Introduction 導言
Art Labor is a collective based in Ho Chi Minh City, founded in 2012 by Thao Nguyen Phan, Truong Cong Tung and Arlette Quynh-Anh Tran. While the three members maintain their individual practices, they collectively share a desire to embrace collaborative processes and a fluid, open-ended definition of art-making. Phan draws inspiration from folklore, literature, philosophy, and everyday life to create poetic narratives that challenge historical and social conventions. Truong often incorporates organic and found materials from the land into his artworks, reflecting on the intersections of ecology, belief, and mythology. Working across curating, writing, and artmaking, Tran combines politics and sci-fi aesthetics in her practice to offer non-linear perspectives on modern histories and to challenge dominant post-Cold-War narratives. The three members’ inclusive and cross-disciplinary approach welcomes collaboration with contributors from diverse backgrounds, allowing them as a collective to traverse the realms of art, social science, and everyday life to foster sustained relationships with local communities and the environments.
Vietnam’s Central Highlands, where one of Art Labor’s members Truong grew up, was shaped by the complex forces of colonialism, war and rapid industrialisation following the Doi Moi period. Through historical research, poetic observations and community-building initiatives, the collective explores the turbulent histories of environmental extraction and its profound impact on indigenous communities. After nearly a decade, Art Labor has slowly established a deep-rooted connection with the Jrai community through working together on projects that have taken place both in Vietnam and internationally. These initiatives have allowed them to probe ongoing political, economic, cultural, environmental, and demographic transformations in the Central Highlands.
Embracing an intuitive approach, Art Labor’s collaborative process continues to adapt and evolve over time, much like a journey of seeding, nurturing, and fostering connections and solidarity. This exhibition is one stop in a cyclical journey that began with Art Labor's field visits to several Jrai villages in Chu Se, Gia Lai Province, where they cultivated a rapport with and deepened their understanding of the communities. This ongoing collaboration culminated in July 2024 with a series of outdoor happenings including public gatherings, sculpture displays, film screenings, live music performances, and site-specific installations across various locations.
Cloud Chamber
Departing from a typical solo exhibition format, the presentation goes beyond a showcase of only the collective’s artwork. It also embodies other individual and collective voices, with perspectives from the Jrai community, along with an expanded network of collaborators who have been inspired by this region. Art Labor invites collaborators to share their imaginative reflections through a multitude of expressions woven into a multi-sensory scenography. The exhibition delves into the intricate dynamics between regeneration and destruction, modernity and tradition, reality and dreams, which are still present in today’s ever-changing Central Highlands terrain. The exhibition title alludes to the duality of matter and antimatter, echoing the reincarnation beliefs of indigenous cosmologies connected to the Central Highlands. Furthermore, this duality of tension and collision between opposing forces, like a gravitational field, is echoed by the exhibition title’s allusion to the cloud chamber used in experimental physics to reveal subatomic particle pathways as vapour trails.
Following the Doi Moi economic reforms of the late 20th century, many lowland Vietnamese relocated to the Central Highlands, contributing to the region’s rapid industrialisation. This migration has significantly affected the natural environment and traditional practices of indigenous communities, resulting in substantial changes to the social and ecological landscape. Upon entering the exhibition space, visitors are welcomed by the aroma of coffee from a ‘hammock cafe’, reminiscent of the roadside rest stops for drivers along Vietnam's provincial highways. The concrete pillars dispersed throughout the exhibition space stand as testaments to this ever-changing landscape. Vietnam remains one of the top pepper-producing countries globally, yet local farmers are increasingly adapting their crop choices according to market fluctuations and the effects of climate change. Pepper farming in Vietnam traditionally uses these pillars for supporting the vines. However, due to the scarcity of wood, these pillars are often repurposed as house fences as they are abandoned. The surreal and haunting landscape hints at a graveyard of ‘bones’ and serves as a visual metaphor for vanishing forests.
Jacques Dournes, a French missionary-turned-anthropologist, spent a quarter century (1946–1970) immersed in the cultures of various ethnic groups in the Central Highlands, dedicating his life to documenting their customs and beliefs. Thao Nguyen Phan was captivated by Dournes's meticulous observations and unconventional perspectives, found in his notebooks filled with sketches, maps, and photographs. In the Jrai community's matriarchal social system, women are revered for their connection to nature and role in preserving social order. Phan has selected fragments from the archive to showcase alongside her own watercolour drawings. Presented as a photographic slideshow projection, the symbolism of tigers and women is explored as the images alternate between Dournes's ethnographic observations and Phan’s artistic responses.
Since 2016, Art Labor has been fostering dialogue around traditional wood carving and music practices through various ongoing collaborations with a community of Jrai artists including Puih Gloh, Puih Han, Rahlan Loh, Rcham Jeh, Romah Aleo, Siu Huel, Siu Kin and Siu Lon. The wood-carved sculptures, which breathe new life into discarded tree trunks, serve as a metaphor for the cyclical forces of regeneration and extinction that define the fraught relationship between human and nature. The newly commissioned sculptures range from animalistic to mythical figures, reflecting the Jrai artists’ contemporary perspective on traditional rituals, as well as expressing their daily lives and personal experiences. Elsewhere in the exhibition, there are a few musical instruments on display, ready for visitors to interact and play with. R Cham Tih is a renowned multiinstrumentalist who is continuously experimenting with the invention of new instruments to preserve Jrai traditional music in the region. The soundscape created by the musical instruments activates the exhibition space by echoing and resonating with other artworks.
Nguyen Phuong Linh’s installation The Last Ride expresses her deep nostalgia for elephants, foregrounding the environmental consequences of deforestation in the region where wildlife like tigers, deer and elephants are vanishing over time. The installation centres on a French colonial-era elephant saddle and addresses the legacy of deforestation caused by rubber plantations. Phuong Linh's work also highlights the entangled relationship between environmental destruction and modernisation, challenging our understanding of progress at all costs. Meanwhile, Truong Cong Tung's works uncover the contested forces shaping the Central Highlands, both past and present, whilst also manifesting the ongoing transformation of land using impermanent materials like red soil, fertiliser bags and cicada. The installation of the red-stained fertiliser bag represents both human intervention and the resilience of nature, as the soil permeates the fertiliser bag to transform it into a new skin-like material.
After passing through this wall of fertiliser bags, Truong Que Chi’s newly commissioned video Sleepless Moon invites viewers into a realm of fragmented recollections through the ethereal presence of a young girl who appears and fades across the nocturnal scene. The video illustrates a careful selection of symbolic objects, which contribute a timeless ambience rich in material and mythical imagination. The interplay between the girl, nature, and these symbolic elements creates a liminal space that challenges the boundaries between reality and imagination, memory and the present. The Galaxy of Electrified Heat, a video installation by Arlette Quynh-Anh Tran, continues the exhibition’s journey into an ambiguous realm traversing reality and dream. The projected images,
captured through a thermal lens and distorted by suspended mirrors in steel frames, represent the modern spectacle of a hydroelectric dam in the Central Highlands. The distorted imagery evokes the fragmented reality of the environmental and cultural impacts of hydroelectric development in the region, exploring the clash between the promise of renewable energy and the environmental degradation often associated with dam construction.
Through a multisensory approach, 'Cloud Chamber' invites viewers to engage with the complex themes that define the past, present, and future of the Central Highlands. The exhibition also aims to draw attention to issues that resonate beyond the region. By interrogating the anthropocentric view of nature, the works on view call for a more compassionate, non-hierarchical, and generative relationship with the natural world. The exhibition's immersive installations, soundscapes, and community engagements allow for the emergence of new rhythms and temporalities. It opens up spaces to catalyse new agents of transformation, mirroring the exhibition title's potentiality of regeneration and renewal. Rooted in respect, trust and empathy, the exhibition underscores the importance of strengthening ties with our surroundings and an urgency to reconcile with and learn from indigenous beliefs in harmony with nature. By fostering a spirit of connection and healing, the exhibition inspires us to imagine new modes of existence, rooted in a collective desire for change through embracing a more interconnected future together.
藝術勞工是一個來自胡志明市的藝術團體，由潘濤 阮、張公松以及陳瓊安於 2012 年創立。雖然三位成員 各自擁有不同的個人創作實踐，但他們分享着對共同協 作的渴望，樂於賦予創作流動且開放的意義。潘濤阮從 民間傳說、文學、哲學和日常生活汲取靈感，以充滿 詩意的敘事挑戰歷史和社會規範。張公松將來自土地的 有機材料和現成物融入創作，着眼於生態、信仰和神話 之間的交集。陳瓊安的實踐涵蓋策展、寫作和藝術創作 等多重面向，結合政治和科幻美學，挑戰冷戰後的主流 敘事。正因為三位成員各自有着多元兼跨學科的創作手 法，並熱衷與不同背景人士合作，讓他們得以成為能夠 跨越藝術、社會科學和日常生活多個領域的群體，促進 與在地社區和環境的持久關係。
越南中部高原是成員張公松成長的地方。革新開放 後，該地區受到殖民主義、戰爭和快速工業化的影響。
藝術勞工透過歷史研究、詩意觀察和社區營造，探索過 度開採的動盪歷史及其對原住民社群的深遠影響。經過 近十年的努力，藝術勞工與當地嘉萊族社群合作，在越 南和世界各地舉辦項目，逐步建立深厚的關係。有了這 些合作經驗，他們能夠深入探討中部高原在政治、經 濟、文化、環境和人口方面的持續變遷。
藝術勞工的協作過程以直覺為導向，通時合變的協 作宛如一個播種與培育的循環過程，讓聯繫和凝聚的種 子生根萌芽。此次展覽是藝術勞工旅程中的一站：旅程 源自他們在諸色縣嘉萊省幾個嘉萊族村莊所進行的田野 研究，實地考察促使他們與當地社群建立更深的了解和聯繫。 2024 年 7 月， 他們舉辦一系列露天活動，包括公眾聚會、雕塑展覽、放映會、現場音樂表 演和各個場域特定裝置。
是次展覽有別於典型個展，皆因展覽不單展示了藝術勞工的創作，同時 體現了合作者的個人和集體聲音，當中包括來自嘉萊族以至廣泛受越南中部 高原啟發的藝術家視角。藝術勞工邀請合作夥伴以不同表達方式，編織成多 感官場景。展覽深入探討毀滅與重生、現代化與傳統、現實與夢境之間的張 力，而這些衝突至今仍在不斷變遷的中部高原上演着。在實驗物理學中，雲 室以蒸汽軌跡揭示次原子粒子的路徑。展覽英文標題「 Cloud Chamber」指涉 雲室，暗喻物質與反物質之間的相互反應——這一概念呼應中部高原原住民 宇宙觀中的輪迴過程。展覽自此雙關中汲取靈感，像引力場一般擴展，與標 題所暗示的雲室相呼應。
在 20 世紀末的（ Doi Moi）經濟改革開放後，許多低地越南人遷移到中部 高原，促進當地快速工業化。遷移對原住民社群的自然環境和傳統習俗帶來 深遠影響，導致社會和生態景觀產生顯著變化。甫進入展覽空間，陣陣來自 「吊床咖啡店」的咖啡香氣迎面而來，讓人聯想起越南省道沿線的路邊休息
站。混凝土柱子分散在展覽各處，成為不斷變幻景觀的見證。越 南至今仍然是全球主要胡椒生產國之一，但隨着市場波動和氣候變 遷，當地農民常常需要調整農作物的選擇。在胡椒種植過程中，農 民普遍使用這些柱子來支撐藤蔓，但由於木材短缺，這些柱子常被 重新用作房屋圍欄。這種超現實且難忘的景觀，仿似暗指遍布「骨 頭」的墓地，成為絕跡森林的視覺隱喻。
Jacques Dournes是一位法國傳教士出身的人類學家。 1946 至 1970 年期間，他沉浸於中部高原各民族的文化，致力記錄他們的習 俗和信仰。 潘濤阮 透過翻查 Dournes 滿是草稿、地圖和照片的筆記 本，發現他細緻入微的觀察，並被他那非常規的視角所吸引。在嘉 萊族的母系社會體系中，女性因其與自然的聯繫和維護社會秩序的 角色而受崇敬。潘濤阮從檔案中選取文獻，與她的水彩畫作一同展 出。影像以幻燈片形式呈現，探索老虎和女性的象徵，在 Dournes
的民族誌觀察和潘濤阮的藝術回應之間交替循環。
自 2016 年以來，藝術勞工透過與嘉萊族藝術家（包括 Puih Gloh 、 Puih Han 、 Rahlan Loh 、 Rcham Jeh 、 Romah Aleo 、 Siu
Huel、 Siu Kin和 Siu Lon）持續合作，促進有關傳統木雕和音樂的 交流。木雕為廢棄樹幹注入新的生命，象徵着重生與毀滅生生不息 的循環，並界定了人類與自然之間岌岌可危的關係。全新委託創作 的雕塑形似動物及神話人物，反映嘉萊族藝術家對傳統儀式的當代 視角，以及他們的日常生活和個人經歷。展覽中亦有一些樂器， 供觀眾與之互動和演奏。 R Cham Tih是一位著名的多元樂器演奏 家，他為了保育嘉萊傳統音樂，不斷嘗試發明新樂器。樂器所創造 的聲景與其他作品迴響共鳴，激活展覽現場空間，促成作品之間對 話。
Nguyen Phuong Linh的裝置作品《最後旅程》表達了她對大象 的深切懷念，體現樹木砍伐對當地環境的影響，導致老虎、鹿和 大象等野生動物逐漸滅絕。裝置以法國殖民時代的象鞍為中心，針 對橡膠種植園帶來的樹木砍伐問題。 Phuong Linh 的作品強調了環
境破環與現代化之間盤根錯節的關係，質疑人類社會不惜一切代價 追求進步的行為。同時， 張公松 的作品揭示塑造中部高原的歷史角 力。作品運用了紅土、肥料袋和蟬等材料，展現這些臨時物料如何 不斷改造土地。隨着土壤滲透到肥料袋中，並將其轉化為一種猶如 皮膚的新物料，染紅的肥料袋裝置不單象徵着人類對自然的干預， 同時顯露自然的韌性。
穿越這面肥料袋牆後，觀眾將被邀請進入一個充斥着記憶碎片 的境界。 Truong Que Chi的委約新作影片《月夜無眠》中，女孩 在夜色下時隱時現，展現出超凡的存在。影片展示了一系列象徵性 物件，營造出富物質和神話想像的不朽氛圍。女孩、自然和這些 象徵元素之間相互影響，創造了一個邊界模糊的空間，挑戰現實與 想像、記憶與當下之間的界線。 陳瓊安 的錄像裝置《電渦銀河》
延續展覽旅程，引領觀眾進入介乎現實與夢境的混沌領 域。投射影像由熱感鏡頭捕捉，在鋼框中懸掛的鏡子映 照下變形扭曲，形成中部高原水力發電站的現代奇觀。
看着扭曲的影像，讓人不禁聯想到當地水力發電開發對 環境和文化影響所造成的亂象。作品從而探討可再生能 源的前景，以及建設大壩所帶來的環境損害和矛盾。
「魂霧跡」誠邀觀眾以多重感官一同描繪中部高原 的過去、現在和未來。展覽旨在打破地區界限，鼓勵觀
Cloud Chamber
眾關注展覽探討的議題。透過反思以人類為中心的自然觀，展覽中 作品呼籲人們對自然世界抱持同情心，拒絕以階級化和生產導向的 視角與自然互動。展覽的沉浸式裝置、聲景和社群參與，讓新的 節奏和時間性湧現，開創促進變革的可能性，映照展覽名稱「魂 霧跡」中所蘊涵的再生和重生潛力。展覽植根於尊重、信任和同 理心，強調與周邊環境加強聯繫的重要性，以及向原住民信仰學習 的急切性，特別是他們與大自然的相處之道，傾聽自然並與其和諧 共處。透過促進聯繫和療癒的精神，展覽啟發我們想像新的共存模 式，萌生共同改革的渴望，攜手譜寫互聯未來。
魂霧跡
2024 年 7 月，藝術勞工於越南嘉萊省諸色縣與當 地社群進行了一系列的活動，包括展示嘉萊族藝 術家（ Puih Gloh 、 Puih Han 、 Rahlan Loh 、 Rcham
Jeh 、 Romah Aleo 、 Siu Huel 、 Siu Kin 與 Siu Lon ）全
新委約創作的木雕、 R Cham Tih
及其學徒的現場 音樂演出、 Jacques Dournes
歷史文獻與潘濤阮水彩 畫的並置展出、農地的場域特定藝術裝置、稻田 溪流中的動態聲音裝置、吊床咖啡站、聚餐以及 露天放映。
歷史上的傳教活動對該地區至今影響深遠，令社 群之間的關係複雜化並持續塑造着當地的文化景 觀。隨着越來越多村民改信基督新教，某些嘉 萊族村落已遺失了重要的文化傳統，例如傳統木 雕、竹製及銅鑼樂器的製作。在受天主教影響的 村落中，某些嘉萊族傳統文化習俗與天主教產生 融合同化而得以傳承至今。
The happenings took place in Papet village, Chu Se, Gia Lai province of Vietnam in July 2024. The communal activities involved a showcase of newly commissioned wood-carved sculptures by Jrai artists (Puih Gloh, Puih Han, Rahlan Loh, Rcham Jeh, Romah Aleo, Siu Huel, Siu Kin and Siu Lon), live musical performances by R Cham Tih and his apprentices, a display of Jacques Dournes's archival material juxtaposed with watercolour drawings by Thao Nguyen Phan, a site-specific installation in the farmland, a kinetic sound installation in the stream of a village rice paddy, a hammock cafe station, and a few gatherings of local food, drinks and an open air film screening. The influence of historical missionary activity still echoes through the region today, complicating relationships between communities and shaping the cultural landscape. Some Jrai villages have lost key aspects of their cultural heritage, such as traditional wood carving and bamboo and gong musical instruments, as many villagers were converted to Protestantism. In villages influenced by Catholicism, certain elements of Jrai culture, such as traditional customs and practices, have endured through a process of cultural assimilation that has blended with Catholic practices.
‘Cloud Chamber: Central Highlands Journey’ is commissioned by Para Site, Hong Kong and T:> Works, Singapore Photography courtesy of Art Labor, Para Site, Hong Kong and T:> Works, Singapore Photo: Luu Thi Tuong Vi and Truong Minh Tuan.
「魂霧跡 中部高原 歷程」由香港 Para Site 藝術空間及新加坡 T:> Works 共同委託。
圖片由藝術勞工、香港 Para Site 藝術空間及 新加坡 T:> Works 提供。
攝影： Luu Thi Tuong Vi 和 Truong Minh Tuan 。
Installation process with the Jrai artists
Rahlan Loh
Puih
Gloh
Siu Lon
Romah Aleo
Puih Han
Cloud Chamber
Central Highlands Journey
R Cham Tih introducing traditional bamboo and gong instruments to Papet
Village locals R Cham Tih
藝術家張公松於 農地的場域特定
藝術裝置
Site-specific installation in the farmland by artist
Truong Cong Tung
Cloud Chamber
Jacques Dournes 的歷史
文獻與藝術家潘濤阮
的水彩畫並置展出
A selection of archival materials related to Jacques Dournes’s life and work is juxtaposed with watercolour drawings by artist Thao Nguyen Phan
People gathering with food and drinking ruou can (literally ‘stem wine’ or ’tube wine’), a traditional Jrai drink made from fermented glutinous rice and an assortment of local forest herbs and roots
Cloud Chamber
The evening gathering featuring an open air screening and a showcase of sculptures
Exchanges between the villagers, the Jrai artists, and members of Art Labor
Cloud Chamber Central
Artists, Collaborators, and Artworks
Thao Nguyen Phan 潘濤阮
Truong Cong Tung 張公松
Arlette Quynh-Anh Tran 陳瓊安
Cloud Chamber
Founded in 2012.
Lives and works in Ho Chi Minh City
Art Labor, formed by Thao Nguyen Phan, Truong Cong Tung and Arlette QuynhAnh Tran, is an artist collective based in Ho Chi Minh City who works between visual arts and social and life sciences in various public contexts and locales. Instead of producing individual artworks, they often undertake a years-long journey during which a seed of inspiration is cultivated into a rhizome of projects. Their previous journeys include ‘Unconditional Belief’ (2012–2015), ‘Jrai Dew’ (2016–present) and ‘JUA’ (2019–present). They have exhibited widely internationally, including at the Triennial for contemporary art, Kortrijk, Belgium (2021); the 57th Carnegie International (2018); Bangkok Art Biennale (2018); ‘A beast, a god, and a line’ at Dhaka Art Summit, Para Site and Museum of Modern Art in Warsaw (2018); Centre Pompidou, Paris (2017); Asian Art Biennial, Taichung (2017); KF Gallery, Seoul (2017); Ho Chi Minh City Eye Hospital (2015); and San Art, Ho Chi Minh City (2014).
成立於 2012 年； 生活並工作於胡志明市
藝術勞工是由潘濤阮、張公松及陳瓊 安組成來自胡志明市的藝術家團體， 於各類公共場域及語境下連繫視覺 藝術與社會及生命科學。他們並非 創作孤立的作品，而是在持續多年 的旅途中萌生靈感，從而培育出相 互牽引的項目連結。過往項目包括 「Unconditional Belief」(2012 至 2015 年)、「Jrai Dew」(2016 年至今)以 及「JUA」(2019 年至今)。他們曾於 世界各地參與展覽，包括比利時科 特賴克當代藝術三年展( 2021 年)、 第五十七屆卡內基國際藝術展( 2018 年)、曼谷藝術雙年展（ 2018 年）、 達卡藝術峰會、 Para Site 藝術空間及 華沙現代藝術博物館的巡迴展覽「一 獸、一神、一線」( 2018 年)、巴黎 龐比度中心( 2017 年)、台中亞洲藝 術雙年展( 2017 年)、首爾 KF Gallery ( 2017 年)、胡志明市眼科醫院( 2015 年)，以及胡志明市 Sàn Art 藝術空間 ( 2014 年)。
Upon entering the exhibition space, the audience is greeted by the aroma of coffee lingering in the air. Visitors are welcomed and served with Vietnamese coffee made from 100% Robusta beans which are grown, roasted and ground in the Central Highlands of Vietnam. Since the Doi Moi economic reform period, the forests in the Central Highlands were converted into plantations for cash crops such as rubber, coffee and peppers, transforming the region into the world’s second largest Robusta coffee producer and exporter. This transition has had significant environmental and cultural impacts on the local communities.
Hammocks are widely used in every household and commonly found on the highways between Vietnamese provinces. Traditionally used for resting and relaxation, the swinging hammocks evoke the rhythm of long journeys with the inbetween sense of both movement and stillness. Visitors are invited to relax in the hammocks spread throughout the space while sipping on freshly brewed coffee, as they pause and reflect on the complex relationship among economic development, environmental sustainability and cultural traditions.
撲鼻的咖啡香迎接觀眾進入展場。觀 眾可於展場內品嚐在越南中部高原種 植、烘焙、磨粉的百分百羅布斯塔 咖啡。在越南改革開放時期，中部 高原的樹林被改造成橡膠、咖啡、 胡椒等經濟作物的農地，而該地區 亦成為了世界第二大咖啡產地及出 口。此變化對於當地環境與社群影響 深遠。
吊床在越南家居被廣泛使用並常見於 穿越各省之間的高速公路上。吊床常 被用以休憩和放鬆，搖擺的節奏喚起 長途路程期間動態與靜止之間的過渡 狀態。我們邀請觀眾於散佈展場的吊 床上邊喝現沖咖啡，邊暫時停下來思 考經濟發展、環境可持續性以及文化 傳統之間錯綜複雜的關係。
Cloud Chamber
Art Labor Hammock Cafe
2016 - ongoing
Hammocks, Vietnamese robusta coffee and other coffee supplies
Dimension variable Courtesy of the artist
2016 年至今
吊床、越南羅布斯塔咖啡和其他咖啡用品 尺寸可變 由藝術家提供
Born in 1922 in Saint-Pol-sur-Ternoise, France. Died in 1993 in Bagard, France.
Jacques Dournes was a French anthropologist who initially went to Vietnam as a missionary and became more interested in the culture and traditions of the Jrai people and other ethnic groups in the Central Highlands. Dournes lived in the Central Highlands of Vietnam for 25 years, from 1946 to 1970, and became a renowned ethnographer. Studying Jrai culture became his lifelong passion as he fully immersed himself in their way of life and learning their language and customs. Dournes published several influential works on the Jrai, including Potao, une theorie de pouvoir chez les Indochinois jorai (Potao, a Theory of Power among the Indochinese Jarai), a monograph which explored his observations and insights into Jrai mythology, ritual and power structures, and Xu Jorai (Gia Rai Land), a photo book which featured Dournes's collection of photographs of the Jrai people.
1922 年生於法國泰努瓦斯河畔聖波 勒 ； 1993 年卒於法國巴加爾
Jacques Dournes，法國人類學家，以傳 教士身分遠赴越南，後來對中部高原 少數民族包括嘉萊族的文化及傳統產 生興趣。 1946 至 1970 年間， Dournes 於越南中部高原地區生活了二十五 年，並成為知名民族誌人類學家。他 畢生致力於學習嘉萊文化，沈浸於他 們的生活方式並熟習其語言與習俗。
他的著作影響力深遠，包括《 Potao， 印度支那嘉萊人的權力論》探討嘉 萊人的神話、儀式與權力架構，以及 《嘉萊國度》收錄其以嘉萊人為題材 的攝影作品。
Cloud Chamber
During his 25 years living in the Central Highlands, Dournes meticulously documented his daily experiences and observations extensively in his notebooks, sketches, maps and photographs of different minority ethnicities including the Jrai, Bahnar, etc. Most of these materials are preserved at the Institut de recherche France-Asie (IRFA) and a selection of his drawings, journal pages and photographs are on display in the exhibition. At the beginning of your journey, these archival materials offer an intimate glimpse into the Central Highlands way of life through Dournes’s subjective eyes and observation. The projected images also include Thao Nguyen Phan’s watercolour drawings as a fictive interpretation of Dournes’s ethnographic studies. The artwork title is inspired by Dournes’s book Foret, femme, folie: une traversée de l'imaginaire jorai (1993), in which Phan is particularly intrigued by the metamorphic possibilities of the tiger and the mythical woman in Jrai folklore, usually depicted as a femme fatale. The inbetween condition of becoming a tiger and becoming a woman seductively represents the Jrai’s ways of living, dreaming and breathing the jungle.
Dournes 在中部高原生活了二十五年 間，他仔細將其與嘉萊族、巴拿族等少 數民族的日常經歷，以及對他們的觀察 以筆記、草圖、地圖及攝影的形式記錄 下來。這些素材現大部分保存於法國亞 洲研究學院(IRFA)，是次展出精選的繪 畫、日記與照片。在展覽旅程的開端， 藉助 Dournes 的觀察以及其對嘉萊族的 深入認識，為觀眾提供嘉萊族群生活的 私密一瞥。投影圖像包括潘濤阮回應 Dournes 的民族誌而創作的水彩畫。作 品的標題靈感來自 Dournes 著作《森林、 女性、瘋狂：穿越嘉萊族想像的旅程》 (1993)。潘氏特別着迷於書中所提及的 老虎與女性之間的暗喻。在嘉萊族民間 故事裡，女性多以「蛇蠍美人」的形象 出現，引人遐想老虎與女性身分之間的 聯繫。這種聯繫反映了嘉萊族與叢林之 間密不可分的共生關係。
Thao Nguyen Phan & Jacques Dournes Foret, femme, folie (after J.D.)
2024 - ongoing
Watercolour and archival photography transferred to slides Dimension variable Courtesy of the artist Commissioned by Para Site
潘濤阮 和 Jacques Dournes 《森林、女人、瘋狂 (after J.D.)》
2024 年至今
水彩和攝影檔案轉移到幻燈片 尺寸可變
由藝術家提供 受 Para Site 藝術空間委託創作
Cloud Chamber
魂霧跡
Lives and works in Jut village, Gia Lai province, Central Highlands, Vietnam
R Cham Tih is a Jrai musician and artist who started playing traditional musical instruments from a very young age. Tih is talented in making and improving unique ethically sourced instruments using natural material such as bamboo, to recreate the sounds of the Central Highlands. Tih devoted himself to the preservation and development of Jrai traditional music and their land. He is also a teacher who seeks to inspire the local young generation. He has participated extensively in various international music performances and tours within Asia and beyond, such as in Australia, the United Kingdom, Finland, Korea and Germany.
生活並工作於越南中部高原嘉萊省 Jut 村
R Cham Tih 為嘉萊族樂手兼藝術家， 自幼開始演奏傳統樂器。 Tih 善於製 作並改良獨特的樂器，利用竹等環保 的天然物料還原中部高原的聲音。
Tih 致力於保育及發展嘉萊傳統音樂 及其民族的土地。他亦是一名教師， 旨在啟發當地的年青一代。他曾於亞 洲及澳洲、英國、芬蘭、韓國、德國 等地參與音樂演出。
Cloud Chamber
Photo courtesy of Art Labor, Para Site, Hong Kong and T:> Works, Singapore
Para Site 藝術空間以及新加坡 T:> Works 提供
Klek Klok
2024
Bamboo musical instrument
140 x 45 x 195 cm
Courtesy of the artist Commissioned by Para Site and T:>works
《Klek Klok》
2024 年
竹製樂器
140 x 45 x 195 厘米
由藝術家提供
由香港 Para Site
藝術空間及新加坡 T:> Works 共同委託創作
K’loong Put 2024
Bamboo musical instrument
107 x 16 x 100 cm
Courtesy of the artist Commissioned by Para Site and T:>works
《K’loong Put》
2024 年
竹製樂器
107 x 16 x 100 厘米
由藝術家提供
由香港 Para Site
藝術空間及新加坡 T:> Works
共同委託創作
2.
Photo courtesy of Art Labor, Para Site, Hong Kong and T:> Works, Singapore
Para Site
T:> Works
Cloud Chamber
Traditionally, Jrai bamboo musical instruments are installed in rice paddies to deter wild birds that feed on crops. They are played by elements in nature such as air, water and wind rather than by humans. For ‘Cloud Chamber’ and happenings in the Central Highlands, Tih created new musical instruments to share his expertise in music with the participants. A newly commissioned kinetic sonic sculpture has been installed in the stream of a rice paddy as a tribute to local traditions. Participants from across generations gathered for singing and live music performances during the Central Highlands happenings organised with T:>Works. Tih, as a master of various Central Highlands instruments, has dedicated himself to preserving Jrai traditional music and is passionate about sharing and teaching the younger generations in his workshop.
Two Central Highlands musical instruments, K’loong Put and Klek Klok, are currently on display. Visitors are
welcome to play the musical instruments and activate the exhibition space with the sound. Each musical instrument has its own unique sound: K’loong Put is a traditional bamboo xylophone, whose sound is produced through resonance by clapping your hands against the end of the tubes when the instrument is arranged horizontally, while traditionally it is played by women only. Klek Klok is a newly invented bamboo instrument created by Tih. It consists of bamboos of different sizes arranged vertically parallel to each other, secured with a wooden frame standing on three sturdy crossed legs made of bamboo roots. It produces a sound that is louder and more vibrant than the traditional instruments. The player should actively shake the bamboo tubes with their hands to generate sound which has a longer resonance with the vibrations.
Please follow Para Site’s Instagram post for demonstrations on how to play these instruments.
傳統的嘉萊族樂器常被放置於稻田中， 驅趕以莊稼為食的野鳥。這些樂器的演 奏者並非人類，而是空氣、水以及風等 自然元素。Tih 為展覽「魂霧跡」及中 部高原的活動製作了全新的樂器，與觀 眾及參加者分享其於音樂上的造詣。藝 術家在稻田的溪流中設置了一件全新委 約動態聲音裝置，藉此對當地傳統致 意。在與 T:>Works 合作舉辦的中部高 原活動期間，來自不同年齡層的參加者 聚首演唱並欣賞現場音樂演出。作為多 種中部高原樂器的大師，Tih 致力於保 育嘉萊音樂傳統，並熱衷於工作坊培育 下一代樂手。
展覽展出兩件中部高原樂器—— K’ loong Put 與 Klek Klok。觀眾可以親 自演奏樂器，以聲音活化展場。兩件樂 器有其各自獨特的音色：K’ loong Put 為傳統竹琴，橫向擺放靠演奏者於其尾 部擊掌共鳴發聲，傳統上由女性演奏； Klek Klok 為藝術家的新發明，由大小 不一的垂直竹竿豎立於三腳木架之上而 構成，音色較傳統樂器響亮，在演奏者 的搖動下會發出悠長的迴響。
誠邀關注 Para Site IG 觀看樂器演奏 示範。
Lives and works in Ho Chi Minh City and Hanoi
Phuong Linh Nguyen’s multidisciplinary practice spans video, installation and sculpture. She is interested in interrogating geographic cultural shifts, and tracing the fragmented and ambiguous history of Vietnam—a complex nexus of ethnicities, religions, cultural and geo-political influences. Her work contemplates the visibility and invisibility of truth, form and time, weight and void, conveying a pervasive sense of dislocation, endurance, and ephemerality. Her work has been featured in various international
exhibitions, including the Green Island Human Rights Art Festival, Taiwan (2023); Asia Pacific Triennial, South Brisbane (2021); Singapore Biennale (2016); Kuandu Biennale, Taipei (2016); and Shanghai Biennale (2016). She won the Han Nefkens Foundation-BACC Award for Contemporary Art in 2017. Phuong Linh was born and raised in Nha San Studio — based at her father’s home and one of the longest established non-profit artist-run spaces in Hanoi. In 2013, she co-founded and since then has been co-directing Nha San Collective. They participated in Documenta 15 in 2022.
Cloud Chamber
Artists, Collaborators, and Artworks
生活並工作於胡志明市及河內
Phuong Linh Nguyen 的跨領域實踐 涵蓋錄像、裝置與雕塑。她的興趣在 於審視地理與文化的更迭，並追溯越 南曖昧分裂的歷史——一個由不同種 族、宗教、文化及地緣政治交織出的 複雜網絡。她的作品思考真相的可見 與不可見、型態與時間、重量與虛 空，藉此讓觀眾感受強烈的錯位，持 久卻短暫。她的作品曾於世界各地展 出，包括台灣綠島人權藝術節（ 2023 年)、南布里斯班亞太三年展（ 2021 年)、新加坡雙年展（ 2016 年)、台
北關渡雙年展（ 2016 年)，以及上海 雙年展（ 2016 年)。她曾於 2017 年 獲頒 Han Nefkens 基金會與曼谷藝術 文化中心當代藝術獎。 Phuong Linh 出生並成長於 Nha San 工作室—— 以其父親的家為基地、為河內歷史最 悠久的藝術家自營非牟利藝術空間。
2013 年，她參與創立了 Nha San 藝 術團體並自此參與其項目共同策劃。 團體於 2022 年參加了第十五屆卡塞 爾文獻展 。 1.
Phuong Linh's installation is a culmination of her year-long research into the legacy of rubber cultivation in the Central Highlands, tracing its roots back to French colonial rule in Vietnam. At the centre of Phuong Linh's installation is a French colonial-era elephant saddle, symbolising the exploration of the Central Highlands by European powers. Alexandre Yersin, a bacteriologist widely recognised in Vietnam as the founder of Da Lat—the ‘oasis’ of botany and temperate climate tourism— was among those who helped introduce rubber cultivation into Vietnam during this period. The use of aluminium refers to the ongoing industrialisation that continues to impact the region up to the present day.
Phuong Linh's installation The Last Ride explores the history of rubber plantations in the region, exposing the dual nature of modernisation as both a source of progress and environmental destruction. The title evokes a sense of melancholic beauty of the foregone landscapes.
The Last Ride 2017 Mixed media installation. Aluminium objects based on structure of elephant saddle, LED light, glass Dimensions variable Courtesy of the artist
Cloud Chamber
藝術家用了長達一年時間，研究在法國殖民時期越南中 部高原的橡膠生產歷史，而此裝置作品則為藝術家的研 究成果。裝置圍繞源於法國殖民時期的象鞍展開，標誌 着歐洲殖民者在中部高原的探索。越南人普遍認為是細 菌學家葉赫森建造了大叻市——一個氣候溫和的植物學 旅遊勝地——而正正亦是葉赫森在該時期將橡膠生產引入 越南。藝術家使用了鋁材作為媒介之一，暗喻至今持續 影響該地的工業化活動。《最後旅程》透過追溯當地橡 膠莊園的歷史，暴露出現代化的雙刃劍——一方面進步， 而另一方面則摧毀大自然環境。作品標題帶有一絲對過 往景緻的懷緬。
Wood-carved Sculptures in the Central Highlands
Cloud Chamber
Art Labor has been in collaboration with Jrai artists from different villages in the Central Highlands of Vietnam for almost a decade. The wood sculptures made by the Jrai artists are carved from tree trunks collected from discarded wood in nearby plantation fields, which the Jrai artists revive by infusing new life and soul into them through contemporary expressions.
Traditionally, the creation of these wooden sculptures was part of a funerary indigenous practice, serving as a gift from the living to bid farewell to the deceased and accommodate their transition to a new
life. These sculptures are left at the tombs and possess distinctive roughness and often with a rustic appearance.
Through their collaborative ventures with Art Labor, Jrai artists have expanded their artistic practice, creating sculptures of animalistic and mythical creatures that display a wider range of postures and emotions, incorporating a variety of materials such as paint, chalk, and acrylic into their traditional craft. These sculptures hold deep philosophical meaning, embodying the Jrai people's relationship with the universe and their cultural beliefs. Each piece reflects the artists' unique perception of the world, representing a window into the spiritual realm of indigenous beliefs.
藝術勞工與越南中部高原村落嘉萊族 藝術家的合作長達近十年。嘉萊族藝 術家利用於附近莊園拾獲的樹幹製作 木雕，以當代藝術的表現手法為木材 注入新生。
傳統上木雕為原住民喪葬儀式的一部 份，是獻給故人、協助其往生的禮 物。這些木雕被留在墓地，有着獨特 的粗糙質感和樸實的表相。
嘉萊族藝術家與藝術勞工的合作交流 中亦擴展了其藝術實踐，融合顏料、 粉筆、塑膠彩等多種媒介製作出形神 兼備的動物及神獸雕像。這些木雕蘊 含哲學涵義，呈現出嘉萊族宇宙觀與 文化信仰。每件作品都反映着藝術家 獨有的世界觀，是窺探原住民信仰精 神領域的一扇窗。
Lives and works in Blut Grieng village, Gia Lai province, Central Highlands, Vietnam
Puih Gloh is a woodcarving sculptor from the Jrai ethnic community and has been among the first, and long term collaborator with Art Labor since 2016. Gloh’s work is traditional but also adventurous and freespirited. His sculptures are angular, sharp and full of confidence. He sometimes paints his sculptures with the striped and dotted patterns typical of the Jrai tradition. His work has been featured in the following exhibitions in collaboration with Art Labor: ‘A beast, a god, and a line’ at Dhaka Art Summit, Para Site and Museum of Modern Art in Warsaw (2018); Asian Art Biennial, Taichung (2017); ‘Jrai Dew exhibition no.03’ at Amo village (2017); ‘Jrai Dew exhibition no.02’ at Blut Grieng village (2017) and ‘Jrai Dew exhibition no.01’ at Papet Village (2016).
生活並工作於越南中部高原嘉萊省 Blut Grieng 村
Puih Gloh 為嘉萊族木雕雕塑家，自 2016 年以來首批並持續與藝術勞工長 期合作。 Gloh 的作品既傳統亦具有冒 險和自由奔放的精神。其雕塑作品稜 角分明、銳利，反映着他充滿自信的 一面。某些作品繪畫着傳統嘉萊風格 的條紋與圓點圖案。他與藝術勞工合 作參加過多次展覽，包括達卡藝術峰 會、 Para Site 藝術空間及華沙現代藝 術博物館的巡迴展覽「一獸、一神、 一線」( 2018 年)、台中亞洲藝術雙年 展( 2017 年)、 Amo 村「嘉萊露珠展 覽 3 」( 2017 年)、 Blut Grieng 村「嘉 萊露珠展覽 2 」( 2017 年)以及 Papet 村「嘉萊露珠展覽 1 」( 2016 年)。
Photo courtesy of Art Labor, Para Site, Hong Kong and T:> Works, Singapore
Para Site
Cloud Chamber
Untitled
2024
Wood sculpture
36 x 13 x 15 cm
Courtesy of the artist
Commissioned by Para
Site and T:>works 1.
《無題》
2024 年
木雕
36 x 13 x 15 厘米
由藝術家提供
由香港 Para Site 藝術空間
及新加坡 T:> Works
共同委託創作
Untitled
2024
Wood sculpture
80 x 20 x 23 cm
Courtesy of the artist
Commissioned by Para Site and T:>works
《無題》
2024 年
木雕
80 x 20 x 23 厘米
由藝術家提供
由香港 Para Site 藝術空間
及新加坡 T:> Works
共同委託創作
Lives and works in Blut Grieng village, Gia Lai province, Central Highlands, Vietnam
Puih Han is a woodcarving sculptor from the Jrai ethnic community and has been a long term collaborator with Art Labor since 2017. Despite being in his late 20s, he has chosen to remain in his village rather than seeking opportunities in the city. Over the past years, he has mastered the art of woodcarving, and is now a skilled artisan able to create sophisticated sculptural details. He enjoys carving in a realistic way in comparison to his more senior peers. His works feature lively patterns that are meticulously hand carved, making his characters appear alive with a strong sense of co-existence with nature. His work has been featured in the following exhibitions in collaboration with Art Labor: Bangkok Art Biennale (2018); ‘A beast, a god, and a line’ at Dhaka Art Summit, Para Site and Museum of Modern Art in Warsaw (2018); ‘Jrai Dew exhibition no.03’ at Amo village (2017) and ‘Jrai Dew exhibition no.02’ at Blut Grieng village (2017). He participated in a residency programme at Bellas Artes Projects, Bataan, the Philippines (2018).
生活並工作於越南中部高原嘉萊省 Blut Grieng 村
Puih Han 是一名嘉萊族木雕雕塑家， 自 2017 年起開始與藝術勞工長期合 作。二十幾歲的他選擇留在村落，而 非前往城市尋找機會。過去幾年內， 他精通了木雕的技藝，現為技術精湛 的工匠，能雕刻出精緻的細節。與其 前輩相比，他的雕刻手法更為寫實。 其作品上栩栩如生的紋理以精心手工 一絲不苟地雕刻而成，令雕刻對象活 現眼前，宛若與大自然同在。其作品 曾於多個與藝術勞工合作的展覽內 展出，包括曼谷藝術雙年展（ 2018 年）、達卡藝術峰會、 Para Site 藝術 空間及華沙現代藝術博物館的巡迴展 覽「一獸、一神、一線」（ 2018 年）、 Amo 村「嘉萊露珠展覽 3 」（ 2017 年） 以及 Blut Grieng 村「嘉萊露珠展覽 2 」（ 2017 年）。他曾參與菲律賓巴 丹省 Bellas Artes Projects 的駐留項 目。
Photo
Cloud Chamber
Untitled
2024
Wood sculpture
90 x 15 x 12 cm
Courtesy of the artist
Commissioned by Para Site and T:>works
《無題》
2024 年
木雕
90 x 15 x 12 厘米
由藝術家提供
由香港 Para Site 藝術空間
及新加坡 T:> Works
共同委託創作
Untitled
2024
Wood sculpture
103 x 21 x 30 cm
Courtesy of the artist Commissioned by Para Site and T:>works
《無題》
2024 年
木雕
103 x 21 x 30 厘米
由藝術家提供
由香港 Para Site 藝術空間
及新加坡 T:> Works
共同委託創作
1.
Lives and works in Blut Grieng village, Gia Lai province, Central Highlands, Vietnam
Rahlan Loh is a woodcarving sculptor from the Jrai ethnic community and has been a long term collaborator with Art Labor since 2017. Loh is also known for his distinctive personal style, designing and crafting his own clothing and accessories such as hats, belts and smoking pipes which are carved with animal motifs. Loh’s animalistic sculptures possess a soulful quality that transcends the boundaries of the wooden medium as if the characters are communicating directly with the viewer. His work has been featured in the following exhibitions in collaboration with Art Labor: Bangkok Art Biennale (2018); ‘A beast, a god, and a line’ at Dhaka Art Summit, Para Site and Museum of Modern Art in Warsaw (2018); Asian Art Biennial, Taichung (2017); ‘Jrai Dew exhibition no.03’ at Amo village (2017) and ‘Jrai Dew exhibition no.02’ at Blut Grieng village (2017).
生活並工作於越南中部高原嘉萊省 Blut Grieng村
Rahlan Loh 是一名嘉萊族木雕雕塑 家，自 2017 年起開始與藝術勞工長 期合作。 Loh以其獨特的個人風格著 稱。他設計並製作自己的衣飾，包 括帽子、腰帶及煙斗，這些配飾上 刻有動物圖案。他的動物雕塑充滿靈 性的稚氣，超越木材作為媒介的限制 彷彿直接地與觀者交流。其作品曾於 多個與藝術勞工合作的展覽內展出， 包括曼谷藝術雙年展( 2018 年)、達 卡藝術峰會、 Para Site 藝術空間及華 沙現代藝術博物館的巡迴展覽「一 獸、一神、一線」( 2018 年)、台中 亞洲藝術雙年展( 2017 年)、 Amo 村 「嘉萊露珠展覽 3 」( 2017 年)以及 Blut Grieng 村「嘉萊露珠展覽 2 」 ( 2017 年)。
Photo courtesy of Art Labor, Para Site, Hong Kong and T:> Works, Singapore
Cloud Chamber
Untitled
2024
Wood sculpture
22 x 22 x 32 cm
Courtesy of the artist
Commissioned by Para
Site and T:>works
《無題》
2024 年
木雕
22 x 22 x 32 厘米
由藝術家提供
由香港 Para Site 藝術空間
及新加坡 T:> Works
共同委託創作
Untitled
2024
Wood sculpture
56 x 12 x 28 cm
Courtesy of the artist
Commissioned by Para Site and T:>works
《無題》
2024 年
木雕
56 x 12 x 28 厘米
由藝術家提供
由香港 Para Site 藝術空間
及新加坡 T:> Works
共同委託創作
Lives and works in Amo village, Gia Lai province, Central Highlands, Vietnam
Rcham Jeh is a woodcarving sculptor from the Jrai ethnic community and has been a long term collaborator with Art Labor since 2016. Jeh is a charismatic, cheerful character; with his affectionate spirit imbued into his sculptures. His work is playful, experimental and unconventional, filled with a contemporary and critical spirit. His work has been featured in the following exhibitions in collaboration with Art Labor: Bangkok Art Biennale (2018); ‘A beast, a god, and a line’ at Dhaka Art Summit, Para Site and Museum of Modern Art in Warsaw (2018); Asian Art Biennial, Taichung (2017); ‘Jrai Dew exhibition no.03’ at Amo village (2017); ‘Jrai Dew exhibition no.02’ at Blut Grieng village (2017) and ‘Jrai Dew exhibition no.01’ at Papet Village (2016). He was in a residency programme at Bellas Artes Projects, Bataan, the Philippines (2018).
生活並工作於越南中部高原嘉萊省 Amo村
Rcham Jeh 為嘉萊族木雕雕塑家， 自 2016 年起持續與藝術勞工長期合 作。 Jeh 是一個富有魅力且快樂的人 物，他的親和力融入了他的雕塑作 品中。其創新作品充滿玩味且富有 實驗性，體現出當代和批判性的精 神。其作品曾於多個與藝術勞工合 作的展覽內展出，包括曼谷藝術雙 年展( 2018 年)、達卡藝術峰會、 Para Site 藝術空間及華沙現代藝術 博物館的巡迴展覽「一獸、一神、 一線」( 2018 年)、台中亞洲藝術雙 年展( 2017 年)、Amo 村「嘉萊露珠展 覽 3」( 2017 年)、Blut Grieng 村「嘉萊露 珠展覽 2 」( 2017 年)以及 Papet 村「嘉 萊露珠展覽 1 」( 2016 年)。他曾參與菲 律賓巴丹省 Bellas Artes Projects的駐留 項目。
Photo courtesy of Art Labor, Para Site, Hong Kong and T:> Works, Singapore
Cloud Chamber
Untitled
2024
Wood sculpture
42 x 22 x 15 cm
Courtesy of the artist
Commissioned by Para
Site and T:>works
《無題》
2024 年
木雕
42 x 22 x 15 厘米
由藝術家提供
由香港 Para Site 藝術空間
及新加坡 T:> Works
共同委託創作
Untitled
2024
Wood sculpture
50 x 17 x 42 cm
Courtesy of the artist
Commissioned by Para Site and T:>works
《無題》
2024 年
木雕
50 x 17 x 42 厘米
由藝術家提供
由香港 Para Site 藝術空間
及新加坡 T:> Works
共同委託創作
Lives and works in Pan village, Gia Lai province, Central Highlands, Vietnam
Romah Aleo is a woodcarving sculptor from the Jrai ethnic community and has been a long term collaborator with Art Labor since 2017. He often paints his sculptures with vibrant colors and continues to modify and rework the sculptures over time, reflecting his commitment to creating layers of meanings and emotional resonance. His works are full of mythical and wild creatures and he does not shy away from incorporating contemporary materials such as plastic and recycled cans into his sculpture. His work has been featured in the following exhibitions in collaboration with Art Labor: Bangkok Art Biennale (2018); ‘A beast, a god, and a line’ at Dhaka Art Summit, Para Site and Museum of Modern Art in Warsaw (2018) and ‘Jrai Dew exhibition no.03’ at Amo village (2017). He was in a residency programme at Bellas Artes Projects, Bataan, the Philippines (2018).
生活並工作於越南中部高原嘉萊省 Pan村
Romah Aleo 是一名嘉萊族木雕雕塑 家，自 2017年起開始與藝術勞工長期 合作。他時常以鮮豔的色彩描繪他的 雕塑，並將作品不斷修改、重塑， 藉此創造出不同層次的含義與情感 共鳴。其作品充滿神話般的野生生 物，亦會加入塑膠、回收罐等當代 物料。他曾與藝術勞工合作參與多 個展覽，包括曼谷藝術雙年展( 2018 年)、達卡藝術峰會、 Para Site藝術 空間及華沙現代藝術博物館的巡迴展 覽「一獸、一神、一線」( 2018 年) 以及 Amo村「嘉萊露珠展覽 3 」( 2017 年)。他曾參與菲律賓巴丹省 Bellas Artes Projects的駐留項目。
Photo courtesy of Art Labor, Para Site, Hong Kong and T:> Works, Singapore
Cloud Chamber
2024
Wood sculpture
73 x 45 x 45 cm
Courtesy of the artist
Commissioned by Para Site and T:>works
《無題》
2024 年
木雕
73 x 45 x 45 厘米
由藝術家提供
由香港 Para Site 藝術空間
及新加坡 T:> Works
共同委託創作
Untitled
2024
Wood sculpture
13 x 13 x 60 cm
Courtesy of the artist Commissioned by Para Site and T:>works
《無題》
2024 年
木雕
13 x 13 x 60 厘米
由藝術家提供
由香港 Para Site 藝術空間
及新加坡 T:> Works
共同委託創作
Untitled
1.
Lives and works in Pheo village, Gia Lai province, Central Highlands, Vietnam
Siu Huel is a woodcarving sculptor from the Jrai ethnic community. Art Labor first met Siu Huel in 2022 through the introduction of fellow Jrai artist Rcham Jeh. Unlike other Jrai artists who are farmers, Siu Huel used to be a government official but is now retired. The motif and style of his work evoke a sense of surrealism, transporting the viewer into a realm of imagination and fantasy. Huel often meticulously paints his work to create a narrated, mysterious scenario.
生活並工作於越南中部高原嘉萊省 Pheo 村
Siu Huel 為一名嘉萊族木雕雕塑家， 自 2022 年起在嘉萊藝術家 Rcham Jeh 的介紹下開始與藝術勞工合作。與其 他身為農民的嘉萊藝術家不同， Siu Huel 為已退休的公務員。其作品的風 格及基調帶有超現實主義色彩，帶領 觀者進入幻想的境界。其作品豐富的 細節營造出充滿敘事的神秘景象。
Photo
Cloud Chamber
Untitled 2024
Wood sculpture
143 x 12 x 45 cm
Courtesy of the artist
Commissioned by Para Site and T:>works
《無題》
2024 年
木雕
143 x 12 x 45 厘米
由藝術家提供
由香港 Para Site 藝術空間
及新加坡 T:> Works
共同委託創作
Untitled 2024
Wood sculpture
168 x 4 x 4 cm
Courtesy of the artist Commissioned by Para Site and T:>works
《無題》
2024 年
木雕
168 x 4 x 4 厘米
由藝術家提供
由香港 Para Site 藝術空間
及新加坡 T:> Works
共同委託創作
Lives and works in Pan village, Gia Lai province, Central Highlands, Vietnam
Siu Kin is a woodcarving sculptor from the Jrai ethnic community and has been a long term collaborator with Art Labor since 2022 through the introduction of Jrai artist Romah Aleo. Siu Kin is particularly skillful in traditional bamboo craft. Unlike the dynamic, angular, cubist style of traditional Jrai sculptures, Siu Kin’s statues are softly carved with rounded edges and modest sizes. His sculptures are combined with joints and wires, similar to that of wooden puppets. Siu Kin’s sculptures are playful and child-friendly while subtly expressing the mindset of a Jrai person living and working locally amidst the constantly transforming natural and cultural context of the Central Highlands. His work has been featured in collaboration with Art Labor at the Okayama Art Summit (2022).
生活並工作於越南中部高原嘉萊省 Pan 村
Siu Kin 為一名嘉萊族木雕雕塑家，自 2022 年起在嘉萊藝術家 Romah Aleo 的介紹下開始與藝術勞工合作。 Siu Kin 精通傳統竹工藝，其作品與傳統 嘉萊雕塑的動態立體派稜角相異，尺 寸較小而線條較為柔和。作品中的關 節與金屬線元素則與木偶相似。 Siu Kin 的雕塑作品充滿玩味，適合兒童 觀賞，同時隱約滲透出一個嘉萊人在 西原不斷變幻的自然及人文語境下生 活及工作的心態。他曾與藝術勞工合 作，於岡山藝術峰會( 2022 年)參展。
Photo courtesy of Art Labor, Para Site, Hong Kong and T:> Works, Singapore
Para Site
Cloud Chamber
Untitled
2024
Wood sculpture
58 x 52 x 67 cm
Courtesy of the artist
Commissioned by Para Site and T:>works
《無題》
2024 年
木雕
58 x 52 x 67 厘米
由藝術家提供
由香港 Para Site 藝術空
間及新加坡 T:> Works
共同委託創作
Untitled
2024
Wood sculpture
44 x 39 x 50 cm
Courtesy of the artist
Commissioned by Para Site and T:>works
《無題》
2024 年
木雕
44 x 39 x 50 厘米
由藝術家提供
由香港 Para Site 藝術空間
及新加坡 T:> Works
共同委託創作
Lives and works in Blut Grieng village, Gia Lai province, Central Highlands, Vietnam
Siu Lon is a woodcarving sculptor from the Jrai ethnic community and has been a long term collaborator with Art Labor since 2017. He is particularly skillful in the craft of bamboo carving with intricate details, he also has humble and calm characters, reflected in the serene and contemplative qualities of his sculptures. His work has been featured in the following exhibitions in collaboration with Art Labor: Bangkok Art Biennale (2018); ‘A beast, a god, and a line’ at Dhaka Art Summit, Para Site and Museum of Modern Art in Warsaw (2018); Asian Art Biennial, Taichung (2017); ‘Jrai Dew exhibition no.03’ at Amo village (2017); and ‘Jrai Dew exhibition no.02’ at Blut Grieng village (2017).
生活並工作於越南中部高地嘉萊省 Blut Grieng 村
Siu Lon 是一名嘉萊族木雕雕塑家， 自 2017 年起開始與藝術勞工長期合 作。他特別擅長傳統竹工藝，能製出 精巧細節。他謙遜和沈靜的個性， 反映在他的雕塑作品中具平靜和沈思 的氣質。曾與藝術勞工合作參與多 個展覽，包括曼谷藝術雙年展（ 2018 年）、達卡藝術峰會、 Para Site 藝術 空間及華沙現代藝術博物館的巡迴展 覽「一獸、一神、一線」( 2018 年)、 台中亞洲藝術雙年展（ 2017 年)、 Amo 村「嘉萊露珠展覽 3 」( 2017 年) 以及 Blut Grieng 村「嘉萊露珠展覽 2 」 ( 2017 年)。
Untitled 2024
Wood sculpture
16 x 11 x 30 cm
Courtesy of the artist
Commissioned by Para Site and T:>works
《無題》
2024 年
木雕
16 x 11 x 30 厘米
由藝術家提供
由香港 Para Site 藝術空
間及新加坡 T:> Works
共同委託創作
Untitled 2024
Wood sculpture
11 x 11 x 35 cm
Courtesy of the artist Commissioned by Para Site and T:>works
《無題》
2024 年
木雕
11 x 11 x 35 厘米
由藝術家提供
由香港 Para Site 藝術空間
及新加坡 T:> Works
共同委託創作
Cloud Chamber
Truong's works explore the intricate relationships between natural, cultural, religious, and economic forces that shape the contested geography of the Central Highlands. Employing elements collected from the Central Highlands terrain, Truong's pieces serve as a haunting testament to the land's past and its ongoing transformation. The fertiliser bags, now weathered and discoloured by the vivid red soil of the land, become a synthetic casing that simultaneously protects and conceals the area's history. These repurposed materials are a potent symbol of the tension between human intervention and the resilience of nature, evoking a sense
of impermanence and disquiet. Several of Truong's works explore the formation and impact of belief systems, highlighting the ways in which disparate mythologies intersect and clash. Whether through the material impermanence of his installations or the symbolic resonance of found objects, Truong probes the reciprocal relationship between humans and the natural world. The fleeting nature of these artworks reveals the enduring impact of weather, time, and human influence on both the artwork and the broader landscape.
and Kiang Malingue
Forming deforming ongoing 2018
Cicada shell, gold spray paint, found spade, found plaster statue, weather, time
45 x 25 x 15 cm
Courtesy of the artist and Kiang Malingue
45 x 25 x 15 厘米 由藝術家及馬凌畫廊 提供
From the primitive to the civilized 2018
Beehive, antenna, rock, honey, wood, weather, time
80 x 30 x 75 cm
Courtesy of the artist and Kiang Malingue
2018 年
蜂箱，天線，石，蜂蜜， 木，天氣，時間
80 x 30 x 75 厘米
由藝術家及馬凌畫廊
From a land long lost to a land dwindling
提供 《從早就失去的土地到 土地日益減少》
2018
Plastic fertiliser bag, soil, text, LED light weather, time
Dimensions variable Courtesy of the artist and Kiang Malingue
2018
肥料塑膠袋，泥土， 文字，LED 燈，天氣，
時間
尺寸可變
由藝術家及馬凌畫廊
提供
Cloud Chamber
張公松的作品深入探究自然、文化、 宗教與經濟如何塑造着中部高原極具 爭議的地理，以及這些勢力之間難以 釐清的關係。張氏自中部高原搜集原 材料，呈現出中部高原古今變化縈繞 不散的證據。幾經磨損又沾染上當地 紅土的肥料袋成為同時保護卻遮蔽當 地歷史的合成外殼。這些被挪用的物 料標誌着人工干預與大自然韌性之間 的角力，喚起無常與不安。張氏的數
件作品探討信仰系統的形成與影響 力，聚焦於迥異神話之間的相交與碰 撞。無論是透過稍縱即逝的物料抑或 尋獲物的屬性而作出共鳴，藝術家持 續探索人類與大自然之間的相互關 係。作品的短暫性揭示天氣、時間與 人類活動對於景觀的持續影響。
5.
Long Long Legacies
2021–ongoing Wooden beads
installation
Dimensions variable Courtesy of the artist
《久久不息》
2021 年至今
木珠裝置
尺寸可變
由藝術家提供
and works in Hanoi
Truong Que Chi is a Hanoi-based artist and curator. Her practice traverses the borders of different terrains including sculptural installation, film and theater, while remaining attentive to proportion, materials, rhythm and temporality. As abstract renderings of social, historical and autobiographical events and structures, Que Chi’s work delves into the spectacle of the everyday, its contrasting feelings, and its enigma. Her work evokes tenderness and violence, strain and resilience, fluidity and rigidity, weight and lightness, the visible and the obscure, childhood and oldage, and death and life. Since 2015, Que Chi has been a curatorial board member of Nha San Collective, an artist initiative based in Hanoi. Over the past decade, she has collaborated with Art Labor on various projects.
生活並工作於河內
Truong Que Chi 生活並工作於河內的 藝術家兼策展人。其實踐橫跨雕塑裝 置、電影及戲劇，同時專注於比例、 物料、節奏及時間性。其作品作為社 會、歷史及自傳式事件與架構的抽象 表達，深入日常的矛盾與謎團。她的 作品令人聯想到溫柔與暴力、壓力與 韌性、流動與固化、重量與輕盈、暴 露與隱藏、童年與老年、生與死。
Que Chi 於 2015 年成為河內藝術家團 體 Nha San 的策展團隊成員。過去十 年內，她曾與藝術勞工在數個計劃中 合作。
Cloud Chamber
Sleepless girl, a carousel, tree roots, mangoes, grey hair, soil and woodblock, a metronome, a banana sapling, a stone axe, two worms, an old pair of glasses, the landing of a knife, quail eggs, two bamboo poles tilting upward.
The moon counts her steps.
— Truong Que Chi
失眠的女孩、旋轉木馬、樹根、 芒果、白髮、泥土與木板、節拍 器、芭蕉樹苗、石斧、兩條蚯蚓、 一副舊眼鏡、一把跌下的刀、鵪鶉 蛋、兩條向上傾斜的竹竿。
月亮數着她的腳步。
Truong Que Chi
Sleepless Moon invites viewers to step into a realm of fragmented recollections, evoking personal reflection through the shadows of the past. Amidst the stillness of the nocturnal scenes, the video unfolds as a young girl appears and disappears across the nightscape. Her ephemeral presence suggests a slow rhythm with a sense of transience and mystery. Interwoven with the girl's movements is a careful selection of objects, some of which are inspired by the sensibilities of the Central Highland, others from childhood or memories or act as symbolic elements alluding to violence. The intricate assemblage emerges and
creates a rich tapestry of materiality and mythical resonance. Through the delicate choreographic interplay between the human presence and the objects, the video evokes a liminal space blurring the boundaries between reality and imagination, memory and the present. Sleepless Moon encourages the viewers to gaze inward, diverting our journey through the labyrinth of the soul where memories intertwine with the present. The video opens up a space for contemplating the essence of being and knowing and navigating the complexity of existence.
1.
Sleepless Moon
2024 HD video, colour/sound 15 min 22 sec Courtesy of the artist Commissioned by Para Site
Para Site
Cloud Chamber
《月夜無眠》邀請觀眾踏入一個充斥 着記憶碎片的世界，穿透影影綽綽的 過去喚起個人反思。錄像於沉寂的夜 幕下展開，跟隨一個女孩在夜色之中 出現、消失。她的稍縱即逝為作品冉 冉前進的步伐增添了幾分神秘。一系 列精心挑選的物件與女孩的身影交 錯——其中一些受中部高原啟發，其 他源自童年或回憶，又或者象徵着某 種暴力。這些不同元素相互交織， 形成層次豐富的物質性以及神話般 的共鳴。人與物之間的編舞在現實與 虛幻、記憶與當下之間的閾限空間上
演。當記憶與現實的界限變得模糊， 《月夜無眠》邀請觀者將目光投向內 在，在靈魂的迷宮旅行。錄像作品為 觀者開闢出一個空間，去思考存在、 意識的本質，為複雜的存在導航。
1.
Cloud Chamber
The mixed media installation includes projected images displayed on a series of curved mirrors encased in steel frames, creating a suspended structure reminiscent of a turbine system. Through the lens of a thermal camera, the video footage transports the viewer to the dry-season landscape surrounding a hydroelectric dam in the Central Highlands. Transforming the landscape into a kaleidoscopic spectacle, the work creates an ethereal creature-like presence that shapeshifts in the exhibition space. The installation invites viewers to engage with this duality in confronting both the promise of renewable energy advancement and the destruction upon the environment. The hypnotic visuals evoke senses of both beauty and unease as viewers are immersed in this illusory and galaxy-like realm. The shimmering and distorting forms seek to instil senses of overwhelming awe and fear in the viewer, akin to standing before the mechanical monster of a gigantic hydroelectric complex that has brought modern magic to the land while devouring its essence.
此混合媒介裝置的影像投射於多個由 鋼框包裹的垂吊曲面鏡結構之上， 彷彿形成一個渦輪系統。以熱感相機 拍攝的畫面帶領觀者穿越中部高原在 旱季時運作的水力發電站。作品中如 同萬花筒一般的景象在展場內不斷變 幻，如同一隻飄逸的生物。裝置作 品邀請觀眾思考可持續能源與環境破 壞之間的斡旋。催眠般的影像將觀眾 沈浸於這個夢幻的銀河系，誘發觀者 的敬畏，令其仿似置身於一隻機械巨 獸面前——一隻施放現代魔法同時吞 噬土地精髓的水力發電巨獸。
The Galaxy of Electrified Heat
2024
Video installation Dimensions variable Courtesy of the artist Commissioned by Para Site 1.
2024 年
受 Para Site 藝術空間 委託創作
Cloud Chamber
Cloud Chamber
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.
Cloud Chamber
16.08 – 24.11.2024
策展人 Curator
何思穎 Celia Ho
展覽經理 Exhibition Manager
許彥彤 Miki Hui
項目助理 Project Coordinator
陸其叡 Stefan Luk
平面設計 Graphic Design For&st
翻譯 Translation
陳子岳 Jason Chen
朱嘉喬 Koel Chu
Para Site Art Space is financially supported by the Art Development Matching Grants Scheme of the Government of the Hong Kong Special Administrative Region. The Government of the Hong Kong Special Administrative Region provides funding support to the exhibition only, but does not otherwise take part in it. Any opinions, findings, conclusions or recommendations expressed in the materials/activities (or by members of the Para Site team) are those of the organisers of the exhibition only and do not reflect the views of the Government of the Hong Kong Special Administrative Region.
Para Site 藝術空間為香港知名當代 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。
魂霧跡
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。香港特別行政 區政府僅為該展覽提供撥款資助，並無參與其 中。在刊物 / 活動內(或 Para Site成員)表達的任 何意見、研究成果、結論或建議，純屬該展覽 的推行機構的觀點，並不代表香港特別行政區 政府的觀點。
Additional Support
'Cloud Chamber: Central Highlands
Journey' is commissioned by Para Site, Hong Kong and T:> Works, Singapore
特別鳴謝
Special Thanks
Bao Yifeng 包一峰
Chan Ming Ping 陳銘平
David Chau 周大為
Cheng Hiu Wai 鄭曉蔚
Cheung Wing Yin 張穎賢
Chow Yik Sheung 周易霜
Kathleen Ditzig
Fok Pak Hin 霍百軒
Ho Chi Wing 何知穎
Institut de recherche France-Asie
Lorraine Kiang
Lai Tsz Ling 黎祉寧
Lee Adrienne Ching Kiu 李清翹
Lee Ho Ming 李浩銘
Li Chuqi 李楚琪
Yenn and Alan Lo
Lok Man Chung 駱敏聰
Edouard Malingue
Ng Ching Yee 吳靜而
Ng Kai Fung 吳啟峰
Nguyen Ngoc
Nguyen Thi Loan
Ong Keng Sen 王景生
Traslin Ong 王素琴
Pang To 彭慆
「魂霧跡 中部高原歷程」由香港
Para Site 藝術空間及新加坡 T:> Works 共同委託。
Doris Poon 潘韻怡
Puih Sen
Rahlan Renh
Rahlan Khon
Rahlan Thu
Hril Siu
Ting Lap Tak 丁立德
Tam Sze Yan 譚詩茵
To Wing Nam 杜泳嵐
Tom Chung Man 譚頌汶
Truong Bao Chau
Truong Minh Tu
Truong Minh Tuan
Truong Van Thanh
Truong Van Trinh
Luu Thi Tuong Vi
Wang Xiaoya 王小丫
Wang Chuyi 王楚怡
Xiao Wenyan 蕭文衍
Kylie Ying 應青藍
Yip Kin Bon 葉建邦
Yu Kin Hung 余健雄
Yun Hok Lun 甄學倫
The mountains, the trees, the animals, and the spirits of the Central Highlands.
中部高原的山、樹、動物以及神靈
PARA SITE 團隊
PARA SITE TEAM
Billy Tang 曾明俊
Executive Director and Curator
執行總監兼策展人
Celia Ho 何思穎 Curator 策展人
Jessie Kwok 郭芷凝
Assistant Curator 助理策展人
Li Yuanyu 李沅鈺
Assistant Curator
助理策展人
Miki Hui 許彥彤
Exhibition Manager 展覽經理
Jason Chen 陳子岳
Communications Manager 傳訊經理
Kelly Chan 陳憶文
Development Manager
發展經理
Holly Leung 梁皓涵
Gallery Manager
畫廊經理
Stefan Luk 陸其叡
Project Coordinator
項目助理
Lynna Lam 林珊
Development Intern* 發展部實習生*
*2023/24 Arts Talents Internship Matching
Programme supported by the Hong Kong
Arts Development Council
藝術人才見習配對計劃2023/24由
香港藝術發展局資助）
PARA SITE BOARD
PARA SITE 董事局
Alan Lau Ka Ming 劉家明
Chair 主席
Mimi Chun Mei-Lor 秦美娜
Vice Chair 副主席
Antony Dapiran 戴安通
Treasurer 司庫
Sara Wong Chi Hang 黃志恒
Secretary 秘書
Nick Adamus
Shane Akeroyd 安定山
Bonnie Chan Woo Tak Chi 胡陳德姿
Dr. Yeewan Koon 官綺雲博士
Alan Y Lo 羅揚傑
Adeline Ooi 黃雅君
Federico Tan 陳奕明
Honus Tandijono 陳松正
Yuki Terase 寺瀨由紀
Young Kar Fai Samson 楊嘉輝
Shane Akeroyd
ART021 Group
Mimi Brown & Alp Ercil
Jehan Chu
Mimi Chun & Chris Gradel
M Art Foundation
Dina Shin
Virginia Yee
FOUNDING FRIENDS 始創好友
Stephen Cheng
COLLECTIVE Studio
David Zwirner Gallery
Alan Lau
Wendy Lee
Edouard & Lorraine Malingue
Schoeni Projects
SUNPRIDE FOUNDATION
FRIENDS 好友
A Pipeline
Almine Rech Gallery
Nick & Cordula Adamus-Voegtle
Nicolas & Delphine Canard-Moreau
Lawrence Chu & Natalie Chan Chu
Jane DeBevoise
Yan Du
Hawk He
Reimi Imaizumi
Jina Lee & Jae Won Chang
Jeff Li & Chuanwoei Lim
Lisson Gallery
Alan Lo
Kai-Yin Lo
Ingrid Lok & Tim Li
Magician Space
Elaine W. Ng
Justin Ng
Stefan Rihs
Fabio Rossi
Roman Ruan & Freda Yang
Angelle Siyang-Le
Tabula Rasa Gallery
T:>Works
Bonnie & Darrin Woo
Dayea Yeon
聯絡我們 CONTACT
www.para-site.art
香港鰂魚涌英皇道677號榮華工業大廈22樓及
10樓B室
22/F & 10B, Wing Wah Industrial Building, 677 King’s Road, Quarry Bay, Hong Kong t. +852 25174620 e. info@para-site.art
星期三至星期日下午12時至晚上7時 星期一、星期二與公眾假期休息
Wednesday to Sunday, 12:00–19:00
Closed on Monday, Tuesday, and Public Holidays
Facebook/Instagram: @parasite.hk
Wechat: parasitehongkong
Cloud Chamber
