More recent updates at https://linktr.ee/lolailainatalie

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光明卻沒有背離黑暗
勞麗麗
展覽對談、圖冊及相關文章
附《飛行備忘》  及《光明卻沒有背離黑暗》文本

As Shards of Dawn Shot Though the Dark
Lo Lai Lai Natalie
Exhibition Catalogue, conversation, and essays

2024

Original Price: HK$360.00
Early Bird Discount: HK$288

訂購表格 Order Form

Tai Kwun BOOKED: Hong Kong Art Book Fair available

少量現貨將於艺鵠、Wure Area、Para Site Shop發售
Limited copies available in ACO, Wure Area and Para Site Shop soon

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無國界 Stateless
11.03 - 09.04. 2023
Two Temple Place, London

https://www.kakilang.org.uk/stateless

Reviews

‘State-less’: The Art of Belonging
ArtReview
STATE-LESS 無國界 - Kakilang Festival 2023
London Art Roundup
Exhibition: State-less 無國界 – Kakilang / Two Temple Place, London
Salterton Arts Review

Past Exhibitions/Projects

飛行備忘 A Messenger - Passerby in Our Battlefields
11.01 - 03.02. 2023
Goethe Insitut, Hongkong

Partners/ Goethe Insitut Hongkong, ifva Hong Kong Arts Centre
Supported by Hong Kong Arts Development Council

Ifva partners with Goethe-Institut Hongkong to present solo exhibitions for Media Art Category local awardees. This year the two parties will present the solo media arts exhibition “A Messenger – Passerby in Our Battlefields” of Lo Lai-lai Natalie, the Gold Awardee of the 26th ifva Media Art Category, which explores the conflicts and wrestling among humans and nature through a collection of new media artworks.

The lonesome spring is approaching. We yearn to sing freely and migrate like birds, but the price of staying alive remains a mystery. Farmers, like their crops, used to live with the land. Some of them, however, are uprooted and rely on their intuition to flow steadily in the sky, just to prevent themselves from falling back onto the soil.

It is an unsettling field in and out. Could nature articulate the true self by provoking our emotions?

fva 每年與香港歌德學院聯手為媒體藝術組本地得獎者舉辦個人展。今年為上屆金獎得主勞麗麗舉辦「飛行備忘」媒體藝術展，藉一系列全新創作，探索人類跟自然的矛盾跟角力。

寂靜的春天步步接近，卻尚未來臨。我們渴望跟鳥兒一樣自由歌唱、跟候鳥遷移，但生存的代價往往不得而知。農夫一向把自己與作物植根土地，有的卻連根拔起移植，在半空沈著沉著地飛行，以直覺導航，免得在泥濘裡自由落體。

田野內外躁動不安，自然能否牽引情緒、本真自我？

Article on the exhibition by Qu Chang
《風的潮汐》瞿暢

Gallery Hours
Monday: 11:00AM - 8:00 PM
Tuesday - Friday: 10:00 AM – 8:00 PM
Saturday: 09:30 AM – 6:00 PM

Closed on Sundays and public holidays

Media coverage

ENGLISH

1) Meet the Hong Kong artist turned part-time farmer, by By Aaina Bhargava, Tatler Asia

2) Growing Pains, by Enid Tsui, SCMP

3) Up Close: Lo Lai Lai Natalie, by Pamela Wong, ArtAsiaPaacific

4) Essays Mapping Ecology and Farming
Exhibition: A Messenger - Passerby in our Battlefields, by artfilmsider

CHINESE

5）《飛行備忘》勞麗麗媒體藝術展，張寶華，am730

6) 勞麗麗個展「飛行備忘」：若農夫是一名吟遊詩人，耕種則是一首浪漫派的詩，林靖風



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Previous Projects
In-between Islands of Art Naha, Okinawa Japan
03-18.12.2022
Link to the Urban Exhibition

The World is Your Oyster 世界是你的牡蠣
as part of the Hong Kong Art Gallery Association’s (HKAGA)
Summer Programme
Group Show
Ben Brown Fine Arts, Hong Kong
06.08.2022 - 21.09.2022

Link to the exhibition

Ben Brown Fine Arts is pleased to present our forthcoming exhibition The World Is Your Oyster at the Hong Kong gallery. As part of the Hong Kong Art Gallery Association’s (HKAGA) Summer Programme, the exhibition is organised by Hong Kong-based curator Juliana Chan with the aim of highlighting local artistic talents and fostering the Hong Kong arts community. The exhibition features works by LAU Hong Lam, LO Lai Lai Natalie, Mindy LUI, Amy TONG and Gavin YIP. The artists, hailing from various disciplinary backgrounds, will be exhibiting together for the first time in this group exhibition.

The exhibition’s title, The World Is Your Oyster, is a congratulatory wish to these five Hong Kong artists at the dawn of their careers. Stripped of its metaphorical meaning, the famous idiom is borrowed to describe how the food we eat (the oyster) is a product and reflection of the complex modern food system (the world). The contrasting difference between an oyster and the whole world also alludes to the huge gap between our food consumption and its industrial production.

布朗畫廊將於香港空間榮幸呈獻「The World is Your Oyster」展覽。作為香港畫廊協會暑期項目之一，是次展覽由香港策展人 Juliana Chan策劃，致力突顯本地藝術家及推動香港藝術界的發展，將首次同時展出不同領域的藝術家劉杭霖、勞麗麗、雷恩兒、唐嘉欣及葉進杰的作品。

展覽標題「 The World is Your Oyster」是對這五位職業生涯正處於初始階段的新晉藝術家的美好祝願。除了其隱喻含義，這句著名的諺語在此處被借用來描述我們所吃的食物（牡蠣）既是現代食物體系（世界）的產物，亦呈現其複雜性。 牡蠣與整個世界的對比亦影射如今食物攝取與工業生產之間的巨大差距。

The Wild and The Tame
Group Show
Denny Dimin Gallery, Hong Kong
11.06.2022 - 03.09.2022

The Wild and The Tame

The relationship between humans and nature becomes increasingly poignant as we find ourselves entrenched in the age of extreme human impact on the Earth. Whilst the negative connotations of this period are apparent through climate change and the widespread impacts of human intervention, we rely on the magic and connection to the wild for restorative energy much in the same way we look to art. The Wild and the Tame at Denny Dimin Hong Kong is a group exhibition with six artists who, through their work, observe nature, creating new lines of inquiry into human interaction with the natural world.

Dana Sherwood, born 1977 in New York, is a multimedia artist, whose ink and watercolor piece Pavilion of the Wild and the Tame, 2016 lends its title to the exhibition. As part of the exhibition, we will also be showing her video piece Sight Equus Mongolia, 2019. As an artist Sherwood is known for her diverse practice in exploring the relationship between humans and the natural world in order to understand culture and behavior in a changing environment. In her work, nature, often in the form of non-human animals, plays a complex role as both subject and collaborator. Sherwood relies upon her own style of magical realism to portray contact between human and non-human animals as a tool to understand culture and behavior and more importantly to recognize the interconnectedness of our ecosystem.

Paula Wilson, born 1975 in Chicago, had work featured in Denny Dimin, Hong Kong’s inaugural exhibition, Lunarian. Throughout her practice, insects, flora and fauna, drawn from the surrounding environment of her studio in New Mexico, interact with her human subjects. Inspired by actual and imagined histories, she creates her own brand of folklore and mysticism where the wild and the tame collide. In her piece Catching the Night, 2021, featured in the exhibition, a female figure holds up a large blanket which acts as a backdrop to the moths and insects which come alive at night. The detailed close-up of one of the moths captured in the far right corner through the perceived lens of a mobile phone, throws into light a new era of human interaction with nature where technology allows for even more inquisitive and arguably intrusive exchange.

The artist L, born 1984 in Salt Lake City, Utah, is known for inserting alchemy and witchcraft into their practice. Their “spells” are collated “ingredients” taken from nature, such as earth and crystals married with various tokens of contemporary life which are imbued with a talisman quality: lightbulbs, beads or lighters, to name a few. They are interested in the metaphysical connection of objects which moves into the interconnectedness of humans and nature. The wild and the tame taken as the natural and manmade materials are encapsulated together in glass vessels becoming alchemic creations such as, Spell to dissolve the singularity and enlighten all humans, 2021.

Jessie Edelman, born 1986 in Milwaukee, uses the natural world as a source of inspiration to be observed and revered rather than an immersive environment. Her works include nature in the traditional mores of art history – as a place of beauty and iconography. Edelman uses her canvas as a place to create imagined spaces which pull from human ideals of a blue sky, full, leafy trees and plants as well as rich blooming flowers intense with color and saturation. In this context the natural wild is tamed and manipulated by the artist to manifest these desirable spaces.

Natalie Lo Lai Lai, born 1983 in Hong Kong, has a distinct practice, using video and installation as a means to interact with nature. Her video piece Voices from Nowhere, 2018, captures the unique magic of traditional farming practices where humans intersect with nature with the intent to control it and protect their livelihood. In this piece Lo Lai Lai was inspired by a coincidental encounter with a farmed fishpond in Yuen Long in Hong Kong. She looks at the impact of human intervention with the landscape for farming yet how in its own way this results in magical transformations from farm to plate. She writes, “The ecological system is a chain of desires, tied to the individual’s sensibilities wandering about in the depth of mysterious valleys”. Both the human intervention and consequential shifts in that area have an arcane quality where the fishing community and nature hold on to the secrets of the fishpond.

Greer Howland Smith, born 1981 in Chicago, has two artworks featured in the exhibition, Satellite, 2019 mixed media on paper, and Homeostasis, 2019 acrylic on canvas. These works highlight how the artist studies the ecosystems of plants and the cycles they go through. She uses this as a reference to a globalized sociopolitical status moving through decline and renewal paying attention to how technology has started to interfere with the natural world. By manipulating her visualizations of botanical life, Howland Smith looks to this outward interference on the natural world. She does this with layers of paint and graphic lines made from spray paint, oil pastel and ink. They alter, dissect and skew the botanical portraits which range from plant cells to actual plants. The artist finds beauty in these processes as she seeks to celebrate flora even through death and regeneration and alteration.

In conjunction with the exhibition, Denny Dimin Gallery will be launching the first issue of Thick Cut, a new zine formed as a collaboration with Ruby Weatherall, who works with Asia Art Archive and Joanna Fu who works for Vogue, Hong Kong. The zine is born from conversations throughout the pandemic centering on the importance of food and nature. For the founders, “eating is as much a daily necessity as a performative act. It is associated with the seasons, the harvests, the land and our cultural and religious customs”. The first issue of Thick Cut will exclusively be on sale throughout the exhibition at Denny Dimin Gallery, Hong Kong.

Denny Dimin Gallery, Hong Kong is located at No. 612 Remex Center. No. 42 Wong Chuk Hang Road. Hong Kong. The exhibition will be open Wednesday to Saturday, 12 to 6 pm.

For sales and press inquiries, contact hk@dennydimingallery.com.

野蠻與馴化

隨著人類從越來越多的角度發現自己深陷在對地球的極端影響下，我們與自然之間的關係也從而變得越來越尖銳。儘管在現在這個時期我們所能想像到的負面影響已經包含但不局限於全球變暖等人為因素，但是人類這個集體對於大自然神奇而又野蠻強勁自愈能力的依賴，就像我們對藝術的渴望一樣強烈。丹尼迪明香港畫廊攜手六位藝術家舉辦本次展覽《野蠻與馴化》，通過這些藝術家的作品觀察自然、並嘗試摸索人類與自然世界互動的新途徑。

來自紐約的藝術家 Dana Sherwood (1977 – ) 是一位多媒體藝術家，她的藝術作品《Pavilion of the Wild and the Tame》給本次群展命名提供了靈感。一份來自於Sherwood 2019年的視頻作品《Sight Equus Mongolia》也將在本次展覽展覽中為大家呈現。 Sherwood作為藝術家，一直以探索人類與自然世界之間的關係，和理解瞬息萬變的自然環境文化和行為而被大家熟知。在她的作品中，自然通常以非人類動物的形式，扮演著一個複雜多元的主體和合作者。 Sherwood憑藉自己的魔幻現實主義風格描繪了人類和自然界生物之間的聯繫和接觸，她的藝術作品不僅是理解自然文化和自然行為的工具，更重要的是使我們意識到人類與生態系統之間那千絲萬縷的聯繫。

Paula Wilson (1975 – ) 來自於芝加哥，丹尼迪明畫廊與Wilson在香港首展《月球居民》的展覽上就曾經有過合作。她的作品時常包含人類與自然互動的主題，其靈感來源於她在新墨西哥州工作室裡的手工實踐、對昆蟲、植物動物的觀察和研究等。通過體會到真實觸感和想像歷史的啟發，Wilson用她的藝術作品創造了自己那野蠻與馴化相輔相成風格的民間傳說和神秘主義。 Wilson在本次展覽中展出的作品《Catching the Night》創作於2021年，作品中一位女性形象高舉著一個大毯子，以作為夜間活躍飛蛾和昆蟲的背景。作品的右下角，展示了一隻通過手機鏡頭捕捉到詳細特寫的飛蛾，展示了人類與自然互動的新時代。在這個時代，技術幫助人類給自然帶來了更多好奇和具有侵入性的交流。

出生於鹽湖城的藝術家 L (1984 – )由運用神秘力量和嵌入金屬在藝術作品中而聞名。他們的“咒語”是從自然中提取並經過整合的“成分”，比如泥土、水晶與現代生活的各種象徵性的符號結合在一起，比如: 燈泡、珠子或打火機，等等。這些符號被賦予了護身符的特性。藝術家對事物形而上學的聯繫產生了興趣，這種關係延伸到人與自然的互聯性。野蠻與馴化在此凝聚於自然的物質和人造的材料同時密封於玻璃器皿之中，並成為L嵌入金屬的藝術品，比如，創造於2021年的作品《Spell to dissolve the singularity and enlighten all humans。
Jessie Edelman (1986 – ) 來自美國擁有歷史悠久並風景動人的密爾沃基，她將自然世界作觀察和崇敬的靈感來源，而不是一味的沉浸在享受美好的環境中。她的作品將美麗且具有代表性的大自然用藝術的形式納入了藝術史的傳統習俗中。 Edelman將她的畫布打造成了一個盡情發揮想像力和創造力的空間，並從人類的理想中用畫筆描繪出一片片蔚藍的天空，繁茂的樹木、鬱鬱蔥蔥的植物以及妖嬈的花朵。自然的野性被藝術家在這樣的情形下馴服和操縱，從而達到這令人豁然開朗的空間。

香港藝術家 Natalie Lo Lai Lai (1983 – ) 使用視頻和裝置作為與自然互動的方法是她獨特的藝術實踐手法。 2018年，她的視頻作品《piece Voices from Nowhere》不僅捕捉了傳統農耕方式的獨特魔力，也表達了人類與自然互動交融的目的是為了控制自然從而保護自己的生計的觀點。 Lo Lai Lai的這份藝術作品的靈感源自於她與香港元朗一個養殖魚塘的一次偶然相遇。她研究了人類干預農業景觀的影響，以及人類如何用自己的方式做到了將生物從農場到餐盤的神奇轉變。她寫道:“生態系統是一條慾望鏈，與徘徊在神秘山谷深處的個人情感相連。” 人類的干預和由此所產生的變化都隱含了一種神秘的性質，漁業社區和大自然都守護著魚池的秘密。

來自芝加哥的藝術家 Greer Howland Smith (1981 – ) 在本次展覽中展出的兩幅作品分別是創作於2018年的紙上混合媒介作品《Satellite》和帆布丙烯作品《Homeostasis》。這兩幅作品突出了藝術家如何研究植物的生態系統，也展示了植物所經歷的循環。她在此用了一個全球化的社會政治地位在衰落和復興中起伏的參考，並由此展開關注技術是如何開始乾擾自然世界的。通過操縱她對植物生命可視化的觀察，Howland Smith發現了這種對自然世界的外部干擾，並用噴漆、油彩和墨水畫出層層疊疊的顏料、圖形和線條等加以表達。這些物質改變、分解、轉變形態，並最終由植物細胞變成正真的植物。藝術家在這些過程中發現了美，因為她從中窺探到了植物試圖通過走向死亡、再生和改變來迎接植物群的新生。

與此同時，丹尼迪明畫廊將推出第一期《Thick Cut》雜誌，這是與亞洲藝術資料館的Ruby Weatherall 和香港《Vogue》的 Joanna Fu 合作創辦的一本新的雜誌。這本雜誌的創作靈感來源於疫情期間關於食物和自然重要性的討論。對於創始人說，“吃飯是一種日常必需品，也是一種行為。它與季節、收成、土地以及我們的文化和宗教習俗都息息相關。” 第一期《Thick Cut》雜誌將在丹尼迪明香港畫廊獨家發售。

丹尼迪明畫廊地址位於黃竹坑道42號 利美中心 612, 香港。營業時間為禮拜三至禮拜六，中午12:00 至 下午6:00。

銷售和媒体垂詢請聯繫 hk@dennydimingallery.com

最好把音量收細 You'd better turn down the volume
PTT Space, Taipei, Taiwan
18.12.2021 - 12.02.2022

展覽導讀

務農時，時間就成了不用除草與噴灑農藥的代價，我們老是蹲著除草，默默地拔走無止境擴張蔓延的野草，有一句沒一句的答話。還以為走近大自然聽到的都是天籟，對的，鳥兒在歌唱，但毗鄰的農婦卻總是模擬鳥語高聲驅趕。

農田附近有一休閒農莊，給人假日享受田園風味，那是有機士多啤梨園、格仔田、燒烤跟卡拉OK 的複合式。田野間，不同年代的流行曲縈繞不散，哪個時候才會唱起我們那幾首歌？那幾首僅給我唱的歌。（最好把音量收細，那種歌詞只有同伴才懂。）

 在約十年前，眼前的荒野被溫柔開墾，成了不太井然有序的農地。

咔嗒、咔嗒、咔嗒，據說是根部細胞壁破裂的聲音，原來只要把耳朵貼近地面便聽到耳邊細語，縱使音量微細得過份。

對於一直保持緘默的植物，我們由好奇、疑惑走向處之泰然的失語狀態。

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「你嘗試中立，讓一切作出最平淡無奇的賭注，卻又不經意地喚起眼前空氣間的微物，在一呼一吸的節奏下驅使聚合融化、破碎分離。

我不特別喜歡賭博，但當經歷數個回合，誰也不能幸免，變作心存僥倖的賭徒。」——《冷火，單頻錄像，2019-2020，勞麗麗》

在半農半Ｘ的生活實踐中，深掘自然中的暗示，耕作對人的賦權，讓劇烈的變化發生在一切靜默重複的動作之中，那些看似寂靜平緩的景象裡，相互牽引的效應隱藏在輪廓下，發出細碎疊加的呢喃。

 以發酵為暗示，微生物作用下蘊含的未知與危險、多變與興奮，隱喻著不同物質與人和空間之間的關係，在發酵的瓶內以及瓶外的人、環境與社會，共處在相同的躁動與未知中，過程裡多方各自介入、相互影響，使群體和個人的定位在流動中各有轉換。

 以自然作為依存，在非語言的溝通與嘗試理解的過程中，讓思想遊走在環境的律動裡，使意識在田野的主客體間流動、交換，於幽靜間相互敘事，生命成為想象擴張的場域，主觀投射的界線因此難以辨別。

在植物錯綜複雜的根裡、埋在細碎的砂石之中，暗地裡醞釀思緒，以景致與人的複音，對保持緘默的客體進行臆測，揭示壓抑已久，又蠢蠢欲動的慾望與執念。

 / 展覽資訊 Info. /

 開幕時間 Opening | 2021.12.18 (Sat.) 15:00 – 19:00

展覽日期 Duration | 2021.12.18 – 2022.2.19

 參觀時間 Opening Hours |

Tue. – Fri. 12:30 – 18:30

Sat. 12:30 – 19:00

建議參觀時長

40min – 60min

 展覽地點 Location | PTT SPACE

台北市松山區敦化南路一段100巷7弄31號一樓

聯絡電話 Tel. | +886 2 2771 – 0917

官方網站 Office Website | pttspace.com

展覽時間及規定將依疫情滾動式調整。

You’d better turn down the volume

When farming, time is the cost of not weeding and spraying pesticides. We always squat down to weed the farm, silently pulling the endlessly spreading weeds, talking to each other sporadically and casually. We thought what we could hear in nature is the melody from heaven. Yes, birds are singing; yet, the neighboring woman farmer always imitates bird chirping to scare birds away.

Not far away from the farmland, there is a farmhouse resort. People can enjoy the rural life with the offered facilities, including an organic strawberry garden, a DIY farm, barbecue facilities, and a karaoke set. In the fields, one may constantly hear pop songs from different generations. Then, when will the songs of my time be played? Those songs that are particular to me. (You’d better turn down the volume. Only you and your peers could tolerate the lyrics of those songs. )

Around ten years ago, the wilderness was reclaimed and turned into farmland that was far from orderly.

Crack, crack, crack. It is said to be the sound when a cell wall bursts in the root. If you pay close attention to the ground, you may hear the cracking sound, even if the sound is so subtle.

We are curious and puzzled by the silence of plants, and we finally take it for granted and neglect plants around us.

You tried to be neutral. Let everything place their bet inconspicuously but waking the microorganisms in the air unintentionally and in rhythm of your breath, driving them to collide and merge, or to break up and disperse.

I don’t like gambling, but after a few rounds, no one could escape to put their faith in luck like a gambler.

“Cold Fire, Single Channel Video, 2019-2020, Lo Lai Lai Natalie”

In the life practice partly engaging in farming, one explores nature for more clues. The empowerment of agriculture on humankind allows drastic changes to occur in the course of silent and repetitive practices. The hidden interlocking effects are murmuring subtly in those seemingly tranquil and peaceful landscapes.

 The artist takes fermentation as a metaphor. The unknown, dangerous, changeable and exciting microorganism implies the relationship between substances, people, and space. People, environment, society, and the bottle which contains fermented substances coexist in the same turbulence and uncertainty, while each part intervenes and affects others, constantly switching individual identities in the flow.

Taking nature as a support, one lets their thought wander in the rhythm of the environment in the process of non-verbal communication. One’s consciousness flows in the farmland, becoming the observer and the observed and narrating from the two standpoints. The practice of life becomes the extended site of imagination, and the boundary of subjective consciousness is therefore indistinguishable.

One secretly wonders among the intricate roots buried in the ground covered by fine gravel. With the juxtaposition of scenery and humankind, one speculates on the silent object and then reveals the long-suppressed yet sprouting desire and obsession.

寂靜春天來臨前 The Days Before the Silent Spring
WMA Commission
15.12.2020 — 15.01.2021

上海昊美術館 HOW Museum Shanghai
被打斷的飯局 Interrupted Meals
8.8 — 31.10.2020

‭
藝術家：約瑟夫·博伊斯（Joseph Beuys）、鄧恩與雷比（Dunne & Raby）、未來農夫（Futurefarmers）、林育榮（Charles Lim Yi Yong）、勞麗麗、艾麗亞·內薇斯塔（Elia Nurvista）、石青、田村友一郎（Yuichiro Tamura）、唐菡與周霄鵬、童文敏、徐坦、於吉、鄭波
策展人：付了了
助理策展人：王子遙
地址：昊美術館（上海）三樓（上海市浦東新區祖沖之路2277弄1號）

上海昊美術館榮幸地宣布最新群展“被打斷的飯局”，將於2020年8月8日開幕。

“被打斷的飯局”題目取自法國哲學家米歇爾·賽荷（Michel Serres）的著作《寄食者（The Parasite）》。塞荷在本書中將人類的歷史視作其對自然和人類本身相互“寄食”歷史，對人類中心主義及此觀念之下的技術生產體系展開批判。作為疫情发生以來昊美術館的首次群展，本次展覽試圖在這個“被打斷”的時刻再次審視人類與我們所置身的自然之間的關系，反思既有生產體系和連結方式的危機。

但當我們在談論“人類與我們所置身的自然的關系”時，我們可能隨即意識到這句話本身就存在問題，即：

人類是自然的一部分嗎？
今天自然還是我們認為的那個自然嗎？

我們大可以從對第二個問題的假設性回答中來理解第一個問題的必要性。如果人類是自然的一部分，那麽問題本身所指涉的人與自然的二元建構將不再成立，但正因為人類長久以來對自然無節制的幹預和隨意構建，才導致人和自然的關系特殊於其他物種與自然的關系。在這里，我們可以參照賽荷在《寄食者》中所指出的：“人是萬物的寄食者，他身邊的一切都是他的寄宿場所。動物、植物，永遠都是他的東道主，永遠有義務接待他。予取予求，無以為報。他出於私心，擅自扭曲了交換和贈送的邏輯。他就是這樣面對大自然。那麽，對待人類同胞呢？他還是不改其寄生蟲的本色，但他的同胞也想做他的寄生蟲。”（Serres, 1980）人類對自然的幹預從來都與其自身发展的邏輯一致，要討論這兩者之間的關系，我們就必須首先回到人類自己发明的生產系統和連結方式上來——一個自然從未缺席的人工系統和一個業已失效的全球化連結；其次，我們也必須對這一邏輯下的自然提問：它只是那個被工具化的、需要保護的，由氣候、污染、物種滅絕與殺戮報告組成的毫無主體性的對象嗎？尤其在危機頻发的今天，我們並不難想象一個人類滅絕後仍然存在的自然——它可以通過調節自身的形態和組成方式而得以有機的持續，而我們竟甚少向它學習。

因此，本次展覽所討論的自然既不是一個分離或對立於人/人工的概念，也不是一個被裹挾在各種傲慢的宏大敘事中的一團模糊不清的空虛修辭，而是一個由諸多具體乃至微小的事物和連結它們關系網絡共同構成的集合與自足性主體。這個集合與主體在本次展覽中具體化為同時處在前自然與人類文化、生產系統和連結方式等諸多範疇之中的“食物”。

食物和烹飪曾經是人與自然最密切的互動方式，它將整個生態環境轉換為日常生活的形式，把人們聯系在一起。在工業化生產之後，食物的獲取和消化方式逐漸偏移了連接萬物的生態系統，轉而以大規模精致生產和消費的面貌，深刻的卷入到工業化、殖民史和全球化的演進歷程，成為資本體系中生產、消費和欲望的孤立單位，因此它亦指涉了人類自身的命運。展覽“被打斷的飯局”即是一個重思食物及其相關的體認、生產、流通、制作、用餐方式及文化指涉的動態場域。

香港油街實現 Oi! Hong Kong
‬如果我們還有空間‭ The Practice of Everday Life
Joint Exhibition
27.6 — 8.11.2020

Click to check about the work

如果我們還有空間
日期：27.6 — 8.11.2020
地點：油街實現

油街實現以創意啟發對綠色生活的想像，迎向城市的可持續發展。我們伙拍張慧婷、方韻芝及梁棨豪，在面對當下眾多環境危機之時，為油街實現擴展計劃打開這個話題匣子。計劃邀請七組創意工作者，聯同多位研究與創作伙伴，憑藉自身的創作實踐，透過研究實驗、創作展出及公眾參與項目，在各自的修行中尋找可持續發展的空間，發掘環保概念於日常生活的可行性。

策劃伙伴
張慧婷
方韻芝
梁棨豪

參與者
草途木研社 x 林池 x 葉曉文
Toby Crispy@時裝醫務所 x 陳曉君 x 黃海珊
MUDWORK x 綠腳丫親子讀書會 x 林建才
張瑋晉 x 天光Ride x 許迅
黎慧儀 x 吳英嬋 x 王曉欣
勞麗麗 x 岸本何穎怡 x 黃倬詠
日青 x 不是垃圾站 x 曹穎褀

平面設計及插畫
紙本分格

攝像
朝夕公園

展覽設計
近建築

燈光設計
賴詠珊

=================
康樂及文化事務署主辦
油街實現籌劃

The Practice of Everyday Life
Date: 27.6 — 8.11.2020
Venue: Oi!

Vivifying and broadening the imagination on green living through creativity is one of the Oi! various aspects addressing the sustainable future of our city. In the face of many environmental crises of our time, Oi! joins hands with Stephanie Cheung, Vangi Fong and Nicky Liang to invite seven groups of creative practitioners as well as their research and creative partners, to explore the feasibility of embedding environmental-friendliness into our daily practices. In each of their creative aspects, the groups offer sustainable alternatives developed from research and experiments, artistic displays and public participation.

Curation Partner
Stephanie Cheung
Vangi Fong
Nicky Liang

Contributors
Coutou Woodworking Studio x Lam Che x Human Ip
Toby Crispy@Fashion Clinic x Ichi Chan x Phoebe Wong Hoi-san
MUDWORK x Green Feet Parent-Child Reading Club x Lam Kin-choi
Kevin Cheung x Tin Kwong Ride x Eddy Hui
Monti Lai Wai-yi x Angie Ng x Ivy Wong
Natalie Lo Lai-lai x Wing Kishimoto x Kathy Wong Cheuk-wing
Yat Ching x Waste No Mall x Cho Wing-ki

Graphic Designer & Illustrator
zbfghk

Videographer
Jiu Jik Park

Exhibition Designer
AJAR

Lighting Designer
Bie Lai

=================
Presented by the Leisure and Cultural Services Department
Organised by Oi!

Eaton Hotel Tomorrow Maybe
保持緘默 Give no words but mum
Solo exhibition 23 Jan - 19Apr

Coverage:

1/ 【道聽途說】觀展雜記（二）：黃照達一切如常的「日常生活」、勞麗麗「保持緘默」的深耕細作 / 文 | 梁寶山

2/ 何倩彤訪勞麗麗《保持緘默》：In (Art) Space No One Can Hear Your Scream

Reception 開幕酒會
23.1.2020, Thursday 星期四, 7 – 9pm

保持緘默:
勞麗麗個展

'荒野被溫柔開墾，成了不太井然有序的農地。

栽種了的瓜果菜蔬，一直沉默不語，我知道長得茂盛的跳上了貨車，跑到爐頭轟烈犧牲；這是謀殺，挺是誤殺， 我說不出所以來。於是我找緊機會，拾人牙慧的告訴你：

「一種單向的關係在你們和我之間
進展得還算順利。
我知道葉子，花瓣，核仁，毬果和莖幹為何物，
也知道你們在四月和十二月會發生什麼事。
雖然我的好奇未獲回報，
我仍樂於為你們其中一些彎腰屈身，
為另外一些伸長脖子。」
辛波絲卡．《植物的沉默》

咔嗒、咔嗒、咔嗒，據說是根部細胞壁破裂的聲音，原來只要把耳朵貼近地面便聽到耳邊細語。

對於一直保持緘默的植物，藝術家由好奇、疑惑走向處之泰然的失語狀態。

Tomorrow Maybe很榮幸地能為大家帶來勞麗麗最新個人展覽展覽《保持緘默》， 帶來她近兩年流動影像及裝置作品，呈現其難以言喻對植物依存的關係。最新作品包括個人私密地下電視台－《漫慢電視 III ：保持緘默 》，繼續為患有分神症觀眾服務，提供消磨時光的節目，思緒隨著植物埋在泥土的根部被抓起來，任細碎的砂石安然地散落四周，冷靜地揭示抑壓已久、卻又蠢蠢欲動的慾望與執念。' - 勞麗麗

The wilderness is gently cultivated and turned into a not very orderly farmland.

The planted fruits and vegetables have been silent. I know that the blossoming ones have jumped onto trucks and upon stoves to sacrifice spectacularly; is this murder, or manslaughter? I can't tell. So I take the chance to tell you in some other people’s words:

A one-sided relationship is developing quite well between you and me.
I know what a leaf, petal, kernel, cone, and stem are,
and I know what happens to you in April and December.

Though my curiosity is unrequited,
I gladly stoop for some of you,
and for others I crane my neck.

Wisława Szymborska, The Silence of Plants, trans. Joanna Trzeciak

Click, click, click. This is said to be the sound of rupture in the root cell walls.
You can actually hear the whispers just by pressing your ear to the ground.

Regarding the plants that remain silent, the artist has moved from curiosity and puzzlement to a calm aphasia.

Tomorrow Maybe is proud to present Lo Lai Lai Natalie's latest solo exhibition “Give no words but mum,” featuring her moving image and installation works of the past two years that portray her inexplicably dependent relationship with plants. The most recent works include a personal private underground TV station “Slow-so TV: Give no words but mum” that continues to serve distracted audiences and provides them with programs to pass the time. Thoughts, uprooted together with the plants from the earth, the fine debris serenely scattered about, calmly reveal long-suppressed desires and obsessions.

墨方空間
咄咄逼人的美人兒

http://www.artlinkart.com/cn/space/exh_yr/083bAtrq

展覽日期 2020年1月11日- 2020年3月9日

開幕時間2020年1月11日, 16:00, 星期六

展覽館墨方空間 (中國北京市)

策展人王泡泡

藝術家旦兒、董金玲、顧穎、賀子珂、黃朔菲、郎粲、勞麗麗、梁偉、劉雨佳、羅慶珉、王芮、蕭涵秋、楊光南、葉甫納、袁可如、朱熒熒

主辦方墨方空間 (中國北京市)

咄咄逼人的美人兒簡介

1

16位藝術家聚在這裡，包括策展人在內，全女團。

這有任何進攻性嗎？構成挑釁嗎？政治更正確或更不正確嗎？

沒有。

2

先秦便有著錄的語氣詞“咄”，到東西漢才相遇為表驚奇嗔怪的“咄咄”，又百餘年，才在東晉衛夫人為其弟子王逸少所寫的評語中凝為“咄咄逼人”這一十足霸凌的成語，而要這盛氣凌人的四字一詞與聽起來薄倖輕浮的“美人兒”直接聯署起來，則有待20世紀的譯家蔡鴻濱先生：是他在面對法語La Belle Noiseuse的逼迫時，用“咄咄逼人的美人兒”迻譯了這一最初作為巴爾扎克筆下虛構的十七世紀大師畫作之名出現，如今又被米歇爾·塞爾在《萬物本原》中反复援用和引申，最終在動蕩的概念之海上錨定為可能性與繁多本尊及其形象的緻密短語。

3

字、詞、句各有其出身、門第，與境遇，一個短語以如是形態在此，並不意味著它理所當然如此或必然一成不變的生髮同樣的意義，常常被我們信手拈來視若無睹的習語們，其實千鈞一發，稍縱即逝。

展覽，也如是一樣。

我們盯緊變動中的世界，看能不能攔住或截下一個片刻，用某個臨時句法，組織起來，懸吊起來。

你看見的是你，你的聾啞傻，痴夢。

4

想像有秩序，還是服服帖帖的屈從於這混亂，並且用各種材料、聲音、顏色，承認混亂的威權；假裝我們還能組織起某種腔調，激發或至少應和所謂世界的節奏，還是我們乾脆同床異夢，呼籲分離者從速，逃跑的抓緊。

我選後者。

5

第一次在《萬物本原》讀到“咄咄逼人的美人兒”，我就飛了，無數面孔、身體，巨浪般湧來，潮汐漲落，拉著、扯著，慳吝拒絕又慷慨給予我同一樣東西：名和義。

月光喧囂，耀眼奪耳。

藝術的譜系樹瘋長，落下滿地矛盾的果實。

6

看這個展，一定要讀一讀《玄妙的傑作》。

這也是M在出版第一卷《資本論》前夕給他的同志和遺產執行人N的建議（其實是命令吧），他說“我從裡面看到了絕妙深刻的諷刺”。

7

請相信我，不管你因為這一標題想到的會是什麼——性別抗議、女性主義、女權意識，尤其這些——，和我試圖但肯定沒有能力通過這個展覽開啟的討論相比，都過於還原論，太過確信和呆滯。勉強做一個決定的話，作為策展人，我願意你相信出現在這兒且“咄咄逼人的美人兒”最終是無名和無義的，這結論看起來會更接近塞爾的哲學而不是里維特的電影。

8

塞爾說：“一切事物都建立在可能性的基礎上，一切藝術作品都起源於咄咄逼人的美人兒，一切狀態都來自混沌。最常見的遺忘就是忘記可能性。它經常被人遺忘，以至於變得模糊不清了。”

不管這一切看起來多麼奇怪，或者所有這些藝術家放在一起多麼協調或不調，不管A空間和B空間是否彼此褫奪或加冕，要的，是足夠多的矛盾和解體。

只有如是持守於動盪和變化，我們才能在表裡性別的同義結構裡堅持到場，並突兀。

9

顧名思義在這裡行不通。

因為這次是援引的援引的援引，其援引的佶屈程度足以模糊任何實指。

不過，你依舊可以顧名思義——

誰咄咄逼人，誰就是美人兒。

或

誰是美人兒，誰就咄咄逼人。

王泡泡

2019.12.29

[1]: Marx to Engels, February 25, 1867, Marx Engels On Literature and Art, Progress Publishers, 1976; https://www.marxists.org/archive/marx/works/1867/letters/67_02_25.html

[2]: Michel Serres, Genesis, translated by Geneviève James & James Nielson, Ann Arbor, The University of Michigan Press, 1995.

Screening in Cosmopolis #2:rethinking the human
6 Dec 2019

北京泰康空間 Beijing Taikang Space
飢餓地埋 A Geography of Resistance

藝術家和其他參展方：城中村自建房調查小組、叢峰、郝敬班、勞麗麗、劉偉偉、論電影院、堅果兄弟、徐坦、餘果、曾宏、子傑

策展人：李佳
藝術總監：唐昕

致謝：海報“飢餓地理”題字歐飛鴻

關於展覽

“飢餓地理”借自1950年代巴西左翼經濟學家約緒·德·卡斯特羅的同名著作標題。用作者自己的話說，這部書不是人類莊嚴的記載，而是關於人類痛苦的地理，一種悲劇性矛盾的地理，它研究的不是土地怎樣以糧食供給人類，而是人類怎樣成為培養土地的養料。 

飢餓戕害生命。它以最直接、強烈和暴力的方式作用於人的身體​​。它所關聯的痛苦經驗是如此普遍和常見，以至於我們有時會忘記它在今天的現實中常常只是作為一個隱喻。肌體被剝奪營養就陷入了飢餓。而一個人被剝奪了來自社會的給養、支持和連結，他/她是否也處於另一種意義上的飢餓狀態之中呢？如果我們再次引用《飢餓地理》中的結論，即“飢餓是帝國主義對人民和土地剝削的結果”。那麼，在我們共同生活的土地上，是否也有某種存在於空間關係中的，局部的不均衡和不平等，如同潛伏的飢餓在如影隨形呢？而這些被擠壓的生命和被推向邊緣的個體，在某種程度上同地表的事物一起構成了土地的景觀。這是一種症候學意義上的景觀。而本展試圖揭示的正是這樣一種當代社會的土地病理學。

在這個由藝術家的單個作品和集體創作，以小組為單位的調查項目，觀眾互動參與的工作坊乃至共同的社會勞動所組成的展覽中，我們期待通過每一個參展單位所帶來的故事和現場，來呈現這種對生產（再生產）者和地方之間不公平的社會一空間過程的共同關注是如何進入到今天的藝術創作實踐中的。我們希望能以此為基礎來建築一種有線索的敘事，並將它發展為一個以社會-空間過程為中心的視覺研究的案例。這個社會-空間過程最終著落為一塊地，以及它所帶出的各種具體的關係。無論在城市還是鄉村，一塊地就像一塊底片，通過它，我們看到的是纏結其間關涉整個社會和環境的各種力量鬥爭，和它們給生活於此的人所帶來的影響，借此觀察這塊土地上有什麼樣的事物正在顯形；有什麼樣的空間關係可以著落為一種具體可見的傳播形態，並隨之擴散到社會肌體之中；有什麼樣的可能性可以建立新的，個體之間的社會連接……   

在這次的項目中，土地問題在“城市”和“鄉村”兩個面向上均有體現。一方面，我們將鄉村作為城鄉社會中的一個坐標，用關係性的眼光來觀察它。餘果以影像敘事完成了他對羊角鎮的地表考察，借助於土地政策，文化打造和鄉村建設等一個個側面來展開一種關於現實的討論，劉偉偉則為一群正在接受訓練的外地居民逐一安排了家庭土地情況的調查，這些調查表同年輕的外來務工人員被口令所規訓劃一身體一同進入了展廳。堅果兄弟則在展覽開幕同期開赴榆林的小壕兔村駐地，從遠方不斷發來他在這個被污染的村莊的所見所聞……

另一方面，隨著城市土地徹底完成了資本化的過程，土地本身慢慢在城市裡變成一種抽象的概念，一種缺乏具體化身的、無形的價值代表。隨著“土”和“地”本身的形像在漸漸淡化，由一方具體地塊所承載的空間衝突和爭鬥成為了代表性的形象。在城中村自建房小組的《西三高架橋空間調查》中，我們可以清晰地看到後者如何在每一個“一米”的單位上影響著空間配置和生活的形狀。徐坦的《關鍵詞實驗室——水，地，地盤－2》則可以看作是對上述這些問題的一個總結：從人類早期法律，以及國際環景下的土地佔有概念的關注，到今天具體的社會背景中土地的佔有和使用的研究。而曾宏於泰康空間三樓露台完成的場地特定作品《金色的田野》，用高爾夫球、鐵蒺藜和水泥板等現成物品的拼合嫁接，並非刻意卻讓人聯想起伴隨都市發展的空間修補（ space fix）進程是如何在空間的層面上攪碎了城市與鄉村的邊界。

除了這些具體的事案所引發的作品，展覽還包括了一種空間-影像的實驗與討論。郝敬班的《慢動作》將她曾經進入的真實的清理現場，再度放置於影像所能打開的倫理空間之中， “你所看不到的，放慢的瞬間，一定比你想像的更具衝擊力”。叢峰則將他的《地層-2：軟流層》予以重新調整和編排，通過物、景觀和敘事的綜合，將他“關於這個時代的空間電影”，首度置於當代展示政治的語境下。而論電影院，則從一段被遺忘的，1960年代以來的農藥類科教電影出發，通過各種形式的歷史文獻和圖像資料來實現一次對於五十年代以來中國鄉村媒體環境的複現與重讀。

最後，總是和未來有關：子傑的《番薯游擊種植計劃》給我們提供了一種小小的烏托邦可能，他曾帶領樂意參與的觀眾在南方的城市中漫遊，游擊式地隨手種植番薯，用子傑本人的話說“可以慵懶地不管不顧這些分散式分佈和隨時收割的塊莖（乃至葉子）。在幾乎消滅了可食用種植作物的城市空間中，是否有一些空隙，可以進行游擊種植？是否可以成為我們某種身體上的可能，提供給其他希望逃避統治的空間漫遊者以選擇？”。另一個例子是來自南國的勞麗麗，和她的朋友們一道，她們這一批大學畢業生在過去的十年中為社會運動所激發，投身鄉野，學習務農，體驗一種“半農半X”的生活，嘗試從另類生活模式及可持續發展中窺見未來的形象。在這個展覽中，這些年輕的、茂盛的共同體經驗將持續蘊釀、發酵。我們期望通過這些關於創作、實踐和生活的一個個例子，來呈現一種卓絕而頑強的景象：那是人通過自己的身體和行動在抵抗著風暴的侵襲，在不斷生產著意義。在這樣的世界之中，人像一棵棵草，細密微弱，而當草根在連結，綿延，生長，握起手來的草們將覆蓋大地。

關於藝術家和其他參展方

城中村自建房調查小組，成立於2016年8月，自建房調查小組成員不固定，根據不同項目人員不斷更替。主要以城市、建築空間為研究對象，以呈現我們當下的生存空間，發現未被定義的空間類型。在2017至2019年西三村高架橋空間調查中，小組參與人員包括廣州大學建築與城規學院教師許志強，廣州大學建築與城規學院學生李一凡、盧秋瑩、沈文華、許若男、吳曉鵬、江泉，建築師李文立、田伊、劉健。

叢峰，電影作者，寫作者，獨立刊物《電影作者》編委，主要電影作品：《馬大夫的診所》《未完成的生活史》《有毛的房間》《地層1：來客》《地層2 ：軟流層》《電影是什麼：地層2評論》。

郝敬班以影像作為主要創作媒介。她的技巧和方法在實驗影像、直接觀察和散文電影之間遊走。她的作品中時常穿插著歷史性敘述、個人敘述、文本、畫外音、電影電視鏡頭以及表演。她以這種方式擴展了與早期前世代、人物與影像傳統的對話。

勞麗麗，畢業於香港中文大學，獲藝術碩士學位，現生活和工作於香港。她是一位“退役”旅遊記者，現專注於與旅遊及大自然生態有關的藝術創作，並在生活館學習務農之餘探索“半農半X”的生活方式。

劉偉偉，1988年生於山東，現生活和工作在郊區。

論電影院，On Kino，位於廣州。論電影院和On Analog/論錄像廳是兩個並行的實體。論電影院以不同介質、不同格式放映世界各地不同類型的電影。

堅果兄弟，常居深圳。

徐坦，1957年生於湖北，畢業於廣州美術學院，大尾象工作組成員，現居住工作於珠三角和新澤西。曾獲紐約亞洲文化協會藝術家基金（ACC，2002）；德國國家學術交流中心（柏林）藝術家基金（DAAD，Berlin，2004）。作品和項目曾經在廣州維他命空間、深圳OCAT當代藝術中心、紐約Location One藝術中心、舊金山Yerba Buena當代藝術中心、亞洲藝術文獻庫（AAA）等展出或實施過；並且參加過大尾象聯合藝術展（1992）；運動中的城市（1997-1999）；柏林雙年展（2001）；第50，53屆威尼斯雙年展（2003，2009）；上海雙年展（2014）；沙迦雙年展（2015）。

餘果，現生活和工作於重慶，藝術創作涉及影像、繪畫等多種媒介。

曾宏，1974年生於四川，2004年畢業於四川美術學院，現生活和工作於北京。近年主要個展包括紅色筆記（北京，今格空間，2018），肥皂（北京，楊畫廊，2017），抽幀（北京，望遠鏡藝術家工作室，2015），曾宏（北京，楊畫廊，2015）。

子傑，1985年生，是一位藝術家、寫作者和行動者，現生活和工作於武漢。目前，子傑主要關注城市化和空間正義等方面的問題。

Art Forum

http://artforum.com.cn/archive/12627

Para Site Cafe do Brasil 巴西咖啡室

熱煙流——2019珠三角藝術單位觀察展 澳門站

[OSTRALE Biennale O19]

My work ＜Deep Flight＞（《飛天潛水艇》) will be shown in OSTRALE Biennale O19.

3rd July to 1st September 2019, 12th international exhibition for contemporary art Dresden

03rd July - 01st September 2019

Historic Tabaccofactory f6 at Dresden Striesen, Schandauer Str. 68

The second Biennale and also 12th OSTRALE will be dedicated to the theme "ism" .

As part of the Biennale O19, the decentralized exhibition will take place from 11th June to 8th September 2019 in Dresden institutions such as the Dresden Foreigners' Council e.V., Goethe-Institut Dresden, Memorial Bautzner Straße, Old Firestation Loschwitz | e. Art and Culture Association Dresden and art´SAP.

Isms are mostly used as dogmas, juxtaposition, concept of art and social values. Always produced by man, they are also delimitations to other world views. The subject and the collective perception are inextricably linked in art with the current discourses. Here, too, the new media are increasingly allowing limits to be tested. While digital reality and fiction are increasingly blurring the boundaries between reality and fiction, traditional "isms" are being used again to support, defend and stabilize our values and worldview.

What is art, what can art and, in particular, what is art allowed to do?

Should we reset, reset, re-consider attitudes and attitudes, use ism as a discussion and mindset, direct the expanded concept of art as a universal destiny of human creativity to all areas of the lifeworld reality "ism"?

Curators

The artistic Concept was realized by the Curators Syowia Kyambi (Kenia), Teesa Bahana (Uganda), Drorit Gur Arie (Israel), Toni Sant (Malta/England), Yik Chow (Hongkong), Martin Müller and Antka Hofmann (Germany) together with the Artistic Director of the OSTRALE Andrea Hilger (Germany).

https://www.ostrale.de/en/Exhibitions/Biennale%202019.html

[ The D-Tale, Video Art from the Pearl River Delta]

CO-CURATED BY HOU HANRU & XI BEI

1 DECEMBER, 2018 — 13 APRIL, 2019

My work （《飛天潛水艇Deep Flight》) and 《焉知之後 Voice from Nowhere》 will be shown in the exhibition.

Video art in the region of the Pearl River Delta (PRD) emerged as early as the mid-1980s. Collectives such as “Videotage" in Hong Kong and “Southern Artists Salon” in Guangzhou were pioneers and galvanizing creative forces in the field. This movement was carried forward, in the 90s, by the rise of certain collectives and individuals, including the “Big Tail Elephants Working Group”, the “Borges Bookstore”, “U-theque”, JIANG Zhi and CAO Fei.

A highly specific part of China with its distinct cultural characteristics and traditions, the PRD has been closely related to international influences and interwoven with popular culture from the beginning. Frequent exchanges between Guangdong, Hong Kong and Macao, the impacts of Hong Kong’s popular culture, film, television and pop music concerning visual culture, coupled with a sensitivity for and references to international new media art, led to rapid experimentation in video art across the entire PRD. The art communities in the region have continuously developed their own aesthetics, merging individual independence, freedom, cultural hybridity, humour and irony with avant-garde experiments in open, diverse, fluid and natural manners.

At the same time, video art of the PRD has also been integrated into the process of high-speed urbanisation. It utilises strategies of witnessing and intervention to open up spaces for criticism and alternatives while paying close attention to the “supra-political”, bottom-up social expressions generated in the realms of everyday life. From the perspective of visual culture, video art of the PRD reflects the culture of this region and individuals’ singular involvements in the globalisation.

By adopting the medium of moving images, artists from the Pearl River Delta are looking for freedom and forms of resistance against dominant ideology and powers, turning ordinary gestures into artistic strategies to construct diverse personal utopias. Their video practices represent the most ground-breaking and powerful visions of experimental art and culture in the PRD. As a result, the PRD has become a creative hub for international exchange and art activities, as well as a deviating model which inspires artists from other regions.

The development of the Guangdong Times Museum was informed by these singular cultural explorations and artistic expressions. As a parallel institution and the first international branch of an Asian art institution, namely, the Guangdong Times Museum, Times Art Center Berlin is pleased to present its inaugural exhibition The D-Tale, Video Art from the Pearl River Delta which introduces the shifting cultural landscape and visions of the region in an era of globalisation. The exhibition is part of the Operation PRD curatorial framework following the exhibition Big Tail Elephants at the Guangdong Times Museum in 2016.

EPISODE III: THE POLITICS OF THE SELF

01.03.2019 - 13.04.2019

ALLORA & CALZADILLA, CAO Fei 曹斐, CHEN Shaoxiong 陈劭雄, CHOI Sai-Ho 蔡世豪, FANG Lu 方璐, May FUNG 冯美华, HO Sin Tung 何倩彤, KWAN Sheung-Chi 关尚智, LI Xiaofei 李消非, Natalie LO Lai Lai 劳丽丽, Anson MAK Hoi Shan 麦海珊, MAP OFFICE 地图署, QIN Jin 秦晋, SHI Qing 石青, Koki TANAKA 田中功起, Jalal TOUFIC & Graziella Rizkallah TOUFIC, WONG Wai Yin 黄慧妍, XU Tan 徐坦, ZHU Jianlin 朱建林

https://www.timesartcenter.org/the-dtale-video-art-from-the-pearl-river-delta

[Solo Exhibition: Lo Lailai Natalie - Down into the Abyss]

Duration: 2018.11.3 - 12.29

Openning: 2018.11.3, 3:30 pm

As a “retired” travel journalist, Lo Lailai Natalie’s current practice is carried out through her “semi-farming semi X” life style. Throughout her research on travel, food and plants, her understanding on the notion of desire gradually elucidates.

“How to address a society in slow decline like a cleaning up a room once you’ve made a mess in it.” The sentimental fluidity in Lo Lailai Natalie’s works comes from her worldviews and thoughts while she works the field everyday. Be it the seemingly appealing dream travel destinations, or ice cream, chocolates and other satiating but unhealthy food, or the desires revealed throughout the growth process of plants, Lo Lailai Natalie’s works depart from social events, processed through personal experience, and returns to moving images and installations. In this process, she seeks out new perspectives and angles in order to rebuild the connections among these relationships. Rather than offering her judgments, Lo Lailai Natalie would rather provide skepticisms, while the role of the artist recedes to the position of the observer.

In the course of “shatter and rebuilding one’s dreams”, icebergs tumble, chocolate emerges, and the motifs of plants climbs up onto the canvas. The four works on view consists of videos and installations, in which the “reticent power” Lo Lailai Natalie has captured is slowly manifested in the “ecosystem of desire”, transgressed by her continuous quest for answers.

Artist Talk

Subject: Pulling a grass and strolling through an imaginary city 拔一根菜苗，在幻想的城市漫步

Guest: Leung Ho Yin

Time: 2018.11.3, 4:30 pm

Roger-Pol Droit, the French philosopher, teaches us how to open our senses in our mundane life in his book Pull a hair and stroll through the fantasy forest. Lo Lai Lai’s art, similarly, looks at the city experience in a poetic way. Once a reporter for travel magazine, Lai Lai chooses to live as a “Half-farmer, Half-X”. What is her experience like living In between farmland and skyrocket buildings? What is the chemistry between her pace and the accelerated rhythm of the city? Also, how does her art respond to to the rapid development in the Delta-Pearl area? 

Leung Ho Yin

A researcher at Fine Arts Department, The Chinese University of Hong Kong. Selected as one of the Emerging Art Professionals by Parasite (Hong Kong) in 2018. Upcoming publication: The captures and the exhibited: Art In the Camps (1988-1992).

[Joint Exhibition －
Today Could Have Been a Happy Day 今天應該很高興
Taikang Space Beijing 北京泰康空間]

Taikang Space is pleased to present its latest episode of Light Pavilion Project on September 13th - a group exhibition curated by young curator Leo Li Chen 陳立（Leo Li Chen）, Today Could Have Been a Happy Day. This is the first time that Light Pavilion Project opens to non-in-house young curators, presenting their closest observations and most vivid statements towards the current reality.
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Today Could Have Been a Happy Day is centered around the notion of “inherent disorder”.Through the creation of four young artists from Hong Kong, the exhibition explores the future of individual artists’ practice in Hong Kong’s unique political context, where discussions surrounding western democracy and modernity are losing their efficacy.
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Artists: Kong Chun Hei Kong Chun Hei , Lo Lai Lai Natalie 勞麗麗（Getup Nat） , Eason Tsang Ka Wai Eason Page , Trevor Yeung Trevor Yeung .
10:30 - 17:30 Tuesday to Saturday
2018.09.13 - 10.20
Artistic Director: Tang Xin
Red No.1-B2, Caochangdi, Cuigezhuang,

https://www.facebook.com/TaikangSpace

(五) 22-06-2018 7:30 PM
[Screening] 跟 文李 Wong Yik Fung 及 Kaichung Lee 將會做 Screening, 在 Hong Kong Fringe Club 藝穗會 的 比目魚放映會 A Flatfish Screening – A Wandering Eye, 命名也有點源由，還有應該無咩保留的分享會，請多多支持！click 下方的連結就買到！如需要也可向我留票! 謝謝!

李繼忠, 李敏聰, 勞麗麗, 王億峰 X Fringe Cinema
《論為學 Learn to Unlearn》李敏聰、王億峰
《Can’t Live Without》李繼忠 
《飛天潛水艇Deep Flight》 勞麗麗 
《焉知之後 Voice from Nowhere》 （暫名）勞麗麗

樓上劇場
HKD 60 (正價) HKD 48 (藝穗會會員, 全日制學生)
粵語
購票：https://www.art-mate.net/doc/49751

設映後討論會（廣東話），4 位藝術家(李繼忠、李敏聰、勞麗麗、王億峰)將出席
對談嘉賓：陳英尉將於席對談

牠來跟其他魚沒有兩樣，漸漸眼睛卻注定要翻過另一邊。
兩眼的目光靠攏，一對眼睛偏執地看著周遭環境，身體改變顏色，又或是隱沒在海底的沙土中；也許拍攝者似是一尾如此的比目魚，靜靜地做一個觀測者，看清那不完整的風景。

比目魚放映會將帶來4套藝術家新舊短片，同場設映後座談會，誠邀觀眾細看各導演眼中的聚焦點，詰問紀錄為何，不完整的展現意義何在？ 是缺席的存在，挺或是限制的糾結？

__________________________________
《論為學 Learn to Unlearn》李敏聰、王億峰
香港｜2016 - 2017｜彩色｜34’52”｜粵語對白，中英文字幕
　
李敏聰、王億峰隨聰慧的作曲系同學甘聖希走過一年間的創作之路，從旁拍攝受訪者籌備一以西方音樂配以廣東粵語歌劇，與其說反思東方藝術文化，倒不如說鏡頭中的他敲響了導演的內心，反問藝術學習的意義，促成其畢業作品《論為學 Learn to Unlearn》。
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《Can’t Live Without》李繼忠 
香港, 韓國｜2018｜彩色｜19’ 47”｜韓語對白，中英文字幕
　
“在閱覽室坐下，等待被借出的文獻來蒞。那個空間像是被一層厚重的靜謐包圍，稠密的程度比我曾經聽過的聲音也要振耳欲聾。與其說是一種壓迫感，倒不如說，是我腦海內重複幻聽[…]”

李繼忠的長期研究與藝術創作企劃-- 〈Can’t Live Without〉，源於李氏對韓國和香港的藝術檔案及其社會脈絡的研究。李氏先著手研究聲音在視覺文獻中的呈示，繼而揭示權力結構如何影響檔案實踐和歷史編纂法。相比起國家檔案或歷史檔案，當代藝術檔案的構成、操作系統、收藏方法、管理人員，對像等各範疇都存在極大差異。

藝術檔案不只限制在藝術語境下才能彰顯，藝術文獻與藝術作品之間存在著一種複雜關係；因此藝術文獻的產生方法往往透露出一種獨特的歷史觀和社會性。影片分作五個章回，涵蓋了社會運動、語言、神話、地理和檔案學的盤根錯節系統。透過建構一種不連貫的歷史敘述，李氏連繫個人與事件之間的歷史意識。
　
李氏的創作企劃〈Can’t Live Without〉， 欲蓋彌彰的聲音成為切入點，當代藝術檔案跟地方歷史、社會交織著，被歸納成五個盤根錯節章回，涵蓋了社會運動、語言、神話、地理和檔案學的系統。不連貫的歷史敘述觸動了哪一個意識？
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《飛天潛水艇Deep Flight》 勞麗麗 
香港｜2017｜彩色｜9’40””｜無對白，中英文字幕
Work by LO Lai Lai Natalie
　
大自然中的她化作飛天潛水艇，來者不拒，多年來運送五花百門的物 事,包括欲望。
短片看似找尋自然界當中的詩意，卻隱含疑惑與哀愁，那潛意識的欲望漸漸地被抽絲剝繭，化成令人難以釋懷的影像與文字。
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《焉知之後 Voice from Nowhere》 （暫名）勞麗麗
香港｜2018｜彩色｜12’40””｜粵語對白，中英文字幕
　
繼《焉知 Voice from Elsewhere》（「魚塘源野藝術節」中作品）後的另一新作。藝術家因緣際遇香港養殖魚塘元朗大生圍，反覆重練的的拍攝跟剪接間拋出個人自身經歷，卻跳出了僅止於私密的層面，思考的介入向自身向觀眾帶出提問。生物鏈是一個唇齒相依的欲望關係網，牽引幽祕深谷中游蕩徘徊的個人感知。

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藝術家簡介

李敏聰 Mark Li
一個無法生活在工業以致曾經質疑自己是否喜歡電影的無業廢青。畢業於香港演藝學院電影電視學士課程。
　
王億峰 Wong Yik Fung
鐘意拍紀錄片，因為可以開到飯而又繼續探索到個世界。畢業於香港演藝學院電影電視學士課程。

李繼忠
李繼忠的創作主要關注歷史事件、政治體制和意識形態。李氏關注香港政府管理歷史檔案上乏善足陳情況，以及其拒絕成立〈檔案法〉；因此，李氏透過一系列藝術行動、紀錄和裝置來應固有的歷史陳述和編纂方式。

在李氏的長期研究項目 “人人檔案”，他跟不同的政府機構展開對話與協商，以探討歷史檔案在社會政治架構上的狀況；他於2016年正式成立獨立團體「人人檔案」(Archive of the People)，把歷史和檔案議題的創作延伸到合作企劃、教育與出版
　　
勞麗麗 Getup Nat
勞麗麗是一位「退役」旅遊記者，畢業於香港中文大學藝術碩士(藝術創作)課程。她專注於與旅遊及大自然生態有關的藝術創作。 麗麗現時在生活館學習務農之餘並探索「半農半X」生活方式，這種生活實踐促使她對另類生活模式、以及作為一位香港人兼藝術創作者的自主性作出提問。近年， 她成立了漫慢電視，亦嘗試以論文式電影創作，主要硏究課題跟食物、農耕、蘊釀、慢駛、監視、冥想相關。
　　
近日她對自然及人類間相互牽引、相互制衡的情緒及欲望甚感興趣，箇中所呈視出來人類與自然的角力與矛盾更引人入勝，延伸出來的感悟、感知是一個深不見底的深潭。 最近參與項目包括「魚塘源野藝術節」(2018)、「廿年回歸前後話 Talkover/Handover 2.0」（2017）、「油街實現即日放送項目：Interlocutor—我與你同在」(2017)、「香港農民曆 HK FARMers’Almanac」(2015)等。

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對談嘉賓簡介
　
陳英尉
　
香港演藝學院電影電視學院畢業，主修導演。香港中文大學藝術文學碩士。現於香港演藝學院電影電視學院任教。教學範圍包括默片歷史、錄像藝術，並指導紀錄片及畢業作品創作。
曾執導製作有劇情片作品《浪奔》，獲鮮浪潮最佳電影（公開組）及巨浪獎；紀錄片《另一邊的風景》回顧電影攝影師黃仲標的創作路。另曾參與製作有《十年：自焚者》、《枉少年》等，任聲音設計。
錄像藝術作品 As Distant As the Stars 獲得香港中文大學藝術系鮮人獎。2015年以聲音裝置作品《這裏》參與「怎樣的想 > 象」展覽，於香港動漫基地展出。�
　　
*語言：中文，韓文
*年齡限制：無
*節目時間長度：2.5小時，沒有中場休息
*節目類別：Film Screening
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A Flatfish Screening – A Wandering Eye
Show - Screening
LEE Kai Chung, Mark LI, LO Lai Lai Natalie, WONG Yik Fung X Fringe Cinema
Fri 22-06-2018 7:30 PM - 2 h 30 m
Fringe Upstairs
HKD 60, HKD 48 (M,S)
In Cantonese
Tickets：https://www.art-mate.net/doc/49751
　　
Synopsis
*Talks after screening (Cantonese)
Four directors will show up (Mark Li, Lee Kai Chung, Lo Lai Lai Natalie, Wong Yik Fung).
　　
Guest-in-conversation: CHAN Ying Wai
　　　
He looked no different than other fish when he first came here, but his eyes were destined to draw close to each other. Looking at the surroundings, he changes his body colors and sometimes disappears in sands. In fact, the filmmakers act like flatfish too, quietly staring at those incomplete views as observers. This time, “A flatfish screening” will bring four short films from different directors and hold a talk after screening with the directors. Everyone is welcome to take a closer look on the focus of four directors, questioning their reasons of recording incomplete presentations. Is it stand for the presence of absence, or limitations of struggles?
　　
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《Learn to Unlearn》Mark Li, Wong Yik Fung
Hong Kong | 2016-2017 | Colour | 34’ 52” | Chinese and English subtitle
　　
At the beginning of 2017, a Cantonese opera was performed in the modern theatre of the Hong Kong Academy for Performing Arts in the ordinary way. The creator, KAM Shing Hei, who is an art student majoring in Music composing, used a string quartet, gongs and drums, and Cantonese opera actors as the key elements of his show. 
The creative process of the work provokes Kam’s further thoughts on the cultural issues among the art form itself. As being art students and performers, what inspiration can we gain from Kam’s reflection and experience? 
　　　　
　
《Can’t Live Without》 LEE Kai Chung
Hong Kong, Korea | 2018 | Colour | 19’ 47” | Korean Monologue, Chinese and English subtitle
　
“I sat in the archive reading room, waiting for the requested documents. The space was filled with a weighted silence, the intensity is more deafening than any sound that I have ever heard. Rather than saying it’s a sense of oppression, it is more of an auditory hallucination whirling in my head […]”
　　
Can’t live Without is an ongoing project that originates from LEE’s research on art archives and their social context in Korea and Hong Kong. The artistic research started with the sonic quality in visual archive, the body of work sheds light on how power structure influences pattern of archival practice and historiography. In comparison with national archives or historical archives, contemporary art archives differ in their constitution, discipline, ways of acquisition, personnel in charge, subjects, etc. Though art archives do not diminish its social context or reduce the discursive space exclusively to a confined realm of art; nevertheless, the oscillating status under artistic and archival context complicates the constitution and representation of art archives. The project is presented in a filmatic sequence of five chapters, which covers a rhizomatic network of social movement, language, mythology, geography and archival discipline. The notion of discontinuity for historic narratives that leads to a greater consciousness of events and individuals.
　
　
《 Deep Flight》 Lo Lai Lai Natalie
Hong Kong｜2017｜Colour｜9’40””｜No Dialogue, Chinese and English Subtitles
She became a Deep Flight in the natural environment, never saying no, delivering diverse kinds of matter and happening, including desires. The short appeared to be a nature poem, yet it aroused puzzles and sorrows. The hidden desire became visible and turned into images and text that the artist still could not get over them.
　
《Voice from Nowhere》(Tentative)
Hong Kong ｜2018｜Colour｜12’40””｜Cantonese, Chinese and English Subtitles
After the work《Voice from Elsewhere》(a moving image work in The Sustainable Festival 2018), the artist has planned to make a new work. She coincidentally visited the fish-farming pond in Tai Sang Wai, Yuen Long, Hong Kong. With a repeated practice on shooting and editing, she also illustrates her personal life experience. Yet, the story was more than an intimate mumbling. The film intended to suggest questions to the director and audience. 
The biochain itself was an interdependent network, drawing one’s individual perception deep into the abyss.

　
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Mark LI Mark Li
　
Mark LI is freshly graduated from the film school. His doubt in the masculinity of the film industry provokes his bewilderment as a documentary filmmaker.
　
WONG Yik Fung Wong Yik Fung
　
WONG Yik Fung is freshly graduated from the film school. Through making documentary, he can make his livelihood yet exploring the world.

　
LEE KAI CHUNG
　
LEE Kai Chung performs research on historical events, political systems, and ideology. His
work addresses the lack of proper governance over the records and pending legislation for
Archives Law. Through performance, documentation, and installation, Lee considers the
individual gesture as a form of political and artistic transgression, which resonates with
existing narratives of history.
Lee’s ongoing research project Archive of the People addresses the political standing of
documents and archives in the social setting. In 2016, Lee established collective “Archive of
the People”, which serves as an extension of his personal research to collaborative projects,
education and publications.
　
LO Lai Lai Getup Nat
　
LO Lai Lai Natalie is a former travel journalist. She is interested in the development of tourism and the construction of nature. She is a learner at the collective organic farm Sangwoodgoon (Hong Kong) where she also explores the lifestyle of ‘Half-Farming, Half-X’ – a practice that seeks alternatives and autonomy as an artist and Hong-Konger. Lai Lai founded the Slow-so TV channel, with a focus on food, farming, fermentation, slow-driving, surveillance, and meditation.
Recently, Lai Lai is especially interested in the mutual control and dependence of the emotion and desire found among human being and the nature. The nature and humanity are inextricably bound up in conflict and power struggle. It certainly offers an absorbing insight into the reflections and perceptions. Lai Lai joined the following projects in recent years: < The Fish Pond Sustainable Art Festival> (2018), (2017), < Oi! :Interlocutor ︱You Are Not Alone>(2017) and < HK FARMers’Almanac>(2015).
　　
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Chan Ying Wai
　
Chan Ying Wai was graduated from the School of Film and Television, The Hong Kong Academy for Performing Arts, major in Directing. He then received his master of arts in fine arts at The Chinese University of Hong Kong.
　
He now teaches at the School of Film and Television, The Hong Kong Academy for Performing Arts and his teaching area includes Silent Cinema, Video Art, Documentary Production and Graduation Project.
　
His directorial works include short film SOMEONE’S RUNNING (2008), which has received the Best Film Award (Open Category) and the Big Wave Award in Fresh Wave Short Film Festival, and documentary LANDSCAPE ON THE OTHER SIDE: HONG KONG CINEMATOGRAPHER BILL WONG (2010).
　
In 2013, his video installation AS DISTANT AS THE STARS received the Cactus Prize in the Master of Arts in Fine Arts Graduation Exhibition. His sound installation HERE was presented in an exhibition, What Unimaginable Forms, at Comix Home Base.
　
　
*Language: Chinese & Korean
*Age limit: Nil
*Duration: 2.5 hours, without intermission
*Show type: Film Screening

[SCREENING － DEEP FLIGHT}
My previous work Deep Flight 《飛天潛水艇》2017 will be shown in the coming up screening in Hong Kong!

It was selected as The 23rd ifva Awards – Finalist. 

「第二十三屆ifva 比賽公開組入圍作品放映節目二」

2018年3月10日 (星期六) 下午7時45分 香港藝術中電影院

The 23rd ifva Awards – Finalist

Finalist Showcase Programme 2: 10/3 (Sat) | 7:45pm | Hong Kong Arts Centre Cinema | Hong Kong | HK$ 65/35* | With after-screening discussion

New Commissioned work shown in the exhibition.