate used as fertiliser on colonial farmlands in Australia, New Zealand, and the United Kingdom, among others. Mining not only polluted the Banaba environmentally to the extent that the land became uninhabitable, but also spiritually so that indigenous Banabans had to relocate to Fiji and other Pacific islands. Banaba island is one of the most extreme examples of colonial exploitation where the landscape itself becomes obliterated and dispersed onto the landscape of colonial powers, for their soil and financial enrichment.

一園六季

窗劉 LIU CHUANG BORN IN 1978 IN TIANMEN, LIVES AND WORKS IN SHANGHAI / 1978年生於天門，現生活並工作於上海

在這部重要作品當中，劉窗穿行於緬滇邊境一帶的「比特幣礦」，這些集合大量電子運算、耗電巨大的虛擬礦場主要分佈在水電資源豐富的地區，並尤為突出地集中在中國西南山區。這些區域是數個民族群體的祖傳故土（中國官方說法稱之為「少數民族」），他們在政府的政策下被迫遷移。在這樣的經濟形勢中，景觀變為了國家水利資源開發的地貌機器，自然降雨被轉換為奔流的電流，再被引流至「比特幣」的運算「開採」中。在此，自然資源的榨取、金融價值的捕獵、社區與文化的開採不斷地相互裹挾、纏繞並重疊着。作品中，無人機在這些山地上空緩慢地盤旋、檢視。與景觀的俯視並置的是歐美經典科幻電影中對「外星人」形象的塑造 —— 他們的裝扮與外貌往往映照現代文明中典型的「他者」，即不同地域邊緣的少數群體。

比特幣礦和少數民族田野錄音，2018 三頻錄像，4k，5.1聲道 40分由藝術家及上海天線空間提供受「全球都市：國際藝術雙年展」委託製作，獲毛繼鴻藝術基金會支持

GARDEN OF SIX SEASONS

Bitcoin Mining and Field Recordings of Ethnic Minorities, 2018 3-channel videos, 4k, 5.1 sound 40' Courtesy the artist and Antenna Space, Shanghai Commissioned for Cosmopolis #1.5 : Enlarged Intelligence with the support of the Mao Jihong Arts Foundation

In this monumental work, Liu traverses the Bitcoin mines along the SinoBurmese border. These virtual ‘mines’, with massive amounts of computing power and requiring high electricity consumption, are mostly found in the mountainous area of southwest China, where hydro-electric power is abundant. Most of these areas are the ancestral homelands of several ethnic communities ( ‘minorities’ in official Chinese parlance), who have been forced to move under government policies. In this economy, the landscape becomes a national geomorphic machine, directing natural rainfall to hydropower, and then to computation for Bitcoin mining. Exploitation of natural resources, hunting for financial value, extraction of community and culture are blended into a relationship of perpetual coercion. In the work, drones circle slowly above these mountainous areas and observe. The bird-eye view of a landscape is juxtaposed to how ‘aliens’ are depicted in classical western scifi films—their clothing and appearance often reflect a stereotypical ‘other’ in modern civilisation, which are the minorities of fringe areas.

BORN IN 1983 IN DARJEELING, LIVES AND WORKS IN KATHMANDU 1983年生於大吉嶺，現居住和工作於加德滿都

一園六季

POOJA GURUNG BIBHUSAN BASNET BORN IN 1987 IN LALITPUR , LIVES AND WORKS IN KATHMANDU 1987年生於勒利德布爾，現居住並工作於加德滿都

DADYAA：洛薩的啄木鳥，2016 彩色錄像，16' 08" 由藝術家提供

GARDEN OF SIX SEASONS

DADYAA: The Woodpeckers of Rotha, 2016 Video, color, 16' 08" Courtesy of the artists

故事始於一對老夫婦，Atimaley 和 Devi，他們居住在位于西尼泊爾高地的久木拉的一個村莊里。在發現一個親密的友人不告而別之後，他們面臨離開村莊或是為留存記憶而留下的兩難。這部電影的靈感來源於幾個不同的故事。久木拉以生產傳統儀式用的木質面具和木質庇護雕像而聞名，後者又叫「 dadyaa 」，用於供奉當地神明的同時也代表對先祖的追憶。近幾年來，由一位當地雕工製造的雕像大量出現在了久木拉的橋上、屋頂上、梯子上，還散佈在成片的森林裡。與此同時，尼泊爾深受內部和外部移民所擾，許多的村莊被年輕人所荒廢和遺棄。但影片並非意在成為一部民族誌調研，它也被一個日本女人的故事所鼓舞 —— 隨着人們一個個死去，或為了城市而背井離鄉（這在日本也是普遍現象），她開始用親手製作的玩偶填充空蕩的村莊。

The story begins with an old couple, Atimaley and Devi, who live in a village in Jumla, in the highlands of Western Nepal. With the unannounced departure of a close friend, the only other person living in the village, they face the dilemma of staying and keeping the memories alive or leaving the village for good. The film is inspired by several stories. Jumla is known for its tradition of ceremonial wooden masks, as well as for protective wooden effigies, known as ‘dadyaa’, which are made as offerings to local deities but sometimes as memories of ancestors. In recent years, numerous effigies made by a local sculptor have appeared around Jumla, on bridges, rooftops, ladders, and throughout the forest. Nepal is also heavily plagued by both internal and external migration, with many of its villages desolated and abandoned by young people. But the film is not meant to be an ethnographic survey, and as such it is also inspired by the story of a Japanese woman who made dolls to fill up her village as people died or left for the city, a major phenomenon in Japan as well.

Erasing, 2018 Charcoal, acrylic, coloured printed paper and scalemodels on plywood Courtesy of the artist and Joseph Pang

這組繪畫作品裡充斥着對人與景觀關係的探討：人既是景觀的一部分，又是景觀的創造者，亦是景觀的凝視者。景觀的概念也並非單一：它是自然的，也是人造的；既存在於過去的記憶裡，也即將生長於未來的規劃中。林東鵬風趣的藝術實踐常常將傳統中國畫和地方物料、現成品、圖像相結合，曾搭乘高鐵從九龍前往北京，並通過一條漆黑的隧道穿越香港大部分領土的經歷也為他這組作品的創作帶來了靈感。

This selection of works explores the relationship between humans and landscape: humans, being a part of the landscape, are also its creators and beholders. The concept of landscape is not singular either: it is natural and artificial, existing in the memory of the past and growing in the planning of the future. Lam, whose playful practice often recombines traditional Chinese painting and vernacular materials, found objects, and images, was also inspired in making these works by a ride on the Kowloon-Beijing high-speed rail, where he transversed a majority of Hong Kong territory in a dark tunnel.

一園六季

LAMTUNG PANG林東鵬 BORN IN 1978 IN HONG KONG, LIVES AND WORKS IN HONG KONG / 1978年生於香港，現居住和工作於香港

拭擦，2018 炭筆、塑膠彩、彩色打印紙及比例模型板本由藝術家及彭若書提供

地理形制，2018 炭筆、墨、塑膠彩及比例模型板本由藝術家及刺點畫廊提供

GARDEN OF SIX SEASONS

Forming the Landscape, 2018 Charcoal, ink, acrylic and scale-models on plywood Courtesy of the artist and Blindspot Gallery

4 1 Uzbek silk ikat hanging with a garden motive, late 19th century 烏茲別克絲綢伊卡布牆幔，花園主題圖案， 19世紀晚期

南印度（科羅曼德海岸）卡拉姆卡里（印花棉布牆幔），圖案包括生命之樹、珍奇鳥類、孔雀、老虎、風格化的山巒和帶有米拉哈布的柏樹，專為出口市場而設計，19世紀中期

4 Sumba cotton hinggi ikat with fantastical animals and a garden field of patola motives, mid 20th century. 桑巴棉製興吉伊卡布，上有奇幻動物和帕托拉花田主題圖案，20世紀中期

3 Moroccan Azemmour silk embroidery fragment with fantastical animals in a 5 Flemish Tapestry fragment with a mystical garden, 18th naturalistically century depicted fantastical 摩洛哥阿澤穆爾絲綢刺繡 forest, 17th/18th 殘片，上有神秘花園裡的 century 奇幻動物，18世紀

佛蘭德掛毯殘片，上有以自然風格描繪的奇幻森林，17/18世紀

烏茲別克依卡布、印花棉布墻縵、桑巴依卡布、阿澤穆爾刺繡、弗蘭德掛毯在歐洲和中東地區的語言裡，「天堂」這個詞根源於古波斯語裡的「花園」（更準確地說是用於指代閉合的、用牆隔離開的區域的詞）。波斯花園是完美反映和諧宇宙的最為精妙的鏡像之一。在莫臥兒時代，操縱自然和設計景觀的文化延伸到了南亞及其以外的地區，並於過去的幾個世紀裡為亞洲留下了最為精美的花園典範。奇妙的是，波斯的天堂式花園是在地毯和紡織品裡得到了最驚豔的再現。此處展出的有：一張來自中亞的伊卡特牆幔，通常代表花園的抽象形態；還有一張卡拉姆卡里，它可被看作是最忠誠和理想化的波斯花園版本，往往吸收了一些伊斯蘭教的信條；一張描繪帕托拉花田主題的桑巴伊卡特——這是流傳最廣的圖樣之一，過去的幾千年裡，它在古吉拉特邦和東南亞之間流通，並塑造了後者的紡織品的視覺語言體系；一張阿澤穆爾刺繡，上面是猶太神秘主義於想像中存在的花園；最後是一張佛蘭德掛毯，即便它所表現的視覺語言反映的是歐洲的藝術準則和視角，但也並非與波斯世界毫無關聯。

GARDEN OF SIX SEASONS

2 South Indian (Coromandel Coast) kalamkari palampore (printed cotton hanging) with tree of life, exotic birds, peacocks, tigers, stylized mountain, and cypress trees, all within a mihrab. Made for the export market, mid 19th century.

language is not without connections with the Persian world, event if it already reflects European artistic principles of perspective.

The word for paradise in most European and Middle Eastern languages derives from the old Persian word for garden (more precisely for a word describing a closed, walled off area). Persian gardens have been some of the most sophisticated mirrors of a perfectly harmonious universe. This culture of manipulating nature and designing landscape extended to South Asia (and beyond) during the Moghul era, leaving some of the finest examples of gardens in the past centuries throughout Asia. Persian paradisiacal gardens have had their most striking representation however in carpets and textiles. Included here are a Central Asian ikat hanging, which often represented abstracted forms of gardens; a kalamkari palampore which could be seen as one of the most faithful and idealized versions of Persian gardens, often imbibed with Islamic principles; a Sumba ikat constructed around a garden of patola motives—one of the most trafficked visual motifs, circulating in the past millennia between Gujarat and South East Asia and shaping the visual world of textiles in the latter region; an Azemmour embroidery with a garden imagined by Jewish mysticism; and lastly a Flemish tapestry, whose visual

一園六季

Uzbek ikat, Kalamkari palampore, Sumba ikat, Azemmour embroidery, Flemish tapestry

一園六季

PACITA ABAD BORN IN 1946 IN BASCO, DIED IN 2004 IN SINGAPORE / 1946年生於巴士谷，2004年逝於新加坡

Dumaguete's underwater garden, 1987 Oil, acrylic, glitter, gold thread, buttons, lace, sequins on stitched and padded canvas

GARDEN OF SIX SEASONS

在此展示的是兩幅尺寸更大的作品，它們都是 Abad 紛繁複雜的構成式作品的典型例子。其中一幅展現的是 Abad 眼中的一處菲律賓沿岸「水下花園」，她是一個潛水愛好者。第二幅則是有關另一種不同類型的花園 —— 香港的都市與社會景觀，那些充滿慾望的垂直大廈和高度受控的公共空間。這幅作品尤其聚焦於香港週日的人行道、走道和中環公園是如何被移民家政工群體所佔領，這個群體中的大多數都來自菲律賓，他們雖然在很多層面上近乎隱形，但卻代表香港的社會譜系里外國人群體的絕大多數。

Courtesy of Pacita Abad Art Estate 由 Pacita Abad 藝術遺產會提供

Shown here are two larger scale works, both fine examples of Abad’s complex compositional work. One is the image of an ‘underwater garden’ off the shores of the Philippines, explored by Abad, a passionate scuba diver. The other work is of a different type of garden, the urban and social landscape of Hong Kong, with its vertical architecture of aspiration and highly controlled public space. The work particularly focuses on the Sunday occupation of sidewalks, walkways, and public parks in Central Hong Kong by the migrant domestic workers community, a majority of who come from the Philippines and represent the largest—albeit in many ways invisible— community of foreigners in the social tapestry of Hong Kong.

菲律賓女子在香港，1995 塑膠彩、縫製及加厚帆布

浪漫藝地水底花園，1987 油彩、塑膠彩、閃粉、金線、鈕扣、喱士、亮片、縫製及加厚帆布

Filipinas in Hong Kong, 1995 Acrylic on stitched and padded canvas

一園六季

NAUFUS RAMIREZ-FIGUEROA BORN IN 1978 IN GUATEMALA CITY, LIVES AND WORKS IN BERLIN & GUATEMALA CITY 1978年生於危地馬拉城，現居住和工作於柏林和危地馬拉城

合成體，多變花園，2020 室內花園，白色混種植物、雕塑、座椅及花盆《一園六季》展覽委託作品

GARDEN OF SIX SEASONS

Chimera, a variegated garden, 2020 Indoor garden of white chimeral variegated plants with sculptures, seats, and plant holders Commissioned for Garden of Six Seasons

此件作品是由 Para Site 委託創作的一座室內花園，佈置着從泰國、美國、香港等地新鮮採購的植物。其中，放在雕塑、植物架、座位之上以及周圍的植物為白色聚合多變植物，它們的葉片與植莖上顯露著不同的色塊。如今，收藏這類植物（例如，日本白斑龜背芋）已經成為了一種風尚，尤其是在許多富裕的都市群體當中。但是，由於奇異植物的不穩定性與不可預測性（全部變白會導致死亡，而全部變綠則會一文不值），對它們的培育也相應變得緩慢且小型，使得擁有它們變得越來越奢侈。由於這些被視若珍寶的詭譎斑點實際上是一種病變，藝術家遂將其類比關聯到人類對外在美的追求，我們與疾病、膚色、種族的關係，並藉此討論一系列更廣的興趣話題，包括人造自然、植物的遷徙，以及殖民經驗的不同方面如何定義我們與自然和身體的關係。

the world. However, due to the unstable and unpredictable nature of chimeral variegation (turning all white leads to death and turning all green leads to worthlessness), cultivation is slow and small scale, and owning them is a luxury. As the highly prized chimeral variegation is in fact a disease, the artist reflects on the analogies to human ideals of physical beauty, our relationship to sickness, skin colour, and race, alongside broader interests in the artificiality of nature, migration of plants, and the multifaceted colonial experience defining our relationship with both nature and our bodies.

The work is an indoor garden commissioned by Para Site with freshly sourced plants from Thailand, the United States, Hong Kong, and other places. Planted inside and around sculptures, plant holders, and seatings are white chimeral variegated plants, which have the appearance of differently coloured zones on the leaves and stems. Collecting such plants, like the Monstera Borsigiana Albo Variegata has become a trend in many rich urban communities around

BORN IN 1983 IN CHENGDU, LIVES AND WORKS IN BEIJING / 1983年生於成都，現居住和工作於北京

水火不容，2013–2014 絹本手卷重彩，白謙慎題《坎離奇觀》楹首由藝術家及維他命藝術空間提供

八卦是《易經》的基本概念，代表八種自然現象，其中「坎」為「水」，「離」為「火」。藝術家郝量正是借用這倆個卦象，描繪了水與火共生又矛盾的狀態。水勢與火勢在畫面中央發生衝突，如同倆軍短兵相接，而身後又是前赴後繼的氣勢，畫面充滿騷動與不安。而山石則按兵不動，對比出在當下的焦慮之外，地理空間卻是亙古不變的哲理。佇立於岩石上的骷髏延續了藝術家對生死寂滅的討論，也將共情力延伸至畫面以外。作品在視覺上體現出的對稱性巧妙地模糊了傳統手卷本身所承載的時間性和空間感。通過繪畫去探索時間和空間問題也是藝術家在其創作中的長期研究方向。

Fire and Water, 2013–2014 Ink and colour on silk scroll, colophon on silk mounting by Bai Qianshen with three seals Courtesy of the artist and Vitamin Creative Space

一園六季

LIANG HAO郝量

The collection of eight trigrams is a basic concept in I-Ching, representing eight natural phenomena, of which ‘kan’ belongs to the element of water and ‘li’ to fire. Hao Liang borrows from these two trigrams to depict a state of water and fire in both symbiosis and contradiction. Water and fire clash at the centre of the work, like two armies meeting on a battlefield. Behind them, endless waves of water and fire follow, in a restless and anxious scene. Meanwhile, mountains and rocks remain motionless, a contrast from the present anxiety, recounting the eternal truth that geographical space represents. The skeleton positioned on the rocks continues the artist’s discussion on life and death, while also extending empathy beyond the work. The visual symmetry of this work blurs the temporality and spatiality of traditional handscrolls, a long-term research interest of the artist.

85 GARDEN OF SIX SEASONS

VVZELA KOOK

Columbus of Horticulture, 2019 Single channel video with stereo sound and 3D-printed objects, glass dome, acrylic board and tea tree seeds (Camellia sinensis) Courtesy of the artist

曲淵澈的創作時常基於香港的歷史與地貌，展開連接城市空間、殖民歷史及科幻想象的圖像 - 聲音 - 空間構建。在她 2019 年的兩件作品《植物學哥倫布》與《夢遊紅香爐記》分別回溯了大航海時代帝國擴張所引發的植物掠奪，以及香港殖民地的空間規劃與其植物生態的糾纏關係。在《植物學哥倫布》中，虛擬流動的圖像與海上貿易時期代表性的殖民地植物標本共構了一個彌散着「異域」色彩的迷幻空間；《夢遊紅香爐記》則沿藝術家在香港尋得的 180 條以植物命名的街道，勾勒出一幅交織不同時空的城市地圖。

曲淵澈

Vvzela Kook often bases her work on the history and geomorphology of Hong Kong, connecting colonial history, sci-fi imagination, and urban landscape. The two works shown here revisit respectively the botanical looting caused by empire expansion during the colonial era and the entangled relationship between colonial Hong Kong’s urban planning and plant ecology. In Columbus of Horticulture, a virtual flow of images and colonial botanical specimens representative of the maritime trade era combine to construct a hallucinatory space infused with ‘exoticism’. A Travel to Hung Heung Loo in Dream, on the other hand, traces 180 streets in Hong Kong that are named after plants, weaving an urban map of intertwined time and space.

一園六季

BORN IN 1990 IN DALIAN, LIVES AND WORKS IN HONG KONG 1990年生於大連，現生活並工作於香港

植物學哥倫布，2019 單頻錄像、立體聲、3D 打印物件、玻璃罩、亞加力板及茶樹種子由藝術家提供

GARDEN OF SIX SEASONS

一園六季

Miasma, Plants, Export Paintings, 2017 2 channel video, a Wardian case with fake flowers, a painting, and some archival images, 28' Courtesy of the artists and Asia Art Center 瘴氣，植物，外銷畫，2017 雙頻錄像、一個內有假花的華德箱、一幅畫及歷史圖片若干，28分由藝術家及亞洲藝術中心提供

潘律、王博

LU PAN WAS BORN IN SHANGHAI, LIVES AND WORKS IN HONG KONG 潘律生於上海，現居住和工作於香港

BO WANG WAS BORN IN 1982 IN CHONGQING, LIVES AND WORKS IN AMSTERDAM 王博1982年王博生於重慶，現居住和工作於阿姆斯特丹

GARDEN OF SIX SEASONS

鴉片戰爭後，駐紮香港的英軍中瀰漫着對於南中國地區熱帶濕熱氣候的焦慮與恐懼。19 世紀流行的瘴氣理論將瘟疫和空氣、環境與種族聯繫起來，而這些焦慮間接地決定了香港直到今日的階級分化和空間形態。這一時期港英政府開始着力於港島的綠化，香港植物園的建立同時又肩負為大英帝國博物學科收集整理殖民地植物和自然知識的任務。英國博物學家對於植物的檔案需求促進了外銷畫在歐洲的流行。《瘴氣、植物、外銷畫》着眼於殖民主義和帝國擴張對於粵港空間與自然形態的影響，雙頻錄像中並置的歷史圖像與藝術家的重訪拍攝則檢視著這一框架下東西方文化或商貿交流模式與今日的異同。

PAN LU & BO WANG

The unfamiliar tropical climate engendered fear and anxiety in the British troops who were stationed in Hong Kong after the Opium Wars. The 19th century myth of miasma, or bad air, and diseases perceived to be associated with the air in particular place, the environment, and race later helped solidify the vertical segregation on Hong Kong Island. Acclimatisation efforts were made in tandem with the expansion of the British Botanic Empire, a global network of scientific research of plants, which circulated not only botanic specimens but also images created for the purpose of study. In the particular case of Canton (Guangzhou) in Southern China, local commercial artists were commissioned to make plant paintings. Miasma, Plants, Export Paintings examines the peculiar dynamics among imperialism, scientific research, race and the right to look in 19th century Canton, while the juxtaposition of the historical and the contemporary in the two-channel video scrutinises the changes in trade and east-west cultural exchanges in the past century.

GONZALEZ-FOERSTER

BORN IN 1965 IN STRASBOURG, LIVES AND WORKS IN PARIS AND RIO DE JANEIRO 1965年生於斯特拉斯堡，現居住和工作於巴黎和里約熱內盧

一園六季

DOMINIQUE

González-Foerster’s cross-disciplinary practice encompasses film, installation, video, and various forms of collaborative work. She has a strong interest in modernist architecture and has made many works about Brazil and the particular characteristics of tropical modernism; as part of this spatial interest, she has also turned her gaze to gardens and landscape architecture. Gloria takes the Praça Paris, built in Rio de Janeiro in 1926 by the French urbanist Alfred Agache, as the landscape in question. GonzálezFoerster examines the absurdity of the French landscape aesthetic, with its penchant for formality and symmetry. In this tropical climate where vegetation flourishes, these aesthetic ambitions, which were often criticised in 17th century France for their 'tyranny over nature', are quickly undermined. González-Foerster 的跨學科實踐涵蓋了電影、裝置、錄像與各種形式的合作創作。她對現代主義建築有着濃厚的興趣，並創作了許多關於巴西和熱帶現代主義的作品。作為這種空間興趣的一部分，她也將目光投向了園林與景觀建築。González-Foerster 的作品《 Gloria》以 1926 年法國城市規劃專家 Alfred Agache 在里約熱內盧建造的巴黎廣場為中心，討論鐘愛形式感與對稱性的法國景觀美學之荒謬性。在巴西利於草木迅速生長的熱帶氣候中，上述那些美學理想很快便被破壞，而這些理想也曾被 17 世紀的法國評論家批評「對自然的暴政」。

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Gloria，2008 單頻錄像，5分鐘由藝術家及柏林 Esther Schipper 畫廊提供

GARDEN OF SIX SEASONS

Gloria, 2008 Single-channel video, 5' Courtesy of the artist and Esther Schipper, Berlin

BORN IN 1944 IN CHARLESTON, LIVES AND WORKS IN LOS ANGELES / 1944年生於查爾斯頓，現居住和工作於洛杉磯

The artist is a leading practitioner of conceptualism who, since the early 1970s, has employed rule-based systems that interrogate the constructed nature of representation and the subconscious and intrinsic attachment of meaning to objects. Gaines’s systems emerged from his desire to

一園六季

CHARLESGAINES

remove the expressive ego from his painting. A variety of sources, from the map-like drawings and mandalas of Tantric Buddhist art, to the notions of indeterminacy in the compositions of John Cage, have contributed to his application of sets of rules in order to realize forms. Gaines’s ‘Numbers and Trees’ series depicts various forms of trees, exposing the representational underpinnings and frameworks of image making, a model that Gaines has consistently employed in his critique of systems and representation consistently for five decades.

Numbers and Trees: Central Park Series II: Tree #7 Laurel, 2016 Acrylic sheet, acrylic paint, and photograph Courtesy the artist and Hauser & Wirth

數與樹：中央公園系列之二，樹 #7，月桂，2016 亞克力板、塑膠彩及攝影由藝術家及 Hauser & Wirth 畫廊提供

GARDEN OF SIX SEASONS

生活於洛杉磯的藝術家 Charles Gaines 是觀念藝術的重要實踐者。自 1970 年代初，他便在作品中運用既定規則以質疑表象的構建，以及潛意識附加在物件上的直覺意義。透過這一創作方式，Gaines 意在移除繪畫中的自我表達。地圖式的繪畫、恆特羅佛教藝術的曼陀羅、John Cage 作曲中的不確定性都指導着他在繪畫創作中的規則制定。「數字與樹」系列描繪了不同形態的樹木，並以此揭露表象的基礎和圖像生產的框架 ——50 年來，Gaines 持續在他對系統及表象的批判性思考中運用這一模式。

張恩滿

Snail Paradise: Preface, 2019 mixed media, video, 3 traditional men’s rear open pants with embroidery, 3'25" Courtesy of TKG+

CHANG EN-MAN

非洲大蝸牛於大航海時代由東非跨越印度洋，抵達新加坡。上世紀三十年代，它從新加坡被帶往台灣，自此成為危害台灣農業的入侵物種，也成為夜市小吃「炒螺肉」中不敢道明身份的主角。作為台灣早期貧苦家庭的食材，蝸牛至今仍被保留在台灣原住民的餐桌上 —— 這亦是原住民後代的藝術家開啟此一創作系列的起因。在「蝸牛樂園」系列中，張恩滿檢視並探索食物的歷史、文化、階級與品位脈絡。《蝸牛樂園 —— 前導篇》裡，一只非洲大蝸牛緩慢爬行，它留下的黏液痕跡勾勒自身的歷史路線，及其所貫穿的社會的地理紋樣。張恩滿借用母親家鄉「大鳥部落」(pacavalj) 男子傳統褲片的樣式，將蝸牛料理中的植物設計為刺繡圖騰，以此形式書寫地方及世界的歷史片段。

BORN IN IN 1967 IN TAITUNG, LIVES AND WORKS IN TAIPEI / 1967年生於台東，現居住和工作於台北

一園六季

During the colonial era, the African giant snail (Achatina fulica) migrated from East Africa to Asia, arriving around the 1930s to Taiwan. Since then, it has become both an invasive species endangering Taiwanese agriculture and the main ingredient of a popular night market dish of ‘sauteed escargot’. As a source of food of early Taiwanese poor households, snails remain on the dining tables of Taiwanese indigenous people to this day — the reason why Chang, who is indigenous herself, created this series of works, examine the implications of history, culture, class, and taste in food. In Snail Paradise: Preface, an African giant snail crawls slowly, leaving a trail of slime that traces its historical trajectory. Chang borrows from the patterns found on male trousers from Pacavali — the homeland of the artist’s mother — and designs embroidery totems based on the plants used in snail cuisine, a form of transcription of local and global historical episodes.

蝸牛樂園－前導篇，2019 複合媒材、影像、三組傳統男子刺繡後敞褲片，3分25秒由 TKG+ 提供

GARDEN OF SIX SEASONS

一園六季

WING PO SO 蘇詠寶

Tea leaves are cut into small squares, composing passages of colours, leaf veins, grains, and pores. They are made to be hung in the air, in order to embrace the flow, the wind, words and music. 這件作品中，茶葉被剪成統一的小方塊，組成一段段關於色彩、葉脈、顆粒與毛孔的詩篇。它們被懸掛於空中，擁抱着風、文字及音樂的流動。

A Piece of Tea, 2017–2020 Broadleaf holly tea leaf, cotton gauze Courtesy of the artist

一篇茶，2017–2020 苦丁茶、棉紗布由藝術家提供

最美麗的傳統，2016–17 單頻錄像，5分22秒由藝術家及巴黎 Mor Charpentier 畫廊提供

1963 年，在克斯騰伯斯植物園建立 50 週年之際，這座位於南非開普敦的國際植物園委託拍攝了一系列影片來記錄植物園的歷史、開普植物王國、週年慶典上的「民族」舞蹈、殖民征服的鬧劇、以及國際植物學家的到訪。影片中主要的科學家、到訪者等角色都是白人——唯一出現的非洲人則皆為勞工。花卉被視作是中立且被動的，直到 1980 年代末，它們都被排除在抵制行動之外，因此植物民族主義與花卉外交便在國內和國際上不受約束地發展了起來。這些影片自 1963 年以來便從未露面，後被藝家在植物圖書館的地下室中尋得。作品中，演員 Lindiwe Matshikiza 將自身置入這些意義豐富的圖像之中；她身處這些檔案影像之內，並與它們直接對峙，藉此進一步挑戰着歷史與檔案本身。

GARDEN OF SIX SEASONS

The Fairest Heritage, 2016–17 Single-channel video, 5'22" Courtesy of the artist and Mor Charpentier, Paris

In 1963, on the occasion of the 50th anniversary of the founding of Kirstenbosch, the national botanical garden of South Africa in Cape Town commissioned a series of films to document the history of the garden, the Cape Floral Kingdom, and the jubilee celebrations with their ‘national’ dances, pantomimes of colonial conquests, and visits of international botanists. The films’ protagonists of scientists, visitors etc. are all white – the only Africans featured are labourers. Considered neutral and passive, flowers were excluded from the boycott until the late 1980s and so botanical nationalism and flower diplomacy flourished unchecked at home and internationally.

URIEL ORLOW

The films have not been seen since 1963 and were found by the artist in the cellar of the library of the botanical garden. Orlow collaborated with actor Lindiwe Matshikiza who puts herself and her body in these loaded pictures, inhabiting and confronting the found footage and thus contesting history and the archive itself.

Our home is too small for you, 2017 Terracotta, clay figurine Courtesy of James and Christine Boyle 我們的家容不下你，2017 赤土、黏土小雕像由 James Boyle 及 Christine Boyle 提供

The work consists of two sets of support typically seen underneath a flowering pot being put on top of each other. A clay figurine, which ‘lives’ on the base and can be seen bending over and reading a book, is a typical character in southern Chinese penjing. These figurines support a lion head in red clay, a pot bottom decoration bought by the artist in Bologna, Italy. A lion head symbolises authority, power, and exoticism, and is thus not welcomed by the elders in the artist’s home, who respect and follow Chinese feng shui and traditional aesthetics. In this sense, Yeung positions the lion head together with Chinese delights, two most basic and humble objects in gardening, to create a sculpture by itself that implies an interaction of different cultures, aesthetics, established values, and power relationships.

一園六季

TREVOR YEUNG楊沛鏗

《我們的家容不下你》由兩組園藝中常見的花盆墊腳相互托疊而成。居於底座、俯身讀書的黏土人偶呈現出中國南方盆景中常見的人物意像；而人偶所承托的赤土獅頭則是楊沛鏗購於意大利博洛尼亞的一組盆底裝飾之一。象徵權威、力量與異域的獅頭在遵從中國風水與傳統美學的藝術家家中不獲長輩的歡迎。於是，透過將獅頭與中式意趣結合，楊沛鏗將兩組園藝美學中最基礎、卑微的物件擺置為一件隱含不同文化、審美、既定價值和權利關係的獨立雕塑。

HUNG FAI 熊輝

The work depicts a horizonless landscape of weeds, potentially a marsh or a land on fire. The artist's works entail a series of experimentations and transformations, and through deconstructing the principles of traditional Chinese ink painting, he extends its possibilities.

Wild Grass XVI, 2019 Ink on paper Courtesy of the artist 野草之十六，2019 水墨紙本由藝術家提供

GARDEN OF SIX SEASONS

作品描繪了一道沒有地平線的風景，可能是沼澤，亦可能是一片燃燒的土地。藝術家的作品經實驗、轉化並透過解構傳統水墨媒介的元素來賦予其新的可能性。

Exhibition Venue Partner

Garden of Six Seasons

展覽場地贊助

一園六季

Garden of Six Seasons is a precursor to the Kathmandu Triennale 2077 (Artistic Director: Cosmin Costina , Curators: Sheelasha Rajbhandari and Hit Man Gurung).

Partner Institution 合作機構

「一園六季」為「2077加德滿都三年展」的序章（三年展藝術總監康喆明，策展人 Sheelasha Rajbhandari、Hit Man Gurung)

The works of Izmail Efimov, Britta Marakatt-Labba, and Pavel Mikushev have been included with the crucial curatorial advice and support of Anders Kreuger Izmail Efimov、Britta MarakattLabba 及 Pavel Mikushev 作品由 Anders Kreuger 提供策展建議及支持

Media Partners 合作傳媒

Curated by Cosmin Costina 康喆明策劃

Exhibition Managers & Assistant Curators 項目經理

Supported by 贊助

Executive Director/Curator 執行總監 / 策展人 Cosmin Costina 康喆明

Catalogue Editors 出版物編輯 Qu Chang 瞿暢 Jason Chen 陳子岳

Deputy Director 副總監 Claire Shea 謝清

Design 視覺設計 Wkshps

Para Site 地舖空間由 Shane Akeroyd 慷慨支持並獲以下機構支持

TEAM 團隊

及助理策展人 Celia Ho 何思穎 Joyce Mak 麥加縈

Para Site’s new ground-floor space is kindly supported by Shane Akeroyd.

Additional support by

Charlotte Lafont-Hugo Megan Yu-Hua Lan 藍鈺樺 Wendy Lee 利宛虹 Cecilia Lei 李善桐 Joanna Lisiak Sanjeev Maharjan Jagdish Moktan Meghann O’Brien Iheanyi Onwuegbucha Christodoulos Panayiotou Joseph Pang 彭若書 Pooja Pant Apoorva Rajagopal Luis Romero Mary Sabbatino Dr. Santos Shakya Dipti Sherchan Shraddha Shrestha Simon Soon 孫先勇 Ana Maria Tavares Ema Tavola Sangeeta Thapa Gilles Vanderstocken Valentine Willie Chris Wu 吳承桓 Trevor Yeung 楊沛鏗 Zhang Wei

We’d like to express our gratitude to the following individuals and organisations who provided crucial support and research for the exhibition: 我們在此對以下支持展覽的人士及機構發出最由衷的謝意：

Pio Abad Sharareh Bajracharya Tobias Berger James & Christine Boyle Candice Brown Adrian Chan 陳子軒 Priyankar Chand Nicola Chu Myrlande Constant Maria Dombracheva Julija Fomina Galerie du Monde Marcos Gallon Jack and Kristi Garrity Akarin Gaw Inti Guerrero Dal Bahadur Gurung

Curator 策展人 Qu Chang 瞿暢 Curator of Education & Public Programmes 教育與公共項目策展人

Anqi Li 李安琪

Project Manager/Assistant Curator 項目經理 / 助理策展人 Fanny Chan 陳趣源 Project Manager/Assistant Curator 項目經理 / 助理策展人 Celia Ho 何思穎 Project Manager/Assistant Curator 項目經理 / 助理策展人 Joyce Mak 麥加縈 Communications Manager 傳訊經

理 Jason Chen 陳子岳

Gallery Manager 畫廊經理 Jenny Tam 譚蔚廷 Gallery Coordinator 畫廊助理 Kristen Lai 黎瑩瑩

BOARD 理事會 Chair 主席 Alan Lau Ka Ming 劉家明 Co-Vice Chair 副主席 Jehan Pei Chung Chu 朱沛宗 Co-Vice Chair 副主席 Mimi Chun Mei-Lor 秦美娜 Treasurer 會計 Bonnie Chan Woo Tak Chi 胡陳德姿 Secretary 書記 Sara Wong Chi Hang 黃志恒 Nick Adamus Shane Akeroyd Kurt Chan Yuk Keung 陳育強 Alan Y Lo 羅揚傑 Mina Park GLOBAL COUNCIL 環球協會 Shane Akeroyd Jehan Chu & Nydia Zhang Inna & Tucker Highfield Vanessa Ying Xu Virginia Yee FOUNDING FRIENDS 始創好友 Mimi Brown & Alp Ercil Burger Collection, Hong Kong Stephen Cheng CMBB Cultural Organization David Zwirner Gallery A. Gaw Mimi & Chris Gradel IEs Collection Alan Lau Wendy Lee James Lie Edouard & Lorraine Malingue Stefan Rihs Sunpride Foundation Honus Tandijono FRIENDS 好友 Nick & Cordula Adamus-Voegtle Christine & James Boyle Rachel Catanach & David Boyce Lawrence Chu Jane Debevoise William Lim, CL3 Dr. Ingrid Lok Elaine W. Ng & Fabio Rossi Kiri Sinclair Andres Vejarano & Kee Foong Bonnie & Darrin Woo Yan Du COMMUNICATIONS PARTNER 傳訊夥伴

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. Para Site 藝術空間為香港首屈一指的當代藝術中心，亦是亞洲歷史最悠久、最活躍的獨立藝術機構之一。成立宗旨在透過展覽、出版刊物及教育項目等活動，促進在地與國際間的對話，希冀打造一個對當代藝術、社會現象提出批判性論述及理解的平台。

Alongside artist fees to all participating artists, Para Site is offering medical and dental insurance coverage for Hong Kong artists in the exhibition, generously made possible by the following supporters: Katie De Tilly, Dave Chapman, Chantal Wong, Yuk King Tan, Crystal Chen, and those who wish to remain anonymous. 除了為所有參展藝術家提供薪酬，

Para Site 藝術空間亦為參展的香港藝術家提供醫療和牙科保險，由以下支持者慷慨支持：Katie De Tilly、 Dave Chapman，黃子欣、陳玉瓊、陳晶，以及一位匿名善長。

The content of these activities do not reflect the views of the Government of the Hong Kong Special Administrative Region 活動內容並不反映香港特別行政區政府的意見

Para Site Art Space is financially supported by the Art Development Matching Grants Scheme of the Hong Kong Special Administrative Region 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