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項目來自中國重慶十方藝術中心與澳大利亞悉尼新南威爾士大學共同合作國際駐留計劃
■ ■ 策展人前言 ■ ■
Curator’s Foreword
每一次移動，或許是平凡的日常通勤，但在藝術家眼中，卻更像一首關於遷徙的散文詩。
長居悉尼的麗歌，其創作始終圍繞“移動”與“故鄉”。對Ta而言，交通工具不僅是城市景觀，更是連接家族記憶的紐帶，隱喻著更廣義的遷徙與歸屬。筆直通暢的道路、高效有序的交通，充分體現了城市生活對效率的追求。然而，在這種追求效率通勤的背後，卻暗藏著一種“存在的缺失”。城市規劃著道路，也在規訓著我們感知世界的方式。我們因焦慮或急切而只關注終點，對途中的周遭卻失去感知。這段移動過程不會被生活所記錄，藝術家將它描述為一種“短暫的失憶”。在喬麗歌的藝術語境中，“移動”與“失憶”不再是單純的現象，而是社會結構與個體意識交錯碰撞的審視場域。
麗歌是一位對人生經歷與周遭環境極具感受力的藝術家。Ta的作品真誠地根植於生活，富有深沉的情感力量與社會思考。在重慶魔幻而詩意的公共交通中，麗歌找到了獨特的共鳴——在這裏，“通勤”成為一種具體而微的詩意遷徙。依山傍水的蜿蜒、上坡下坎的曲折，重慶道路為麗歌的創作提供了最為貼切的語彙。這次展覽中，麗歌的藝術與重慶的獨特會有怎樣的對話，我們期待……
Every movement, perhaps a mundane daily commute, becomes in the eyes of the artist more like a prose poem about migration.
Based in Sydney, Lige’s practice consistently revolves around “movement” and “home”. For the artist, vehicles are not only part of the urban landscape but also links to family memory, serving as metaphors for broader themes of migration and belonging. Straight, unobstructed roads and efficient, orderly transportation fully embody the pursuit of efficiency in urban life. Yet behind this drive for expediency lies a subtle “absence of being”. City planning not only maps our roads but also disciplines the way we perceive the world. Anxious or eager, we fixate on the destination, losing awareness of our surroundings along the way. This process of movement often goes unrecorded in life—what the artist describes as a kind of “transient amnesia”. Within Lige’s artistic framework, “movement” and “amnesia” are no longer mere phenomena, but a field of inquiry where social structures and individual consciousness intersect and collide.
Lige is an artist deeply attuned to personal experience and the surrounding environment. Their work is sincerely rooted in everyday life, carrying profound emotional weight and social reflection. In the surreal and poetic public transportation of Chongqing, Lige has found a unique resonance—where “commuting” becomes a tangible, miniature form of poetic migration. The winding paths along mountains and rivers, the twists and turns of climbing slopes and descending steps, provide the most fitting vocabulary for Lige’s artistic expression. In this exhibition, we await in anticipation the dialogue between Lige’s art and the distinctive spirit of Chongqing…
《燈兒晃》 （Metrical Promenade） 是我的第一個個人展，在十方的駐留也是我第一次近距離接觸國內的當代藝術行業。通過這一個月，我觀察並體會到了許多無法在別處重現的、難用語言形容的、獨屬於重慶的人情味。展覽的標題“燈兒晃”不僅是我這次駐留體驗的總結，也是我生活中一種持續的狀態，甚至可以稱為一種本次駐留創作的方法論。在交通移動中，時間的長度變得和路徑一樣可以測量並計劃，在這種日常裏，移動必須具有目的，且計算移動的唯一作用就是抵達目的地。然而這種計量卻是一種壓縮移動過程的方式，我們作為乘客變成一個個微小的單位，在移動中度過的時間卻被忽略。我希望通過《燈兒晃》表達出這種隨著機械移動的過程才是真正的主體，其中蘊含著許多可供探討的意趣。《燈兒晃》旨在複寫單純的移動過程，以及移動中的人產生的情感體驗，並由此探討人與機械的關係，而不是重制抵達的快感。我在這些新的作品中盡力最大化了遊走的隨意和自然，並添加進一些我自己在十方駐留中的小得瑟——畢竟也算在重慶燈兒晃了三十天。
希望大家在這些新的作品裏可以體會到這種得瑟和小聰明，在這裏燈兒晃燈兒晃，遇到貓貓就和他們玩一會兒，明天的事明天再說吧。
Metrical Promenade is an exhibition of attempts. I started off with not-so-meticulous planning: planning about travel, planning about making (art), planning about writing and researching, and even planning about going through Chongqing’s historical archives, especially the suburb Huangjueping I am staying at. Well, I quickly abandoned these ideas upon arriving. Partly because the layover airport forgot to deliver one of my suitcases that has all my winter clothes and art books to Chongqing (I have it now, don’t worry), but also because I felt a deep sense of familiarity and tranquillity while finally realising the fact that I am at Chongqing. Chongqing has always been quite special to me as someone who visited this city multiple times before. This place connotes affection, openness, and community.
On the way to Dimensions Art Centre, I passed vast fields of still-green crops; I saw local residents meandering in the landscape that is made of machines and plants. These sceneries are the most common while taking the metro, besides the complete darkness under the ground, yet they contain an essence of time, which is temporality; the passengers know that these sceneries will be passed, and the experiences of seeing and observing inside a moving public transportation vehicle are temporary. This exhibition attempts to replicate, or, to say, imitate the process of being in transit accompanied by gigantic machinery that we as passengers choose to ignore. It is to consciously dwell on the temporality of moving. I think all forms of life are imitations of time, as is the process of reaching somewhere. I use the new works in this show to measure the stretched time. Taking public transport is another way to walk in the landscape via planned meandering within a smaller scale of the mass. Thus, the title – Metrical Promenade – is assembled.
Assemblage is also key to this exhibition. By assembling locally-captured imageries and sounds through digital manipulation, I hope to grasp my very own lived experiences of being en route and moving without a secured destination, and immerse them in Chongqing’s specific landscape that is made of machines, humans, and nature. Speaking in a more art-historian-academic way, I hope to hone in on the actual process of moving and making while attempting to surrender to the spontaneity of happenings. I had a plan to overcomplicate the viewing experiences for the audience but eventually decided to incorporate more recognisable and legible visual motifs. Perhaps the viewers should not have to learn to enjoy contemporary art. I wish this exhibition is fun to visit, and let’s all use this chance to wind down.
Qiao Lige (CN) Solo Resident Exhibition
展覽開幕 Opening：2026.1.10（週六） 19:00
2026.1.10-1.25 14:00-18:00
（每週五至週日｜Every Fri. to Sun.）
Exhibition Hall A, 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：
喬麗歌（b.2000)，山西太原人，現工作與生活於Gadigal土地（所謂的悉尼）。畢業於新南威爾士大學藝術學院，擁有一等榮譽學士學位。
其創作包括影像、裝置、行為藝術及多種跨學科媒介，特別是lens-based的方式。在海外生活期間，ta開始思考故鄉和家的含義，並逐漸將自身和家族的漂泊經歷聯繫起來，形成一種由母系家族囤積習慣衍生的創作方法論。受到網絡社群和離鄉生活的影響，其作品常涉及電子文化、身份探索以及語言和翻譯。ta最近在探索“電子同步”與“文本的物質性”。麗歌是Sara Ahmed和Gayatri Spivak文字作品的狂熱愛好者。
Lige is a Gadigal-based emerging artist (and curator, sometimes) who constantly contemplates suburban landscapes. Their practice revolves around the locational lived experience in Northern China and the influence of digital culture. Working with language and translation, they seek to explore the intricate connection between temporality and presence through video-based synchronisation.
藝術家以往作品︱Previous works of the artist：
hope this letter finds you well
Video installation, performance
hope this letter finds you well（2025）是一件持續性行為藝術裝置作品，其創作靈感源於我父母二十多歲時往來的信件。在行為中，我長時間地、一刻不停地將這些信件用英文謄寫到筆記本上，同時顯示器會通過文件相機即時同步我的謄寫內容。這件作品的結束方式是我感到身體或心靈上的無法承受。我結束表演後這就是一件裝置，觀眾可以坐在我坐過的椅子去閱讀我寫下的文字和原檔信件。
hope this letter finds you well (2025) is a durational performance and installation that is developed on an archive of sent letters between my parents when they were in their 20s. In the performance, I transcribe these letters in English onto a notepad for an extended duration of time while the monitor live feeding my transcription through document camera, until I reach an extent of emotional or physical fatigue. In the installation, the audience are welcome to fill the void of my presence by reading.
這件作品旨在收集並重現我之前的記憶。思考著寄出和收到的信件之間的距離，我在謄寫和解讀父母的文字時，也反思著自己遷徙和移動的經歷。我不斷質疑自己與母語和家鄉之間的距離，卻發現我的行為：翻譯並謄寫，這本身也是試圖縮短這種距離的嘗試。當我以非時間順序翻閱下一封信時，我父母的聲音在我耳邊迴響，不斷地講述著他們的故事，與過去的某封信跨時空呼應。通過思考和回溯，我逐漸意識到，我寫作是為了拉近彼此的距離。
This work is to gather and re-enact memories before me. Thinking of how distance is manifested through sent and received letters, I reflect on my experiences with relocating during the process of transcribing and interpreting my parents’ written words. I question my distance from my native language while unavoidably recognising that the act of translating doubles as an attempt to bridge that distance. When I turn to another letter nonchronologically, their voices echo around me, continuously revealing stories and resonating to the past. Reasoning and rewinding, I gradually realise that I am writing to get closer.
行為藝術，混合媒介裝置（影像，回收紡織品，油畫，丙烯，膠合板，EVA泡沫，現成物，家庭檔案）
Performance, mixed media installation (video, recycled textiles, oil, acrylic, plywood, EVA foam, found objects, family archive)
iwv fén這個名字由兩種中文輸入法組成，我把它們拼起來，組成一個看著西式的名字。iwv是五筆輸入法，我母親會，而fen是拼音，我用。 “iwv”：五筆輸入法，用於輸入漢字“汾”。汾河是山西的母親河，貫穿太原。“fén”的同音字還有“焚”、“墳”和“枌”。 這是我的榮譽學位作品，獻給我的姥姥楊金好，她是我所知最勇敢的女性。
This project is dedicated to my grandmother Yang Jinhao, who migrated from Putong Village, Lan County, a mountainous area to Taiyuan, the capital city of Shanxi province, the place I call hometown, with hopes of finding better opportunities for her family.
Gift是一個三頻道影像作品，三個畫面從左到右分別是我的母親廣嵐、我、她的媽媽（我的外婆）金好。我邀請廣嵐和金好拍攝她們的通勤，也就是由一個地點移動到另一個地點，且邀請她們自我反思自己的囤積習慣並講述拍攝。這個作品探索這種強迫性囤積和來自背井離鄉的創傷的關係，我由此發現了我們三代人的生活中都存在著不斷的移動和遷徙。我的姥姥和母親在攝影機前非常坦誠地分享著各自的經歷，我自己只是不斷移動，沒有言語。
Gift is a three-channel film that incorporates mixed media animation featuring my mum Guanglan, her mum (my grandma) Jinhao, and me. I asked Guanglan and Jinhao to reflect on their hoarding habits while filming their most common routine commute. Thinking of how the form of obsessive accumulation can be manifested tangibly as the trauma of displacement from one’s home, I identified shared experiences of moving and migrating throughout generations. Movement serves as a measure of displacement in the comparative montages of my closest matrilineal family members as they share their life stories in a confessional manner.
No wifi, No 🫰; vibing (like) spiritual others
這項作品的靈感來源於中國網絡的一個亞文化群體：精神小夥。“精神小夥”指的是一群年輕人，他們常常聚集在一起拍攝“社會搖”或“語錄”視頻，並在社交媒體上分享。
This work is inspired by a subculture community in Chinese cyberspace: 精神小伙 JingshenXiaohuo, which directly translates to “spiritual youngsters”. ‘Spiritual youngsters’ refers to a group of young people, usually from rural or suburban China, who love to gather around taking dance (社会摇) or shout-out (语录) videos for social media.
2020年時，抖音上出現了一個名為“#留子搖花手大賽”的熱門話題，世界各地的中國留學生模仿“精神小夥”的風格跳舞。我和夏依彤同作為留學生，也是藝術家，都對這種“角色扮演”行為很感興趣。我們想瞭解此話題的起因，想思考留學生模仿“精神小夥”這樣一個經常被視為“社會”的群體這件事，我們思考這種模仿如何能夠構建共同的身份認同。這兩個群體之間存在著巨大的差異，但他們相似的邊緣化經歷超越了單純的階級差異。這種模仿是一種嘲諷嗎？還是像網友所說的“文藝復興”，是一種復興中國土味網絡文化的嘗試？我們作為留學生再去模仿模仿“精神小夥”的留學生，作為我和夏依彤的初次合作，這種層疊的敘事將我們拉近，也將我們和家鄉的距離拉近。我們身處異鄉，心系中文互聯網。
A Douyin trend tagged #留子摇花手大赛 featuring Chinese international students across the world dancing in JingshenXiaohuo’s fashion emerged in the 2020s. We, as two international students/artists, are interested in this act of ‘cosplaying’ and how the imitation of a disregarded underdog community can build shared identity. The two communities differentiate drastically from each other, yet their similarly marginalised experiences transcend the primitive class difference. Is the imitation a way to mock? Or is it what the netizens call 文艺复兴, “the renaissance”- an attempt to revive camp-y Chinese internet culture? We pose these questions here, distant from our homelands, yet our ties to home only grow stronger.
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.
