2021年12月19日 - 2022年5月22日 / Dec 19th, 2021 - May 22rd, 2022
华美术馆，深圳 / OCT Art & Design Gallery, Shenzhen
2020年9月11日 - 9月20日 / Sep 11th - 20th, 2020
iag艺术院线，TX淮海，上海 / iag, TX Huaihai, Shanghai
2017年4月15日 - 2018年5月11日 / Apr 15, 2017 - May 11, 2018
旗峰山艺术博物馆，旗峰山铂尔曼酒店，东莞 / Forum Art Museum, Pullman Hotel, Dongguan
第3次展出于宋轶策划的群展《欧罗巴之牛和牛头怪，飞去来器：OCAT双年展2021》，华美术馆，深圳，2021
Exhibited for the 3rd time at Europa and Minotaur, Boomerang: OCAT Biennale 2021, a group show curated by Song Yi, OCT Art & Design Gallery, Shenzhen, 2021
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第2次展出于尚端策划的群展《“愈”见新境—2018-2019保时捷中国青年艺术家双年评选》，iag艺术院线，TX淮海，上海，2020
Exhibited for the 2nd time at The New Reality - Porsche Young Chinese Artist of the year 2018-2019, a group show curated by Danielle Shang, OCT Art & Design Gallery, iag, TX Huaihai, Shanghai，2020
项目自述 / Artist text：
《空港》是我在2017年在旗峰山艺术博物馆(东莞)完成的个人项目。在那次工作中，我就地取材，将一个充当杂物间的地下展厅变身成一个停用状态下的“国际机场”。如果不论驻留的语境和调用现成品的工作方法，这个项目也意图捕捉中国二三线城市氛围中，那种习惯于滞留在历史中的文化心理。其中饱含疑问的“开放”和“建设”并非只限于珠江口的两岸的制造业地带，更因为面临固化的地缘因素和当代中国在全球经济分工中的角色，有着地域范围上更广阔的情境感。
在新冠疫情逐步成为全世界的共同经验后，即便是那些世界上最为重要的国际旅行中转地，也面临紧绷的出入境政策和大幅减少的国际交通流量。在相当一段时间内，沉寂的城市和空置的国际机场成为了病毒全球大流行最显著的表征。这种意外的可对照性被策展人尚端发现，因此才有了《空港》项目在上海的再次展示。考虑到展示环境和在地语境的巨大变化，在重新制作时，我缩减了原版《空港》的规模，只展出了其中一半的“组件”，并在它们视觉呈现上做了必要的调整。我无意将它看做一个新项目，只希望对它的重现能连接起过往我自己的历史经验，并有限地折射这场必将影响全球化进程的公共事件。
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"Air Port" is a solo project I did in Forum Art Museum (Dongguan) back in 2017. During the time, I used found materials to transform an underground exhibition hall that served as a utility room into an "international airport" in an inactive state. Regardless of the context of artist residency and the working method of adopting ready-made objects, this project also intends to capture the cultural psychology of the second and third tier cities of China that has been accustomed to stucking in history. The questionable "opening" and "construction" are not limited to the manufacturing areas on both shores of the Pearl River estuary, but also because of the solidified geographical factors and contemporary China's role in the global economic division of labor. It may contains a broader sense of situation in terms of geographic scope.
After the Covid-19 pandemic has gradually become the common experience of the world, even the most important international travel transit destinations in the world are facing tight entry and exit policies and drastically reduced international traffic flow. For quite some time, silent cities and vacant international airports have become the most prominent representation of the global pandemic. This unexpected comparability was discovered by the curator Danielle Shang, and this is how the "Air Port" project had its second show in Shanghai. Taking into account the huge changes in the exhibition space and local context, during the reproduction, I reduced the scale of the original "Air Port", only exhibited half of the "components", and made necessary adjustments in their visual presentation. I don't intend to regard it as a new project, only hope that the recurrence of it can connect with my personal experience of history and refract this public event that will definitely affect the globalization progress in a limited way.
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《空港》首次展出于旗峰山艺术博物馆，旗峰山铂尔曼酒店，东莞，2017
Air Port initially exhibited atForum Art Museum, Pullman Hotel & Pullman Living Dongguan Forum, Dongguan, 2017
项目自述 / Artist text:
“空港”项目是我在东莞驻留期间完成的一次即兴的在地性创作。在得知可以使用一间1500平米的地下展厅[1]来完成一次面对本地观众的艺术分享会后，我勘察了这个巨大空间的角角落落。在此，我发现了数量庞大，无法搬离的闲置物。它们曾经在经济繁荣的年景里被组织起来，助力于传统书画展览和文玩博览会的举办。这种沉积的景象令我开始好奇于东莞现代化传奇背后的文化经历。
作为全国最早接触国际加工贸易并快速致富的地区，东莞四处可见外贸企业和外地劳工的聚合生态。他们致力于服务“外部世界”的经济理念和实践，不免令当地的政治经济在过去的20年里被外界简化为“世界工厂”的刻板印象。然而上溯至鸦片战争，晚近至90年代开始到今天的市场经济参与，在当地都留下了远为丰富的有关对外交往的文化痕迹，这些痕迹仍然不断刺激出有关中国意识的文化反应。
我感兴趣的部分是，有关调和中国文化和对外关系的情感出口最终着落在了对本民族历史的物化和占有上。消费主义与民族文化意识以及全球艺术品市场，共谋了对稀缺的中国历史和文化遗留物的追捧。特别如传统书画和文玩的流通热潮，在过往10年里的文化消费中具有符号性的意义。对照于这些遗留物一度无人在意的过往，我把我考察文化经历的侧重放在发掘那些在今天看来无甚价值且多有过时之感的中国制品上。
以下呈现的一系列场域特定装置，便是从在地的经验出发，结合现场空间就地取材，试图激活存在于闲置物中的现代化记忆和全球化情绪，实践一种我个人对中国现代性与地方历史的有限重访。
备注[1]: “文壁展览厅”是旗峰山艺术博物馆一间多功能展厅，其部分空间在过去的10年里一直兼作仓库。该馆的主展厅为“抱朴堂”, 面积约800平米。
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Air Port is an impromptu project I did when I was in residency in Dongguan. After learning that I could use an underground space of 1,500 square meters[1] in total to present my artworks to the local audience, I inspected and examined every corner of the huge space. I noticed there a large number of miscellaneous yet irremovable objects. These objects were gathered and organised at time of prosperity, and were used on occasions of traditional Chinese painting exhibitions and antique fairs. This spectacle of deposition made me wonder about the cultural experience beneath the legendary modernisation process of Dongguan.
International manufacturing trades in China first emerged in the Cantonese region, and the area enjoyed a fast and huge economic boost. Integrated ecology of businesses of international trades and migrant workers is omnipresent. Their economic ideas and practises dedicated solely to the “outside world” inevitably brought to themselves in the past two decades the reductionist stereotype of “world factory”. Going back in history, however, to the Opium War in late Qing Dynasty, and to at least the market economy that was initiated in the 1990s, one can see a rich variety of cultural traces of international exchanges, which still actively stimulate cultural reactions regarding a certain Chineseness.
I am interested in the fact that emotional outlets that pertain to negotiating and balancing Chinese cultures and foreign relations eventually arrive at objectifications and possessions of the history of the nation. Consumerism, nationalist cultural awareness and the global art market together conspired a fanatic pursuit of Chinese history and rare cultural remains of it. The phenomenal wave of traditional Chinese art and antique circulations in the last decade, especially, has a very symbolic significance in the cultural consumption in general. In relation to the ignorance and neglect that was once the reality regarding the rare artefacts, I pay special attention to Chinese products that seem today valueless and outdated.
The site-specific installations presented here take as a point of departure the experience of the local, integrate the space given and the materials available there, attempt to re-activate the memories of modernisation and the emotions regarding the globalisation that are embedded in the deposited, and realise a personal, limited revisit of Chinese modernity and local history.
Note[1]: "Wenbi Exhibition Hall" is a multi-purpose facility of the Forum Art Museum. Some parts of its space have been used as warehouse for a decade. The art museum has a main space named "Bao Pu Tang", which covers about 800 square meters.
展厅旧貌/exhibition space before this project
旧展板，现有沙发椅子，现有展位/found exhibition panels，found sofas and chairs，pre-installed booths
现有展位里的旧柜台，旧展柜，旧舞台，旧麻将牌和麻将机/found shop counters in the pre-installed booth, found stage, found showcases，found mahjong cards and mahjong machines
旧等候椅，旧画框，旧拍卖图录/found waiting chairs, found frames, found auction catalogs
展览现场/exhibition view, 旗峰山艺术博物馆，旗峰山铂尔曼酒店，东莞/Forum Art Musuem, Pullman Hotel, Dongguan, 2017
正弦波 / Sine Wave，旧花架、旗台、定制G20国旗 / found gardening rack, flag stands, custom－made G20 flags，旗架+旗帜尺寸 / dimensions of flag stands＋Flag: 33 x 10 x 7 cm x 20 件 / pcs; 总体尺寸 / overall dimensions: 320 x 192 x 100 cm，2017
中式客厅 / Chinese Lounge，现有展位、旧佳士得苏富比邦汉斯中国艺术品拍卖图录、旧健身器、旧折叠舞台 / pre-installed booth, found auction catalogs for Chinese art and artifacts from Christine & Sotheby's & Bonhams, found gym equipment, foldable stage，健身器＋舞台尺寸 / dimensions of gym equipment + foldable stage: 244 x 206 x 184 cm，展示格尺寸 / dimensions of the showcases: 92 x 50 x 40 cm x 15 件 / pcs，总体尺寸 / overall dimensions: 800 x 670 x 300 cm，2017
中国城土地神位 / Chinatown Land God Memorial，旧展板、写真布打印 / found exhibition panels, inkjet print on PP cloth，展板尺寸 / dimensions of exhibition panel: 254 x 125 x 50 cm x 147 件 / pcs; 总体尺寸 / overall dimensions: 1140 x 254 x 132 cm，2017
导流 / Current Distribution，旧等候椅、挂钟 / found waiting chairs、wall clocks，等候椅尺寸 / dimensions of the waiting chairs: 178 x 77 x 68 cm x 34 件 / pcs，挂钟尺寸/ dimensions of the wall clocks: 30 x 30 x 4.5 cm x 8件 / pcs，总体尺寸 / overall dimensions: 5400 x 300 x 231 cm，2017
跑道 / Run Way，现有地插、灯座、LED灯头 / pre-installed ground sockets, plug bases, LED lamps，灯插尺寸 / dimensions of lamp+plug+sockets: 10 x 10 x 8 cm x 22 件/pcs，总体尺寸 / overall dimensions: 4575 x 510 x 8 cm，2017
公墓 / Cemetery，旧陈列柜 / found showcases，陈列柜尺寸 / dimensions of showcases: 200 x 94 x 47 cm x 65 件/pcs，总体尺寸 / overall dimensions: 772 x 610 x 200 cm, 2017
防线 / Defence Line，旧展台、旧酒瓶、葡萄酒架、KT板 / found pliths, found wine bottles, wine racks, KT boards，酒瓶+酒架 x 25件 / wine bottle + wine rack x 25pcs，总体尺寸 / overall dimensions：351 x 213 x 142cm，2017
文化窗口 / Cultural Window，现有展位、旧镜框、相纸上喷墨打印 / pre-installed booth, found frames, inkjet print on photo papers，共计11 件 / 11pcs，尺寸多样 / dimensions various，总体尺寸 / overall dimensions: 590 x 500 x 300cm，2017
交换区 / Exchange Section，杂物、旧柜台 / clutter, found shop counters，陈列柜尺寸 / dimensions of shop counters: 102 x 94 x 47 cm x 24件 / pcs，总体尺寸 / overall dimensions: 2700 x 1100 x 280 cm，2017
着落点 / Landing Spot，旧饮用水瓶盖 / found mineral water bottle caps，瓶盖尺寸 / dimensions of bottle caps: 5 x 5 x 5 cm x 299件 / pcs，总体尺寸 / overall dimensions: 530 x 530 x 4.5 cm，2017
