■ ■ 策展人前言 ■ ■
Curator’s Foreword
觸碰
《靈感·流動的身體》即興接觸工作坊，這是一場讓參與者無法預設的邀請。藝術家趙昱傑帶領參與者，以觸碰為對話，以身體為鏡子，進行一場對生命覺知的喚醒。“接觸”不會接收一絲知識與定義，“即興”也不由理性與思考反應。趙昱傑為參與者營造了遮蔽於世道的場域。在這裏，“接觸”成為最為誠實的對話語言，比詞彙更直接地傳遞著溫度、力度與情緒的震顫，讓人如嬰兒般重新學習與萬物真實的聯結。“身體”逐漸顯影為一面鏡子，映照出我們習慣忽略的感受，揭示那些被理性過濾的真實。參與者從習慣的認知繭房中緩緩蛻去，照見身體作為生命體的存在，喚醒對事物與生命的本真覺知。
覺知
我們總會被自然中的原石、素木、泥土所治癒。自然之物，我們觀其為生命所在，正因它們存在於世間倫理之外，亦無對錯標定，自然而然，隨性而在，每一道紋理都是自在生機的顯現，我們會由此感歎“萬物有靈”。對比在日常中，城市裏那秩序井然、長久佇立的物質，皆已深陷於既定的功能定義，被功利的價值丈量，了無生氣。身體亦不是被規訓的客體，它本是自然之物，卻無時無刻不被某種“知識、邏輯、倫理、慣性”所影響，無形之間被外界裹挾著。
趙昱傑是一位行走的覺者，她以身體之行覺察與世界的關係，通過藝術形式傳遞她對萬物的感知與對話。作品中超於世俗經驗的詩興與情節，帶給觀看者常已忽視的直覺共鳴。我們談“覺者”，是擁有著面對當下每一個偶然的真誠感知力，覺察且尊重原本的存在，珍視來自生命體與生俱來的直覺，做到誠可先知、率性而行。趙昱傑正是始終保持著身體真誠的感知與直覺，真實於萬物之間，“行之多維、韻之無界、觀之無盡”（此處摘自趙昱傑的藝術理念）。
Inspiration·Body in Flux— an improvisational contact workshop extending an invitation beyond preconception. Artist Zhao Yujie guides participants to awaken life awareness through touch as dialogue and body as mirror. Here, “contact” defies definitions, and “improvisation” transcends rationality. Zhao constructs a sanctuary shielded from worldly noise, where touch becomes the most honest language — conveying warmth, pressure, and emotional tremors more directly than words, teaching us to reconnect with all beings like infants rediscovering the world. Gradually, the body emerges as a mirror, reflecting sensations we habitually ignore, revealing truths filtered out by reason. Participants shed their cognitive cocoons to witness the body’s existence as living entity, reawakening primordial perception toward life.
We are forever healed by raw stones, unadorned wood, and wild soil — embodiments of life precisely because they exist beyond human ethics and binary judgments. Their natural existence, marked by organic textures, whispers of anima mundi (world soul). Yet in cities, orderly structures stand as lifeless prisoners of functionality, measured by utilitarian value. Our bodies, though born of nature, are constantly shaped by “knowledge, logic, morality, and inertia” — unwittingly bound by external forces.
Zhao Yujie walks as anembodied perceiver. She explores relationality through bodily practice, translating her dialogue with existence into art. Her works kindle poetic moments beyond mundane experience, awakening viewers’dormant intuition. To be a “perceiver” is to embrace each fleeting moment with sincerity — honoring innate being, cherishing bodily intuition, acting with prescient authenticity. As Zhao herself articulates in her artistic philosophy:
“In motion, beyond boundaries;
在這片大地的深處，生長出的褶皺印刻在一切與它息息相關的地方。
樓宇、江水、橋樑，我們共同與此刻在場，察覺這一切。
我想帶你感受這片土地的“表情”，每一個“表情”都是那麼動人。
我想帶你體驗這片土地的“溫度”，或許只有足夠火辣能讓你感受到別樣的涼爽。
從不同角度觀看吧，也許有很多細微穿梭在此，或許會感到眩暈，但是也會有篤定的回答。
風正繞過時空與你我對話，萬物都在以自己的方式應答。
Come! The Scorching City!
From the depths of this land emerge wrinkles — imprinted upon all it embraces.
Towers, rivers, bridges — we gather here, now, awakening to this presence.
I long to guide you in feeling this earth’svisage, where every expression pulses with raw vitality.
I yearn for you to sense its warmth —perhaps only such fervor can yield paradoxical coolness.
Observe from myriad angles:
subtle currents may weave through your vision,
yet anchored certainty will answer.
The wind whispers across spacetime to you and me,
while all beings respond in their own tongue.
Hush your pulse, slow your stride —
its fire may not burn so fierce after all.
Embodied Sense·Serene Being
趙昱傑 (CN) Solo Resident Exhibition
展覽開幕 Opening：2025.8.9（週六） 19:30
2025.8.10-8.24 14:00-18:00
（每週五至週日｜Every Fri. to Sun.）
Exhibition Hall B, Dimensions Art Center, Chongqing, China
藝術總監｜Art Director：曾途 Zeng Tu
執行統籌｜Coordination：劉暢 Liu Chang
展覽協助｜Assistance：劉春利 Liu Chunli 胡克 Ben
駐留藝術家簡歷︱Resume of Artist：
趙昱傑（Jay Lee），雲南昆明人，00後自由藝術工作者，現任玉靝工作室主理人，同時擔任環境影像舞蹈導演與文藝晚會導演。
Zhao Yujie (Jay Lee), born in 2000, is a native of Kunming, Yunnan Province. She is a freelance artist, currently serving as the principal of Yutian Studio, as well as a director of environmental video dance and cultural galas.
其創作覆蓋舞蹈、行為、影像、跨媒體及綜合材料等多元媒介，注重結合非遺與本土文化，以藝術實踐與社會現象展開對話，並持續探索多舞種、多意識形態的融合路徑。
Her creative practice spans diverse media including dance, performance, film, cross-media, and mixed media. She emphasizes integrating intangible cultural heritage (ICH) and local culture, using artistic practice to engage in dialogue with social phenomena, and continuously explores pathways for the fusion of multiple dance genres and ideologies.
作品主題聚焦肢體藝術、民族非遺文化及禪宗文化等領域。自2021年起，深入鑽研當代藝術語境下的行為表達，逐步將“萬物有靈”的哲學思想融入創作，並始終致力於開拓更多跨領域的藝術作品與項目。
Her work themes focus on body art, ethnic ICH culture, and Zen culture. Since 2021, she has delved deeply into performative expression within the context of contemporary art, gradually incorporating the philosophical concept of “animism” into her creations. She remains dedicated to developing more cross-disciplinary artworks and projects.
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藝術家以往作品︱Previous works of the artist：
Peng Yu, Liao Yingze, Zhao Yujie
Location: Changchong Mountain Summit, Kunming, Yunnan
趙昱傑、廖櫻澤兩人依附於山頂巨石上，最頂上盤腿坐著的廖櫻澤手舉一顆果實，兩人全身上下包括巨石皆被塑膠膜包裹，遠看像一尊佛像，近看則是扭曲的面孔與僵硬顫抖的身體。漸漸的被包裹的身軀開始蠕動，突破塑膠膜，人與果實“重見天日”。
Zhao Yujie and Liao Yingze cling to a massive boulder at the mountain peak. Liao Yingze, seated cross-legged at the very top, holds a piece of fruit. Both individuals and the boulder are entirely wrapped in plastic film. From afar, they resemble a Buddha statue; up close, they reveal contorted faces and stiff, trembling bodies. Gradually, the wrapped figures begin to writhe, breaking through the plastic film. The human figures and the fruit “see the light of day again”.
The title Ephemeral is inspired by the poetic imagery of “a mountain amidst the ethereal and indistinct”.
如果我們未能確定是否存在這座“山”，或是我們未能確定是否能夠達到這座“山”。縱身一躍是一種冒險，但如果我們能夠確定，這縱身一躍便使我們獲得了更高心境的人生，並賦予生活終極意義上的可靠性和確定性，那麼我們應當“縱身一躍”。If we cannot confirm the existence of this “mountain”, or if we cannot confirm whether we can reach this “mountain”, taking the leap is an adventure. But if we can confirm that taking this leap will elevate us to a higher state of mind and grant life ultimate reliability and certainty, then we should “take the leap”.
Performance Site & Film & Installation
Location: Ruins beside Daguan Pavilion, Kunming, Yunnan
展出形式：作品遺留石粒裝置於行為影像前，投過裝置中間的空隙觀看行為影像
Exhibition Format: The stone particle installation left by the artwork is placed in front of the performance film. The performance film is viewed through the gap left in the center of the installation.
通過運用膠布，粘取不同材質廢石的顆粒與塵埃，將其複製到玻璃框上，從而解構廢石的原始形態，以微觀的視角展現自然的宏觀之美，為石軌賦予了新的形態。
Using adhesive tape, particles and dust from different types of waste stone are collected and transferred onto a glass frame, deconstructing the original form of the waste stone. This presents the macroscopic beauty of nature from a microscopic perspective, endowing the stone track with a new form.
作品遺留石粒裝置於行為影像前，玻璃框中央留有一處空白，作為獨特的視覺窗口，透過裝置中間的空隙，觀眾能夠窺見當時製作玻璃框的行為影像。
The stone particle installation left by the artwork is placed before the performance film. A blank space is left in the center of the glass frame, serving as a unique visual window. Through the gap in the center of the installation, the audience can glimpse the performance film documenting the creation of the glass frame.
行為影像被置於黑匣子內，形成一個獨立且神秘的時空領域，觀眾透過玻璃窗窺見的影像仿佛神明在探尋世界，而這個打破時空界限的黑匣子使觀眾在時間的正序與倒序中自由穿梭。
The performance film is housed within a black box, creating an independent and mysterious spatiotemporal realm. The image glimpsed by the audience through the glass window resembles a deity exploring the world. This black box, breaking the boundaries of time and space, allows the audience to freely traverse between the chronological and reverse order of time.
地點：海南三亞 梅聯村海邊Location: Meilian Village Beach, Sanya, Hainan
背樹行走於海邊，用身體力行的方式探討了生命是否必須依附於某處的問題。
Walking along the seaside carrying a tree on her back, the artist physically explores the question of whether life must be attached to something.
“生命是否必須依附於某處？還是可以在無盡的漂浮中尋得存在的意義？生命並非只有一種形態，也並非只有一種可能。在風的引領下，我們可以尋找屬於自己的生命之樹，存在於風裏，生長在天涯。”
“Must life be attached to something? Or can it find meaning in existence through endless drifting? Life does not have only one form, nor only one possibility. Guided by the wind, we can seek our own tree of life, existing within the wind, growing at the horizon.”
地點：雲南麗江 格子糧倉Location: Gezi Granary, Lijiang, Yunnan
藝術家頭戴草帽，肩負兩端懸掛大小馬鈴鐺的四米長竹竿，由遠及近，鈴聲隨步伐搖曳。登上三草墩壘成的“高臺”，進入冥想並將竹竿僅憑中心一點支撐於頭頂。身體保持打坐姿態，意念則全然聚焦於頭頂竹竿的動態，全然接納感受風帶來的細微擺動、竹竿因重心變化產生的緩慢自轉。風最終驅動竹竿旋轉一周後墜落，鈴鐺震響，儀式終結。
The artist wears a straw hat and carries a four-meter-long bamboo pole on her shoulders. Horse bells of varying sizes hang from both ends of the pole. Moving from afar to near, the bells chime with each step. She ascends a “high platform” formed by three stacked grass mounds, enters a state of meditation, and balances the bamboo pole solely on the crown of her head. Maintaining a seated meditation posture, her consciousness focuses entirely on the subtle movements of the pole atop her head, fully accepting and feeling the subtle swaying brought by the wind and the pole’s slow rotation caused by shifting center of gravity. Eventually, the wind drives the pole to complete one full rotation before it falls. The bells resonate loudly, marking the end of the ritual.
作品借由力量不均的鈴鐺（對立）、脆弱而精妙的長竿平衡（維繫）、與三草墩三度空間與糧倉廣場對山構成的特殊場域（對話），隱喻世間對立共存的本質、持守平衡的艱難，以及在靜默中與自然交融的深刻體驗。
The work employs bells of unequal weight (opposition), the fragile yet precise balance of the long pole(maintenance), and the unique spatial field formed by the three grass mounds (three-dimensional space) and the granary square facing the mountains(dialogue) to metaphorically represent the essence of coexistence amidst opposition in the world, the difficulty of maintaining balance, and the profound experience of merging with nature in silence.
郵箱 : info@chongqingdac.org
Instagram：dimensionsartcenter
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Website : chongqingdac.org
Email : info@chongqingdac.org
Instagram：dimensionsartcenter
Facebook : Chongqing Dimensions Art Centre & Chongqing Artists In Residency
Address : Huangjueping GuanJiaLin 190, Jiulongpo, Chongqing, CN.
