十方展覽 | 《簡單身體運動》藝術家梁祖賢個展

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■ ■ 策展人前言■ ■

Curator’s Foreword

祖賢是十方藝術中心與澳門藝術機構“牛房倉庫”常態化雙向駐留交換計劃中，第一位來到重慶的澳門藝術家，帶著結構主義視角和一千多公里以外的海洋氣息。

Joein isthe first Macau artist to come to Chongqing in the artist-in-residence exchangeprogram between Dimensions Art Center and Post-Ox Warehouse, and she carries astructuralist perspective and an oceanic sense from more than a thousandkilometers away.

這一切跟重慶山城進行了完美而短暫的碰撞。

Everythingabout her creates a perfect but temporary collision with the City of Mountain,Chongqing.

18天，1場展覽。

時間太短，來不及深入研究“重慶”的表意系統究竟是什麼，“山城”意味著怎樣的文化意義。藝術家索性借用“眼耳鼻舌身意”的六識概念，直接體驗，在過程中以一系列行為建立相互關係，關係即是意義，行動即是表達。最終呈現為這場「簡單身體運動」。

18 days, 1exhibition.

Time is tooshort to study in depth what the ideographic system of ‘Chongqing’ is, and whatkind of cultural significance is meant by ‘the City of Mountain’. The artistsimply borrows the six sense concepts of ‘eyes, ears, nose, tongue, body andmind’ in Buddhism to directly experience and establish mutual relationshipsthrough a series of behaviors in the process. The relationship is meaning, theaction is expression. And here comes the final ‘simple Body Exercise’.

藝術家在重慶茶館聽本地方言，並寫在《戀人絮語》書籍封面

the artist caught a phrase from the local dialect he heard in a teahouse in Chongqing, and wrote it on the cover of A Lover’s Discourse Fragments

18天，11件作品。

這些作品呈現了藝術家感受一個“地方”的幾種不同角度：呈現與本地人語言交流上的困境以及語義在傳遞過程中的美妙誤讀（模仿朋友說話和在茶館聽寫）；以一種藝術性的方式回應交流困境（朗讀與水）；如同博伊斯對死兔子解釋繪畫那樣，展現文本、語言、儀式與本能之間的巨大意義鴻溝（朗讀和餵貓）；從嗅覺、味覺、視覺、體感等不同角度展開對陌生地方的切片式捕捉（水果、呼吸、行樓梯和紅色），以及嘗試與到場觀眾之間建立某種非直接互動（“送藝術家一點甜”和“人美心善獲得獎勵”）；甚至還導出了一系列可愛且正經的行動方法。

18days,11 works.

Theseworks present several different perspectives for the artist to feel the‘local-ness’: presenting the dilemma of language communication with localpeople and the beautiful misunderstanding of semantics in the process oftransmission (imitating friends speaking and dictating in a tea-house); Ways torespond to communication dilemmas (reading and water); or like Beuys’s Howto Explain Pictures to a Dead Hare, it shows the huge meaning gapbetween text, language, ritual and instinct (reading and feeding the cat); Fromdifferent perspectives such as smell, taste, vision, and body sense to start aslice by slice capture of unfamiliar places (fruits, breath, Walking on the stairs and red),and try to establish some kind of indirect interaction with the audience (‘sendthe artist some sweets’ and ‘people will be rewarded for cuteness andkindness’); these works even derived a series of cute and serious methods ofaction.

《一果二食》 One step Two stairs Upward

行為錄像 Performance Video

2021年12月創作於重慶 Created in Chongqing in December 2021

當這些簡單身體行動放在因祖賢的駐留而串聯起來的，重慶和澳門“山與海”的時空場域背景中時，整個展覽呈現出一種解構主義的浪漫狀態，正回應了祖賢在作品中引用的那本羅蘭·巴特的書—-《戀人絮語》。

When these simple physical actions are connected because of Joein’sresidency, in the context of the time and space between the mountains ofChongqing and the seas of Macau, the exhibition presents a romantic state ofdeconstruction, which is in response to the linguistic book by Roland Barthescited in the works by Joein– A Lover’s Discourse: Fragments.

歡迎來看祖賢的戀人絮語。

Welcome for‘A lover’s Discourse’ by Joein.

胡燕子

Hu Yanzi

2021年12月

December 2021

■ ■ 藝術家自述 ■ ■

Artist Statement of Exhibition

《兩級一步向上走》One step Two stairs Upward

行為錄像 Performance Video

2021年12月創作於重慶 Created in Chongqing in December 2021

哲學家時常探問生命的意義?若生活本無意義，我們該積極前行或是躺平對抗?靈魂探索既無盡也沒有答案，知道卻還是不自覺的沉醉其中，對未來的不確定與生命較勁都成了毒癮，懼恐蔓延，慌亂不安。

Philosophers often ask about the meaning oflife? If life is meaningless, should we actively move forward or confront it bylying down? Soul exploration is endless and clueless, we know it but stillunconsciously indulge in it. The uncertainty of the future and theconfrontation with life have become an addiction, we let the fear spread andlet the panic sink.

靈魂與身體兩者功能有異，我習慣把靈魂與身體合稱為「我們」。要是能暫別靈魂思考的漩渦，把時間交給身體帶領，以眼耳鼻舌身意為基礎的《簡單身體運動》，來回到自身與六根的關係。

I differentiate the functions of the bodyand soul. I used to name the soul and the body ‘we’ together. If I cantemporarily leave the swirl of my soul, and give time to the body to lead,the simple Body Exercise based on the eyes, ears, nose, tongue and bodywill guide me to return to the relationship between myself and the six roots.

我在全然陌生的城市試探起來，當你和我都做著同樣指令式行動，留下不輕不重，相似又不盡相同的足跡，多了些說不清的特殊連結，「我們」與「我們」不相依更不相知，卻為各自的存在點一下頭。

I’m exploring a completely unfamiliar city.When you and I are both doing the same instructional actions, leaving behindfootprints either shallow or deep, similar or different, and then we share moreinexplicable special connections. ‘We’and ‘We’ do not rely on each other, or even know eachother, but here we are, a simple nod for our both existence.

梁祖賢

Joein

2021年12月

December 2021

■ ■ 藝術家介紹 ■ ■

Introduction to the Artist

梁祖賢畢業於澳門理工學院設計系，大學時期開始藝術創作。作品曾於中國大陸、台灣、香港、澳門等地區，和韓國等國家展出。並在「A’國際設計大獎」 (全球領先的國際年度設計比賽)、「澳門設計雙年展」獲得海報設計及書籍設計等金、銀、銅獎項。

Joein graduated from Macao Polytechnic Institute, majored in design. She started art practice during her college years. Her works have been exhibited in regions as Mainland China, Taiwan, Hong Kong, Macau, as well as South Korea, and other countries. She has won gold, silver and bronze awards for poster design and book design at A Design & Competition (the world’s leading international annual design competition) and the Macao Design Biennale.

近年參展、演出：

《澳門視覺藝術聯展 2021》、《靜默.影照》、《靜默‧移轉》（澳門城市藝穗節）、《云云-觀念攝影作品展》，《影落此城》（澳門藝術節重演）、《EXiM2020—澳門實驗錄像活動》、《腦背山下攝影展》《20/20澳門字體百分百設計交流展》、《海報設計展•首爾》。

《Collective Exhibition of Macao Visual Arts 2021》、《Tranquil・Luminous》、《Tranquillity・Transmission》（Macao City Fringe Festival）、《Van Van ── Conceptual Photography works》，《Here she dances》（Macao City Fringe Festival）、《EXiM2020—Macau Experimental Video Festival》、《Below LaoBeiShan: Hengoin Today Photos and Videos Creative Exhibition》、《20/20 Macao Typography Graphic Design Exchange Exhibition》、《Poster Design Exhibition・Seoul》。

以往作品介紹︱Introduction to Previous Works：